PROGRAMMES - ECTS GUIDE
2015-16
DEPARTMENT OF THEATRE STUDIES
ECTS GUIDE
UNIVERSITY OF PATRAS
FACULTY OF
HUMANITIES AND
SOCIAL SCIENCES
THEATRE STUDIES– ECTS GUIDE
CONTENTS
GENERAL INFORMATION AND STRUCTURE OF THE DEPARTMENT
3
STRUCTURE OF THE DEPARTMENT
4
WORKSHOP TEACHING STAFF
6
CENTER FOR FOREIGN LANGUAGE INSTRUCTION
6
UNDERGRADUATE STUDIES
7
PROGRAMME OF STUDY
7
GENERAL INFORMATION
7
DESCRIPTION OF UNDERGRADUATE COURSE UNITS
13
MANDATORY COURSES
LECTURES
13
WORKSHOPS
39
SEMINARS
40
ELECTIVE COURSES
45
First and Second Year of Studies - Lectures
-Workshops
Third and Fourth Year of Studies - Lectures
45
46
47
- Workshops
PREREQUISITES
48
50
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THEATRE STUDIES– ECTS GUIDE
DEPARTMENT OF THEATRE STUDIES
FACULTY OF HUMANITIES AND SOCIAL SCIENCES
ACADEMIC YEAR 2014-15
GENERAL INFORMATION AND STRUCTURE OF THE DEPARTMENT
THE DEPARTMENT
The Department of Theatre Studies was established in 1989, and first received students
for the academic year 1992-1993. It was among the first Departments in the Faculty of
Humanities and Social Sciences at the University of Patras. The four-year undergraduate
degree (BA) granted by the Department is primarily theoretical in orientation, with special
emphasis being given to the study of ancient Greek theatre.
The Department has at present sixteen full-time academic members specializing in
ancient Greek theatre, Roman theatre, archaeology, modern and contemporary theatre,
semiotics, cinema, and dance. In addition it has three members on its workshop teaching staff,
and one member of supporting staff. It also had three special subject teachers during the
academic year 2014-15. Faculty from other university departments provide training in topics
related to education, modern literature, and history of music. Teachers from the university’s
language school provide foreign language instruction.
A total of 666 students are enrolled in the undergraduate programme.
In addition to the undergraduate degree the Department offers a two-year postgraduate
course (MA) on ancient Greek theatre. Courses are taught by faculty members as well as by
other distinguished scholars.
The Department publishes the international scholarly journal Logeion. A Journal of
Ancient Theatre (Professor Stavros Tsitsiridis, editor), both in print (Crete University Press)
and online (http://www.logeion.upatras.gr/)
The Department of Theatre Studies is situated in the buildings near the main
Administration Building (Building “A”). It has its own lending library and reading room (books
and Greek periodicals on theatre studies are kept in the Department Library, while international
periodicals can be found in the University Library). The Department’s buildings also house
classrooms and workshop space for practical courses in stage-directing and acting. The
classrooms are equipped for video/dvd and slide projectors. The University’s small theatre
space (“Melina Mercouri Theatre”) is also available for workshops and student performances.
DEGREES OFFERED
- Undergraduate: Ptychio (B.A.) (four-year degree / eight semesters)
For the acquisition of the degree (ptychio) students enrolled in the Department must complete
successfully 48 courses
- Postgraduate course (M.A.) (two-year degree / four semesters)
- Ph.D. across the discipline of Theatre Studies
PROFESSIONAL OPPORTUNITIES
The graduates of the Department are qualified to:
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THEATRE STUDIES– ECTS GUIDE
- Teach theatre arts at primary and high schools
- Work as assistant directors and repertory advisors (dramaturgs) at professional theatre companies
- Perform theatre criticism at the daily and periodical press
- Be employed at public and private cultural institutions related to theatre and drama
- Undertake the editing of theatrical publications
CHAIRPERSON
Associate Professor Martin Kreeb
Telephone: +30-(2610) 96.29.10
Fax: +30-(2610) 96.93.66 kreeb@upatras.gr
VICE - CHAIRPERSON
Associate Professor Konstantinos Kyriakos
Telephone: +30 2610-969904, kyriakos0302@hotmail.com
ECTS DEPARTMENTAL COORDINATOR:
Assistant Professor Ioanna Papageorgiou
Tel. +30 2610 969916
E- mail: ipapag@upatras.gr
SECRETARIAT
Telephone: +30-2610-969360
Fax: +30-2610-969366
STRUCTURE OF THE DEPARTMENT
FACULTY
Professors
Dimitris Tsatsoulis (Ph.D., University of Athens)
Theatre Semiotics and Performance Theory
tel. +30 2610-969908 tsatsuld@upatras.gr
Stavros Tsitsiridis (Ph.D., Universität zu Köln)
Ancient Greek Philology –Ancient Greek Theatre
tel. +30 2610-969905, tsitsiridis@upatras.gr
Theodoros Stephanopoulos (Ph.D., Freie Universität Berlin)
Ancient Drama
tel. +30 2610-969396 stephano@upatras.gr
Associate Professors
Martin Kreeb (Ph.D. University of Munich)
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THEATRE STUDIES– ECTS GUIDE
Classical Archaeology, primarily Archaeology of Ancient Theatre
Tel. +30 2610-962910, kreeb@upatras.gr
Konstantinos Kyriakos (Ph.D., University of Thessaloniki)
Theatre and Film Studies
tel. +30 2610-969904, kyriakos0302@hotmail.com
Assistant Professors
Aikaterini Arvaniti (Ph.D., University of Kent at Canterbury)
Theatre Studies: Modern Staging of Ancient Drama
tel. +30 2610-962913, katv@otenet.gr
Athena Coronis (Ph.D., University of California - Riverside)
Theatre Studies
tel. +30 2610-962911, acoronis@yahoo.com
Ioannis Panousis (Ph.D., Université de Provence)
Ancient Greek Theatre and Drama
Tel. + 30 2610-962912, panousis@upatras.gr
Ioanna Papageorgiou (Ph.D., Goldsmiths College–University of London)
Theatre Studies: European and Modern Greek Theatre
tel. +30 2610-969916, ipapag@upatras.gr
Giorgos Sampatakakis (Ph.D., Royal Holloway, University of London)
Theatre Studies
Tel. +30 2610-962.917, gsampatak@upatras.gr
Katia Savrami (Ph.D., Laban Centre London, City University)
History and Theory of Dance
Tel. +30 2610- 962915, savrami@upatras.gr
Angeliki Rosi (Ph.D., University of London – Royal Holloway College)
Theatre Studies
tel. +30 2610-969903, rosia@upatras.gr
Chrysanthe Sotiropoulou, (Ph.D.,University of Athens)
History and Theory of Cinema
tel. +30 2610-962918, xsotirοp@upatras.gr
Areti Vassiliou (Ph.D., University of Crete)
Modern Greek Theatre
tel. +30 2610-969917, satsoka@otenet.gr
Lecturers
Eleni Karabela (Ph.D., University of Crete)
Ancient Greek Theatre
Tel. 962.916, karabela@upatras.gr
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THEATRE STUDIES– ECTS GUIDE
Aikaterini Kounaki-Philippides (Ph.D., University of Crete)
Roman Theatre
Tel. 969.918, philippides@upatras.gr
WORKSHOP TEACHING STAFF
Despina Georgakopoulou (Acting)
Tel. +30 2610-962919, despinag@upatras.gr
Ioanna Roilou (Terms and Conditions of Performance)
tel. +30 2610-969398, roilou@upatras.gr
Vasiliki Sakellari (Acting)
tel. +30 2610- 969399
TEACHING STAFF IN CONTRACT
Agis Marinis, Ph.D. [Ancient Greek Theatre]
Klio Fanouraki, Ph.D. [Theatre in Education]
Maria Konomi, Ph.D. [Stage Design]
SUPPORTING STAFF
Alexandra Bertsoukli
tel. +30 2610- 969900, bertsukl@upatras.gr
CENTER FOR FOREIGN LANGUAGE INSTRUCTION
tel. +30 2610-997370
www.languages.upatras.net
Aikaterini Spiliopoulou
English
Tel. +30 2610-99.77.04, aspiliop@upatras.gr
Freideriki Savva
German
Tel. +30 2610-99.77.08, f-Savva@yahoo.gr
Parthena Ioannidou
Russian
Tel. +30 2610-99.77.03, ioannid@upatras.gr
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
UNDERGRADUATE STUDIES
PROGRAMME OF STUDY
GENERAL INFORMATION
A. The Department’s Programme of Study is theoretical in orientation, with particular
emphasis given to the study of ancient Greek theatre.
B. The Programme of Study for the undergraduate degree covers eight academic semesters
(four years).
C. Courses are taught three hours per week with the exception of some workshops (see Course
Summary Table). For the acquisition of the degree students enrolled in the Department must
successfully complete 48 courses, each corresponding to 4 local course units; that is, 192 units
for the entire programme. Each course corresponds to 5 ECTS credits, for a total of 240 ECTS
credits for the entire programme.
All courses are taught in Greek, but additional tutorial support in English, French or German is
provided in some courses as well.
D. Courses are designated as:
1. Mandatory or core courses. Students are required to complete successfully thirty two (32)
mandatory courses in total.
2. Mandatory electives. Apart from the mandatory courses, students are also required to
complete successfully fourteen (14) courses from specific groups of academic subjects (see
table General Division of Courses According to Academic Subjects).
3. Free electives. Students may choose two (2) courses from any academic subject.
Completion of certain courses is a prerequisite for enrollment in certain other courses (See table
Prerequisites)
E. During their first and second semesters of study, students must enroll in as many courses
necessary to earn (the equivalent of) 30 ECTS credits per semester. In the second, third, and
fourth year of study students must enroll in as many courses necessary to earn at least 30 but no
more than (the equivalent of) 60 ECTS credits each semester.
Students are allowed to attend more courses than those corresponding to the above-specified
total of credits but these extra courses won’t be taken into account in the final grades of the
“ptychio”. However, they will be recorded in the supplement of the “ptychio”.
Students participating in student exchange programmes are exempted from the above
regulations for the duration of their participation in those programmes.
F. Students are not allowed to enroll in courses whose hour of teaching coincides.
Students of the first and second year of study cannot enroll in Elective courses of the third and
fourth years. However, students of the third and fourth year of study can enroll in Elective
courses of the first and second year.
G. Courses are designated as:
 Lectures: These courses provide students with academic instruction in the history and
theory of theatre, literature, film, visual arts, music, and dance, as well with systematic
analyses of ancient Greek drama, modern theatre and related performing arts (particularly
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE


of the Western cultural tradition). This large group of courses aims at introducing
students to different methods of research in theatre studies.
Seminars (tutorial lessons): These courses aim at training students in the methodology of
scholarly research. The attendance of students in the seminars is compulsory. The
maximum of students attending each workshop is 35.
Workshops: A series of practical workshops provides students with the opportunity to
acquire experience in the practical aspects of the theatre, such as acting, stage-directing
and set design. The maximum of students attending each workshop is 25.
I. In case that the number of candidates for a seminar or workshop exceeds the specified
maximum number of attendants, then priority is given (1) to the students of the advanced
semesters of study, and (2) to the students who have completed more courses than the other
candidates of the same semesters.
J. During the first week of the semester, teachers describe the content of their courses and
specify the examination method. By the end of the second week students should have filled in
the course enrollment form and submit it at the Secretariat of the Department.
K. Students in the third or fourth year may elect (category of Electives Courses) to participate
in the programme of student practice (internship) of the Department. The programme provides
training for a period of two months in private and civil cultural services of the city of Patras.
Student practice is a full-time occupation. Working-time periods will be adjusted to the
requirements of the civil or private partner.
L. Deviation from the above regulations can be authorized only by the General Assembly to the
Department.
