Academic literature on the topic 'Goldsmiths Greece'

This article is based on discussions with artistic directors and administrators of British Theatre in Education companies about past and current practice and changing funding resources. Persephone Sextou reviews developments in TiE practice since its beginnings in the 1960s, focusing upon the situation in the 1990s following the enforcement of National Curriculum requirements, the redirection of government funding to partnerships in education, and the availability of funds from the National Lottery. She describes how the remaining TiE companies are struggling not to compromise their artistic autonomy, and considers the relevance of the British TiE experience in relation to the potential for the development of the medium in other countries. Persephone Sextou is an instructor in Drama and Theatre in Education at the University of Thessaly in Greece, and is researching the transference of British TiE to a Greek context for her doctoral thesis at Goldsmiths College, University of London. Her book on School Dramatization has been published in Greece.

In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her article summarizes each director's philosophy regarding the Greek tragedies, and discusses the position of the genre within modern Greek theatre, mapping the process employed by the actors, and analyzing their method in order to illustrate the different perspectives that the two great directors had with regards to approaching and performing a role. Michaela Antoniou completed her PhD at Goldsmiths, University of London, and is currently working as an external collaborator of the Department of Theatre Studies, National and Kapodistrian University of Athens. She has also worked on the stage as an actress and playwright, and is a published author.

Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christianity) provide the subject matter and the spiritual dimension of the group's performance pieces. The idea of the ‘spiritual’ is here distinguished from the strictly religious/denominational as well as the ritualistic or cultic framings of the word. Details from the triptych show how breath, vibration and energy are the forces of ZAR's sonic compositions in which singing, instrumental music, sound making, and movement are vehicles for experience other than immediate material sensation. Reference is made to ZAR's link to the Grotowski legacy in the song theatre of Poland today. Maria Shevtsova, Chair Professor of Drama and Theatre Arts at Goldsmiths, University of London, wishes to thank the International Research Centre of the Freie Universität Berlin for hosting her research, of which this article is an integral part.

A principios del siglo XIX la literatura instructiva para escolares estaba empezando a ocupar un espacio significativo dentro del mercado editorial. El número de niños y niñas que recibían una educación iba en aumento y había que satisfacer también a este público lector. Entre las disciplinas que se consideraban apropiadas para ellos se encontraba la historia, que era a su vez uno de los temas de estudio que más interés despertaba entre los intelectuales de la época. En este contexto se publicaron varias traducciones al español de dos textos de historia clásica de Oliver Goldsmith: Dr Goldsmith's Roman History, Abridged by Himself for the Use of Schools (1772) y Dr Goldsmith’s History of Greece, Abridged for the Use of Schools(1787). Gerónimo de la Escosura tradujo y adaptó ambas obras: la primera, Compendio de la historia de Grecia, precedido de un breve resumen de la historia antigua, con una carta geográfica de la Grecia y Asia Menor, la publicó en 1807 (Madrid, Benito García) para la formación de los cadetes de Academias Militares, y dado el éxito obtenido por esta, años más tarde publicó el Compendio de la historia de Roma (Madrid, Repullés, 1834). Tam-bién vinculada al ámbito de la formación militar, otra traducción, Compendio de la historia romana (Alcalá, Amigo, 1820-1821), se llevó a cabo por Lino de Pombo O’Donnell. Finalmente, otras dos, sin nombre de traductor, tituladas Compendio de la historia griega, escrita en inglés por el Doctor Goldsmith. Traducido libremente al español y Compendio de la historia romana, escrita en inglés por el Doctor Goldsmtih. Traducido libremente al español se publicaron por la Imprenta de Rosa, ubicada en París, en 1822. Utilizando el marco teórico de los estudios de transferencia en traducción, en este artículo se analizará el proceso que siguieron los textos sobre historia clásica escritos por Goldsmith desde que se publicaron en Inglaterra hasta su llegada a las manos de los jóvenes lectores y lectoras hispanohablantes, tanto de España como de los recientemente independizados estados de América, en donde algunos libreros franceses como Rosa comerciaron con los cada vez más demandados libros para escolares.

<p>This essay presents new information about the family of John Marston the dramatist. I review this material in relation to the work of Suzanne Gossett and W. David Kay, the two editors of <em>Eastward Ho!</em> for <em>The Cambridge Edition of the Works of Ben Jonson.</em> My article explores how our knowledge of a writer’s personal relationships may affect our understanding of that writer’s contribution to a collaborative enterprise.</p>

USAID has been shaping innovations in agriculture and advancing development in agribusiness and rural communities since its inception in 1961 (USAID, 2013, 2019). In 1968, USAID Administrator William Gaud announced a €œgreen revolution€ with the inception of high yield varieties, driven by Norman Borlaug's research with wheat, inputs and better policies in the developing world. Today, we are at the forefront of a fourth agricultural €œrevolution€ to support a growing population with new knowledge and digital innovations. USAID supports research to enhance agriculture with better seeds, capacity building and technology transfers affecting the value chain, from smallholder farmers through to processors. The USAID Feed the Future Innovation Labs draw on top U.S. universities and research institutions to overcome the world's greatest challenges in food security. As an example, oilseeds are playing an important role in the 4th agricultural revolution; the global oilseed market expanded over 220% in the short 20 years from 1990-2010. Soybean and palm oil production increased 300% in the same period (Byerlee, 2017). Oilseeds can make significant contributions to enhance livelihoods and food security, however Africa makes up less than 1% of global soybean production and holds 24% of palm cultivated land area (Goldsmith, 2019, Ordway, 2019). Africa has the highest rate of stunting in the world at 33% for children under 5 (UNICEF, 2018). Nutrient dense crops like soybean have the potential to alleviate malnutrition, particularly when processed at scale. Unlike the green revolution of the late 1960's however, USAID supports initiatives that alleviate the dynamic tension between environmental concerns, smallholder livelihoods and food security. This new agricultural revolution will be "greener" because it synthesizes criticisms of intensive industrial agriculture while applying past lessons learned. We must work together, as one team of development and industry professionals, to sustain the planet and all of its people.