Doctoral Thesis
Museum Theater Techniques in Greek Museum Spaces: an Extensive Approach Based on Contemporary Art Exhibitions
Elli S. Fasoi
Supervisor: Associate Professor Martin Kreeb Department of Theatre Studies
Patras 2016
UNIVERSITY OF PATRAS
DEPARTMENT OF THEATRE STUDIES
"Museum Theater Techniques in Greek Museum Spaces:
an Extensive Approach Based on Contemporary Art Exhibitions"
Elli S. Fasoi
Advisory Committee:
Associate Professor Martin Kreeb (Supervisor)
Assistant Professor George Papaioannou
Professor Pavlos Lefas
Patras, 2016
i
ACKNOWLEDGEMENTS
Given this opportunity, I would like to express my gratitude and respect to everyone who helped make this dissertation possible. First and primarily my supervisor,
Associate Professor Martin Kreeb, who trusted me and gave me the opportunity to work under his guidance. He has played a major role in what I am today.
I would also like to thank Assistant Professor George Papaioannou, Professor Pavlos
Lefas, and Associate Professor Thanassis Karalis. They were more than willing to answer my questions and offer advices whenever needed.
Furthermore, I would like to express my deepest appreciation to Vaso Maryelou, the
Peri Technon's gallery owner. This work would have been impossible without her support and willingness to help in the thesis first practical part. Looking back, I consider myself very lucky that I had the chance to collaborate with her.
I would also like to thank Kleomenis Kostopoulos, the Art in Progress' director, for his willingness to bestow the exhibition space in order to complete the thesis second practical part. I would be grateful to work with him again in the future.
Special thanks go to Faidra Petta, the actress, for her volunteering in the theatrical play.
She was an excellent collaborator!
Additionally, I gratefully acknowledge the help of the 'Skagiopouleio Project' exhibition's curator, Nikos Podias, who provided valuable information and knowledge about the exhibits.
Last but not least, I would like to personally thank my father, Professor Spilios Fassois, for his guidance and advice. I would also like to thank my mother, Sophia Deli, and my
ii
husband, Antony Koumpias, for their emotional support and for always being there for me!
iii
TABLE OF CONTENTS
Acknowledgements ...... ii
Table of Contents ...... iv
List of Figures ...... viii Abstract...... x
Thesis Summary ...... xi
Περιληψη ...... xiii
Συνοψη ...... xv
1 Introduction ...... 1
1.1 What is a Museum? ...... 1
1.2 What is Theater and its Connection to Museums? ...... 2
1.3 What is Museum Theater? ...... 3
1.4 Problem Statement ...... 5 1.5 Aim and Objectives ...... 6
1.6 Literature Review ...... 7
1.7 Research Methodology ...... 19
1.8 Research Limitations ...... 20
1.9 Research Innovations and Significance ...... 21
1.10 Museum Theater and its Parameters ...... 22
1.10.1 Museum Theater: History, Present and Future ...... 22
1.10.2 Museum Education in Relation to Museum Theater ...... 27
1.10.3 New Technologies, Museum, Theater, and Education ...... 29 1.10.4 Architecture, Museums, and Theater (Museum Design) ...... 30
1.10.5 Contemporary Art Exhibitions ...... 32
2 Museum Theater Strategies in International Art Museums and Greek Museums ...... 34
2.1 Museum Theater Strategies ...... 34
2.2 Museum Theater Programs In International Art Museums ...... 37
2.2.1 The National Gallery of Art, Washington DC, United States ...... 38
iv
2.2.2 The Art Gallery of South Australia, Adelaide, Australia ...... 39
2.2.3 The Newark Museum, New Jersey, United States ...... 40
2.2.4 The Walters Art Museum, Baltimore, United States ...... 41
2.2.5 The Hepworth Wakefield Gallery, West Yorkshire, England - United Kingdom .. 42
2.2.6 The Scottish National Portrait Gallery, Edinburgh, Scotland - United Kingdom ... 44 2.2.7 Conclusions ...... 45
2.3 Museum Theater Programs In Greek Museums ...... 45
2.3.1 The Museum of Local Art and Agricultural History, Arolithos...... 46
2.3.2 The B&M Theocharakis Foundation, Athens ...... 47
2.3.3 The Athens University Museum, Athens ...... 49
2.3.4 The Benaki Museum, Athens...... 51
2.3.5 The Museum of Greek Folk Art, Athens ...... 52
2.3.6 The National Archaeological Museum, Athens ...... 53
2.3.7 The Archaeological Museum of Patras, Patras ...... 55 2.3.8 The Acropolis Museum, Athens ...... 56
2.3.9 The Museum of Cycladic Art, Athens ...... 57
2.3.10 The Macedonian Museum of Contemporary Art, Thessaloniki ...... 59
2.3.11 The Museum of Contemporary Art (MoCA Goulandris Foundation), Andros Island ...... 60
2.3.12 Conclusions ...... 61
2.4 Why Use Museum Theater? ...... 63
3 Proposed Action 1: 'A Street is All' ...... 69
3.1 The Peri Technon cultural center ...... 69
3.1.1 Description ...... 69
3.1.2 Mission Statement ...... 70
3.2 The Theatrical Production 'A Street is All' ...... 71 3.2.1 Before the Theatrical Production ...... 71
3.2.2 During the Theatrical Production ...... 80 3.2.3 After the Theatrical Production ...... 89
v
4 Proposed Action 2: 'The Orphanage House: Cleaning and Thinking Through the Ages' ..... 97
4.1 The Art of Progress Company ...... 97
4.1.1 Company Description...... 97
4.1.2 Mission Statement ...... 99
4.2 The Theatrical Production 'The Orphanage House: Cleaning and Thinking Through the Ages' 99
4.2.1 Before the Theatrical Production ...... 99
4.2.2 During the Theatrical Production ...... 114 4.2.3 After the Theatrical Production ...... 124
4.3 An Overview Of The Two Proposed Actions ...... 130
5 Conclusions ...... 133
5.1 Basic Outcomes of the Study ...... 133
5.2 Suggestions for Future Work ...... 135
Appendix A ...... 137
Project I - Exhibition Title: 'It's a Long Road' ...... 137
Scenario ...... 137
Observation Form ...... 140
1st Questionnaire - Before the Theatrical Play ...... 141