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
General Division of Courses According to Academic Subjects
CATEGORY
1. MANDATORY
Ancient Theatre (ATH)
World Theatre (WTH)
Modern Greek Theatre (MGTH)
Theory of Theatre and Drama (THE)
General Instruction (GI)
Workshops (W)
Seminars SEM
2. MANDATORY ELECTIVES
Ancient Theatre (ATH)
World Theatre (WTH)
Modern Greek Theatre (MGTH)
Theory of Theatre and Drama (THE)
General Instruction (GI)
Workshops (W)
FREE ELECTIVES
Total number of courses
9
NUMBER OF
REQUIRED
COURSES
TOTAL
OF LOCAL
CREDITS
TOTAL
OF ECTS
CREDITS
32
6
6
4
7
4
1
4
14
3
2
2
2
3
2
2
48
128
24
24
24
28
14
4
12
56
12
8
8
8
12
8
8
192
160
30
30
20
35
20
35
20
70
15
10
10
10
15
10
10
240
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
PROGRAMME PLAN - UNDERGRADUATE STUDIES
COURSE SUMMARY TABLE
INDICATIVE PROGRAMME1
FIRST YEAR
SEMESTER I
Title
1. Introduction to Ancient Greek Theatre
2. Introduction to Theatre Studies (Modern Theatre)
3. Landmarks of Modern Greek Literature
4. Introduction to Theory and History of Dance
5. Introduction to Fine Arts
6. Elective2
Total number of credits
Course
Code
ATH011
THE 041
GI 052
GI 055
GI 054
Course Hours ECTS Local
Type
Credits Credits
L
L
L
L
L
4
4
4
4
4
4/5
5
5
5
5
5
5
30
4
4
4
4
4
4
24
SEMESTER II
Title
Course Course Hours ECTS Local
Code
Type
Credits Credits
WTH 021 L
4
5
4
1. Renaissance and Elizabethan Theatre –
Shakespeare
2. Dramaturgical Analysis I: Dramatic Texts of
THE 044 L
Classical Dramaturgy
3. Dramaturgical Analysis II: Dramatic Texts of
THE 045 L
Modern Dramaturgy
4. Elective
5. Elective
6. Elective
Total number of credits
4
5
4
4
5
4
4/5
4/5
4/5
5
5
5
30
4
4
4
24
. Abbreviations used in the following table are: L (lectures), S (seminars), W (workshop); ATH (Ancient Theatre),
WTH (World Theatre), MGTH (Modern Greek Theatre), THE (Theory), GI (General Instruction), W (Workshop),
SEM (Seminar).
2. Students choose electives courses according to semester of study. For the list of the Elective Courses offered
during the academic year 2013-14 see the table of Elective Courses.
1
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
SECOND YEAR
SEMESTER III
Title
Course
Code
ATH013
1. Ancient Greek Tragedy II: Sophocles
2. European Theatre from the 17th to the 19th Century WTH
(from Classicism to Romanticism)
022
3. European Trends and Post-Revolutionary Greek MGTH
Theatre Writing
032
4. Introduction to the History and Theory of Cinema GI 053
5. Major Theories of Acting
THE 047
6. Elective
Total number of credits
Course
Type
Hours ECTS Local
Credits Credits
L
L
4
4
5
5
4
4
L
4
5
4
L
L
4
4
4/5
5
5
5
30
4
4
4
24
SEMESTER IV
Title
Course
Code
1. Ancient Greek Comedy: Aristophanes
ATH015
2. Modern Greek Theatre of the First Half of the
MGTH
20thCentury
033
th
3. Trends in 20 Century Stage-Directing
THE
046
4. Theatre of the 19th Century: Realism, Naturalism, WTH
Psychological Drama
023
5. Introduction to Acting and Stage-Directing
W 063
6. Elective
Total number of credits
Course Hours ECTS
Local
Type
Credits Credits
L
L
4
4
5
5
4
4
L
4
5
4
L
4
5
4
W
5
5
5
30
4
4
24
THIRD YEAR
SEMESTER V
Title
1. Aristotle’s Poetics
2. European Theatre of the 20th Century (19001960)
3. Cretan Renaissance Theatre
Course
Code
ATH 016
WTH 024
Course Hours ECTS Local
Type
Credits Credits
L
L
4
4
5
5
4
4
MGTH
031
SEM 071
L
4
5
4
S
4
5
4
L
4
4/5
5
5
30
4
4
24
4. Seminar I (Ancient Theatre): Introduction to the
Methodology of Research
5. Semiotics of Performance
THE 043
6. Elective
Total number of credits
11
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
SEMESTER VI
Title
1. Ancient Greek Tragedy III: Euripides
2. Post-War Modern Greek Theatre
3. Theatrical Set Design and Costume in Modern
Times
4. Seminar III (Modern Theatre with Emphasis on
Drama)
5. Elective
6. Elective
Total number of credits
Course
Code
ATH 014
MGTH
034
WTH 026
Course Hours ECTS Local
Type
Credits Credits
SEM 073
L
L
4
4
5
5
4
4
L
4
5
4
S
4
5
4
4/5
4/5
5
5
30
4
4
24
FOURTH YEAR
SEMESTER VII
Title
1. Theory of Theatre and Drama in Modern Times
2. Seminar II (Ancient Theatre)
3. Elective
4. Elective
5. Elective
6. Elective
Total number of credits
Course
Code
THE 042
SEM 072
Course Hours ECTS Local
Type
Credits Credits
L
S
4
4
4/5
4/5
4/5
4/5
5
5
5
5
5
5
30
4
4
4
4
4
4
24
SEMESTER VIII
Title
1. Ancient Greek Tragedy I: Aeschylus
2. Seminar IV (Modern Theatre with Emphasis on
Performance)
3. Elective
4. Elective
5. Elective
6. Elective
Total number of credits
Course
Code
THE 012
SEM 074
12
Course Hours ECTS Local
Type
Credits Credits
L
S
4
4
5
5
4
4
4/5
4/5
4/5
4/5
5
5
5
5
30
4
4
4
4
24
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
DESCRIPTION OF UNDERGRADUATE COURSE UNITS
ACADEMIC YEAR 2015-16
MANDATORY COURSES
LECTURES
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer
Learning outcomes
Introduction to Ancient Greek Theatre
Competences
At the end of the course the student will have further developed the
following skills/competences:
Course content
This course examines the distinctive nature of ancient Greek theatre, with
emphasis on the following topics: the dramatic contests and factors of
performance, the theatre from an architectural point of view, the actors
(historical information, costume, speech, and voice), the chorus (function,
orchesis, and music), the audience, and the craftsmen of Dionysus. The
development of Roman theatre is also briefly examined.
None. Successful completion of this course is a prerequisite for
Prerequisites
ATH 011
Mandatory, Lecture
Undergraduate
First
First
5
4
Professor Theodoros Stephanopoulos
At the end of the course the student should be able to:
enrollment in any course of Ancient Theatre (ATH) in the 2nd, 3rd,
and 4th years of study]
Language of instruction
Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course Code
Course Type
Course Level
Course Year
Semester
ECTS units
Local credits
Name of Instructor
Subject Learning
Outcomes
Objectives
Ancient Greek Tragedy I: Aeschylus
ATH 012
Mandatory, Lecture (Prerequisite)
Undergraduate
Fourth
Eighth
5
4
Eleni Karabela, Lecturer
At the end of the course, students must:
1. Have basic knowledge of the life and dramatic works of Aeschylus.
2. Be able to describe the historical and intellectual environment in which
Aeschylus developed as a poet.
3. Be acquainted with the themes and works of Aeschylus.
4. Have adequate knowledge of the manuscript tradition and the editions of
Aeschylus’ extant works.
5. Have knowledge of the poet’s extant works and their content.
6. Be able to appreciate the articulation of the poet’s consecutive trilogy.
7. Know the dramatic form and language style of the poet’s works.
8. Recognise the distinctive features of the poet’s art as far as character
portrayal, chorus, music, and choreography usage are concerned.
9. Consider the place and role of fate and guilt in the poet’s tragedies.
10. Be able to appreciate the status of gods, nemesis and ‘hybris’ in
Aeschylean tragedy.
11. Appreciate the hold of satirical drama on the poet’s works.
Skills
At the end of the course, students will have developed the following
skills:
 Will have comprehended and will identify the means Aeschylus
implemented- as far as his works are concerned- in order to further the
dramatic myth which originated in mythological tradition.
 Will be able to identify the significant ideological and theatrical issues put
forward by Aeschylus in his works.
 Will discern the ideological, philosophical and dramaturgical features noted
in the poet’s works.
 Will have the ability to develop personal points of view related to certain
tragic heroes, after the heroes’ dramaturgical role and place/status in the
poet’s works have been taken into consideration.
 Will shed light on critical aspects of Aeschylean works.
 Will distinguish the ideological axes which penetrate the works of
Aeschylus.
The introduction to Aeschylean tragedy deals with the conditions of ancient
Course content
performances, the workings of tragic myth starting from mythical tradition,
the action, the structure, the thematic, the language of tragedy, and the use of
rites, music and choreography, as well as the outline of characters, and the
collective character of the chorus.
Students should have successfully completed the course: Introduction to
Prerequisites
ancient theatre (AT 011).
Language instruction Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer
Learning outcomes
Skills/Competences
Course contents
Prerequisites
Language of instruction
Ancient Greek Tragedy II: Sophocles
ATH 013
Mandatory, Lecture
Undergraduate
Second
Third
5
4
Eleni Karabela, Lecturer
At the end of the course the student must:
1. Have basic knowledge of the life and dramatic works of Sophocles.
2. Have been acquainted with historical data concerning the
cultural/intellectual environment of the State of Athens during its
period of high prosperity (acme), in which Sophocles developed
poetically.
3. Know the themes and works of the poet.
4. Have adequate knowledge of the manuscript tradition and the editions
of the extant Sophoclean works.
5. Be able to appreciate Sophocles’ personality via his works.
6. Know the dramatic form and language style of the poet’s works.
7. Recognise the distinctive features of the poet’s art as far as character
portrayal, chorus, music, and choreography usage are concerned.
8. Consider the position of the human being in the world, and their
relationship with the gods in the poet’s works.
9. Be able to appreciate Sophocles’ poetics with regard to the creation and
management of the tragic element.
At the end of the course, students will have developed the following
skills:
 Will have comprehended and will identify the means Sophocles
implemented-as far as his works are concerned- in order to further the
dramatic myth which originated in mythological tradition.
 Will be able to identify the significant ideological and theatre issues put
forward by Sophocles in his works.
 Will distinguish the ideological, philosophical and dramaturgical
features noted in the works of the poet from Colonus.
 After having considered the heroes’ dramaturgical role and place in the
poet’s works, (the student) will have the ability to develop personal
points of view related to certain Sophoclean tragic heroes.
 Will be able to consider the significance and role of personal
responsibility, ethical rules and duty in the poet’s works.
 Will shed light on critical aspects of Sophoclean works.
 Will distinguish the ideological axes which penetrate the works of
Sophocles.
The introduction to Sophoclean tragedy deals with the conditions of
ancient performances, the workings of tragic myth starting from mythical
tradition, the action, the structure, the thematic, the language of tragedy,
and the use of rites, music and choreography, as well as the outline of
characters, and the collective character of the chorus.
Students should have successfully completed the course: Introduction to
ancient theatre (ATH 011).
Greek.
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of instructor
Learning outcomes
Ancient Greek Tragedy III: Euripides
ATH 014
Mandatory, lecture
Undergraduate
Third
Sixth
5
4
Eleni Karabela, Lecturer
At the end of the course the student is expected to:
1. Have a basic knowledge of the life and dramatic works of Euripides.
2. Possess basic information on the historical and cultural milieu of the
polis of Athens in the classical era.
3. Be aware of the basic themes permeating Euripides’ dramatic work.
4. Be able to identify the distinctive features of the poet’s art.
5. Possess basic information about the manuscript tradition and the
editions of Euripides.
