Αόρατα Νήματα / Invisible threads

Αόρατα Νήματα / Invisible threads

Βιβλιογραφία, σημειώσεις 

Bibliography / REF/ Works Cited / Films / Performances 

Antonucci , Giovanni. Chonache del theatro futurista, Roma: Abete, 1975.

Barthes, Roland. Μάθημα γραφής, Σύγχρονος κινηματογράφος τευχος 15-16, 1977.  

http://www.cinemalab.eu.org/sygxronos-kinimatografos/details/1/27-sygxronos-kinimatografos-77

Barthes, Roland. On Bunraku, The Drama Review: TDR, Vol. 15, No. 2, Theatre in Asia (Spring, 1971), pp. 76-80 https://www.jstor.org/stable/1144622


Barris, Roann, The Life of the Constructivist Theatrical Object,
 Theatre Journal, Vol. 65, No. 1 (March 2013), pp. 57-76 https://www.jstor.org/stable/41819822


Bell, John. Κούκλες, μάσκες και παραστατικά αντικείμενα στο τέλος του 20^ου  αιώνα, Νήμα, τευχ.30, Μαιος 2000.  

Βλαβιανός, Χάρης.  Το νερό έγινε πέτρα, Το Βημα, 14 Δεκ.,  2014 

https://www.tovima.gr/2013/12/14/opinions/kai-to-nero-egine-petra/

Bowlt, John E., Constructivism and Russian Stage Design, Performing Arts Journal, Vol. 1, No. 3 (Winter, 1977), pp. 62-84,  https://www.jstor.org/stable/3245250

Beeson, Nora Meyerhold, Vsevolod, The Tulane Drama Review, Vol. 4, No. 1 (Sep., 1959), pp. 139-149

 https://www.jstor.org/stable/1124810


Corra, Bruno, antognoli Marinetti, F. T., Settimelli, Emilio. Μανιφέστο του Φουτουριστικού Συνθετικού Θεάτρου (Teatro Futurista Sintetico)   Μιλάνο, 11 Ιανουαρίου 1915 - 18 Φεβρουάριου 1915,  μτφρ.Κώστας Κουρμουλάκης. 

https://www.academia.edu/11335211/Μετάφραση_των_φουτουριστικών_μανιφέστων_του_Μαρινέτι_για_το_θέατρο

Cappelletto, Chiarra. The puppet's paradox: An organic prosthesis
 RES: Anthropology and Aesthetics, No. 59/60 (spring/autumn 2011), pp. 325-336 
www.jstor.org/stable/23647798


Craig, Edward Gordon, The Actor and the Über-Marionette, The Mask, Volume 1, Number 2, April 1908

https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.2.5&

Simone Germini, Il teatro avanguardista di F. T. Marinetti, Marzo 30, 2017

https://imalpensanti.it/2017/03/30/il-teatro-avanguardista-di-filippo-tommaso-marinetti/

Güthenke, Constanze, Postclassicism, Disturbed Philology and Kleist’s Fencing Bear, Oxford German Studies, 47:2, 2018, 184-200https://doi.org/10.1080/00787191.2018.1452706 

Gray, John, H ψυχή της μαριονέτας – Μια σύντομη έρευνα για την ανθρώπινη ελευθερία Μετάφραση Γιώργος Λαμπράκος, Εκδόσεις Οκτώ, 2018 

Gross, Kenneth, The Madness of Puppets , The Hopkins Review, Volume 2, Number 2, Spring 2009 (New Series), pp. 182-205  https://doi.org/10.1353/thr.0.0066 

Hebron, Stephen, John Keats and ‘negative capability’, British Library, 2014 

https://www.bl.uk/romantics-and-victorians/articles/john-keats-and-negative-capability

 Unger, Roberto. False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy, Revised Edition. London: Verso, 2004 

http://www.robertounger.com/en/wp-content/uploads/2017/10/false-necessity.pdf

The Letters of John Keats, ed. by H E Rollins, 2 vols, Cambridge: Cambridge University Press, 1958