2nd Questionnaire - After the Theatrical Play ...... 143
3rd Questionnaire - Recall ...... 145
Appendix B ...... 147
Project II - Exhibition Title: 'Skagiopouleio Project' ...... 147
Scenario ...... 147
Observation Form ...... 150
1st Questionnaire - After the Theatrical Play ...... 151
2nd Questionnaire - Recall ...... 153 Catalogue I ...... 155
Exhibition: 'It's a Long Road' ...... 155 Catalogue II ...... 156
vi
Exhibition: 'Skagiopouleio Project' ...... 156
Bibliography ...... 157
vii
LIST OF FIGURES
Figure 1: Phineas Taylor Barnum (source: Barnum Museum website) ...... 23 Figure 2: "Children to Study Art", NYT, September 22, 1917. (source: New York Times website) ...... 24 Figure 3: Tia James performing the painting 'Near Andersonville' (source: YouTube website) .. 41 Figure 4: The Sculptor's Surprise (source: Annual Review 2011-2012) ...... 43 Figure 5: Portrait Detectives (source: National Galleries of Scotland website) ...... 44 Figure 6: Guests at Granny's House (source: Arolithos Museum website) ...... 46 Figure 7: Stories with Colors Harmoniously (source: personal collection) ...... 48 Figure 8: Why on earth would you study science? (source: Tsitou 2013) ...... 49 Figure 9: Trips to a Forgotten Town (source: Benaki Museum website) ...... 51 Figure 10: We Fairytale-Travel and Create Masks (source: Museum of Greek Folk Art website)..... 53 Figure 11: These games remind me of something... (source: National Archaeological Museum website) ...... 54 Figure 12: Tales for Spells, Amulets and Magic (source: Museum of Cycladic Art website)...... 58 Figure 13: The 'Peri Technon' Cultural Center (source: personal collection) ...... 70 Figure 14: 'It's a Long Road' Exhibition's Poster (source: personal collection) ...... 71 Figure 15: Wall I (source: personal collection) ...... 72 Figure 16: Homeless Person (source: personal collection) ...... 73 Figure 17: Our Paper Visitor (source: personal collection) ...... 74 Figure 18: Wall II - Portrait of Kessanlis Nikos (source: personal collection) ...... 75 Figure 19: Wall III - Portrait of Katsiyiannis Christos (source: personal collection) ...... 76 Figure 20: Twelve Small-Sized Portraits (source: personal collection)...... 77 Figure 21: The Road (source: personal collection)...... 78 Figure 22: Advertisement on the local newspaper "Peloponnisos" 25.02.2014 (source: personal collection) ...... 85 Figure 23: Advertisement at www.iNews.gr 21.02.2014 (source: iNews website) ...... 85 Figure 24: 'It's a Long Road' - The Theatrical Play (source: personal collection)...... 86 Figure 25: 'It's a Long Road' - The Theatrical Play (source: personal collection)...... 88 Figure 26: RE-Culture I, Agora Argiri (source: Art in Progress website) ...... 98 Figure 27: RE-Culture III poster (source: personal collection) ...... 100 Figure 28: Skagiopouleio Old Building - Exhibition Building (source: Skagiopouleio Study website) ...... 101 Figure 29: Portrait of P.S. (source: personal collection) ...... 103 Figure 30: Uterus (source: personal collection) ...... 104
viii
Figure 31: Still I (source: personal collection)...... 105 Figure 32: Still II (source: personal collection) ...... 106 Figure 33: Untitled (source: personal collection) ...... 107 Figure 34: Assets of Life (source: personal collection) ...... 108 Figure 35: I [Never] Promised you a Rose Garden (source: personal collection) ...... 109 Figure 36: Family Hunger (source: personal collection) ...... 110 Figure 37: Crib, Repetition (source: personal collection) ...... 111 Figure 38: Untitled (source: personal collection) ...... 112 Figure 39: Advertisement at www.thebest.gr 17.12.2014 (source: thebest website) ...... 120 Figure 40: Advertisement at www.iNewsgr.com 17.12.2014 (source: iNewsgr website) ...... 120 Figure 41: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection) ...... 121 Figure 42: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection) ...... 123 Figure 43: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection) ...... 123
ix
ABSTRACT
Throughout the twentieth century, museologists have sought various new ways for visitors to engage with art, with some of them based on the use of theatrical techniques.
This thesis explores the use of museum theater techniques - essentially for the first time - in Greek museums. Do Greek museums use museum theater? What theatrical techniques do they mostly use?
Although, this thesis focuses on Greek museums, international museums are not excluded. While most papers and books refer to science, history, and children's museums, this study's focus lies on art museums. Do international art museums use museum theater? What about national art institutions?
While most research and papers analyze the use of museum theater for children, this thesis' practical part focuses on adult-visitors only. At its best, museum theater may engage visitors intellectually, emotionally, and physically, but at its worst it may make visitors feel strange or threatened. So, how do adults feel about museum theater? Is museum theater a magical interpretative tool only for children or can it be beneficial for adults as well?
This thesis is seeking answers to the above questions, while at the same time, it presents two museum theater programs designed and conducted within two different Greek contemporary art exhibitions. While both theatrical plays were addressed at adults only, each play was based on different museum theater techniques so that comparisons lead to a number of conclusions. Findings and conclusions include recommendations and practical ideas for using museum theater techniques in adult-groups within contemporary art exhibitions.
x
THESIS SUMMARY
The thesis comprises five chapters.