6. Be able to appreciate the dramatic form and language style of the poet’s
works, as exemplified by a representative play.
7. Consider the place of human beings in Euripidean tragedy and on their
relationship with the gods.
Skills/Competences
At the end of the course, students will have developed the following
skills:
 To comprehend and identify the means by which Euripides transforms
traditional myth to create his dramatic plots.
 To identify the most significant ideological and theatre-related issues in
the works of Euripides.
 To identify the most notable ideological, philosophical and
dramaturgical features in Euripidean tragedy.
 To develop personal points of view on Euripides’ tragic characters, their
roles in the drama and their significance in the poet’s work.
 To consider the significance and role of personal responsibility and
ethics in the poet’s works.
 To point to ideological issues related to the work of Euripides.
General introduction to the dramatic work of Euripides: elaboration of the
Course content
dramatic myth in relation to mythic tradition. Subject, structure, action,
and ideology of the plays with reference to political and cultural facets of
the age of Euripides. Language, character portrayal and the chorus.
Courses include the close reading of a complete tragedy or of excerpts
from different tragedies.
Prerequisites
Successful completion of Introduction to ancient theatre (AT 011).
Language of instruction Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer
Learning outcomes
Ancient Greek Comedy: Aristophanes
ATH 015
Mandatory, Lecture
Undergraduate
Second
Fourth
5
4
Assistant Professor Ioannis Panousis
At the end of the course the student should be able to:
1. Have a good knowledge of the origin and the beginnings of ancient
Greek comedy.
2. Describe the conditions (place, time etc.) and the terms of performance
of comedies during the classical period.
3. Be well informed on the comedy text tradition - mainly of the
Aristophanic comedies.
4. Be familiar with the most important subjects that preoccupied
Aristophanes in his work.
5. Recognize the main structural elements of Aristophanic comedy.
6. Understand the connection of the Aristophanic comedies with the sociopolitical conditions of their time.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 Interpret the text of at least three Aristophanic comedies.
 Recognize the comic inventions of an Aristophanic comedy.
 Use the basic bibliography on the comedies of Aristophanes.
 Detect and justify the presence of certain fundamental characteristics of
Aristophanic comedy, such as parody and obscenity.
The introduction to ancient Greek comedy and to the theatre of
Course content
Aristophanes deals with the conditions of ancient performances, the
workings of comic myth in relation to historical reality, the action, the
structure and the thematic of Aristophanes’ comedy, the language, the
importance of parody, the use of rites and religion, the role of comic
character and the chorus.
Successful completion of the course: Introduction to Ancient Greek
Prerequisites
Theatre (ATH 011)
Language of instruction Greek. Additional tutorial support in English and French
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Aristotle's Poetics
ATH 016
Mandatory
Undergraduate
Third
Fifth
5
4
Dr Agis Marinis [teaching staff in contract]
At the end of the course the student should be able to:
1. Know the content of this classic treatise analytically and in detail.
2. Be sufficiently acquainted with the issues related to the manuscript
tradition, the nature of the work and date of composition.
3. Understand basic concepts such as mimesis, mythos, ethos, thought,
reversal, etc.
4. Be familiar with some basic principles of Aristotelian thought, so as to
better understand Aristotle’s works and his thought in general.
5. Be aware of the views expressed and be able to interpret all the difficult
but important passages (such as the definition of tragedy in the 6th
chapter, the primacy of poetry in relation to philosophy in the 9th
chapter, etc.).
6. Have acquired a concrete idea of the monumental impact of the Poetics
in modern times.
Skills
At the end of the course the student will have further developed the
following skills/competences:
 Study an essay accurately and in a methodologically sound manner.
 Develop abstract reasoning and critical thinking
 Probe into the philosophical content of a work.
 Use the bibliography on a specific text.
Course content
Aristotle’s brief treatise constitutes the first work of literary theory and is
one of the most important such work of all ages. It also constitutes a basic
source for the history of ancient drama, while during the modern era it
greatly influenced the formulation of theories of poetry and theatre. The
work will be taught in the original (using the critical edition of R. Kassel,
Oxford, 1965). In addition to the analytical discussion of interpretive
problems which the treatise presents, special emphasis will be given to the
treatment of specific central meanings of Aristotelian theory (mimesis,
mythos, catharsis, oikeia hedone, etc.) A translation by the instructor will
be used to supplement teaching.
Successful completion of the course: Introduction to Ancient Greek
Prerequisites
Theatre (ATH 011)
Language of instruction Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Renaissance and Elizabethan Theatre – Shakespeare
WTH 021
Mandatory, Lecture
Undergraduate
First
Second
5
4
Assistant Professor Athena Coronis
At the end of the course the student should be able to:
1. Approach the differentiations of Renaissance theatre from its ancient
and medieval sources, with examples from the theatre of the Italian
and Spanish Renaissance, the Cretan theatre of the period of Venetian
rule, and the Elizabethan-Jacobean theatre, with emphasis on its main
representative, Shakespeare.
2. Examine the playwrights and the chosen plays within their historical
frame.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 Ability to compare popular topics of Renaissance dramaturgy.
 Deal with issues such as the dramatic genres and their particular
characteristics.
Introduces the student to the Renaissance and Elizabethan theatre, the
Course contents
history, ideology and conditions of its growth. Major authors of the
period and Shakespeare’s contemporaries are studied. The class focuses
on Shakespeare’s theatre. It considers the relationship of Shakespeare
and the English Renaissance and the Shakespearean canon. It presents
the chronological sequence of the Shakespearean plays –tragedies,
comedies and histories, and studies their sources, dramatic forms,
themes, characters, and styles of their performances.
None
Prerequisites
Language of instruction Greek. Additional tutorial support in English
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
European Theatre from the 17th to the 19th Century (from
Classicism to Romanticism)
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
WTH 022
Mandatory, lecture
Undergraduate
Second
Third
5
4
Assistant Professor Ioanna Papageorgiou
At the end of the course the student should be able to:
1. Present the principal aesthetic and ideological elements of Classicism,
Baroque, Enlightenment, and Romanticism.
2. Recognise the main characteristics of the dramatic work of the
period’s most significant playwrights.
3. Analyse selected plays of the period according both to the principles
of the theatrical movements they belong to and to the playwright’s
specific traits.
4. Present the most significant developments of the theatre regarding
acting styles and actors, management of theatre companies, types of
theatrical space, scenic design, drama texts, and the audience’s social
origins and preferences.
At the end of the course the student will have further developed the
following skills/competences:
 Explain particular theatrical phenomena according to their aesthetic
and ideological context.
 Identify the alterations of a theatrical phenomenon from one period to
another.
 Analyse the structure and content of a play in its simultaneity (cultural,
ideological and aesthetic context) and its relation to theatrical tradition.
The course focuses on the classical period of French Theatre, the English
Theatre of Restoration, the theatre of Enlightenment, and the dramatic
genres and the theatre practices that are inscribed to Romanticism.
Students study plays of Corneille, Molière, Racine, Goldoni, Marivaux,
Goethe, Kleist, and Hugo. They also study a text from the genre of
melodrama.
Competences
Course content
Prerequisites
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Language of instruction
Greek. Additional tutorial support in English
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Title of course
Course code
Type of course
Level of course
Year of study
Semester
ECTS credits
Local credits
Name of Instructor
Learning outcomes
Skills/ Competences
Course Content
The theatre of 19th century: Realism, naturalism, psychological drama
WTH 023
Mandatory
Undergraduate
Second
Fourth
5
4
Associate Professor Konstantinos Kyriakos
At the end of the course students are expected to:
1. Have acquired knowledge of the key aesthetic movements of the 19th
century and specifically realism and naturalism.
2. Compare and contrast their principles with the previous movements of
classicism and romanticism.
3. Present the particular characteristics of each movement, as they developed
in accordance with the respective European country (France, Norway,
Sweden, Germany, Britain, Russia, and Italy), and the playwright.
4. Have sufficient knowledge of the bibliography on key dramatic texts of
modern theatre.
5. Have comprehended the theoretical and methodological principles of
approach to dramatic texts outstanding playwrights who played a decisive
role in the history of theatre, such as Ibsen, Strindberg and Chekhov.
6. Discern the structure of the dramatic text and the potentials of its stage
reading.
7. Identify the relationships between different dramatic texts and know the
forms of commercial theatre.
8. Recognise the influence of the social and historical environment on the
composition of a dramatic text, and the association of theatre with other
disciplines, such as medicine, biology, philosophy and theology.
9. Recognise the components of the identity of dramatic characters, based on
recent theories of gendered identities, and identify the factors in their
formulation.
10. Identify the essential characteristics of 19th century comedy writing.
At the end of course student will have further developed the
skills/competences to:
 Present the rules and principles of major aesthetic movements.
 Develop sound reasoning and produce probative discourse.
 Comparatively present the main features of dramatic types and their key
representatives.
 Apply methodological /theoretical approaches to drama during the
analysis of a theatrical text.
 Apply scientific criteria in order to use bibliography on drama and on
relevant cognitive objects, both scientifically and creatively.
 Identify the aesthetic, ideological and cognitive parameters that
determined the composition of a dramatic text.
The naturalistic movement, social and psychological drama, the ‘wellmade” play, the entertaining spectacle and the boulevard in bourgeois
society of the 19th century, the rise of the art of the director. Students study
plays from Ibsen, Chekhov, Strindberg, Zola, Labiche, and Wilde.
Prerequisites
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Language of instruction
Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Theatre of the 20th Century (1900-1960)
WTH 024
Compulsory, Lecture
Undergraduate
Third
Fifth
5
4
Assistant Professor Angeliki Rosi
At the end of the course the student should be able to:
1. Have acquired sufficient knowledge of the major movements of the
historical avant-garde (1875-1930) and the influence they exerted on
drama and performance practice: Symbolism, Expressionism, Futurism,
Dada, and Surrealism.
2. Present an outline of the major developments in European drama and
performance during the inter-war years.
3. Have acquired sufficient knowledge of the major tendencies of
European drama during the first post-war years (theatre of the absurd,
political theatre).
4. Recognize and present the key formal elements of the plays which
undermine the principles of realistic representation (dramatic time and
space, story and plot, characters).
5. Present the major interactions between theatre and the other arts as well
as the influence exerted by the philosophical and ideological trends of
the period.
6. Be familiar with the different theoretical approaches of the plays under
consideration.
7. Be familiar with the major bibliographical references concerning the
dramatic production of the period (1875-1960).
8. Be familiar with the methodological research tools concerning the
handling of primary and secondary sources and with the correct use of
scientific supplement tools (references, footnotes, quotes).
Competences
At the end of the course the student will have further developed the
following skills/competences:
• Distinguish the formal innovations in the dramatic production of the
period and classify the plays in the context of particular artistic
movements or trends.
• Recognize the most important aesthetic, ideological and philosophical
aspects that define the dramatic production of the period (1875-1960).
• Understand and interpret the work of the playwrights of the period under
consideration.
• Place the particular plays in the wider framework of the development of
European theatre, particularly in relation to the older classical tradition
and to 19th century realism.
The course examines the major theatrical movements in Europe during the
Course content
first half of the twentieth century. The avant-garde movements:
Symbolism, Expressionism, Dada and Surrealism. The theatre during the
inter-war years. Brecht’s Epic Theatre, Artaud’s Theatre of Cruelty,
Pirandello, Lorca and the French school of literary drama. Post-war
drama: the theatre of the Absurd and political theatre during the 1950s
Successful completion of the course Introduction to Theatre Studies
Prerequisites
(Modern Theatre) (THE041)
Language of instruction Greek. Additional tutorial support in English
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
Course contents
Prerequisites
Language of instruction
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Course content
Prerequisites
Language of instruction
Genres and Forms of Musical Theatre from 1600 to the 20th Century
WTH 025
Mandatory, Lecture
Undergraduate
5
4
At the end of the course the student should be able to:
1. Recognize the key types of musical theatre from the Renaissance up to
the early 20th century.
