Workshops’ description
(in alphabetical order by contributor’s name)

1. THE OTHER AND ME IN DRAMA PROCESS
   Hala Al-Yamani, Bethlehem University, Palestine
   Saturday 15.30-18.00
   English
   In this workshop the focus is on the relationship between the other and me in drama as a process. In work with my students I realized that quite a good number of them started the drama process by looking for themselves within the other. They were looking for others who are reminding them of themselves in a way. This helped them to discover some aspects of themselves as people. I would like to experience this much more, to discover it with other different people. Therefore, the objectives of this workshop are: a) Studying the relationship between the other and me in the process of drama, b) Trying to define the first steps in drama work in the relation between the other and me, c) Living different and new situations related to other people in my culture and other different cultures such as Palestinian one. After the introductory activities the participants will play the role of people shown in photos on situations related to the daily life of their own culture. Then after being presented with photographs about people in unfamiliar situations such as refugees, children fighting soldiers etc. they will take the role of one person in that situation and try to talk about him or her in that situation. They will work in small groups on developing parts of the life of the most interesting situations and present their work to others. They will discover what exactly happened with them. In the end there will be open discussion.
2. SCHOOLACHIEVEMENT AS A FACTOR OF “DIFFERENTNESS”: GAPS AND BRIDGES
   Avra Avdi, language and drama teacher, Hellas
   Melina Hadjigeorgiou, primary and drama teacher, Hellas
   Saturday 11.30-18.00
   Greek
   The workshop aims to enhance, through Drama, understanding and awareness of the problems that arise when the roles of “bad” and “good” student become entrenched. The students explore through various dramatic techniques questions such as : What does it mean for someone to be “good” or “bad” student ?Why does somebody enter the role of a “good” student, while someone else enters the role of a “bad” student ? What are the consequences of adopting one or the other role ? Is it possible to build bridges between the two roles or not?
3. THEACT OF ANIMATION TROUGH HUMAN HISTORY
   Vasiliki Bakrozi, primary school teacher, Hellas
   Sunday 11.20-13.20
   Greek
   Puppets theatre in Greece and all over the world nowadays. Differend kind of puppets. Ways of making a puppet which will be our ''assistant'' in teaching. Participants will make their own puppet using ''un-useful'' materials. Ways of making puppets active members of our class. Examples: How to teach the letters or a unit in history with puppets. Finally how can we recreate and transform a literary text with the aid of the ancient art of puppet theatre
4. FROMSPEECH TO IMAGE
   Maria Chaniotaki, designer, Hellas
   Korina Preveduraki, painter, Hellas
   Ioanna Vetsopoulos, teacher of Art History, Hellas
   Sunday 09.00-13.20
   Greek
   The creation of scenery.  The image and its dynamics. Text will be our starting point. Then the creation of images with various materials. Pictures (slides) from 20th century artists shall help us bridge different backgrounds. We shall follow our Imagination.  Because in theatre: “...We are such stuff as dreams are made on…” as quoted by Shakespeare.
5. EXPLORINGSCENIC BODY: LISTENING TO THE MUSES
   Andrea Copeliovitch, actress, Brazil
   Saturday 11.30-18.00 to be repeated on Sunday 09.00-13.20
   English
   This workshop is an interpretation class using ritualistic processes and techniques such as Brazilian dances, movement, meditation and body conscience.
   We live in such a noisy world, there is so much information coming to ourselves and we can't process all this information. Our inner dialogue is incessant. There is always something talking inside or outside ourselves. And we can't hear the Muses. Poor Muses, they must be singing their song so loud just not to be heard. The artist's task is to listen to their song and sing it to the world, making it become Memory in the heart of people. But to listen, one must learn to be silent, and to go beyond hearing in order to practice true listening.
   We, actors have so much to listen, and so much to learn about listening. We have to learn that before speech, there is always silence, before action, there is always a beginning when we stand motionless, a state of silence and inaction. And we call that state a "Zero point" or a "neutral state".
   This training is a possible path to lead the actor to this neutral state that will help him through an Extra-quotidian world that he expresses through his extra-quotidian energy. It és also a way of developing vocabulary: scenic language, the words to make theatrical theatre.