In Chapter I, the museum definition, the theater definition and connection to museums, and the museum theater's definition are presented. Thereinafter, the chapter focuses on the problem statement, aims and objectives. Literature review follows, analyzing the contributors of museum theater and their work. Furthermore, research methodology, limitations and significance are also presented in this chapter, along with some basic parameters. These include the history of museum theater, a brief analysis of museum education, new technologies in museums, museum architecture, and contemporary art exhibitions.
Chapter II analyzes the different types of museum theater, and examines their use in
Greek museums. Alongside, examples from abroad are also presented. The chapter focuses in a more detailed manner on art museums (national and international) that make use of theatrical techniques to interpret their collections.
Chapter III presents the thesis' first proposed action, the performance 'A Street is All', which was designed for and implemented in a Greek cultural center (Peri Technon
Gallery, Patras Greece). This chapter includes personal work, the design, conduction, and evaluation of the proposed theatrical production.
Chapter IV presents the design, conduction, and evaluation of a second proposed action: the performance 'The Orphanage House: Cleaning and Thinking Through the Ages'.
The exhibition was held in Skagiopouleio orphanage, within the international contemporary art festival RE-Culture III (Art in Progress Organization, Patras, Greece).
xi
Finally, Chapter V presents the thesis' main outcomes and conclusions, as well as ideas for further research.
xii
ΠΕΡΙΛΗΨΗ
Η παρούσα διατριβή βασίζεται στην φιλοσοφία της "Νέας Μουσειολογίας" και
εστιάζει σε δύο βασικούς προβληματισμούς. Πρώτον, διερευνά και αναλύει την
χρήση του μουσειακού θεάτρου σε μουσεία τέχνης του εξωτερικού και σε μουσεία
της Ελλάδας. Δεύτερον, παρουσιάζει, μελετά, και εξετάζει την εφαρμογή του
μουσειακού θεάτρου σε δύο περιπτωσιολογικές μελέτες με εστίαση στον ενήλικα
επισκέπτη.
Πιο συγκεκριμένα, στο Κεφάλαιο Ι, δίνεται ο ορισμός ορισμένων βασικών
μουσειολογικών εννοιών, καθώς και ο ορισμός του μουσειακού θεάτρου.
Επιπροσθέτως, τίθενται το κύριο ερώτημα και οι στόχοι της διατριβής. Στη
συνέχεια, παρουσιάζεται η βιβλιογραφική ανασκόπηση, στην οποία μελετητές
παρατίθενται με χρονολογική σειρά, η δε επιλογή τους έγινε με βάση το κύρος της
δουλειάς τους και της σχέσης της με τα μουσεία τέχνης. Επιπλέον, το κεφάλαιο
περιλαμβάνει την μεθοδολογία, τους περιορισμούς, τις καινοτομίες και την
σημασία της διατριβής. Τέλος, δίνεται η ιστορική αναδρομή του μουσειακού
θεάτρου εν συντομία, καθώς και ορισμένοι παράμετροι του.
Το Κεφάλαιο ΙΙ παρουσιάζει τα διάφορα είδη του μουσειακού θεάτρου και
καταγράφει την χρήση τους σε μουσεία τέχνης του εξωτερικού καθώς και σε
μουσεία της Ελλάδας. Η έρευνα επιτεύχθηκε μέσω διαδικτυακής έρευνας, μελέτης
πρόσφατων εργασιών, προσωπικών επισκέψεων, και συνεντεύξεων μέσω
μηνυμάτων ηλεκτρονικού ταχυδρομείου.
Το Κεφάλαιο ΙΙΙ παρουσιάζει βήμα-βήμα τον σχεδιασμό, την διεξαγωγή και την
αξιολόγηση της πρώτης περιπτωσιολογικής μελέτης της διατριβής, του
xiii
προγράμματος μουσειακού θεάτρου "Ο δρόμος είναι τα Πάντα", που
πραγματοποιήθηκε στο κέντρο πολιτισμού "Περί Τεχνών", στην Πάτρα.
Στο Κεφάλαιο IV παρουσιάζεται η δεύτερη περιπτωσιολογική μελέτη, το μουσειακό
θεατρικό δρώμενο "Το Ορφανοτροφείο: Καθαρίζοντας και Συλλογιζόμενη
Διαμέσου των Ετών". Το δρώμενο πραγματοποιήθηκε στην έκθεση "Skagiopouleio
Project" στα πλαίσια του φεστιβάλ "RE-Culture III", στην Πάτρα. Στο κεφάλαιο αυτό
παρουσιάζονται βήμα-βήμα η σύλληψη της ιδέας της θεατρικής παράστασης, ο
σχεδιασμός της, η διεξαγωγή της, καθώς και η αξιολόγησή της.
Τέλος, στο Κεφάλαιο V καταγράφονται τα βασικά αποτελέσματα και
συμπεράσματα της διατριβής. Παράλληλα, δίνονται ιδέες για περαιτέρω έρευνα και
ανάλυση.
xiv
ΣΥΝΟΨΗ
Η παρούσα διατριβή βασίζεται στην φιλοσοφία της "Νέας Μουσειολογίας" και
εστιάζει σε δύο βασικούς προβληματισμούς. Πρώτον, διερευνά και αναλύει την
χρήση του μουσειακού θεάτρου σε μουσεία τέχνης του εξωτερικού και σε μουσεία
της Ελλάδας. Δεύτερον, παρουσιάζει, μελετά, και εξετάζει την εφαρμογή του
μουσειακού θεάτρου σε δύο περιπτωσιολογικές μελέτες με εστίαση στον ενήλικα
επισκέπτη.
Πιο συγκεκριμένα, στο Κεφάλαιο Ι, δίνεται ο ορισμός ορισμένων βασικών
μουσειολογικών εννοιών, καθώς και ο ορισμός του μουσειακού θεάτρου.