2. Have an overview of the key stages of the history of musical theatre.
3. Distinguish the characteristics of major composers and major librettists.
4. Describe musical theatre works based on the currents or/and on the
characteristics of their creators.
5. Recognize the terminology of musical theatre.
At the end of the course the student will have further developed the
following skills/competences:
 To handle basic operatic concepts and use the key terms of musical
theatre.
 To identify differences between basic types of musical theatre.
 To describe the evolution of musical theatre.
An introduction to genres and forms of musical drama. Opera: recording
and analysis of the main musical forms that comprise opera as well as the
different genres of opera that have appeared in history.
Successful completion of the course Introduction to Theatre Studies
(Modern Theatre) (THE041)
Greek
Theatrical Set Design and Costume in Modern Times
WTH 026
Mandatory, Lecture
Undergraduate
Third
Sixth
5
4
Dr. Maria Konomis [teaching staff in contract]
The course concentrates on the morphology and the typology of the
theatrical building, the evolution of scene and scene technology, the
overall artistic style of theatrical performance in different historical
periods of theatre.
Successful completion of the course Introduction to Theatre Studies
(Modern Theatre) (THE041)
Greek
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
Course content
Prerequisites
Language of instruction
Cretan Renaissance Theatre
MGTH 031
Compulsory, Lecture
Undergraduate
Third
Fifth
5
4
Assistant Professor Areti Vasiliou
At the end of the course the student should have:
1. Acquired preliminary knowledge of Italian Renaissance theatre and its dramatic
genres (tragedy, comedy, religious and pastoral drama), which influenced the
respective dramatic genres of Cretan theatre during the period of Venetian
occupation in the 16th and 17th centuries.
2. Comprehended the general meaning of the term ‘Cretan Renaissance’ as a
chronological and cultural period which defined a part of the Greek-speaking
world in contact with the Italian Renaissance and the European baroque.
3. Acquired knowledge of the forerunners of Cretan literature and poetry, and
especially of the Cretan playwrights (Georgios Chortatsis, Ioannis Andreas
Troilos, Marcos Antonios Foscolos), as well as of the themes and forms of their
plays.
4. Learned to compare each Cretan play with its respective Italian model by
analysing their similarities and differences, in order to discern any original
contribution of the Cretan playwrights in relation to their Italian sources.
5. Become informed of the continuous restoration of the dramatic texts by Greek
and foreign scholars.
6. Become aware of the phenomenon of the influence of a written theatrical text
on the subsequent development of oral popular culture (conversion of Cretan
dramas to the Ionian-islands’ popular ‘Omilies’).
7. Been familiarised with the sources related to likely performances of Cretan
dramas during the period of their composition, as well as to their revival by
important stage directors of the Inter-War period (Fotos Politis, Karolos Koun,
Spyros Melas, Giannoulis Sarantidis)
At the end of the course the student will have further developed the following
skills/competences:
 To define the social and ideological context of both Italian Renaissance and
Cretan culture during the Venetian occupation
 To understand without difficulty the Cretan dialect of the dramatic texts of that
period.
 To compare Cretan dramas with their Italian models.
 To define the distinctive features of each dramatic genre (comedy, tragedy,
religious and pastoral drama) that attracted the interest of Cretan playwrights.
 To compare the themes and the forms of texts that belong to the same or a
different genre.
 To recognise the transference of Cretan dramas into their stage interpretations
in the modern era.
An introduction to the historical, social and cultural background of Renaissance
Crete, followed by an analysis of the plays Erophili, Panoria, and Katsourbos by
Georgios Chortatsis and The Sacrifice of Abraham (by a Cretan poet).
Consideration is given to the modern staging of Cretan Renaissance theatre.
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Greek. Additional tutorial support in English and French.
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
European Trends and Post-Revolutionary Greek Theatre Writing
MGTH 032
Mandatory, Lecture
Undergraduate
Second
Third
5
4
Assistant Professor Areti Vasiliou
At the end of the course the student should:
1. Be acquainted with the 19th-century social and trends in Europe and
Greece that led to the emergence of both nationalism and the historically
oriented national identity.
2. Have knowledge of the development of the first Modern Greek
professional theatre companies from their beginning until their
consolidation in the Greek State and in the Greek communities of the
Eastern Mediterranean area, through the practice of theatrical tours.
3. Be aware of the factors that delayed the consolidation of Greek
companies in their own country (dominance of Italian opera and French
operetta, lack of state funding, scarcity of cultivated audiences and
actors, shortage of plays and theatre buildings).
4. Acquire knowledge of the principal playwrights and their views, and of
the main representatives of Romantic drama (Ioannis Zambelios, A. R.
Rangaves, Panayiotis Soutsos, Demetrios Vernardakis, Spyridon
Vasiliades, Kleon Rangaves, Timoleon Ampelas etc.).
5. Understand the principles of the Greek Romantic manifestos (‘Preface’
in Al. R. Rangaves’ Frosini, ‘Forewords’ to D. Vernardakis’ Maria
Doxapatri), apply those principles to the texts, and comprehend their
differences in relation to the rules of Classicism (such as the Germanbred veneration of Shakespeare, the commencement of the study of
Byzantine and Modern-Greek history, the violation of Aristotelian rules,
the nostalgic return to folk tradition).
6. Comprehend the reasons behind the use of “katharevousa” in Modern
Greek Romantic drama during the 19th century.
7. Have acquired an overview of the particular character of Greek
Classical Romanticism and its deviation from European Romanticism.
8. Be acquainted with Greek comedy of the Othonian and Georgian
periods (A. R. Rangaves, Demetrios Vyzantios, Mich. Chourmouzis,
Angelos Vlachos, Demetrios Koromilas, etc) and its models (comedy of
social manners/ ethography, Moliere’s edifying comedy, and
Aristophanes).
9. Be acquainted with the invasion of the entertaining “boulevard” theatre
on the Modern Greek stage, and the maturing of the comedy of
bourgeois manners by the playwrights Nikolaos Laskaris, Elias
Kapetanakis, and Charalampos Anninos.
10. Be acquainted with the forms of commercial theatre which inundated
the Greek stage during the last quarter of the 19th century, such as
Vaudeville (komeidyllion), the Dramatic Idyll, and Melodrama.
At the end of the course the student will have further developed the
following skills/competences:
 To recognize the ideological and historical parameters of the period
under study.
 To discern the main characteristics of the aesthetic movements analysed
during the course, and apply them to specific dramatic texts of the 19th
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course content
Prerequisites
Language of instruction
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
century.
 To understand without difficulty the katharavousa of 19th-century
dramas and comedies.
 To discern the alterations which the ideological and aesthetic
movements had undergone during their transmission from Europe to the
Greek ideological and artistic environment.
 To realise the particularities of stage practices in the Greek Theatre of
the period (formation of theatre companies, acting methods)
 To appraise the significance of both the commercial and the artistic
theatres, and the social and educational composition of the spectators
The different phases in the establishment of professional theatre in the
independent state (1828 to the end of the 19th century in Syros, Nauplio,
Patras, Athens, touring in East Mediterranean and final establishment in
the Greek capital). The formulation of dramatic genres in dialogue with
European ones: classical-romantic tragedy (I. Zambellios, A.R. Ragavis,
P. Soutsos, D. Vernardakis, S. Vasiliadis, etc.), comedy (I. R. Neroulos,
D. Byzantios, M. Chourmouzis, A. R. Ragavis, A. Vlachos, D. Koromilas,
N. Lascaris, etc.), operetta, and dramatic romance. The role of foreign
theatre on the Greek stage (Italian opera, French operetta, melodrama).
Successful completion of the course Introduction to Theatre Studies
(Modern Theatre) (THE041)
Greek [Additional tutorial support in English and French]
Modern Greek Theatre of the First Half of the 20th Century
MGTH 033
Compulsory, Lecture
Undergraduate
Second
Fourth
5
4
Assistant Professor Areti Vasiliou
At the end of the course the student should:
1. Know the conditions of professional Athenian theatre during the first
two decades of the 20th century – a theatre leaded by the first two Greek
stage directors, Constantinos Christomanos (‘Nea Skini’) and Thomas
Oikonomou (‘Vasilikon Theatron’), whose stage practices were
modelled according to the ensemble work of the independent theatres at
the beginning of the 20th century (Α. Antoine, Ο. Brahm, J. Grein,
Lugné-Poë, K. Stanislavski- V. Nemirovich-Danchenko)
2. Be acquainted with the reception of the period’s European avant-garde
by Greek intellectuals (introduction of Ibsen and realistic-naturalistic
drama, of Aestheticism and Symbolism).
3. Be able to analyse the dramatic work of the most important exponents
of the demotic language, who, at the same time, were representatives of
the above-mentioned aesthetic movements (Gr. Xenopoulos, G.
Kampyses, K. Palamas, G. Psycharis, N. Kazantzakis, P. Nirvanas, D.
Tagopoulos, Sp. Melas, P. Horn etc.).
4. Be able to analyse the preoccupation of the above-mentioned
playwrights with social problems, with the issue of woman’s
emancipation, and with the issues of equality and family relationships.
5. Be acquainted with the formation of the professional theatre of the
Inter-War period.
6. Be acquainted with the demand for theatre modernisation and
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
regeneration made by dramatic schools, by the newly educated
generation of actors, by avant-garde stage directors (Sp. Melas, C.
Koun, G. Sarandides, F. Politis, D. Rontires, Mich. Kounelakis, V.
Rotas), by trade-unionist actors, and by the pioneering companies of
young actors (‘Thiasos Neon Pagratiou’, Vasilis Rotas’ Laiko Theatro’,
etc).
7. Be able to discuss the reception of avant-garde European movements by
the Greek playwrights of the Inter-War period (Freudian
psychoanalysis, Bergsonian psychology, Pirandello and theatricalism,
surrealism, and the application of cinematic tableau to drama),
8. Be aware of the older dramatic forms that survived – sometimes having
been modernised –during the Inter-War period (historical drama,
ethography, naturalism and Ibsen’s realism, psychological drama after
the model of Anton Chekhov, preoccupation with women’s
independence)
9. Be able to describe the progress of the National Theatre’s foundation in
1932 and its effect on the professional theatre before and after the
Metaxas dictatorship.
10. Have acquired the knowledge of the theatrical form that appeared
during the period of Greek Resistance – otherwise known as ‘the
Theatre of the mountains’ - in the 1940s, whose main representatives
were V. Rotas, G. Kotzioulas, and G. Kaftantzes.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 To define the particular characteristics of each principal Greek stage
director of the period and the influences exerted by their European
colleagues.
 To define the identity of the principal theatre companies of the period as
well as the criteria according which those companies have been
classified among either avant-garde or traditional theatres.
 To identify the main formalistic and thematic elements of the European
aesthetic movements of that period, and to apply those elements to
specific Greek dramatic texts of the same period.
 To identify the impact of the ideological and social context of that period
on the content and the structure of the dramatic texts.
 To recognise the impact of the epistemological and artistic achievements
(psychological, philosophical, cinematic, musical) on the Greek theatre
of that period.
The transition of dramaturgy from the old forms of the 19th century
Course contents
(classical-romantic historic tragedy, operetta, dramatic romance) to new
forms of the 20th century: naturalistic and realistic drama, aestheticism and
symbolism according to European models. The effort of the first Greek
professional directors to imitate European “independent” theatres. The
developments in Greek theatre and drama during the inter-war period. The
foundation of the National Greek Theatre. The theatre of the Greek
Resistance (‘the Theatre of the mountains’).