   We work also with opposites: feminine/ masculine, strong/weak, lightness/ heaviness, etc, and I would like to emphasise these oppositions during the workshop.
6. ACTIONS,OBJECTS AND IMAGES IN DRAMA IN EDUCATION
   David Davis, University of Central England, UK
   Saturday 11.30-18.00 to be repeated on Sunday 09.00-13.20
   English
   A child is packing his/her school bag: What sort of child? Where is this happening? What objects go in? How are these actions done? What sort of image is being created? What are the meanings suggested? Is one of the objects a knife or a prayer book or a book with a brown paper cover over it? What sort of actions, objects and images best evoke and provoke the imagination?
   This workshop for teachers experienced in the use of drama, will explore the different effects that these choices might have and examine the theories underlying such choices. Is there such a thing as a Brechtian or Stanislavskian image? Is there relevance for drama teachers in the playwright Edward Bond’s focus on the key role of the imagination? Is there a particular approach to actions, objects and images best suited to today’s world of sliding surfaces, war threatened divided communities and fragmented approaches to reality?
7. PERFORMINGCODES AS MEANS TO APPROACH TEXTS
   Filia Dendrinou, pedagogue, actor, drama teacher at Arsakeia – Tositseia Schools, Hellas
   Saturday 11.30-14.00
   Greek
   How can a text be transferred from “paper” to “theatre”? With what ways can written speech become action? How can written speech become a bearer of images and different symbolisms and what is the role of the body and gesture throughout storytelling? What is the role of theatrical objects in the symbolic language of theatre? Beginning with a text, this workshop will try to illuminate the different paths one can take throughout a theatrical procedure while giving many different approaches for interpreting the meanings of the text. 
8. PLAYINGOR LEARNING?
   Metin Deniz, Nihal Koldas, Maya Arts Center, Istanbul, Turkey
   Sunday 11.20-13.20
   English
   The workshop is based on children's games. Games are children's attempt to learn about themselves and to cope with the world around them. The universal character of the games involves the creativity of children in making tools (or toys) of games, setting social behaviour patterns, interdisciplinary factor etc. The workshop will be an attempt to analyse these features of the games showing examples of games played in Turkey nowadays (from the video) and explore how the education system can benefit from some of the features of children’s games in which the free flow of imagination and development of natural abilities are distinctive.
9. LIFEEXPERIENCES AS INSPIRATION FOR THEATRICAL PICTURES
   Sead (Seyo) Dulic, Armin (Joha) Hadzimusic Mostar Youth Theatre, Bosnia i Herzegovina
   Saturday 11.30-18.00
   English
   This workshop is based on the experience gained from the creation of the performance Pax Bosnensis 1992 by the Mostar Youth Theatre, which was the result of research on the theatrical depiction of its actors’ painful experiences. The participants will be motivated to offer some personal experiences and real situations. Moving through deduction, symbols and metaphor, we will investigate the possibilities of dramatisation that this material has to offer. Our aim will be to transform reality into clear theatrical pictures. To these pictures we will also attempt to add new meanings, through traditional symbols.
10. FROMDREAMS TO THEATRE
    Sead (Seyo) Dulic, Armin (Joha) Hadzimusic Mostar Youth Theatre, Bosnia i Herzegovina
    Sunday 09.00-13.20
    English
    In this workshop we shall attempt to create the basis for a dramatic form, through exploring the themes of dreams that come repeatedly, as well as their structure, the characters that appear in them and the relationships between them. We shall continue by adding some concrete objects-props, that stand for symbols. We then move to the moment of the ending of the dream, which we see as the most important point of that theatrical depiction. In the end, we add to that picture some moments from selected theatrical literature. Usually the results of such workshops are a) a sense of catharsis for the people who have seen the dreams, b) interesting and unusual theatrical pictures.
11. IMPROMPTUPLAYS AS EXPRESSIONS OF YOUNG PEOPLE
    Cris Anthony C. Gonzales, Edward C. Terana, Philippines Educational Theatre Association, Philippines
    Sunday 09.00-11.00
    English
    Since its foundation in 1967, the Philippine Educational Theater Association (PETA) emphasizes the importance of tapping the gold mine of talents of young people. PETA believes that its purpose for theater in relation to the youth should geared towards the encouragement of this sector to be active and willing participants. By providing them with a more participatory, creative and non-threatening space for learning, young people are able to express themselves creatively, get in touch with oneself and discover their potentials. The workshop not only tries to transfer theater technology to workshop participants but also tries to put into theater forum their problems and recommended solutions for various issues affecting them. Theater methodology and process become effective tools for youth expressions of their needs, wants and objectives. Such liberating brand of educational theater provides the young people with a unique experience and a theater form, which they can own.