Επιπροσθέτως, τίθενται το κύριο ερώτημα και οι στόχοι της διατριβής. Στη
συνέχεια, παρουσιάζεται η βιβλιογραφική ανασκόπηση, στην οποία μελετητές
παρατίθενται με χρονολογική σειρά, η δε επιλογή τους έγινε με βάση το κύρος της
δουλειάς τους και της σχέσης της με τα μουσεία τέχνης. Επιπλέον, το κεφάλαιο
περιλαμβάνει την μεθοδολογία, τους περιορισμούς, τις καινοτομίες και την
σημασία της διατριβής. Τέλος, δίνεται η ιστορική αναδρομή του μουσειακού
θεάτρου εν συντομία, καθώς και ορισμένοι παράμετροι του.
Από την ίδρυση του πρώτου μουσείου, ο ορισμός και η λειτουργία των οργανισμών
αυτών έχει αλλάξει δραματικά. Σύμφωνα με το 22ο Γενικό Συμβούλιο του ICOM
(The International Council of Museums) στην Βιέννη της Αυστρίας στις 24 Αυγούστου
2007:
"Ως μουσείο ορίζεται ο μη κερδοσκοπικός, μόνιμος οργανισμός, υποταγμένος στην
υπηρεσία της κοινωνίας και της ανάπτυξής της, ανοιχτός στο κοινό, ο οποίος
αποκτά, συντηρεί, ερευνά, επικοινωνεί και εκθέτει την υλική και άυλη κληρονομιά
xv
της ανθρωπότητας και του περιβάλλοντός της με σκοπό την εκπαίδευση, την
μελέτη και την ψυχαγωγία."
Ιστορικά, το θέατρο είχε πάντα εκπαιδευτικό χαρακτήρα. Ήδη από τα χρόνια της
αρχαιότητας, το θέατρο είχε σκοπό να κάνει τους θεατές να νιώσουν, να σκεφτούν,
και να μάθουν. Οι Ουμανιστές του 19ου αιώνα τόνιζαν ότι οι βασικές λειτουργίες
των θεατρικών μέσων και της λογοτεχνίας ήταν η διδαχή και η αρέσκεια του
κοινού. Στον 20ο αιώνα συναντάμε επίσημα πλέον και σε επιστημονικό επίπεδο
την ένωση του θεάτρου με την εκπαίδευση μέσω της γέννησης του μουσειακού
θεάτρου.
Το μουσειακό θέατρο γεννήθηκε το 1980 και ορίζεται με βάση το IMTAL
(International Museum Theater Alliance) ως "η οποιαδήποτε θεατρική τεχνική στον
μουσειακό χώρο με σκοπό την παροχή πληροφοριών και την διασκέδαση του
κοινού".
Πιο αναλυτικά, τα βασικά χαρακτηριστικά του μουσειακού θεάτρου είναι:
Ο εκπαιδευτικός και ψυχαγωγικός του χαρακτήρας.
Η μικρή χρονική του διάρκεια (περίπου είκοσι λεπτά).
Τα σκηνικά του θεατρικού καθορίζονται από την έκθεση ή από τον ίδιο τον
μουσειακό χώρο.
Η σύνδεση με τα εκθέματα ή το μουσείο.
Η συμμετοχή του κοινού είναι συνήθως απαραίτητη κατά την διάρκεια της
θεατρικής παράστασης.
Οι περισσότερες θεατρικές παραστάσεις είναι δωρεάν για το κοινό.
Τα κοστούμια, τα σκηνικά, η μουσική και ο ειδικός φωτισμός είναι συνήθως
απαραίτητα σύνεργα για την διεξαγωγή των θεατρικών παραστάσεων.
xvi
Το μουσειακό θέατρο έχει αποδειχθεί ένα αρκετά επιτυχημένο μουσειακό
ερμηνευτικό μέσο κατά την διάρκεια των τελευταίων δεκαετιών, ωστόσο δεν είναι
πολλοί οι τύποι των μουσείων που το χρησιμοποιούν. Επιπλέον, διαπιστώνεται ότι
ενώ στο εξωτερικό το μουσειακό θέατρο είναι ένα γνωστό και αρκετά διαδεδομένο
ερμηνευτικό μέσο, στην Ελλάδα σχεδόν απουσιάζει. Η διατριβή αυτή λοιπόν
παρουσιάζει και εξετάζει την χρήση του μουσειακού θεάτρου στα ελληνικά
μουσεία. Παράλληλα γίνεται και αναφορά σε μουσεία τέχνης του εξωτερικού.
Επιπροσθέτως, η διατριβή διερευνά την χρήση του μουσειακού θεάτρου σε εκθέσεις
Σύγχρονης Τέχνης. Θα μπορούσε το μουσειακό θέατρο να αποτελέσει ένα
επιτυχημένο ερμηνευτικό μέσο της Σύγχρονης Τέχνης; Τα έργα Σύγχρονης Τέχνης
μπορούν μέσω του θεάτρου να γίνουν πιο κατανοητά για το κοινό;
Ο βασικός σκοπός της διατριβής είναι η σύνδεση των μουσείων με τον χώρο του
θεάτρου. Πιο συγκεκριμένα, η διατριβή στοχεύει στη διερεύνηση του μουσειακού
θεάτρου στα ελληνικά μουσεία, με ιδιαίτερη έμφαση στα μουσεία τέχνης.
Επιπλέον, η διατριβή εστιάζει στο ενήλικο κοινό και παρουσιάζει δύο
περιπτωσιολογικές μελέτες μόνο για ενήλικες.
Το μουσειακό θέατρο, πράγματι, διαθέτει μια ποικιλία θεατρικών μέσων, και
πολλοί είναι οι επαγγελματίες που έχουν αφιερώσει την σταδιοδρομία τους στην
προώθηση και υποστήριξή του. Οι σημαντικότεροι ειδήμονες θεωρούνται η
Catherine Hughes (1998, 2008, και άλλα), η Tessa Bridal (2004, 2007, και άλλα) και ο
Anthony Jackson (2005, 2007, και άλλα). Τα βιβλία τους και η έρευνά τους αποτελούν
την επιστημονική βάση της έρευνας όλων των μετέπειτα ειδικών του τομέα.
