Vayos Liapis
Classicist (BA Athens 1994, PhD Glasgow 1997), specializing in Greek literature.
Professor of Ancient Theatre and Its Reception at the Open University of Cyprus.
Formerly: faculty at the Universities of Cyprus, Montreal, Patras; visiting professor at the École Normale Supérieure; Member of the Institute of Advanced Study.
Address: [email protected]
Professor of Ancient Theatre and Its Reception at the Open University of Cyprus.
Formerly: faculty at the Universities of Cyprus, Montreal, Patras; visiting professor at the École Normale Supérieure; Member of the Institute of Advanced Study.
Address: [email protected]
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Books by Vayos Liapis
Με όπλο άλλοτε τη σάτιρα και την καρικατούρα και άλλοτε τον εμβριθή στοχασμό, οι τρεις αυτοί συγγραφείς καταπιάνονται με ένα φαινόμενο που δεν δείχνει σημάδια υποχώρησης. Αν και προέρχονται από μιαν άλλη εποχή, τα κείμενα του τόμου αυτού μπορούν να μας φανερώσουν μιαν όψη της δικής μας ταυτότητας που συνήθως δεν θέλουμε να αντικρίζουμε.
Συγγραφέας: Βάιος Λιαπής
Επιμέλεια: Θεόδωρος Μιχαηλίδης, Άντια Κατσούρη
© Υπουργείο Παιδείας, Αθλητισμού και Νεολαίας, Παιδαγωγικό Ινστιτούτο Κύπρου — Υπηρεσία Ανάπτυξης Προγραμμάτων.
Στους πρώτους μεταχριστιανικούς αιώνες, στις ανατολικές περιοχές της Ρωμαϊκής Αυτοκρατορίας, εμφανίστηκαν και διακρίθηκαν άνδρες οπλισμένοι με φιλοσοφική παιδεία αλλά και προικισμένοι με υπερανθρώπινα χαρίσματα και με δυνάμεις προφητικές ή θαυματουργές. Τα κείμενα που έχουν επιλεγεί στον τόμο αυτόν περιγράφουν και σχολιάζουν τους θείους άνδρες από δύο αντίθετα άκρα του θρησκευτικού φάσματος: το πρώτο είναι γραμμένο από εθνικό συγγραφέα με έντονα αντιχριστιανικές απόψεις, ενώ το δεύτερο από χριστιανό απολογητή που θριαμβολογεί για την πρόσφατη κατίσχυση της νέας θρησκείας.
Lo scopo di questa serie è pervenire, mediante l'apporto di tutte le discipline afferenti alle scienze dell'antichità, a delineare una nuova visione di insieme del patrimonio letterario rappresentato dai testi teatrali pervenuti in forma frammentaria o noti per tradizione indiretta.
La serie di volumi è pubblicata sotto la direzione del professor Francesco Carpanelli e la curatela del dott. Luca Austa per i tipi dell'Editore dell'Orso di Alessandria.
***
The series Frammenti sulla Scena. Studies in ancient fragmentary drama is the official scientific series of The Centro Studi sul Teatro Classico (University of Turin); it receives contributions on all aspects of the Greek-Latin fragmentary theatre.
The aim of this series is to arrive, through the contribution of all the disciplines pertaining to the sciences of antiquity (Literature, linguistics, archeology, history, anthropology, papyrology), to outline a new overview of the literary heritage represented by the ancient fragmentary (or known by indirect tradition) drama.
The series is directed by Professor Francesco Carpanelli (University of Turin), edited by Dr. Luca Austa and published by Editore dell'Orso of Alessandria (IT).
International Advisory Board
Emily Allen-Hornblower, Angela Andrisano, Tommaso Braccini, Lowell Edmunds, Giulio Guidorizzi, Enrico V. Maltese, Silvia Milanezi, Xavier Riu, Silvia Romani, Robert W. Wallace.
Per maggiori informazioni / More information: http://www.teatroclassico.unito.it/it/content/serie-%C2%ABframmenti-sulla-scena%C2%BB-studi-sul-dramma-antico-frammentario
Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap.
Papers by Vayos Liapis
Με όπλο άλλοτε τη σάτιρα και την καρικατούρα και άλλοτε τον εμβριθή στοχασμό, οι τρεις αυτοί συγγραφείς καταπιάνονται με ένα φαινόμενο που δεν δείχνει σημάδια υποχώρησης. Αν και προέρχονται από μιαν άλλη εποχή, τα κείμενα του τόμου αυτού μπορούν να μας φανερώσουν μιαν όψη της δικής μας ταυτότητας που συνήθως δεν θέλουμε να αντικρίζουμε.
Συγγραφέας: Βάιος Λιαπής
Επιμέλεια: Θεόδωρος Μιχαηλίδης, Άντια Κατσούρη
© Υπουργείο Παιδείας, Αθλητισμού και Νεολαίας, Παιδαγωγικό Ινστιτούτο Κύπρου — Υπηρεσία Ανάπτυξης Προγραμμάτων.
