- Theatre Music Performance
- Puppet Theatre
- Play for Children
- Music - Theatre Performance
- Narration - Tales
- OPEN HOUSE Coffee & Food [3RD FLOOR]
CalendarJoin us in facebook Folow us on twitter Watch us on youtube
|From Wednesday 12 to Saturday 15 September 2012||back|
Ancient Greek Drama: “Influences and Contemporary Approaches”
The Wanderings of Odysseus (Based on Homer’s Odyssey) [Translation: Oliver Taplin, Theatrical Adaptation - Direction: Rush Rehm] - Stanford Summer Theater of the internationally recognized Stanford University for the first time in Athens
|Duration:||2 hours & 15 minutes (intermission included)|
|Theatrical Adaptation – Direction:||Rush Rehm|
|Lightings:||Jacob Íeil Boehm|
|Stage Manager:||Brendon Martin|
|Assistant Stage Manager/Understudy:||Logan Hehn|
Angela M. Farr Schiller,
in the framework of the Act under the title
Ancient Greek Drama: “Influences and Contemporary Approaches”
for a three - year period (2012 – 2014),
co financed by the
European Regional Development Fund
And the Ministry of Education & Religion Affairs, Culture and Sports
As part of the
Attica Regional Operational Programme 2007-2013
Stanford Summer Theater
of the internationally recognized Stanford University
presents the play
Wanderings of Odysseus
(Based on Homer’s Odyssey)
Translation Oliver Taplin
Theatrical Adaptation - Direction Rush Rehm
2012, September 12 - 15, at 20.30
The Michael Cacoyannis Foundation, consistent to its principals and goals, responded to the call for proposals for Attica Regional Operational Programme 2007-2013 which is co financed by the European Regional Development Fund and the Ministry of Education & Religion Affairs, Culture and Sports. The proposal was approved and Michael Cacoyannis Foundation is now responsible to implement the Act under the title “ANCIENT GREEK DRAMA: Influences and Contemporary Approaches”
This is a three year program (2012 – 2014) to promote research and study of the ancient Greek drama with an aim to build an international communication dialogue as well as discussion network between artists that pose different artistic approaches.
The program consists of three distinct projects and collaborations. Every project will last for about a month –every September- and it will be accomplished in cooperation with foreign recognized universities.
The program begins the following September, in collaboration with Stanford Summer Theater (SST) of the Stanford University located in the U.S., featuring Wanderings of Odysseus (based in Homer’s Odyssey) translated by Oliver Taplin adapted and directed by Rush Rehm and it will be presented at Michael Cacoyannis Foundation’s main theatrical hall from September 12 to September 15.
At the same time, an intensive seminar as well as, workshops that are concentrated on the epic dramatization and staging will be held at MCF by preeminent Stanford University & SST’s instructors starting on September 5th.
The seminar and workshops are aimed at Drama School graduates and students, as well as Ôheatrical, Classical and Pedagogy Studies graduates and students and are free of charge.
(Based on Homer’s Odyssey)
Theatrical adaptation - Direction Rush Rehm
2012, September 12 - 15 at 20:30
Who was buffeted far and wide after he’d laid Troy low
Stanford Summer Theater dramatized and will present in Athens at the Michael Cacoyannis Foundation's main theatrical hall, from September 12 to 15, the play "Wanderings of Odysseus", based on a part of the second great epic poem of the ancient Greek literature, Homer’s Odyssey.
As the director and Stanford University professor, Rush Rehm notes
The Story of the Odyssey
In his Poetics (1455b), Aristotle sums up the story of Homer’s Odyssey:
A man has been away from home for many years, for Poseidon keeps watch against him. He is all alone. At home suitors are wasting his estate and plotting against his son. After being storm-tossed, he returns, reveals himself, attacks and destroys his enemies, and is saved. That is the essence; the rest is episodes.
In terms of bare plot, Aristotle correctly identifies the essential elements of the story. The continued vitality of Homer’s Odyssey depends on this basic pattern, involving the return of a wandering hero in time to rescue his family and restore his home. However, the adventures contained in Aristotle’s elliptical “after being storm tossed” play no small part in the poem’s abiding popularity. It is this part of the story—the wanderings of Odysseus—that we have extracted from the epic to perform for you.