Η μεθοδολογία της διατριβής βασίζεται σε τέσσερις βασικές προσεγγίσεις:
στην θεωρητική (υπάρχουσα βιβλιογραφία και εργασίες)
στις συνεντεύξεις με επαγγελματίες του χώρου των μουσείων
xvii
στην πρακτική (συμμετοχή σε ποικίλα εκπαιδευτικά προγράμματα
μουσειακού θεάτρου ελληνικών μουσείων & σχεδιασμός δύο
περιπτωσιολογικών μελετών)
στα ερωτηματολόγια (για την ανάλυση και αξιολόγηση των δύο
περιπτωσιολογικών μελετών)
Εν συνεχεία, γίνεται αναφορά στους περιορισμούς της διατριβής. Το πρακτικό
κομμάτι της διατριβής (οι δύο περιπτωσιολογικές μελέτες) εστιάζει μόνο σε δύο
μορφές μουσειακού θεάτρου: στην ερμηνεία πρώτου προσώπου και στο
διαδραστικό θέατρο. Οι δύο αυτοί τύποι μουσειακού θεάτρου θεωρήθηκαν οι πιο
κατάλληλοι σε σχέση με την θεματολογία των εκθέσεων και την ηλικία του κοινού.
Επιπλέον, η διατριβή αυτή αναφέρεται μόνο σε θεατρικά προγράμματα που έχουν
άμεση επαφή με κάποια έκθεση ενός μουσείου. Θεατρικά δρώμενα που δεν είναι
εμπνευσμένα από τα εκθέματα ενός μουσείου δεν αναφέρονται καθόλου σε αυτήν.
Γεωγραφικά, η διατριβή επικεντρώνεται κυρίως σε μουσεία της Αμερικής, της
Ευρώπης, και ιδιαίτερα της Ελλάδος. Επιπλέον πρακτικά θέματα όπως φωτισμός,
ήχος, ηθοποιία δεν αναλύονται σε αυτή την εργασία. Τέλος, η διατριβή εστιάζει
κυρίως σε ενήλικες επισκέπτες και συμμετέχοντες.
Η καινοτομία της διατριβής οφείλεται στο γεγονός ότι είναι μία από τις ελάχιστες
έρευνες που επικεντρώνονται στον ενήλικα επισκέπτη. Επίσης, είναι η πρώτη
μεγάλη έρευνα για το μουσειακό θέατρο στα ελληνικά μουσεία και μία από τις
ελάχιστες παγκοσμίως που αφορά εκθέσεις και μουσεία τέχνης, και ειδικότερα
εκθέσεις Σύγχρονης Τέχνης.
Σύμφωνα με τον Anthony Jackson, οι επιστημονικοί τομείς το "Θέατρο Στην
Εκπαίδευση (Theater In Education, TIE)" και το "Δράμα Στην Εκπαίδευση (Drama In
Education, DIE)" αποτελούν τις ρίζες του μουσειακού θεάτρου (museum theater).
xviii
Ιστορικά, ψάχνοντας την απαρχή του μουσειακού θεάτρου, φτάνουμε στα μέσα του
19ου αιώνα. Το 1850 ο Phineas Taylor Barnum, ο δημιουργός διαφόρων
επιτυχημένων μουσείων της Αμερικής εκείνης της εποχής, χρησιμοποιούσε το
θέατρο μέσα στον μουσειακό χώρο. Ήταν γνωστός για τις εκθέσεις του με διάφορα
αξιοπερίεργα εκθέματα (curiosities) και για την θεατρική διασκέδαση που παρείχε
στο κοινό.
Εν συνεχεία, το 1880 οι Chautauqua παρείχαν εκπαίδευση, μουσική, ομιλίες και
διασκέδαση σε αγροτικές κοινωνίες της Αμερικής, συνδυάζοντας πολλές φορές το
θέατρο με ποικίλα ιστορικά θέματα. Συγκεκριμένα, οι Chautauqua προσέφεραν
περιοδικές παραστάσεις με ηθοποιούς που υποδύονταν γνωστά πρόσωπα της
ιστορίας, της πολιτικής και της επιστήμης.
Το 1900, η Anna Curtis Chandler έγινε γνωστή για τις ιστορίες και την αγάπη της για
την τέχνη. Στο Metropolitan Museum of Art της Νέας Υόρκης, αφηγείτο σε παιδιά
ιστορίες για διάσημους ζωγράφους και τα έργα τους.
Επιπλέον, το 1900 συναντάμε το μουσειακό θέατρο και στο υπαίθριο μουσείο
Skansen της Σουηδίας. Το Skansen αποτελεί μια αναπαράσταση των παλιών
Σουηδικών χωριών, με ηθοποιούς να υποδύονταν τους φουρνάρηδες, τους τεχνίτες,
τις νοικοκυρές, φορώντας όλοι τους τα αντίστοιχα κοστούμια.
Τέλος, το 1980 τρία αμερικάνικα μουσεία χρησιμοποίησαν επίσημα για πρώτη φορά
το μουσειακό θέατρο. Τα τρία αυτά μουσεία είναι το Smithsonian National Portrait
Gallery της Washington DC, το Science Museum της Minnesota, και το Museum of
Science and Industry του Chicago.
Στη συνέχεια, το 1990 γεννήθηκε η ανάγκη για έναν επίσημο οργανισμό με στόχο
την υποστήριξη και την διάδοση του μουσειακού θεάτρου. Η Catherine Hughes
xix
ίδρυσε τον πρώτο οργανισμό για το μουσειακό θέατρο, το International Museum
Theatre Alliance (IMTAL), με σκοπό την προώθηση του μουσειακού θεάτρου και την
διοργάνωση εργαστηρίων, συνεδρίων και συναντήσεων. Το 1992, η Tessa Bridal
ίδρυσε το Museum Theater Professional Interest Council (MTPIC).
Σήμερα το μουσειακό θέατρο αποτελεί ένα αρκετά διαδεδομένο ερμηνευτικό μέσο
σε πολλά μουσεία ανά τον κόσμο. Νέες έρευνες και πειράματα πραγματοποιούνται
συστηματικά σε μεγάλα και μικρά μουσεία.