Στους πρώτους μεταχριστιανικούς αιώνες, στις ανατολικές περιοχές της Ρωμαϊκής Αυτοκρατορίας, εμφανίστηκαν και διακρίθηκαν άνδρες οπλισμένοι με φιλοσοφική παιδεία αλλά και προικισμένοι με υπερανθρώπινα χαρίσματα και με δυνάμεις προφητικές ή θαυματουργές. Τα κείμενα που έχουν επιλεγεί στον τόμο αυτόν περιγράφουν και σχολιάζουν τους θείους άνδρες από δύο αντίθετα άκρα του θρησκευτικού φάσματος: το πρώτο είναι γραμμένο από εθνικό συγγραφέα με έντονα αντιχριστιανικές απόψεις, ενώ το δεύτερο από χριστιανό απολογητή που θριαμβολογεί για την πρόσφατη κατίσχυση της νέας θρησκείας.
Lo scopo di questa serie è pervenire, mediante l'apporto di tutte le discipline afferenti alle scienze dell'antichità, a delineare una nuova visione di insieme del patrimonio letterario rappresentato dai testi teatrali pervenuti in forma frammentaria o noti per tradizione indiretta.
La serie di volumi è pubblicata sotto la direzione del professor Francesco Carpanelli e la curatela del dott. Luca Austa per i tipi dell'Editore dell'Orso di Alessandria.
***
The series Frammenti sulla Scena. Studies in ancient fragmentary drama is the official scientific series of The Centro Studi sul Teatro Classico (University of Turin); it receives contributions on all aspects of the Greek-Latin fragmentary theatre.
The aim of this series is to arrive, through the contribution of all the disciplines pertaining to the sciences of antiquity (Literature, linguistics, archeology, history, anthropology, papyrology), to outline a new overview of the literary heritage represented by the ancient fragmentary (or known by indirect tradition) drama.
The series is directed by Professor Francesco Carpanelli (University of Turin), edited by Dr. Luca Austa and published by Editore dell'Orso of Alessandria (IT).
International Advisory Board
Emily Allen-Hornblower, Angela Andrisano, Tommaso Braccini, Lowell Edmunds, Giulio Guidorizzi, Enrico V. Maltese, Silvia Milanezi, Xavier Riu, Silvia Romani, Robert W. Wallace.
Per maggiori informazioni / More information: http://www.teatroclassico.unito.it/it/content/serie-%C2%ABframmenti-sulla-scena%C2%BB-studi-sul-dramma-antico-frammentario
Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap.
Please see link for a video recording: http://savoirs.ens.fr/expose.php?id=2069
Chapter 1: After the Fifth Century: (Dis)continuities in Greek tragedy
Chapter 2: Theatre Performance after the Fifth Century
Chapter 3: Beyond Athens: The Dissemination of Greek Tragedy from the Fourth Century Onwards
Chapter 4: Music and Dance in the Greek Tragic Theatre after the Fifth Century
Chapter 5: Fourth-century Tragedy: The Fragments
Chapter 6: Rhesus
Chapter 7: Hellenistic Tragedy and Satyr Drama
Chapter 8: Biblical Tragedy: The Exagoge of Ezekiel
Chapter 9: Society, Ethics, and Intellectual Trends in Greek Tragedy after the Fifth Century
Chapter 10: Attitudes towards Tragedy from the Second Sophistic to Late Antiquity
Chapter 11: Scholars and Scholarship on Tragedy""
Journée d'études organisée par la Direction Générale de l’Enseignement Scolaire du Ministère de l'Éducation Nationale, de la Jeunesse et des Sports, en collaboration avec l’Inspection Générale de l’Éducation, du Sport et de la Recherche et avec l'École Normale Supérieure-Paris (Sciences et Lettres) le 16 novembre 2021.
Οι οικονομικές μεταφορές των Επτά ενεργοποιούνται ακόμη και σε περιπτώσεις στις οποίες το κείμενο μοιάζει, φαινομενικά, να καταφεύγει σε συμβατικές και τετριμμένες εικόνες. Μια τέτοια περίπτωση είναι η πολυχρησιμοποιημένη εικόνα της πόλεως ως πλοίου, και του ηγέτη της ως κυβερνήτη, με την οποία ξεκινά η προλογική ρήση του Ετεοκλή (1-3, πβ. 62 σὺ δ’ ὥστε ναὸς κεδνὸς οἰακοστρόφος). Στη συνέχεια του έργου, ωστόσο, η εικόνα αυτή εξελίσσεται στην πολύ δραστικότερη, και ανησυχητική, εικόνα του εμπορικού πλοίου που κινδυνεύει να βυθιστεί από το βάρος του υπερβολικά πλούσιου φορτίου του (766-71, πβ. 771 ὄλβος ἄγαν παχυνθείς). Στο πλαίσιο της ίδιας εικόνας, ο κυβερνήτης (Ετεοκλής) συνειδητοποιεί ότι η αρχαία κατάρα του Οιδίποδα (766 παλαιφάτων ἀρᾶν) συνεπάγεται βαρύ κόστος: η φράση βαρεῖαι καταλλαγαί του αρχαίου κειμένου περιέχει μια λέξη (καταλλαγή), η οποία δηλώνει, μεταξύ άλλων, την προμήθεια που εισπράττει ο αργυραμοιβός, κάτι που μας επαναφέρει στο σύμπαν των οικονομικών δοσοληψιών. Άλλωστε, η ιδέα του (έντοκου) κέρδους, της κερδοσκοπίας και της χρηματικής απληστίας κυριαρχεί και στον οιδιπόδειο μύθο γενικά: ο Οιδίπους, ως αρχετυπική ενσάρκωση του τυράννου, συνδέεται συχνά (κυρίως στον Οιδίποδα Τύραννο) με το έντοκο κέρδος και με τον γρήγορο πλουτισμό, αλλά και την εξίσου ταχεία καταστροφή, που αυτό συνεπάγεται.