Successful completion of the course Introduction to Theatre Studies
Prerequisites
(Modern Theatre) (THE041)
Language of instruction Greek [Additional tutorial support in English and French]
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THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Title of course
Course c ode
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer
Learning Outcomes
Post-War Modern Greek Theatre
MGTH 034
Mandatory, Lecture
Undergraduate
Third
Sixth
5
4
Assistant Professor Angeliki Rosi
At the end of course the student is expected to:
1. Know the main post-war modern Hellenes writers in terms of their work’s
distinctive features.
2. Have been acquainted with the different trends followed by post-war Greek
theatre from the early 1950’s until the 21st century.
3. Know the interactive relationship of Modern Greek theatre with various
European and American dramaturgical currents.
4. Identify different structural features which characterise different tendencies
of post-war Greek dramaturgy.
5. Employ the necessary theoretical tools through which the dramatic texts of
post-war theatre are approached and analysed.
6. Have been familiarised with the particular stylistic formulation and thematic
fields of contemporary Modern Greek writers along with basic biographical
facts..
7. Have acquired a relatively comprehensive picture of onstage representations
of these plays and directorial interpretations which accompany them.
Skills/Competences At the end of course students will have developed the following skills:
 To recognise the particular stylistic form and dramaturgical mark of
different Modern Greek writers.
 To have developed the ability to analyse their work dramaturgically in the
light of different theoretical approaches.
 To place the work of Modern Greek writers in the particular socio-historical
environment of their creation, but also to recognise the socio-ideological
components put forward by these plays.
 To highlight the relationship of each Modern Greek play with works of
world dramaturgy via comparative and intertextual approaches.
 To have formed a thorough and detailed view of the dramaturgical issues
arising from any stage representation of the play.
 To apply the acquired knowledge to practical onstage realisation of post-war
Greek theatre dramatic texts, which constitutes a full approach to theatre as a
whole.
Greek post-war dramaturgy and the pluralism of genres through different
Course content
theatrical approaches suggested by the texts and their scenic realisation . From
Iakovos Kambanellis’ theatre to contemporary tendencies. From realism to
post-modern resonances. The inter-textual relationship of post-war Modern
Greek theatre to ancient drama and world theatre. Lectures are based on texts
by I. Kambanellis, L. Anagnostaki, P. Matesis, V. Ziogas, M. Lymberaki, Y.
Maniotis, A. Staikos, Y. Chrysoulis, E. Pegga, P. Takopoulos, K. Mourselas,
D. Dimitriadis, etc.
Successful completion of the course Introduction to Theatre Studies (Modern
Prerequisites
Theatre) (THE041)
Language of instruction Greek
28
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Introduction to Theatre Studies (Modern Theatre)
THE041
Mandatory, Lecture (Prerequisite)
Undergraduate
First
First
5
4
Assistant Professor Giorgos Sampatakakis
At the end of this course the student should:
6. Know the most important theories regarding the origins of theatre.
7. Recognize the generic characteristics of theatrical art.
8. Describe the key terms of theatrical art (drama, dramatis persona, theatre
space, scenic design, costume, stage-direction, acting).
9. Differentiate the most important types of: dramatis personae, drama
genres, plot structure, theatrical space, scenic design, acting style, and
staging.
10. Acknowledge the main methodological approaches of theatre
11. Know the most significant titles of theatre bibliography.
12. Remember the principal movements, persons and plays of European and
Modern Greek theatre.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 Use the key terms of theatrical art.
 Distinguish between theatre criticism and scholarly study of theatre.
 Utilise the basic theatre bibliography.
 Conceptualise the development of theatre as a process of distinctive
periods in historical time.
I) Nature and the origins of theatre
Course contents
II) Introduction to the art of theatre: a) dramatic text, Dramatis personae
(character, type etc.), language, and genres. b) Performance: theatre space –
design-costumes, actors and acting, directors and Stage-Directing.
III) Historical account of the theatre studies and basic methodological
approaches. Reference books and bibliography IV) Short review of the
history of European and Greek theatre.
None. Successful completion of this course is a prerequisite for enrollment
Prerequisites
in any course of World Theatre (WTH), Modern Greek Theatre (MGTH),
and Theory of Theatre (TH) in the 2nd, 3rd, and 4th years of study.
Language of instruction Greek [Additional tutorial support in English]
29
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
Course content
Theory of Theatre and Drama in Modern Times
THE042
Mandatory, Lecture
Undergraduate
Fourth
Seventh
5
4
Assistant Professor Giorgos Sampatakakis
At the end of the course the student should be able to:
1. Have adequate knowledge of the most important theatre and drama
theories (and their source texts) from the Renaissance to the 20th century.
2. Keep track of the evolution of these theories and how they are connected
to the social and political history of each historical period.
3. Keep track of the ways in which the theoretical discourse on theatre is
constructed in the context of certain philosophical and aesthetic
movements as well as in the context of the dominant ideologies about the
function and meaning of representation in the arts.
4. Understand the interrelation between theoretical discourse and theatre
practice in different historical periods.
5. To track down the different focus of attention paid by different theories
in hierarchizing the elements of theatre (drama, actor, space, time,
scenography, and director).
6. To track the basic points of the theories discussed in characteristic plays
of each period.
7. Have adequate knowledge of the general bibliography on the theories of
drama and theatre in modern European Theatre.
At the end of the course the student will have further developed the
following skills/competences:
 To identify the structural principles of drama and theatre theories from the
Renaissance onwards.
 To analyze theoretical texts on drama and theatre, and track down their
discursive and ideological differences.
 To identify and evaluate the most important elements included in the
theoretical discourse about drama and theatre in the context of the
historical evolution of Modern European Theatre.
 To place the drama production of each period and the different
manifestations of the art of theatre in the context of the contemporary
theatre and drama theories.
The course examines the main theories on drama and the art of performance
during the period from the Italian Renaissance up to the avant-garde
movements of the early 20th century. It aims at presenting the theoretical
texts and at highlighting the way in which they were incorporated into
playwriting and stage practice. The source-texts are studied in reference to
the dominant aesthetic, cultural, social and ideological tendencies of each
period.
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Language of instruction Greek. Additional tutorial support in English
Prerequisites
30
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Title of course
Course code
Type of course
Level of course
Year of Study
Semester
Semiotics of Performance
ECTS credits
Local credits
5
4
Name of lecturer
Learning outcomes
Professor Dimitris Tsatsoulis
At the end of course students should:
1. Know the basic concepts of semiotics theory and communicative action.
2. Recognise the codes and semiotic systems both in social life and in artistic
works.
3. Fully understand the individual semiotic systems of performance - visual,
auditory, olfactory, taste, tactile- and their function.
4. Proceed to the synthetic perception of individual semiotic systems and recruit
their co-functional mode in the production of meaning, as far as the performance
is concerned.
5. Perceive individual theatrical devices, such as the appeal of theatrical illusion,
invalidation of information during the performance, theatre-in-theatre, the
function of feedback, and the integration of the spectator into the event.
6. Understand the role and function of stage and wider theatrical space
configuration in combination with the desired message of the performance.
7. Distinguish -via linguistic, paralinguistic, gestural and overall kinesic codesthe double entity of actor/ dramatic person.
At the end of course, students will have developed the following skills:
 To demonstrate knowledge of essential tools of semiotic analysis.
 To accurately use terminology of the semiotics of theatre theory.
 To apply the acquired theoretical knowledge to specific current theatrical
performances.
 To proceed to simultaneous analytic and synthetic perception of individual
semiotic systems while viewing a performance.
 To understand the relationship between the dramatic text and its concrete stage
realisation, so as to be able to identify the directorial current which is followed
along with the intentionality of performance.
 To understand the interaction established between stage events and spectators.
 To understand the obscure points of the performance and develop relative
extended study skills, so that theoretical gaps which arise from research on-thespot (performance viewing) will be filled in.
 To apply critical analysis to the performance as “whole” and critical
evaluation/assessment based on objective theoretical tools.
The course focuses on the semiotic analysis and study of performance.
Topics of analysis:
Skills/Competences
Course contents
THE 043
Mandatory, lecture
Undergraduate
Third
Fifth







semiotic systems and codes of performance
kinesic, gestual, and mimic codes
the semiotic function of the body of the actor/actress
the actor/actress’ relation with the role and the dramatic character
the parameters of dramatic, scenic and theatrical space and time
the semiotic functions of stage properties, lighting, music, etc.
the relation of the spectator with the theatrical event
 the mechanisms of reception
Successful completion of the course Introduction to Theatre Studies (Modern
Prerequisites
Theatre) (THE041)
Language of instruction Greek [Additional tutorial support in French]
31
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer
Learning
outcomes
Competences
Course content
Prerequisites
Language of
instruction
Dramaturgical Analysis I: Dramatic Texts of the Classical Dramaturgy
THE044
Compulsory, Lecture
Undergraduate
First
Second
5
4
Assistant Professor Ioanna Papageorgiou
At the end of the course the student should be able to:
1. Know sufficiently the classical dramatic texts.
2. Have acquired the basic methodology for the analysis of classical dramatic texts.
3. Know the modes of approaching critically a dramatic text.
4. Place a dramatic text within a specific literary period/tendency/movement.
5. Analyse and compare the themes and the characters of a dramatic text.
6. Examine plays, themes and characters intertextually.
7. Recognise the particular characteristics of a playwright of the classical era.
8. Know the socio-historical environment of a playwright.
9. Know the influence that a playwright has undergone and the impact he/she has
had on other writers.
10. Appreciate the language, the style, the stage-directions, the space and the time
of a dramatic text.
11. Have sufficient knowledge of the bibliography on classical dramaturgy and on
each playwright individually.
12. Know the rules of using sources and bibliography, and be acquainted with the
methods of recording scholarly information (references, footnotes, and
quotations).
At the end of the course the student will have further developed the following
skills/competences:
 To examine a text of classical dramaturgy by using the basic tools of dramatic
analysis and by applying various critical approaches.
 To place a dramatic text within a specific literary period/ tendency/ movement.
 To analyse and compare the themes and the characters of a dramatic text.
 To construct their own views on the characters of a play according to their role in
the dramatic text and in the work of the playwright.
 To approach plays, themes, and characters intertextually.
 To discover the ideological and dramaturgical matters questions that a playwright
poses presents through his/her plays.
 To identify the particular ideological, philosophical and dramatic characteristics of
a playwright by examining his/ her plays.
 To expand on the work of a classical playwright.
 To appreciate the place of a playwright’s work in the pantheon of world
dramaturgy.
The course focuses on subjects dealing with the nature of drama during the classical
era. Methods and ways for better understanding, evaluating and analysing a play are
discussed. Various types of plays created in the aforementioned period, their plot and
structure, themes and motifs, intertextuality and language, as well as stage directions,
character types, production and performance, the relationship between readeraudience and the play are examined. Texts discussed and analysed may include works
of authors such as Seneca, Marlow, Shakespeare, Racine, Molière, Goldoni, Kleist.
None
Greek [Additional tutorial support in English]
32
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Dramaturgical Analysis II: Dramatic Texts of Modern Dramaturgy
THE045
Compulsory, Lecture
Undergraduate
First
Second
5
4
Assistant Professor Giorgos Sampatakakis
At the end of the course the student should be able to:
1. Have sufficient knowledge of modern dramatic texts.
2. Have acquired the basic methodology of the analysis of modern dramaturgy
(Western-European, Russian, American theatre).
3. Know the modes of approaching critically a dramatic text.
4. Place a dramatic text within a specific literary period/tendency/movement.
5. Analyse and compare the themes and the characters of a dramatic text.
6. Examine plays, themes and characters intertextually.
7. Recognise the particular characteristics of a playwright of modern
dramaturgy.
8. Know the socio-historical environment of a playwright.
9. Know the influence that a playwright has undergone and the impact she/he
has had on other writers.
10. Appreciate the language, the style, the stage-directions, the space and the
time of a dramatic text.
11. Have sufficient knowledge of the bibliography on modern dramaturgy and
on each playwright individually.
12. Know the rules of using sources and bibliography, and be acquainted with
the methods of recording scholarly information (references, footnotes, and
quotations).