Ήδη από τα χρόνια της Αναγέννησης, το μουσείο είχε ως βασικό του στόχο την
εκπαίδευση του κοινού, αν και καθορισμένου. Η απαρχή του δημόσιου μουσείου
όμως, του μουσείου που είναι ανοιχτό δηλαδή για το ευρύτερο κοινό, σημειώνεται
είτε με την ίδρυση του Ashmolean Museum το 1683 στην Οξφόρδη, είτε με το
άνοιγμα του Louvre Palace's Grand Gallery το 1793 στο Παρίσι. Επίσημα το 1970, η
"Νέα Μουσειολογία" άλλαξε.την φιλοσοφία λειτουργίας των μουσείων. Η εστίαση
δεν ήταν πλέον στα αντικείμενα, αλλά στον ίδιο τον επισκέπτη, με αποτέλεσμα τα
μουσεία σιγά σιγά να αφήνουν πίσω τους τον ελιτίστικο χαρακτήρα τους και να
προσπαθούν να βρουν τρόπους να γίνουν πιο ανοιχτά και διαδραστικά για το
ευρύτερο κοινό.
Το μουσειακό θέατρο λοιπόν βασισμένο στις εκπαιδευτικές αξίες της μουσειακής
εκπαίδευσης και του ίδιου του θεάτρου, μπορεί να παρέχει στους επισκέπτες γνώση
και ψυχαγωγία.
Για να σωστή διεξαγωγή ενός προγράμματος μουσειακού θεάτρου, θα πρέπει και ο
αρχιτεκτονικός χώρος του μουσείου να είναι ευνοϊκός. Ο αντίστοιχος χώρος, για
την διεξαγωγή μιας θεατρικής παράστασης σε έναν εκθεσιακό χώρο, θα πρέπει να
είναι ευρύχωρος, τόσο για το κοινό και τους ηθοποιούς, όσο και για την ίδια την
ασφάλεια των εκθεμάτων.
xx
Επιπλέον, οι νέες τεχνολογίες μπορούν να έχουν θετική επίδραση στα δρώμενα και
στις δραστηριότητες μουσειακού θεάτρου. Μπορούν να χρησιμοποιηθούν κατά την
διάρκεια μιας θεατρικής παράστασης (ένας προβολέας για παράδειγμα μπορεί να
προβάλλει διάφορες εικόνες ή βίντεο για τον σκηνικό εμπλουτισμό ενός θεατρικού
δρώμενου) ή ακόμα και μετά την παράσταση (η βιντεοσκόπηση ενός θεατρικού
δρώμενου μπορεί να προβληθεί πολλές φορές μετέπειτα).
Γιατί όμως η διατριβή αυτή εστιάζει στην Σύγχρονη Τέχνη; Η Σύγχρονη Τέχνη
αποτελεί μία από τις πιο αμφιλεγόμενες περιόδους στην ιστορία της τέχνης. Από
την δεκαετία του 1980 μέχρι και σήμερα, τα έργα Σύγχρονης Τέχνης δεν
συγκρίνονται με τα έργα προηγούμενων καλλιτεχνικών ρευμάτων. Αντικείμενα,
σκουπίδια, φωτογραφίες, βίντεο, ακόμα και το ίδιο το κορμί του καλλιτέχνη
αποτελούν κάποια από τα πιο συνηθισμένα υλικά των σύγχρονων καλλιτεχνών.
Σήμερα, τα έργα τέχνης δεν αντικατοπτρίζουν την ρεαλιστική πραγματικότητα,
αλλά την υποκειμενική ιδέα που έχει ο κάθε καλλιτέχνης για αυτήν.
Βασική λοιπόν πρόκληση της διατριβής είναι η πιθανή χρήση του μουσειακού
θεάτρου σε εκθέσεις Σύγχρονης Τέχνης με σκοπό να μετατραπεί από αινιγματική
σε κατανοητή και προσιτή για το ευρύτερο κοινό.
Το Κεφάλαιο ΙΙ παρουσιάζει τα διάφορα είδη του μουσειακού θεάτρου και
καταγράφει την χρήση τους σε μουσεία τέχνης του εξωτερικού και σε μουσεία της
Ελλάδας.
Συνοπτικά, το μουσειακό θέατρο αποτελείται από τις εξής βασικές μορφές:
Ερμηνεία Πρώτου Προσώπου
Ο ερμηνευτής ντυμένος με κοστούμι της αντίστοιχης εποχής, υποδυόμενος
κάποιο αληθινό ή φανταστικό χαρακτήρα, αφηγείται μία ιστορία, ερμηνεύει
xxi
τα εκθέματα και αλληλεπιδρά με το κοινό. Ο ερμηνευτής δεν παρουσιάζεται
ως ο εαυτός του.
Ερμηνεία Τρίτου Προσώπου
Ο ερμηνευτής, ντυμένος με κοστούμι της αντίστοιχης εποχής, αφηγείται μία
ιστορία ενώ ταυτόχρονα ερμηνεύει τα εκθέματα και αλληλεπιδρά με το
κοινό. Παραμένει όμως ο εαυτός του καθ' όλη τη διάρκεια της παράστασης.
Συμμετοχικό/Διαδραστικό Θέατρο
Ο θεατής καλείται να συμμετάσχει κατά τη διάρκεια του θεατρικού
δρώμενου. Συγκεκριμένα, το συμμετοχικό θέατρο απαιτεί την κινητική
συμμετοχή του κοινού (χορός ή παιχνίδι), ενώ το διαδραστικό μόνο την
λεκτική συμμετοχή του κοινού (διάλογος).
Αφήγηση
Η αφήγηση αποτελεί το πιο διαδεδομένο είδος μουσειακού θεάτρου και
χρησιμοποιείται για εκπαιδευτικές δραστηριότητες με παιδιά και ενήλικες.