12. MUSICAL- METRICAL DESIGN IN SOPHOCLEAN CHORAL ODES: bridges between ancient Greek scansion patterns and modern Greek translations of tragic poetry.
    Smaro C. Gregoriadou, composer and music pedagogue, Hellas
    Giorgos Mpiniaris, actor, director and theatre pedagogue, Hellas
    Nikos Govas, theatre teacher, Hellas
    Saturday 11.30-14.00
    Greek
    Considering Greek drama as musical rather than purely literary compositions, and Sophocles as one of the most eminent musicians of his time, this research and workshop align meter and musical design in sophoclean choral odes with a special meaning, and underline how serious our loss of it is to our appreciation of the total theatrical experience. By examining scansion patterns in selected odes of Antigone and objective elements of ancient speech, as well as Modern Greek translations of tragic poetry, we will let music to guide our understanding of odes’ inner context. Penetrating in poet’s tightly woven fabric of music, meter, musicality of speech, meaning of verses and physical movement of the chorus we will try to translate the inner rhythm of each choral ode, as it comes forth through metrical and musical analysis, into an original and genuinely dramatic physical movement of choruses actors.
13. THELABYRINTH PROJECT: Using the Arts to Identify and Deal with Young People’s Personal and Social Difficulties
    Phil Jones, Department of Art and Arts Therapies, University of Hertfordshire, UK
    Vassiliki Karkou, Department of Art and Arts Therapies, University of Hertfordshire, UK
    Sunday 11.20-13.20
    English and Greek
    The workshop will introduce participants to a brief sample of some of the ways in which the arts can help young people express and explore their lives. The aim of the session is to illustrate the ways in which the Labyrinth project can complement the work done by teachers in schools with students who go through difficult life experiences. Questions such as ‘How can the arts help contain feelings?’ And ‘How can exploration of difficult situations be safely worked with through the arts?’ will be reflected in the activities. The session will illustrate drama and movement exercises and will include time for reflection and discussion. Some of the activities included will be: sculpting, improvisation, movement and role play. (Labyrinth team: Dr. Janek Dubowski, Dr. Phil Jones, Ms Ditty Dokter, Dr. Vassiliki Karkou)
14. TECHNIQUEAND THE CREATIVE PROCESS
    Nellie Karra, Arhi School of Drama, Hellas
    Sunday 09.00-13.20
    Greek
    How does one set on a conscious journey of artistic endeavor from inspiration to actualization, and how can we learn to observe and chart this journey—for use—without interfering in the process itself? We will work with an object from nature. Everyone is asked to bring an object from nature—one object that has NOT been altered by human intervention. The main criterion for choice is that this object interests the person bringing it—that the person “likes” it. Also one notebook, art pad, pencils, and colors. Our workshop will be a journey in “languages” of expression and an (idea) experimentation—observation in what element stages and levels inform (or interact with) the creative process.
    “The End is the Beginning. The Beginning is the first step and the first step is the only step.”
    At the end of this workshop, we should be able to form a clearer idea of what is a creative work, activity, journey, and process. What does the human being bring from the self to serve or enter into this process? What “tools” does a person use, regardless of the art form? And what is specific to dram as an art form?
15. THE VISIBLE AND INVISIBLE CITY
    Alkistis Kondoyianni, University of Thessaly, Hellas
    Saturday 15.30-18.00
    Greek
    This workshop is for educators of all levels and intends to give an alternative methodological approach for learning. The planning and elaboration of the theme through many activities of art and mainly drama, promotes the development of personality while unlocks effectively the potential of every participant. It’s through the interaction of the whole group that creativity and expression is enriched, while the self-understanding and the self-esteem is enhanced. Participants will create their own “visible and invisible city”, which they will elaborate through language and art, using mostly Drama exercises and techniques.