Competences
At the end of the course the student will have further developed the
following skills/competences:
 Ability to examine a text of modern dramaturgy (Western-European,
Russian, American theatre) by using the basic tools of analysis and by
applying various critical approaches.
 To place a dramatic text within a specific literary period/tendency/
movement.
 Ability to construct their own views on the characters of a play according to
their role in the dramatic text and in the work of a playwright.
 To approach plays, themes, and characters intertextually.
 To discover the ideological and dramaturgical matters that a playwright
posits through his/her plays.
 To define the ideological axes which permeate the work of a playwright.
 To expand on the work of a playwright of modern dramaturgy.
 To appreciate the place of a playwright’s work in the pantheon of world
dramaturgy.
The scope of the course, which is a sequence to Dramaturgical Analysis I, is to
Course content
further familiarise students with methods and ways for better understanding,
evaluating and analysing a play of the modern period. Texts that are analysed
may include works of Ibsen, Strindberg, Chechov, Shaw, Pirandello, Lorca,
Anouilh, Brecht, Beckett, Pinter, Stoppard. Each semester texts may vary.
None
Prerequisites
Language of instruction Greek
33
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
Course content
Trends in 20th Century Stage-Directing
THE046
Mandatory, Lecture
Undergraduate
Second
Fourth
5
4
Assistant Professor Aikaterini Arvaniti.
At the end of the course the student should:
1. Know, in an analytic and systematic way, the origin and development of
the significance of the director’s role from the early 20th century onwards,
so as to become familiarised with the important role directors play in
modern stage practice.
2. Comprehend, in depth, the particular traits of different directorial
approaches, both on theoretical level and in their stage implementation.
3. Be aware of the significant theories of great directors with regard to
theatrical action, as well as the influence exerted on younger artists.
4. Have a clear picture of the history of the tendencies in stage-directing and
thus interpret modern events in the world of directing.
At the end of the course the student will have further developed the
following skills/competences:
 To classify and interpret the directorial tendencies of our era either as new
currents or as a revival of older ones.
 To better understand the contemporary manifestations of the art of
direction and to follow the dialogue with other, different stage practices.
 To decode each directorial code and be able to undertake their critical
assessment.
The course focuses on the main directorial trends which formulated the
theatre staging of the 20th century: Antoine and naturalism, - Dadaistic and
surrealistic acting -Meyerhold, – Aristotle and Brecht,-“La Mamma”, Peter Brooke-, Peter Stein, the French directorial movement-, etc.
Contemporary movements: Tony Harrison, Bob Wilson etc. The mixture of
civilisations: Tadashi Suzuki (Japan), Wole Soyinka.
Prerequisites
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Language of instruction
Greek
Title of course
Course
Type of course
Level of course
Year of study
Semester
ECTS Credits
Local credits
Name of Instructor
Learning outcomes
Major Theories of Acting
THE 047
Mandatory, Lecture
Undergraduate
Second
Fourth
5
4
Associate Professor Konstantinos Kyriakos
At the end of the course students are expected to:
1. Know the major views and opinions on the art of acting developed mainly
34
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Skills/ Competences
Course content
during the 20th century
2. Comprehend the influence of the social and historical environment in the
formulation of these theories.
3. Have acquired sufficient knowledge of bibliography on the theoretical
texts of modern theatre directors and actors.
4. Have understood the theoretical structures and the methodological
approaches to the phenomenon of acting.
5. Associate the actor with the other components of the performance.
6. Identify the relationships between different approaches to acting,
especially those of Diderot, Stanislavski, Meyerhold, Brecht, Artaud,
Grotowski.
7. Recognise the influence of other arts and sciences upon the art of acting.
8. Recognise the constituent elements of identity of dramatic persons and the
way via which the actors undertake their performance.
At the end of course students will have developed the following skills:
 To identify the relation of theory to practice in the art of theatre.
 To develop sound reasoning and produce probative evidence around the
actor’s approach to the interpretation of a role in each performance.
 To apply the theoretical approaches, which focus on the art of acting, to
the approach of different phases of interpretation of dramatic characters
on stage.
 To identify the significance of the actor’s body and voice and associate
them with the fundamental elements of the physical sciences and the
humanities.
The course discusses the following topics on acting and the actor’s
creativity:
-Constantine Stanislavsky and the Moscow Art Theatre. Study of his
Method. The impact of I. P. Pavlov and his theory of conditional reflexes
on the formation of the Method. The actor M. Cepkin and P. V.
Simonov’s neuro-physiologic interpretation of the Method.
- Stanislavsky’s pupils: Vakhtangov and M. Chekhov.
- Stanislavsky’s successors: Lee Strasberg and the Actors’ Studio – The
Method in American theatre and cinema. The Method’s influence on the
Western world: Strasberg’s followers, Sonia Moor, Karolos Koun and the
Art Theatre in Athens.
- Antonin Artaud’s “Theatre of Cruelty” and the training of the mystagogic
actor. Relationship with Balinese Theatre.
-Artaud’s followers in Europe. The Greek example: Yiannis Kakleas’
demands from the actor.
- Bertold Brecht’s epic system, and the theory of alienation. The actornarrator.
- Jerzy Grotowski, the “Poor Theatre” and the “suffering” actor.
-Gordon Graig and the actor-puppet.
-Great stage interpreters: Eleonora Duse, Sarah Bernhardt, Laurence
Olivier, Jean-Louis Barrault, etc. The great mimes: from Jean - Gaspard
Deburau to Marcel Marceau or the speaking mimes from Charlie Chaplin
to Dario Fo.
- Re-examining Denis Diderot’s “paradox”.
-Modern acting methods (bio-energy, bio-mechanics, mingling of eastern
and western types of acting etc.)
- The acting art of performance
Prerequisites
Successful completion of the course Introduction to Theatre Studies (Modern
Theatre) (THE041)
Language of instruction
Greek
35
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course number
Mandatory / Elective
Course level
Year of study
Semester of study
ECTS credits
Local credits
Name of instructor
Course objectives
Skills/Competences
Course content
Prerequisites
Language of instruction
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturer(s)
Learning outcomes
Skills/Competences
Landmarks of Modern Greek Literature
GI052
Mandatory, Lecture
Undergraduate
First
First
5
4
Assistant Professor Theocharoula Niftanidou [Department of Primary
Education]
At the end of the course the student are expected to have acquired:
1. A satisfactory knowledge of the development of modern Greek literature
in time and in space and in relation to contemporary European literary
movements.
2. Detailed knowledge of selected works of modern Greek literature (prose
and poetry from the Cretan Renaissance to the mid-twentieth century) in
their historical, social and cultural contexts.
3. Knowledge of relevant studies of the selected works and have become
familiarized with the use of bibliography and the scholarly approach to
literary texts.
By the end of the course the student will have developed the following
skills:
 To read a literary text in depth.
 To develop an argumentation and substantiate his/her ideas.
 To apply scholarly criteria to the use of the relevant bibliography.
A survey of Modern Greek Literature from its beginnings to the present,
with analysis of passages from works of selected authors.
None
Greek
Introduction to the History and Theory of Cinema
GI 053
Mandatory, Lecture (Prerequisite)
Undergraduate
Second
Third
5
4
Assistant Professor Chrysanthe Sotiropoulou
At the end of the course, students are expected to:
1. Have become acquainted with the language of cinema.
2. Fully comprehend the longitudinal course of the cinematic process:
Production- Film distribution-cinema/theatre.
3. Have become aware of the cultural aspects of the seventh art and its
institutional bodies/organisations.
4. Know the basic concepts of film language and analysis.
5. Have knowledge of some of the most important European directors.
6. Demonstrate the ability to understand the general principles of film
theory.
At the end of the course the student will have further developed the
following skills/competences:
36
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course contents
Prerequisites
 Be familiar with film terminology, and apply it when requested.
 Be able to analyse the principal characteristics of a movie and recognise
the respective era during which the film was shot, as well as the artistic
film trend the movie belongs to.
A thorough study of the cinematic process in the 20th century through
movies, directors and spectators. Thematic explorations, aesthetic
formulations, theoretical approaches. The artistic movements and their
role in the history of cinema and its relationship with spectators.
None. Successful completion of this course is a prerequisite for
enrollment in any course related to the Cinema in the 2nd, 3rd, and 4th
years of study.
Language of instruction
Greek Additional tutorial support in English
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Introduction to Fine Arts
Competences
Course contents
Prerequisites
GI054
Mandatory, Lecture (Prerequisite)
Undergraduate
First
First
5
4
Associate Professor Martin Kreeb
At the end of the course the student should be able to:
1. Perceive the relation between point, line, plane, and solids.
2. Know the components of the painting code: Structure/Composition,
Design, colour, materials.
3. Distinguish the terms: prehistoric, primitive, Medieval, Renaissancerelated, classical, classicism, neoclassicism, modernism, and the
historical conditions of their formation.
4. Discern the basic orders: Romanic, Gothic, Baroque, Manierism, and
Rococo.
5. Know significant artists and their work.
6. Be familiar with the elementary bibliography that covers various periods
of the history of art.
At the end of the course the student will have further developed the
following skills/competences:
 Possess a general overview of the historical course of art from cavepainting to the emergence of modernism.
 Recognise terms and styles.
 Utilise the elementary bibliography.
The course covers the period from the art in the “caves” of the society of
hunters to the appearance of the first bourgeois artistic movements of the
Renaissance and French revolution. It is structured around the main
concepts of painting, sculpture, architecture and is based on visual material.
None. Successful completion of this course is a prerequisite for
enrollment in any course related to the History of Arts of in the 2nd,
3rd, and 4th years of study.
Language of instruction
Greek [Additional tutorial support in English and German]
37
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Introduction to Theory and History of Dance
GI055
Mandatory, Lecture
Undergraduate
First
First
5
4
Assistant Professor Katia Savrami
At the end of the course the student should be able to:
1. Recognize the notion of dance both in its practice and theory.
2. Understand different forms and characteristics of dance and distinguish its
different functions.
3. Know and understand the body as a mean of communication.
4. Recognize styles and forms of dance and its historical and socio-political
context within each different choreographic genre developed.
5. Know the historical and social facts that influenced the development of
dance.
6. Examine and, then categorize dance performances within the appropriate
historical period to which they belong.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 To recognize the notion of dance, its characteristics, methods and theory.
 To appreciate theoretical knowledge in order to critically discuss dance
performances.
 To describe and analyze the aspects of dance performance.
 Oral (initially) and written skills for presenting a lecture and a short
thesis, on the same topic, within a historical research method.
 To search out information on various topics concerning dance for further
research (bibliography, electronic sources and dance performances
through the internet).
The notion of dance is discussed and analyzed in a broad perspective. An
Course contents
introduction to dance methodologies and tools for investigating and
documenting dance, in particular the five structural components of
movement: Body, Actions, Dynamics/ Time, Relationship and Space.
Fundamental theory of anthropology and theory of body language is
presented. History of dance is introduced in brief, from Ancient Greece to
the Middle Ages. The beginning of Ballet in the 15th century and its
development until the 19th century is discussed with reference to different
styles. The development of dance in the 20th century is presented with
special reference to Modern Dance, Post-Modern Dance, Dance Theatre,
Physical Theatre and New Dance. Emphasis is given to the links between
dance and theatre.
None
Prerequisites
Language of instruction Greek [Additional tutorial support in English]
38
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of lecturers
Learning outcomes
Competences
Course content
Directing
Acting
Prerequisites
Language of instruction
MANDATORY COURSES
WORKSHOPS
Introduction to Acting and Stage-Directing
W063
Mandatory [workshop, 5 hours weekly]
Undergraduate
Second
Fourth
5
4
Despina Georgakopoulou, Special Subject Teacher
At the end of the course the student should be able to:
1. Know the basic principles of acting.
2. Know specific exercises derived from different acting methods – and the
different marks of each method.