Παιχνίδι ρόλων
Ο ερμηνευτής και το κοινό δουλεύουν μαζί και αλληλεπιδρούν, ο καθένας
όμως έχοντας τον δικό του ρόλο.
Αναβίωση
Η αναβίωση είναι η πιο δημοφιλής τακτική για την αναδημιουργία ενός
ιστορικού γεγονότος.
Κουκλοθέατρο
Το κουκλοθέατρο ανήκει επίσης στις πιο διαδεδομένες μορφές μουσειακού
θεάτρου και τις περισσότερες φορές χρησιμοποιείται σε ομάδες παιδιών.
Παντομίμα
Ο ηθοποιός δεν μιλάει κατά την διάρκεια του θεατρικού δρώμενου.
Ζωντανή Ιστορία
xxii
Η τεχνική αυτή εφαρμόζεται κυρίως σε ιστορικά μνημεία και σε υπαίθρια
μουσεία και έχει ως στόχο είτε την αναβίωση ενός ιστορικού γεγονότος, είτε
την αναδημιουργία των συνθηκών διαβίωσης μιας συγκεκριμένης χρονικής
περιόδου.
Στη συνέχεια, το κεφάλαιο παρουσιάζει έξι μουσεία τέχνης του εξωτερικού που
χρησιμοποιούν εκτενώς το μουσειακό θέατρο στα εκπαιδευτικά τους προγράμματα.
Τα μουσεία αυτά είναι:
The National Gallery of Art, Washington DC, Ηνωμένες Πολιτείες Αμερικής
The Art Gallery of South Australia, Adelaide, Αυστραλία
The Newark Museum, New Jersey, Ηνωμένες Πολιτείες Αμερικής
The Walters Art Museum, Baltimore, Ηνωμένες Πολιτείες Αμερικής
The Hepworth Wakefield Gallery, West Yorkshire, Αγγλία - Ηνωμένο Βασίλειο
The Scottish National Portrait Gallery, Edinburgh, Σκωτία - Ηνωμένο Βασίλειο
Παρόλο που το μουσειακό θέατρο είναι πράγματι πολύ διαδεδομένο σε παγκόσμια
κλίμακα, η απουσία μουσείων τέχνης ή γκαλερί που χρησιμοποιούν το θέατρο ως
ερμηνευτικό μέσο είναι εμφανέστατη. Ωστόσο, στα παραπάνω εξεταζόμενα
μουσεία τέχνης, παρατηρήθηκε ότι η αφήγηση αποτελεί την πιο διαδεδομένη
τεχνική λόγω των πλεονεκτημάτων που προσφέρει σε ακροατές όπως τα παιδιά,
αλλά και το ότι καθιστά έναν οικομονικό τρόπο παρουσίασης των εκθεμάτων.
Στη συνέχεια παρουσιάζονται έντεκα ελληνικά μουσεία γενικότερου
ενδιαφέροντος που χρησιμοποιούν το θέατρο στα εκπαιδευτικά τους προγράμματα.
Τα μουσεία, τα οποία επιλέχθηκαν με βάση την σημασία των συλλογών τους και
την πληθώρα των εκπαιδευτικών προγραμμάτων τους, είναι τα εξής:
Μουσείο Αγροτικής Ιστορίας και Λαϊκής Τέχνης, Αρόλιθος (Κρήτη)
xxiii
Ίδρυμα Β&Μ Θεοχαράκη, Αθήνα
Μουσείο Ιστορίας του Πανεπιστημίου Αθηνών, Αθήνα
Μουσείο Μπενάκη, Αθήνα
Μουσείο Ελληνικής Λαϊκής Τέχνης, Αθήνα
Εθνικό Αρχαιολογικό Μουσείο, Αθήνα
Αρχαιολογικό Μουσείο Πατρών, Πάτρα
Μουσείο Ακρόπολης, Αθήνα
Μουσείο Κυκλαδικής Τέχνης, Αθήνα
Μακεδονικό Μουσείο Σύγχρονης Τέχνης, Θεσσαλονίκη
Μουσείο Σύγχρονης Τέχνης (Ίδρυμα Βασίλη & Ελίζας Γουλανδρή), Άνδρος
Αν και τα ελληνικά μουσεία γενικά χρησιμοποιούν τα παραδοσιακά μέσα
ερμηνείας, υπάρχει προσπάθεια για περισσότερη διαδραστικότητα. Η έρευνα αυτή
απέδειξε ότι η αφήγηση αποτελεί την πιο συνηθισμένη μορφή μουσειακού θεάτρου
στα ελληνικά μουσεία. Έπειτα ακολουθούν το παιχνίδι ρόλων και το
κουκλοθέατρο. Επιπλέον, σχεδόν όλα τα εκπαιδευτικά προγράμματα που
αποτελούνται από θεατρικά στοιχεία απευθύνονται σε παιδιά. Οι ενήλικες δεν
έχουν συχνά την ευκαιρία να απολαύσουν το μουσειακό θέατρο, εκτός από
ελάχιστα σποραδικά προγράμματα αφήγησης.
Επιπροσθέτως, η έρευνα αυτή απέδειξε ότι τα ελληνικά αρχαιολογικά μουσεία
κάνουν περισσότερη χρήση του μουσειακού θεάτρου από τα υπόλοιπα ελληνικά
μουσεία , και ιδιαίτερα από τα μουσεία τέχνης, και ότι το κάθε είδος μουσείου
χρησιμοποιεί συγκεκριμένες θεατρικές τεχνικές. Στην Ελλάδα βρέθηκαν μόνο δύο
μουσεία τέχνης που κάνουν χρήση του μουσειακού θεάτρου.
Η τεχνική του μουσειακού θεάτρου στα αρχαιολογικά μουσεία χρησιμοποιείται
πιθανώς γιατί είναι ευκολότερο να εκμεταλλευτεί κανείς την πλούσια ελληνική
xxiv
μυθολογία για να ερμηνεύσει μια έκθεση. Οι μύθοι και οι χαρακτήρες του αρχαίου
ελληνικού πολιτισμού ίσως καθιστούν την αφήγηση και τα παιχνίδια ρόλων ως δύο
φυσικούς τρόπους επεξήγησης των εκθεμάτων στους επισκέπτες ενός μουσείου.