16. THE “SOMA” OF THE EDUCATORS
    Stelios Krasanakis, psychiatrist, drama therapist, Hellas
    Saturday 11.30-18.00
    Greek
    We use very often the term “soma” as an identification of a group of people, knowledge, objects e.t.c.
    In this workshop we will focus in the body – communication between trainers and trainees. The body means a lot as cultural element especially this period, a period of globalization. The body as a means of effectiveness and metaphor. Transmission of messages, behaviors, roles. The roles are explored through drama and consist a system of roles, sub-roles and make a frame of teaching and psychic attitude. This psychic attitude we explore through Dramatherapy method. Dramatherapy is a method for therapy and personal development. Drama has a very strong power for changing. The term Dramatherapy was used for the first time in 1952 by Peter Slade who was working in the education. We will work in small groups within a big group. We will explore with our bodies and speech, themes as racism, xenophobia, trust, teaching and others in which participants may be interested.
17. LITERATURETHEMES IN MULTICULTURAL EDUCATION: USING DRAMA METHODS
    Radka Mackova, Janacek Academy of Music and Arts, Czech Republic
    Yannis Poutachidis, “Poupoulo” Theatrical Artistic Cultural Center of Thessalonica, Hellas
    Sunday 09.00-13.20 English and
    Greek
    The starting point of our work is literature – a story from Ray Bradbury called “All summer in a day” which offers a interesting themes for our creative work. During the workshop we will offer a space to explore issues as: ability of tolerance, empathy and understanding and respecting otherness. Literature gives us chance to work in the safety of fictive and model situations and characters but with a great linkage to our life reality. The emphasis is on giving children the tools to explore a character through role play, to develop their ability to name their feelings and opinions and to learn to respect otherness. The teachers will encounter with the creative methods of drama in education and the Forum Theatre. The aim of the workshop is to encourage and inspire teachers to use drama techniques within multicultural education in their literature, history and social education class. 
18. BASICPRINCIPLES OF PUPPET ANIMATION: AGAINST COMMON MISTAKES AND PROBLEMS
    Stathis Markopoulos, puppeteer, Hellas
    Saturday 15.30-18.00
    Greek
    Puppet construction out of old papers and paper-tape. Exercises, examples and improvisation on basic puppet animation principles aiming to point out common mistakes and problems that educators -mainly, but not only- often face in the use of puppetry.
19. REAWAKENINGTHE SPOKEN WORD: A WORKSHOP IN THE SUZUKI ACTOR TRAINING METHOD
    Marcos Martinez, director, Master Teacher Suzuki Actor Training Method, California State University, USA
    Saturday 11.30-18.00 to be repeated on Sunday 09.00-13.20
    English
    The workshop will consist of intensive physical exercises that require participants to develop a heightened awareness of themselves in motion. This work centers around the usage of the feet, and the relationship of the corporal (physical) center of the body to the earth (the ground). These exercises develop the actor’s voice and scenic presence by building physical stamina, increasing focus, concentration, and building the actor’s will. We begin with the basic stomping exercise, stances to assess balance and movement of the center, and a statues exercise. It is recommended that participants bring a text with which they wish to work, and an English translation.
20. DRAMAAS EDUCATION IN SOCIAL TRANSFORMATION
    Alex Mavrocordatos, David Pammenter, King Alfred's University College, UK
    Sunday 09.00-11.00
    English and Greek
    This practical workshop will be concerned with cultural values, ethics and the rights of the child.   It will explore creativity, imagination and clarity of expression.  It will raise issues of the self, of cultural identity and of cultural difference. The workshop will be of interest to those who wish to find a way to use drama and creativity in the classroom (and beyond it) to explore the social realities that children live with -- empowering them to understand and change their own perceptions and the perceptions of others, and look towards a future of their own making. What form of drama is appropriate? What would it be about? Who creates the plays and who owns the outcomes?  These are some of the practical questions that the workshop (and the three day seminar next week) will be exploring.