3. Recognize their personal vocal potential through breathing and vocal exercises.
4. Identify the connection between movement and voice in acting.
5. Describe and understand the key terms of acting such as subtext, objective,
action.
6. Know the most significant titles of
7. Play performactions and reactions while working on a role
At the end of the course the student will have further developed the following
skills/competences:
 Use the basic principles of acting.
 Use specific exercises derived from different acting methods - appraise the
results of each exercise.
 Exploit their personal vocal potential through breathing and vocal exercises.
 Apply the connection between movement and voice.
 Use the key terms of Acting such as subtext, objective, action.
 Utilize the elementary the bibliography on acting.
Work on a role.
Introduction to basic principles of stage-directing and to its indispensable role in
the production of the performance. The workshop focuses especially on the
relationship between the stage-director and the text: criteria of play selection;
aspects clarified by the stage-direction; role of the playwright’s stage-directions;
the director as interpreter of a text and as creator. Other aspects that the course
examines are: the relationship between the director and the actor; stage
interpretation of the text and the factors that condition its stage adaptation
(speech, sound, music, lighting, scenery, and costumes); the director as
“orchestrator” of the different stage codes. During the workshop, the students
direct various monologues, or arrange dual relationships on the stage. They learn
the variety of directing practices according to different tendencies of stagedirection, as well as the different scenic times of a play according to its stage
interpretation. Finally, they experiment in the special arrangement of large groups
(e.g. tragic chorus).
The workshop aims at familiarizing students with the main principles of acting. It
studies the expressive means of actors/actresses, that is, body and voice, through
practical exercises of relaxation, self-concentration, breathing and discovering the
energy centres of the body. The students also learn: vocal exercises and how to
discover the relationships between body and voice; improvisation; techniques of
emotional stimulation and release; body contact, and transference from physical
to “theatrical” body. On the exercises, the teacher applies methods from various
acting systems explaining the objectives of each one.
None. Successful completion of this workshop is a prerequisite for
enrollment in any workshop related to acting and stage directing in the 3rd,
and 4th years of study.
Greek
39
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
MANDATORY COURSES
SEMINARS
Course/ Subject Title
Seminar I (Ancient Theatre): Introduction to the Methodology of
Research
SEM 071
Mandatory [Prerequisite]
Undergraduate
Third
Fifth
5
4
Eleni Karabela, Lecturer
At the end of the course, the student will be able to:
1. Be acquainted with the types of scholarly essays.
2. Recognize the distinctive characteristics of a scholarly essay.
3. Be familiar with the problems encountered in writing a scholarly essay.
4. Have the basic methodological elements required for the composition of
scholarly essays.
5. Have adequate knowledge of sources.
6. Be familiar with the means of locating bibliographical sources.
7. Know the tools of bibliographical research.
8. Have adequate knowledge of the bibliography pertaining to ancient
theatre.
9. Be familiar with the correct use of additional scholarly tools (references,
footnotes, quotes).
10. Know the ethical standards which cgovern the approach to sources and
the use of the bibliography.
Skills
At the end of the course, the student will have developed the following
skills:
 The ability to expand upon the issues of ancient theatre.
 To collect and evaluate the research material necessary for the
composition of a scholarly essay.
 To sort and classify the research material appropriately.
 To index the material collected via the research.
 To correctly use additional scholarly tools (references, footnotes, quotes).
 To apply the ethical standards which govern the approach to sources and
the use of the bibliography.
 To use the appropriate terminology.
 To adhere to the strict methodology of composition in scholarly essays.
 To be able to write one’s own scholarly research essay.
 Generally, to apply their theoretical knowledge to practice, in the process
of studying a play of ancient theatre.
The meaning and the different kinds of scholarly research. Locating and
Course Content
organizing the material. Using the tools of bibliographical research.
Additional parts of an essay: references, footnotes, and quotations. Use of
the sources and rules of scientific ethics. Arrangement of the material and
composition of a scholarly essay. Application of theoretical knowledge to
the composition of an essay analysing a work of ancient Greek drama.
Successful completion of the course: Introduction to Ancient Greek Theatre
Prerequisites
(ATH 011)
Language of instruction Greek
Course code
Course type
Course level
Course Year
Semester
ECTS credit units
Local credit units
Name of Instructor
Subject Learning
Outcomes Objectives
40
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Name of instructor
Learning outcomes
Seminar II (Ancient Theatre)
SEM072
Mandatory
Undergraduate
Fourth
Fifth
5
4
Professor Stavros Tsitsiridis
At the end of the course the student should be able to:
1. Have an in-depth understanding of the specific topic of study on which
the seminar focused.
2. Be aware of the research issues related to the specific topic.
3. Have assimilated the key methodological elements in the composition of a
scholarly essay.
4. Be familiar with the methods of accessing the sources.
5. Familiarise themselves with the proper scholarly usage of supplements
(references, footnotes, quotations).
6. Be acquainted with and apply the ethical standards which govern the
approach to sources and use of the respective bibliography.
Competences
At the end of the course the student will have further developed the
following skills/competences:
 The ability to probe into the problems involved in the study of a dramatic
text.
 To collect and evaluate the necessary materials for writing a scholarly
essay.
 To correctly classify research materials.
 To index the material collected via research.
 To use references, footnotes, and quotations appropriately.
 To apply the ethical standards which govern the approach to sources and
use of the respective bibliography.
 To use terminology correctly.
 To adhere to the strict methodology of scholarly research.
 To be able to write one’s own scholarly essay.
The seminar aims at familiarising students with the scholarly methods of
Course content
approaching and studying specific issues of ancient Greek theatre.
Successful completion of the SEM 071: Seminar I (Ancient Theatre):
Prerequisites
Introduction to the Methodology of Research
Language of instruction Greek
41
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Course title
Course code
Type of course
Level of course
Year of Study
Semester
ECTS credits
Local credits
Names of instructors
Learning outcomes
Competences
Course content
Prerequisites
Language of instruction
Seminar III (Modern Theatre with Emphasis on Drama)
SEM 073
Mandatory
Undergraduate
Third
Sixth
5
4
Professor Konstantinos Kyriakos - Assistant Professor – Assistant
Professor Areti Vasiliou
At the end of the course the student should be able to:
1. Distinguish the research problems involved in the scholarly analysis of
a dramatic text.
2. Undertake a public presentation and discussion of his/her research in
progress.
3. Utilise the bibliography on modern drama.
4. Apply at least one methodological approach to the study of dramatic
writing.
5. Discern the structure of a play.
6. Deal with issues of intertextuality.
7. Recognise the aesthetic influence of other art forms on drama, as well
as the impact of the social and historical context on dramatic writing.
8. Identify: a) the components of the dramatic persona’s identity, b) the
factors that defined that identity, and c) the way in which this identity
is perceived by others.
At the end of the course the student will have further developed the
following skills/competences:
 Write a short scholarly essay.
 Build a scholarly argument and produce probative discourse.
 Present the progress of their research project in public.
 Apply at least one methodological approach to the study of dramatic
writing.
 Evaluate the related bibliography and use it creatively.
 Identify the aesthetic, ideological and conceptual context of a play.
The seminar focuses upon investigating issues related to dramatic writing
and the history of Modern Greek, European and American Theatre. It
also explores, while drawing from the relevant theories, issues
concerning contemporary theatre, such as problems of identity (different
forms of alterity, the post-modern decentred subject), the representation
of dramatic space and time, and forms of dramatic discourse
(intertextuality and the aesthetic influence of other art forms). At the
same time the seminar looks into traditional drama and the forms of
popular theatre.
Successful completion of the SEM 071: Seminar I (Ancient Theatre):
Introduction to the Methodology of Research
Greek
42
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Title of course
Code number of course
Type of course
Level of course
Year of Study
Semester
Name of Instructors
ECTS credits
Local credits
Learning outcomes
Skills/ Competences
Course content
SEMINAR IV (Modern Theatre with Emphasis on Performance)
SEM 074
Mandatory
Undergraduate
Fourth
Eighth
Professor Dimitrios Tsatsoulis - Assistant Professor Aikaterini Arvaniti
5
4
At the end of seminar students are expected to:
1. Recognise the different types of modern world theatre as far as their
stage realisations are concerned (traditional, ritual, intra- and crosscultural, post-modern etc).
2. Know the different theories which focus on performance and the role
of the director.
3. Be familiar with the dominant role of stage space, music, lighting,
video art components in modern performance forms.
4. Know the forms of physical theatre (from visual and theatrical
performances to devised theatre).
5. Know, via theoretical tools, the function of criticism and its role in the
reception and perception of the event of the performance.
6. Be familiar with the tools of bibliographical research on the subject of
stage performance.
7. Be familiar with the standard way of reading performance material,
either live or videotaped.
8. Fully understand the existence of inter-performance elements and
inter-artistic references.
9. Be familiar with the correct use of terminology, and the search for
sources on performance and criticism.
10. Be familiar with the proper procedure in the composition of a
scholarly research paper on theatre (bibliography, quotations,
footnotes, references).
At the end of the seminar students will have developed the following
skills:
 To comprehend modern forms of performance.
 To deal with modern theories and apply them to the analysis of
performances.
 To use theoretical tools to reach creative-artistic goals.
 To process videotaped material from performances, with an awareness
of the factors that govern the video recording process and its limits of
reliability.
 To index, electronically register and evaluate critical texts.
 To compile reliable references to criticism and to indexes of
performances.
 To engage in bibliographical and on the spot research resulting in a
scholarly paper on aspects of the performance, in which personal
contacts and focused interviews with persons involved are included.
 To compose a research paper as a structural entity in which scholarly
methodology is applied, bibliographical sources and results of on the
spot research are utilised, and rules of ethics are applied.
Taking into consideration the complex nature of performance (a process
characterised by immediacy, existence in the present, two-way
communication etc.), the seminar investigates issues that, depending on
43
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Prerequisites
Language of instruction
the case, refer to the following issues: A) The notion of stage-director
and its development in the 20th century. B) Older and contemporary
forms of performance writing (performance and intercultural,
postmodern, post-colonial, and feminist theatre) and performance
theories. C) The actor: voice and body in theatre and the performing arts.
D) Components of scenic place, music, and lighting: from plastic theatre
to the introduction of technology on the stage. E) Theory of theatre
studies and theatre criticism. Reception and reading of the performance.
Criticism as a vehicle of ideology and aesthetics. F) The critique as
source of performance material. Arrangement, filing and evaluation of
research material. G) Historical issues of modern Greek and European
theatre such as the repertory of certain companies in specific periods and
specific tendencies in stage-direction (i.e. National Theatre, Art
Theatre), etc (where relevant sources exist).