Koss Juliet, Bauhaus Theater of Human Dolls.
The Art Bulletin, Vol. 85, No. 4 (Dec., 2003), pp. 724-745 

https://www.jstor.org/stable/3177367


Lorefice,Tito. Ariel Bufano : Πάνω την ερμηνεία της Κούκλας, Νήμα, τευχ. 35, Μάιος 2004 

Lyons, Charles R,   Gordon Craig's Concept of the Actor, Educational Theatre Journal, Vol. 16, No. 3 (Oct., 1964), pp. 258-269 https://www.jstor.org/stable/3204670


Lyotard, Jean Francois,  «Ο Θεός και η μαριονέτα» στο «Το απάνθρωπο, κουβέντες για τον χρόνο», μτφρ. Βασίλης Πατσογιάννης , Αθήνα:  Πλεθρον, 2019 

Victoria Nelson. The Secret Life of Puppets. Cambridge: Harvard University Press, 2001

Obraztsov, Sergey. My Profession,  μτφρ. Ralph Parker, Valentina Scott , Moscow : Foreign Languages, 1950

Ray, William. Suspended in the Mirror: Language and the Self in Kleist's "Über das Marionettentheater", Studies in Romanticism, Vol. 18, No. 4, The Rhetoric of Romanticism (Winter, 1979), pp. 521-546 https://www.jstor.org/stable/25600209 

Schiller, Friedrich. «Περί αφελούς και συναισθηματικής ποίησεως» στο Επιλογή από το έργο του, εις.- επιλ.-μτφρ.  Ανδρουλιδάκης, Κώστας, Αθήνα : Στιγμή, 2015.

Tritschler, Paul. Negative capability, Aeon magazine, 07 November, 2018

https://aeon.co/essays/deny-and-become-the-radical-ethos-of-negative-capability

Films /Performances

“Dolls” Trailer  by Takeshi Kitano, 2002 

https://www.youtube.com/watch?v=BjXQoZRbXXY

Intro scene from the 2002 film "Dolls" directed by Takeshi Kitano (2002)

https://www.youtube.com/watch?v=hO9zWak9uwg

 

Vengono - Omaggio a Filippo Tommaso Marinetti, Teatro cust 2000 di Urbino, Regia di Livio Taricco

https://www.youtube.com/watch?v=eG8ixJiO7fs

Meyerhold's Biomechanics, the university of Iova 

https://www.youtube.com/watch?v=eoq8_90id2o

Tadeusz Kantor "Umarła klasa" (Dead Class) 

https://www.youtube.com/watch?v=a235hHGFIps

Sergey Obraztsov puppets

https://www.youtube.com/watch?v=WuU12VDxCY4

 

Obraztsov, theme and variations

https://www.youtube.com/watch?v=HjdNg2zjbMU

Κωστής Βελώνης, Αδεξιότητα και νεωτερικότητα  (We Are All Clowns)

Clumsiness and Modernity (We Are All Clowns) Course 

ΑΣΚΤ -Athens School of Fine Arts (ASFA) Winter/Spring Semester 

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

On Negative Capability: Letter to George and Tom Keats, 21, 27 December 1817

Hampstead Sunday
22 December 1818

My dear Brothers

I must crave your pardon for not having written ere this [ . . . ] [T]he excellence of every Art is its intensity, capable of making all disagreeables evaporate, from their being in close relationship with Beauty & Truth—Examine King Lear & you will find this exemplified throughout; but in this picture we have unpleasantness without any momentous depth of speculation excited, in which to bury its repulsiveness—The picture is larger than Christ rejected—I dined with Haydon the sunday after you left, & had a very pleasant day, I dined too (for I have been out too much lately) with Horace Smith & met his two brothers with Hill & Kingston & one Du Bois, they only served to convince me, how superior humour is to wit in respect to enjoyment—These men say things which make one start, without making one feel, they are all alike; their manners are alike; they all know fashionables; they have a mannerism in their very eating & drinking, in their mere handling a Decanter—They talked of Kean & his low company—Would I were with that company instead of yours said I to myself! I know such like acquaintance will never do for me & yet I am going to Reynolds, on wednesday—Brown & Dilke walked with me & back from the Christmas pantomime.  I had not a dispute but a disquisition with Dilke, on various subjects; several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously—I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason—Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge. This pursued through Volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.

John Keats