{"id":17369,"date":"2026-10-12T13:57:09","date_gmt":"2026-10-12T11:57:09","guid":{"rendered":"https:\/\/unatc.ro\/devunatc\/?p=17369"},"modified":"2026-10-12T14:47:52","modified_gmt":"2026-10-12T12:47:52","slug":"masterclass-savas-patsalidis","status":"publish","type":"post","link":"https:\/\/unatc.ro\/devunatc\/masterclass-savas-patsalidis\/","title":{"rendered":"MASTERCLASS -\u00a0SAVAS PATSALIDIS","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong><strong>THE TROUBLE WITH CONTEMPORARY THEATRE:\u00a0UNSETTLING THE VOCABULARY OF THEATRE POETICS<\/strong><br><\/strong>MASTERCLASS facilitated by Professor Emeritus SAVAS PATSALIDIS\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>20 OCTOBER \u2013 ATELIER Hall \/\/ 10.00 \u2013 13.00<br>22 OCTOBER \u2013 ATELIER Hall\/\/ 10.00 \u2013 13.00<br>24 OCTOBER \u2013 CINEMA Hall \/\/ 10.00 \u2013 13.00\u00a0<\/strong><br>UNATC, Str. Matei Voievod 75-77<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SAVAS PATSALIDIS, PhD<\/strong><br>Professor Emeritus in Theatre Studies<br>Aristotle University of Thessaloniki, Greece<br>Editor-in-chief of\u00a0<em>Critical Stages\/Sc\u00e8nes critiques<\/em><br>International Association of Theatre Critics<br>Inter-Balkan Network of Culture, Art, and Education<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/docs.google.com\/forms\/d\/1Xpk85kyK-28gfgbxaZsMyX9gmHEGCKr3vpG4Lms25tE\/edit?ts=6abfdb01\" data-type=\"link\" data-id=\"https:\/\/docs.google.com\/forms\/d\/1Xpk85kyK-28gfgbxaZsMyX9gmHEGCKr3vpG4Lms25tE\/edit?ts=6abfdb01\" target=\"_blank\" rel=\"noreferrer noopener\">APPLY HERE<\/a><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>What do we mean when we describe a theatrical practice as&nbsp;contemporary\/, \/modern\/, \/postmodern, \/ or \/outdated\/?<\/strong><strong><br><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These seemingly familiar terms are often used to classify theatre with&nbsp;remarkable confidence, yet their meanings are neither fixed nor&nbsp;self-evident. They are relative categories, shaped by particular historical,&nbsp;cultural, aesthetic, and political contexts\u2014and what appears&nbsp;\u201ccontemporary\u201d in one cultural context may seem radically different,&nbsp;or even outdated, in another.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This three-part seminar series begins by questioning precisely these&nbsp;assumptions. It will examine the language we use to describe theatre practice and&nbsp;consider how terms such as \u201ccontemporary\u201d, \u201cmodern\u201d, and \u201coutdated\u201d acquire meaning, authority, and cultural specificity. Rather than treating them as stable categories, we will explore them&nbsp;as contested concepts whose meanings shift across time, place, and&nbsp;theatrical traditions.<br><br>Having established this critical framework, the seminars will move&nbsp;towards a practical \u201croadmap\u201d for navigating the poetics of&nbsp;contemporary Western theatre. We will focus on a series of concepts that lie at the heart of current&nbsp;theatrical debates, including work, text, originality, hybridity, monoculturalism, multiculturalism, tolerance, limits, space, time, self, identity,&nbsp;character, and body. These terms will serve not simply as definitions to be learned, but as&nbsp;points of entry into larger questions about how theatre is made,&nbsp;understood (or misunderstood), interpreted, and situated within&nbsp;contemporary culture.<br><br>The aim is not to provide a definitive vocabulary or a single model&nbsp;of what contemporary theatre should be, but rather to develop a set of&nbsp;critical tools with which to approach its diverse and often&nbsp;contradictory practices. By the end of the three seminars, graduate students and other&nbsp;interested groups will have a conceptual framework for questioning&nbsp;received categories, recognizing the cultural assumptions embedded in&nbsp;theatrical discourse, and more confidently navigating the complex&nbsp;landscape of contemporary Western theatre and its poetics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Savas Patsalidis<\/strong>&nbsp;is Professor Emeritus in Theatre Studies at Aristotle University of Thessaloniki, where he taught at the School of English for close to 35 years. He has also taught at the Drama School of the National Theatre of Northern Greece (NTNG), the Hellenic Open University, and the graduate program of the Theatre Department of Aristotle University. He is the author of fourteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study,&nbsp;<em>Theatre, Society, Nation<\/em>: From America to the United States (University Studio Press, 2010), was awarded first prize for best theatre study of the year. His other major works include: <em>Theatre and Globalization<\/em> (Papazisis, 2013), <em>Theatre Interventions<\/em> (University Studio Press, 2013), and <em>Struggling with the Classics: About Locality and Glo-c-ality<\/em> (2015). In 2019, his book<em>&nbsp;Theatre &amp; Theory II: About Topoi, Utopias and Heterotopias<\/em>&nbsp;was published by University Studio Press, followed in 2022 his book-length study&nbsp;<em>Comedy\u2019s Encomium: The Seriousness of Laughter.<\/em> In addition to his academic work, he writes theatre reviews for various journals. He serves on the Executive Committee of the Hellenic Association of Theatre and Performing Arts Critics, is a member of the curators\u2019 team for the Forest International Festival (organized by NTNG), editor-in-chief of&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em> (the journal of the International Association of Theatre Critics), a member of the Advisory Board of <em>CONCEPT<\/em> academic journal (concept.unatcpress.ro), and a founding member of the Inter-Balkan Network of Culture, Art, and Education.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Masterclass organized within <strong>UNATC Learning Center \u2013 Educational infrastructure, Research, and Experiments<\/strong>, <strong>CNFIS-FDI-2026-F-1397,<\/strong> funded by the Ministry of Education and Research through the Institutional Development Fund (FDI) 2026, Project Director: Assoc. Prof. Mihaela Be\u0163iu, PhD.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"<p class=\"no-padding\">THE TROUBLE WITH CONTEMPORARY THEATRE:\u00a0UNSETTLING THE VOCABULARY OF THEATRE POETICSMASTERCLASS facilitated by Professor Emeritus SAVAS PATSALIDIS\u00a0 20 OCTOBER \u2013 ATELIER&#8230;<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":1,"featured_media":17378,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"template-newsgeneral.php","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[178,219,184,176],"tags":[],"erasmus_universities_programs":[],"class_list":["post-17369","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-evenimente","category-masterclass","category-presa","category-stiri"],"acf":{"alternative_page_title":"","page_contact_email":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - 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