Successful completion of the SEM 071: Seminar I (Ancient Theatre):
Introduction to the Methodology of Research
Greek
44
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
ELECTIVE COURSES
Unless specified otherwise, elective courses are lectures, 3h/w
ATTENTION Courses offered during 2015-2016 are indicated with an asterisk *
First and Second Year of Studies - Lectures
ATH 111
ATH 112
*ATH 113
ATH 114
*ATH 115
ATH 116
*ATH 117
*WTH 211
WTH 212
WTH 213
*WTH 214
WTH 216
Menandros and the New Comedy
The Theatrical Genres of Mime and Pantomime
Introduction to the Archaeology of the Ancient Theatre (Autumn Semester,
Martin Kreeb Associate Professor) [Additional language of instruction:
English– German]
Introduction to Roman Theatre
Roman Comedy I: Terentius (Autumn Semester- Aikaterini Kounaki Philippides, Lecturer)
Approaches to Staging Ancient Drama in Modern Times: The Greek Stage
Architecture of Ancient Theatres (Spring Semester – Martin Kreeb,
Associate Professor) [Additional language of instruction: English – German]
French 17th Century Theatre (Spring Semester, Ioanna Papageorgiou,
Assistant Professor)
Comedy in Modern European Theatre
Theatre of Asia and the Far East
American Theatre I (Autumn Semester, Athena Coronis, Assistant
Professor)
Traditional Popular Theatre in Europe
MGTH 311
MGTH 312
MGTH 313
Modern Greek Theatre and the Enlightenment (~1750-1830)
The Heptanesian Theatre
Theatrical Genres with Music on the Greek Stage (operetta, “komeidyllio”,
dramatic “eidyllio” and revue)
*MGTH 314 Greek Shadow Theatre (Autumn Semester, Ioanna Papageorgiou, Assistant
Professor)
MGTH 315 Twentieth Century Greek Comedy
ΜGΤΗ 313 Problems and Methodology in the Historiography of Modern Greek Theatre
*THE 411
THE 413
THE 414
THE 415
THE 416
GI 511
GI 513
GI 514
GI 515
*GI 517
Comparative Theatre Writing (Spring Semester, Giorgos Sampatakakis,
Assistant Professor)
Anthropology of Theatre
Reader-Response Theories and Reception
Topics in Poetics: Literary Genres, Modes and Theories
Introduction to the Theory of Literature
Modern Greek Literary Texts: Prose
Introduction to the Art of Antiquity
Trends in 20th Century Art
History of European Music
Cognitive Analysis of Learning in Education ( Spring Semester – Styliani
Tsesmeli, Lecturer, Department of Primary Education)
45
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
Title of course
Code number of course
Type of course
Level of course
Year of Study
Semester
Name of Instructors
ECTS credits
Local credits
Objectives
Course content
Prerequisites
Language of instruction
* GI 518
GI 521
*GI 522
Cognitive Analysis of Learning in Education
*GI 517
Lecture (elective)
Undergraduate
First - Second
Autumn
Styliani Tsesmeli, Lecturer (Department of Primary Education)
5
4
The purpose of this course is to give students the opportunity to acquire
knowledge about all issues related to the process of learning and the
acquisition of knowledge. More specifically the students will learn how
we learn, how we perceive reality, how and what we remember, how,
what, and why we forget, how we learn to talk, how and what we
comprehend, how we can improve learning, how we read, how we think,
how we solve problems, why (in some cases) learning is difficult and
how learning difficulties and dyslexia could be addressed.
The concepts of learning and knowledge. The process of learning and
knowledge acquisition in the Greek educational system. The cognitive
analysis of learning and knowledge acquisition as compared to
behaviourism. Critical analysis of behaviourism. Learning as
information processing. Neurophysiological foundations of learning.
Perception and recognition of information. Memory: retention and recall
of information. Working memory, short-term memory, long-term
memory. Comprehension and memory. Representation of information in
memory. Language as a means of communication and learning. Learning
of oral and written language. Relation between oral and written
language. Thinking. Relation between language and thought. Problem
solving. Learning disabilities. The specific learning disability of
Dyslexia. Conclusions, implications and applications of the cognitive
analysis of learning to education
None
Greek
Training in Education II: Developmental Psychology (Spring Semester - Kl.
Diakogeorgi, Assistant Professor, Department of Primary Education)
Modern Greek Literary Texts: Poetry I (to 1930)
Movements in Modern European Literature (Autumn Semester- Athena
Coronis, Assistant Professor) [Additional language of instruction: English]
First and Second Year of Studies Elective Workshops
W 611
*W 612
*W 613
Introduction to Acting [5 hours per week]
Terms and Conditions of Performance I: Improvisation and Devising - 5h/w
(Autumn Semester - Ioanna Roilou, Special Subject Teacher). [Additional
language of instruction: English]
Terms and Conditions of Performance II: Improvisation and Devising 5h/w (Spring Semester - I. Roilou Special Subject Teacher) [Additional
language of instruction: English]
46
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
*W 618
Dance in Education through Choreological Methods (Autumn Semester –
Katia Savrami, Assistant Professor) [Additional language of instruction:
English]
Third and Fourth Year of Studies - Lectures
ATH 151
* ATH 152
ATH 153
ATH 154
*ATH 155
ATH 156
*ATH 157
ATH 158
ATH 159
WTH 251
WTH 252
WTH 254
WTH 255
WTH 256
WTH 257
WTH 258
WTH 259
WTH 261
WTH 262
WTH 264
*WTH 265
WTH 266
*WTH 267
WTH 268
WTH 269
*WTH 270
Satyr-Drama
Post-Classical Tragedy (Spring Semester – Professor Theodoros
Stephanopoulos)
Ancient Greek Metrics
Roman Comedy II: Plautus
Seneca’s Tragedies (Autumn Semester – Aikaterini Kounaki- Philippides,
Lecturer)
Ancient Greek Art and Theatre
Approaches to Staging Ancient Drama in Modern Times: The Modern
Greek Stage (Autumn Semester – Aikaterini Arvaniti - Assistant Professor)
Platonic Theory on Poetry and Drama
Vase Painting and Theatre
Special Subjects on Shakespearian Theatre
The Theatre of Molière and its Reception
Italian Classical Theatre
Spanish Classical Theatre
Russian – Soviet Theatre
The Theatre of Brecht
Modern European Theatre from 1960 to the Present
Forms of Commercial Theatre and Entertainment
Ancient Myth and Tragedy in World Theatre
Ancient Myth and Tragedy in Opera
History of the Opera in the 20th Century
American Theatre II (Spring Semester - Athena Coronis, Assistant
Professor)
Fine Arts and Theatre in the 20th Century
Contemporary Western Dance Theatre (Spring Semester - Katia Savrami,
Assistant Professor)
Ancient Myth and Tragedy in Dance and Dance Theatre
History of European Opera in the 19th Century
The Theatre of Samuel Beckett (Spring Semester, Angeliki Rosi, Assistant
Professor)
MGTH 351
MGTH 352
MGTH 354
*MGTH 355
Karolos Koun and Modern Greek Drama
The Theatre of Iakovos Kambanellis
The Dramatic Monologues of Yannis Ritsos
Sociological Approaches to Modern Greek Theatre (Spring Semester,
Dimitrios Tsatsoulis, Professor) [Additional language of instruction: French]
*MGTH 356 Modern Greek Theatre Writing and Cinema (Autumn Semester,
Konstantinos Kyriakos, Associate Professor)
MGTH 357 Stage-Directing in Greece: Theory and Stage Practice
MGTH 358 Trends in Stage Design on the Contemporary Greek Stage
47
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
MGTH 359
MGTH 360
MGTH 362
MGTH 363
MGTH 364
THE 451
THE 452
THE 453
*THE 454
THE 455
THE 456
GI 552
GI 555
GI 556
GI 557
GI 558
GI 559
GI 560
GI 561
GI 563
GI 564
GI 565
GI 568
GI 569
*GI 570
GI 571
GI 572
GI 574
GI 575
GI 576
GI 577
GI 578
*GI 580
The Art of Acting in Modern Greece
The Role of Avant-Garde Movements in Modern Greek Stage and Dramatic
Production of the Inter-War
Spiros Melas and His Contribution to the Development of Modern Greek
Theatre
Cavafy and Theatre
Parallel Drama-Writing Routes: Theotokas – Kazantzakis - Sikelianos
Contemporary Theories of Theatre and Drama
Semiotic and Intertextual Analysis of Drama
History and Theory of the Formation of Theatrical Space
Identity Theories: Feminist and Minority Theatre (Autumn Semester,
Angeliki Rozi, Assistant Professor)
Theory of Narrative- (Narratology)
Theatre and Photography
Topics in the Methodology of Archival Research in Modern Greek Literature
Film Analysis: National Schools and Cinematographic Trends in Post-War
Europe
Ancient Myth in World Cinema
Modern Greek Art
Contemporary Theories of Art
Ancient Greek Music
Incidental Music to Performances by Greek Composers
History of 20th-Century Music
Theatre and Communication: the Reception of the Theatrical Event in the
Printed and Electronic Press
Theatre and Cultural Politics
Artistic and Commercial Management of Theatre Companies – Theatre
Marketing
European Cinema: New Realism, Nouvelle Vague, Free Cinema
Russian, Chinese and Japanese Cinema
Cinema and Society: Interaction and Influences in the Aesthetics and
Thematic of Films (Autumn Semester – Assistant Professor Chrysanthe
Sotiropoulou) [Additional language of instruction: English]
History and Cinema
Post-War Art
Modern Greek Literary Texts: Poetry II (after 1930)
Theatre as a Theme in Modern Poetry
Post-War Modern Greek Cinema: Thematic Tendencies and Aesthetic Trends
Cinema and Literature
Lighting in Theatre
Theatre Teaching I: Introduction to Theatre Education (Theory and
Practice) (Autumn Semester, Dr. Klio Fanouraki, Teaching staff in
contract)
Third and Fourth Year of Studies Elective Workshops
*W 651
Creative Movement and Composition in Theatre Education (Spring
Semester - Katia Savrami, Assistant Professor)
48
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
*W 652
*W 653
W 657
W 658
*W 659
W 660
W 661
*W 662
*W 663
*W 665
*W 667
*W 668
*W 614
W 670
Theatre Teaching: ΙI: Theatre and Drama in Primary Education (Spring
Semester, Teaching Staff in Contract)
Theatre Teaching: ΙII: Theatre and Drama in Secondary Education
Workshop on Dramatic Writing I
Workshop on Dramatic Writing II
Workshop on Stage Design
Applications of Computers in Theatre Research and Practice (Attention: ECTS
for this workshop: O)
Introduction to Choreography
Special Workshop on Acting I (5h/w) (Autumn Semester – Vasiliki
Sakellari, Special Subject Teacher)
Special Workshop on Acting II (5h/w) (Spring Semester – Vasiliki
Sakellari, Special Subject Teacher) Additional language of instruction:
English]
Acting II (Autmn Semester, Despina Georgakopoulou, Special Subject
Teacher
Acting in the Context of Theatre in Education (5h/w) (Autumn Semester –
Vasiliki Sakellari, Special Subject Teacher)
Terms and Conditions of Performance III: Stage Adaptation of nontheatrical texts (5h/w) (Spring Semester - - I. Roilou, Special Subject
Teacher) [Additional language of instruction: English]
Acting I (5h/w) (Autumn Semester – Vasiliki Sakellari, Special Subject
Teacher)
Students Practice
49
THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE
PREREQUISITES
ATH 011 “Introduction to Ancient Greek Theatre”: successful completion of this course is a
prerequisite for enrollment in any course of Ancient Theatre (ATH) in the 2nd,
3rd, and 4th years of study.
THE 041 “Introduction to Theatre Studies (Modern Theatre)”: successful completion of this
course is a prerequisite for enrollment in any course of World Theatre (WTH),
Modern Greek Theatre (MGTH), and Theory of Theatre (TH) in the 2nd, 3rd, and
4th years of study.
GI 053 “Introduction to History and Theory of Cinema”: successful completion of this course is
a prerequisite for enrollment in any course related to the Cinema in the 2nd, 3rd,
and 4th years of study.
GI O54 “Introduction to Fine Arts”: successful completion of this course is a prerequisite for
enrollment in any course related to the History of Arts of in the 2nd, 3rd, and 4th
years of study.
GI 580 Theatre Teaching I: Introduction to Theatre Education (Theory and Practice) successful
completion of this course is a prerequisite for enrollment in any course in
Theatre Teaching in the 3rd, and 4th years of study
SEM 071 “Seminar I (Ancient Theatre): Introduction to the Methodology of Research”:
successful completion of this seminar is a prerequisite for enrollment in any
other seminar.
W 063 “Introduction to Acting and Stage-Directing”: successful completion of this workshop is
a prerequisite for enrollment in any workshop related to acting and stage
directing in the 3rd, and 4th years of study.
W 618 “Dance in Education through Choreological Methods”: successful completion of this
workshop is a prerequisite for enrollment in the workshop W 651 “Creative
Movement and Composition in Theatre Education
50