Theatre and crisis: Reshape the theatrical imaginary from beneath

All those despising theatre and culture, no matter whether they pretend to suffer them politely, declare that, in case one is looking for serious solutions concerning the crisis that is ravaging our continent, he has to seek elsewhere: towards the places where a powerful and arithmetically very restrained oligarchy takes the decisions that really count regarding economy, politics and the fate of nations and individuals. What is worse, we ourselves, citizens, people of culture and theatre, are very often bewildered by the events and thus become unable to get rid of the guilt that is shed upon us following a pre-established plan, desperately looking for the forms that could express our concern and the institutions and networks that would enable us  to live, communicate and create.    

Nevertheless, things are not following only that course. At first hand, crisis is not exclusively economic. It also is political, specifically cultural and global. That means it also concerns in many ways theatre and that theatre and culture, despite the fact that theatre, art and culture cannot be considered as weapons in the sense tanks are, and are not endowed with the power of the established Media. Nevertheless on has to take under account that they are capable to play a decisive role, because they can trace the limits of the field where the confrontations take place and reveal the horizon towards which our efforts must tend.

Theatre of all times, whether classic or experimental, has tried to provide aesthetic answers to political and social problems. The problems we are facing today are connected to European identity, democracy and the very existence of our continent and of each one of the European countries. What we must do is react to the crisis by means of creation and such creation cannot be the limited to any singular country. That is why we invite women and men of theatre belonging to several European countries and dealing with theatrical creation and theatre studies to get in contact with us exchanging ideas, information and proposals regarding theatre and crisis. This exchange, which is valuable in itself, can start with the exchange of ideas and lead to common initiatives and projects, as well to a first meeting in Athens,  that could take place at the beginning of February.

Center of Classical Drama and Spectacle. Panteion University Athens.

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