21. BERLIN’36, MUNICH ’72…WORLD 2003, OLYMPIC GAMES AND POLITICS : A Theatre-In-Education approach.
    Christina Mouratidou, actress, theatre pedagogue, drama worker, Hellas
    Sunday 09.00-13.20
    Greek
22. REMEMBERWE ARE HUMAN!
    Jonothan Neelands, Warwick University, UK
    Saturday 11.30-18.00 to be repeated on Sunday 09.00-13.20
    English
    In this practical workshop we will discover drama's role in helping us to understand ourselves, our relationships to others who are different and our relationship to the world that we all must share. The workshop will be practical and help us to know ways of structuring and developing participatory drama work so that is both learning and entertaining for our students.
23. SPEECH,MOVEMENT, IMAGE, MUSIC: creative synthesis and interaction
    Apostolia Papadamaki, choreographer, Hellas
    Sunday 09.00-13.20
    Greek
    In this workshop we will try to investigate creative ways that these four expressive arts i.e. speech, movement, image and music, interact and support each other. Through simple exercises and techniques we will attempt to “build bridges” among these forms and devise theatre work using texts, movements, songs, sounds and pictures that participants will bring.
24. CULTURALDIVERSITY: FORUM THEATRE, NEGOTIATING ATTITUDES
    Gianna Pitouli, primary school teacher, drama teacher, Hellas
    Saturday 11.30-18.00
    Greek
    In this workshop we are looking at the cultural diversity. Questions as what we are doing as teachers in order to deal with the matter in an effective way are approached. Differences respect, coexistence, acceptance, violence etc are some of the issues we work on. The workshop is an invitation-challenge to participants to use techniques of Forum theatre in order to negotiate their personal attitudes, thoughts, questions and proposals for understanding of the cultural differences and the achievement of a creative coexistence.
25. FOURTEENMILLION AND RISING
    Phil Sixsmith, drama consultant, UK
    Veta Tsaliki, Environmental Centre Kordelio, Hellas
    Sunday 09.00-13.20
    English and Greek
    It is estimated that there are some fourteen million refugees in today’s world, a number that has effectively doubled in the last decade. It is quite likely that many schools, particularly in our larger urban centres, now contain young people afforded refugee status. This presents an enormous challenge to education systems to ensure that the rights and entitlements of these students are protected and that every effort is made to develop tolerance and understanding in the indigenous school population. Yet sadly, curricula policies seem to pay precious little attention to this crucial issue. This drama based workshop takes as its starting point the 1951 UN convention, which states that a person with refugee status is someone that has fled from her or his own country or is unable to return to it ‘owing to a well founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion’. Using both drama methodologies and strategies developed through environmental education activities, the workshop will seek to explore themes of human rights, justice, identity and how we treat newcomers.
26. ENTERINGFICTIONAL WORLDS: THE USE OF DRAMA IN SCHOOLS.
    John Somers, Exeter University, UK
    Saturday 11.30-18.00 to be repeated on Sunday 09.00-13.20
    English
    This workshop is based on the premise that the entering of fictional worlds has a generally therapeutic affect on participants.  We will examine through practice the ways in which we can use drama to establish significant experience of 'other than self'.  Starting from fun improvisations that draw on well known stereotypes, we will progress to work on a more serious, deeper level and explore a variety of techniques that allow extension of the drama context into more sophisticated examinations of 'other people's worlds. Practice will be supported by discussions of appropriate theory including how drama makes use of the embodiment of meaning and a variety of techniques for assisting teachers to establish meaningful experiences for their students.  Participants in this workshop should expect to sweat both physically and intellectually!"
27. EMPOWERMENTTHROUGH DEVISING PLAYS
    Jeffrey Tan, theatre director, educator, Singapore
    Sunday 09.00-13.20
    English
    This practical devising workshop will explore how individual stories can be included to build self-esteem and group identity into a collective whole. The collective creation process will in turn empower the individuals and build a sense of group identity. Led by the facilitator, the participants will be guided through a series of trust exercises; imagination games and play building structures to create characters and develop plot for a group-devised play. Besides group story telling, scenes will be dramatized and weaved together to form a group devised play. The theme will be negotiated with the participants.
28. THEUSE OF SYMBOL IN DRAMA EDUCATION
    Kenneth Taylor, Middlesex University, UK
    Saturday 11.30-14.00 to be repeated on Sunday 09.00-11.00
    English
    This practical workshop will examine the power of  “symbols” in Drama lessons and how teachers can demonstrate this power to students so that they can incorporate symbols into their own work. The session will make use of ICT and show how new technologies can enhance the Drama Curriculum.  Ken will demonstrate how ICT can be integrated into the Drama lesson and suggest some practical strategies for the classroom teacher. He will suggest a variety of approaches that can be adopted within the Drama teaching space.