Bridget Kendall traces the origin and meaning of Aesop's fables and explores what they can teach us about understanding our own extraordinary times with three world experts: Edith Hall, Professor of Classics at Kings College London; Vayos Liapis, Professor of Theatre at the Open University of Cyprus; Dan-el Padilla Peralta, Associate Professor of Classics at Princeton University.
Gamified learning is an engaging form of education. Serious games transform the educational process into a fun and fruitful exploration. Interactivity increases student self-efficacy and knowledge recall through participatory learning, while evaluative measures track student performance fostering effective pedagogical development.
We showcase the design and development of a game combining virtual tours, educational material, quizzes, and automatic assessment within a realistic 3D environment: the Greek Ancient Theater of Philippi. To achieve this, we used the Agile methodology and the Successive Approximation Model (SAM) in our design process. Our team continuously iterated game design and development to ensure the tool would be user-friendly and productive. The game makes use of emerging technologies such as photogrammetry to create a photorealistic space that blends the fidelity of the real world with the safety, accessibility and interactivity afforded by virtuality. The model of the featured theater was reconstructed using thousands of close-up and drone-captured photos, thus preserving the accuracy of the real theater.
The tool is targeted at a diverse audience of humanities students comprising Hellenic Literature and Culture, Theater Studies, History and more. The game contains quizzes focused on evaluating specific learning outcomes for each field represented. Quizzes are formulated as self-evaluation exercises that allow students to test their knowledge of Ancient Greek theater architecture and its uses and functions of Ancient Greek theater genres and their respective components, and of the institutional and religious context with which classical Greek theater performances were inextricably associated. The 3D virtual environment ensures a more immersive, “real-life” learning experience, allowing students to explore Greek theater activity in its natural milieu.
Appears in:
INTED2022 Proceedings (browse)
Pages: 3590-3597
Publication year: 2022
ISBN: 978-84-09-37758-9
ISSN: 2340-1079
doi: 10.21125/inted.2022.1006
Conference name: 16th International Technology, Education and Development Conference
Dates: 7-8 March, 2022
Location: Online Conference
or any other public gathering of a crowd, and with loud uproar censure some of the things that are said and done and approve others, both in excess, with full-throated clamor and clapping of hands, and thereto the rocks and the region round about re-echoing redouble the din of the
censure and the praise.” (Rep., VI, 492b-c, transl. J. Adams, 1969). A relationship of continuity, if not identity, is thus established between the theatre and other places of public gathering, and the “spectators” seem to behave in a comparable manner. This workshop proposes to focus on these multiple spectatorial practices in 5th-century Athens, in order to
better grasp the ways in which they accumulated, juxtaposed or compartmentalized various experiences acquired in multiple performance venues, in the broadest sense of the term.
In fact, theatergoers belonged to a variety of socio-cultural groups and subgroups (Roselli 2011; Robson 2016) and were confronted, in their public or private lives, with a variety of spectatorial practices and situations. As men (or women?), citizens and non-citizens, they importer their prior experience of performances into the theater. For example, free Athenian citizens – but perhaps also women (Budelmann & Power 2015) – possessed a common education and choral culture (Revermann 2006), and thus attended performances not as neophytes but as “insiders.” Athenian citizens, one might assume, also mobilized their political baggage as participants in the public life of their city. The characters of Aristophanes explicitly address the bouleutes, but the poet did not forget either the presence in the public of foreigners. Theater spectators were also actors and audience at the “judicial spectacle” given in the courts of the city (Villacèque 2013). They were also officiants or participants in religious rituals and festivals taking place in a public or private setting. They were fathers, brothers, uncles, sons, (and in the case of women, mothers and daughters), and received the spectacle as members of an oikos whose functions and affects were also socially determined.
Finally, it is assumed that they could also interpret the performance in light of their knowledge and practice of other art forms, especially visual arts (Hedreen 2007). In the theatre, poets can thus assign multiple “identities” or “roles” to spectators – two notions to be questioned – but we must also think about the ways in which the roles of “theater spectators”
could be summoned in other contexts than that of theatrical performance.
This symposium aims to reflect on these questions in a fresh way. It will take the form of a workshop with time slots planned for collective reflection on texts and methods, aiming
to bring out new critical strategies.