{"title":"古典戏剧作为现代希腊有争议的遗产:20 世纪 30 年代从私人倡议到国家项目的戏剧制作","authors":"Vasileios Balaskas","doi":"10.1093/crj/clad033","DOIUrl":null,"url":null,"abstract":"\n Performing classical drama at ancient venues in interwar Greece reflected the socio-cultural context of the time. The development of archaeological tourism and the perception of classical monuments as heterotopic spaces created particular political and ideological needs. Until the mid-1930s, private theatre companies and individual artists reused classical venues such as the Odeon of Herodes Atticus and the theatre of Epidaurus to stage productions that gradually attracted local, national, and international attention. But by 1936, the National Theatre began exploiting the socio-political potential of ancient theatres and classical drama festivals and state-sponsored productions dominated the Greek theatrical stage. During this period, the claims of exclusivity on the part of the National Theatre and the National Conservatoire defined their competition with private companies and shaped the course of the revival of classical drama in twentieth-century Greece.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The classical drama as contested heritage in modern Greece: theatre productions from private initiatives to state projects in the 1930s\",\"authors\":\"Vasileios Balaskas\",\"doi\":\"10.1093/crj/clad033\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Performing classical drama at ancient venues in interwar Greece reflected the socio-cultural context of the time. The development of archaeological tourism and the perception of classical monuments as heterotopic spaces created particular political and ideological needs. Until the mid-1930s, private theatre companies and individual artists reused classical venues such as the Odeon of Herodes Atticus and the theatre of Epidaurus to stage productions that gradually attracted local, national, and international attention. But by 1936, the National Theatre began exploiting the socio-political potential of ancient theatres and classical drama festivals and state-sponsored productions dominated the Greek theatrical stage. During this period, the claims of exclusivity on the part of the National Theatre and the National Conservatoire defined their competition with private companies and shaped the course of the revival of classical drama in twentieth-century Greece.\",\"PeriodicalId\":42730,\"journal\":{\"name\":\"Classical Receptions Journal\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2024-06-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Classical Receptions Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/crj/clad033\",\"RegionNum\":3,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"CLASSICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Classical Receptions Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/crj/clad033","RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"CLASSICS","Score":null,"Total":0}
引用次数: 0
摘要
战时希腊在古代场所演出古典戏剧反映了当时的社会文化背景。考古旅游的发展以及将古典遗迹视为异域空间的观念产生了特殊的政治和意识形态需求。直到 20 世纪 30 年代中期,私人剧团和个人艺术家一直在重新使用古典场所,如希律阿提库斯剧场(Odeon of Herodes Atticus)和埃皮达鲁斯剧场(the theatre of Epidaurus),上演的剧目逐渐吸引了当地、国内和国际的关注。但到了 1936 年,国家剧院开始开发古代剧院的社会政治潜力,古典戏剧节和国家资助的剧目主导了希腊戏剧舞台。在这一时期,国家剧院和国家音乐学院的排他性主张决定了它们与私人公司的竞争,并影响了 20 世纪希腊古典戏剧的复兴进程。
The classical drama as contested heritage in modern Greece: theatre productions from private initiatives to state projects in the 1930s
Performing classical drama at ancient venues in interwar Greece reflected the socio-cultural context of the time. The development of archaeological tourism and the perception of classical monuments as heterotopic spaces created particular political and ideological needs. Until the mid-1930s, private theatre companies and individual artists reused classical venues such as the Odeon of Herodes Atticus and the theatre of Epidaurus to stage productions that gradually attracted local, national, and international attention. But by 1936, the National Theatre began exploiting the socio-political potential of ancient theatres and classical drama festivals and state-sponsored productions dominated the Greek theatrical stage. During this period, the claims of exclusivity on the part of the National Theatre and the National Conservatoire defined their competition with private companies and shaped the course of the revival of classical drama in twentieth-century Greece.