29. ANCIENTGREEK DRAMA: FROM TRAGEDY TO COMEDY
    Spyros Vrachoritis, director, Hellas
    Antigoni Morou, theatre arts teacher, Hellas
    Kostas Patsatzopoulos, musician, Hellas
    Saturday 11.30-18.00
    Greek
    In this workshop we will follow the course from Tragedy to Satyrikon Drama and Comedy through the ancient text, which plays the role of “leader of stage”. Structural elements of Tragedy are going to be approached from the point of view of dramaturgy and staging. Extraits of Prometheus, Antigone, Orestia, Bacchantes. In Satyrikon Drama or Parodia we will also try to find relations to similar forms developed in the East and the Occident. Extraits – verses from Aeschylus’ lost satiric dramatical plays, the saved Euripides’ Cyclops, Alcestis, as Tragedy or Satyrikon Drama, the case of Sofocles’ Satyroi Ihneutes. In Attic Comedy we will approach the analogies with “scoptic” of byzantine hyppodrome, the poetic obscenity, the political theater of 20th century. Extraits from Aristophanes’ Birds. We will try to combine Aschylus, Euripides and Aristophanes, sanscritic drama (translated to Greek), Japan kyogen, commedia dell’arte, “karagiozes” and Shakespeare. Using the evolution of dramatic elements we will try to “bridge” different forms (discoloring “penthos”, the “necrodeipnon”, the glissing of tragic to satirical, the comic as invention, the “homeric laugh”, the pre-history of “happy-end”). Workshop includes teaching in dramaturgical, musical and theatrical level. The role of music will be principal. All themes have been adapted as a sequence of exercises and specials examples for teachers.
30. BALANCEIN COMMUNICATION
    Željko Vukmirica, actor, director, writer, Croatia
    Saturday 11.30-18.00
    English
    In this workshop we shall study the controlled human behaviour under the condition of public commencement. For this, we shall use the technique of the "small tasks" which originate in communication during "real situations". We shall also focus on non-verbal interactive (two-way) communication. The steps we shall follow are: a) Understanding of our limits, physical and mental, b) The nature of the human look, the anthropocentric view. What is question and what is answer in nonverbal communication? How does neutral behaving look?
    [CHORUS: Lot of the people (chorus) are standing on the bus station waiting for a bus. They are standing and waiting. Nothing happens. A man across a street carries two plastic bags, full of fruit and vegetables. He stops. Everybody (chorus) is looking at him. He looks out, left and right, in order to cross the street. Everybody (chorus) is looking at him because they are waiting and this man with plastic bag is their only (first) actor....]
    The Chorus seminar is a systematic "eyes opening" for recognition of the separate elements in non-verbal two-way communication. Old Greek philosophers, before Socrates, said: " The Character is Man's Destiny." How to become NEUTRAL in our daily communication or in our public commencement? That's what this workshop will be all about.
31. METHODIN THE MADNESS!
    John Wright, director, UK
    Saturday 11.30-18.00
    English
    Traditional approaches to actor training tend to place to much emphasis on an actors interpretive skills. This workshop will address this problem by looking at the ways and means of realising creative impulses on stage. What is the difference between play and improvisation what is spontaneity? How can we develop it through training? How can we use spontaneity in making theatre and exploring a text? In this workshop John Wright will explore a range of games and techniques to inform and broaden creative opportunities in teaching drama
32. PRIMAVISTA:Trojan Women by EURIPIDES
    George Zamboulakis, stage director, Hellas
    Thanos Vovolis, set designer, Hellas
    Saturday 11.30-18.00
    Greek
    The subject of the workshop is the staging of the Greek tragedy. During  a five hours workshop  the participants shall have the opportunity  both to follow and to participate in the creation  of a performance based upon the Trojan Women of Euripides. Workshop material: Dramaturgical analysis of the play, acting, chorus, set, music, lighting, design. Synthesis of the material: Creative reading, creation of the performance. Themes: The consequences of the war, enslavement uprooting, loss of the fatherland, becoming a foreigner.