Twenty four books in length, the Odyssey begins with the poet’s invocation of the Muses, “the daughters of memory” and source of poetic inspiration. Books 1- 4 lay out the groundwork for the poem, introducing Odysseus, revealing the gods’ plans for him, and explaining the situation at his home on Ithaca. Odysseus’ faithful wife Penelope keeps the increasingly violent suitors at bay, while their son Telemachus leaves the island to search for his father.
The Wanderings of Odysseus begins with the poem’s opening lines, and then proceeds directly to Book 5, in which Odysseus, after a lengthy stay on the island of Calypso, resumes his homeward journey. The gods on Olympus send Hermes to inform the divine nymph that Odysseus must be released from her enchanted island and allowed to go home. With the reluctant Calypso’s help, Odysseus builds a raft and sets sail. Nearly killed in a storm unleashed by his nemesis Poseidon, Odysseus safely reaches Scheria, the peaceful island of the Phaeacians.
After an exhausted sleep, Odysseus awakens to the voices of the princess Nausicaa and her handmaidens. She invites him to the palace, where her father, King Alcinous, and her mother, Queen Arete, welcome the stranger. They promise him safe passage home and provide a banquet in his honor, during which Odysseus reveals his identity and recounts the adventures that brought him to Phaeacia.
He tells of the seductive Lotus Eaters, of his escape from the monstrous cyclops Polyphemus, and of his visit to the island of Aeolus, where his sailors squander the gift of the winds. He encounters the enchantress Circe, who instructs him to visit the underworld as the next step of his journey home. There he speaks with the prophet Teiresias, his mother Anticleia, and his dead comrades from the Trojan War. Odysseus concludes his story with tales of the irresistible Sirens, the terrifying Scylla, the whirlpool Charybdis, the disastrous stay on the island of the sun, and his long stay on the island of Calypso.
Odysseus receives gifts from the admiring Phaeacians and their King and Queen, and he departs on a Phaeacian ship for his home, Ithaca.
Books 14 through 24 tell of Odysseus’ struggle on Ithaca to reclaim his wife and home. Invite us to perform that part of the story for you some other time ….
Translated by Oliver Taplin and directed by Rush Rehm, the play was staged for the first time at the J. Paul Getty Museum in Malibu, in October 1992. Later, Rush Rehm elaborated on the play further and it was presented in 2010 during the Stanford Summer Festival "Around the Fire", for a six-member cast with one percussionist. The play is coming to Athens, along with the dithyrambic reviews received by the Press and the enthusiastic comments of the audience in San Francisco. As it was noted: the imaginative direction and the innovations in directing, the actors’ performances –each of them perform more than one role, the costumes and the settings, the lightings and the choreographies were exceptional. Again, the music created by the percussion made also an impact, as it flooded the play with the sounds of water and sea.
The rehearsals for the play to be staged at Michael Cacoyannis Foundation began in previous May and it has been adapted for one more time. Since it will be staged at a different place, the play should be easily adapted to it, just like we assume the ancient bards did 3.000 years ago, when they told Odysseus stories each time at a different place and to a different audience.
It should be noted that Stanford University takes part in the program bearing the cost of the airline tickets of 5 members of the crew from and back to the U.S., the preparation and rehearsal costs in the U.S., as well as part of the cost of the settings’ adaptation.
Stanford Summer Theater (SST), founded in 1997, brings professional theatre to the Stanford community in a festival environment. Supported by Stanford’s Vice-Provost for Undergraduate Education, SST combines the prestige and the infrastructure of one of the most important institutions of research world wide with the inquiring spirit and talent of its students and presents high expectations’ plays.
€5 Students/ Holders of Unemployment Card & Multi – child family Card & European Youth Card & Culture Card (Ministry of Culture) & ITI Card & IFA Club Card (French Institute)/ Disabled People/ over 65 years old
Free Entrance: Primary – Secondary Education Students/ Drama School Students/ Theatre Studies Students/ Students in Faculties or Schools of Classical & Pedagogical Studies/ H.A.U. Members/ Theatre Studies Association Members
(Bookings will take place in turn of priority upon availability – Booking is necessary at the Foundation's Box Office (Piraeus 206, Tavros) and over phone 210 3418579 Mon-Fri 11:00 - 14:00)
The play, according to its director and Stanford Summer Theatre artistic director, Rush Rehm, will be presented in English with short ancillary references for its development in Greek, so that the audience focuses mainly on stage action.