Ενώ λοιπόν, η αφήγηση είναι ένας συνηθισμένος, εύκολος και οικονομικός τρόπος
να αναδείξει κανείς την πλούσια ελληνική μυθολογία, οι μαριονέτες του
κουκλοθεάτρου από την άλλη, πιθανόν να βοηθούν στην επεξήγηση της
"πολύπλοκης" Σύγχρονης Τέχνης. Το κουκλοθέατρο μπορεί εύκολα να
δημιουργήσει και να υποστηρίξει μια φανταστική όσο και μια πραγματική ιστορία
ή ατμόσφαιρα και να ψυχαγωγήσει το κοινό. Είναι ιδανικό για μια ευκολότερη
παρουσίαση δυσνόητων ή ασυνήθιστων ιδεών και σημερινών προβληματισμών,
εφόσον οι μαριονέτες μπορούν να πάρουν οποιαδήποτε μορφή, σχήμα ή μέγεθος.
Στη συνέχεια, η διατριβή παραθέτει αποσπάσματα από εκθέσεις (reports) και
συνεντεύξεις με μουσειολόγους από διάφορα ευρωπαϊκά και ελληνικά μουσεία,
τονίζοντας τους λόγους που χρησιμοποιούν το μουσειακό θέατρο στα εκπαιδευτικά
τους προγράμματα. Για τα κατώτερω μουσεία ήταν εφικτό να βρεθούν εκθέσεις ή
να παρουσιαστούν συνεντεύξεις:
The Manchester Museum, Manchester
The London Museum of Natural History, London
The Scottish National Portrait Gallery, Edinburgh
Το Μουσείο Ιστορίας του Πανεπιστημίου Αθηνών, Αθήνα
Το Αρχαιολογικό Μουσείο Πατρών, Πάτρα
Το Μουσείο Σύγχρονης Τέχνης (Ίδρυμα Βασίλη & Ελίζας Γουλανδρή), Άνδρος
Οι σημαντικότεροι λόγοι για τους οποίους τα παραπάνω μουσεία κάνουν χρήση του
μουσειακού θεάτρου είναι οι εξής:
το μουσειακό θέατρο "ζωντανεύει" τα εκθέματα
xxv
το κοινό εμπλέκεται βαθύτερα με τα εκθέματα χάρη στο θέατρο
το μουσειακό θέατρο ψυχαγωγεί το κοινό
το μουσειακό θέατρο εκπαιδεύει το κοινό
Το Κεφάλαιο ΙΙΙ παρουσιάζει βήμα-βήμα τον σχεδιασμό, την διεξαγωγή και την
αξιολόγηση της πρώτης περιπτωσιολογικής μελέτης της διατριβής, του
προγράμματος μουσειακού θεάτρου "Ο δρόμος είναι τα Πάντα", που
πραγματοποιήθηκε στο κέντρο πολιτισμού "Περί Τεχνών", στην Πάτρα.
Το κέντρο πολιτισμού "Περί Τεχνών" ιδρύθηκε το 1996 και για δύο ολόκληρες
δεκαετίες διοργάνωνε ποικίλες δραστηριότητες, εκθέσεις, και παρουσιάσεις
βιβλίων. Όλες οι εκθέσεις συνοδεύονταν από ξεναγήσεις για σχολεία και ομιλίες
για ενήλικες.
Τον Φεβρουάριο του 2014, το "Περί Τεχνών" φιλοξένησε την έκθεση Σύγχρονης
Τέχνης "Όλα είναι δρόμος". Στην έκθεση αυτή συμμετείχαν δύο πατρινοί
καλλιτέχνες, ο Γιώργος Λιακόπουλος και ο Χρήστος Κατσίγιαννης, γνωστός και ως
"ondo".
Τα δεκαοκτώ εκτιθέμενα έργα του Γιώργου Λιακόπουλου ήταν δημιουργίες μικτής
τεχνικής και ένα χάρτινο γλυπτό, ενώ τα δεκατρία έργα του Χρήστου Κατσίγιαννη
ήταν σκίτσα με μελάνι και γκραφίτι. Όλα τα έργα της έκθεσης απεικόνιζαν τοίχους
της πόλης, γνωστές φυσιογνωμίες και τοπικά θέματα της Πάτρας.
Μετά από την σύντομη παρουσίαση των εκθεμάτων που επιλέχθηκαν για το
θεατρικό δρώμενο, το ενδιαφέρον επικεντρώνεται στην διαδικασία σχεδιασμού του.
Τα κοινωνικά, πολιτικά και ανθρωπιστικά μηνύματα της έκθεσης, ο τοπικός της
χαρακτήρας, καθώς και ο ενθουσιασμός της ιδιοκτήτριας του πολιτιστικού κέντρου
xxvi
(Βάσω Μαργιελού), ήταν οι βασικοί λόγοι για τους οποίους επιλέχθηκε η
συγκεκριμένη έκθεση ως περιπτωσιολογική μελέτη για τη διατριβή.
Το πρώτο και κυριότερο βήμα πριν τον σχεδιασμό του θεατρικού δρώμενου ήταν η
προσωπική εξοικείωση με την έκθεση, η οποία και επιτεύχθηκε μέσω των
πολλαπλών επισκεψεών μου στον εκθεσιακό χώρο, της γνωριμίας μου με τους
ίδιους τους καλλιτέχνες, και φυσικά μέσω των πολλών συζητήσεων με την
ιδιοκτήτρια και επιμελήτρια της έκθεσης, την Βάσω Μαργιελού.
Η ιδέα για το θεατρικό δρώμενο ήταν η εξής: η ηθοποιός θα παρίστανε ένα δέντρο.
Τα δέντρα είναι ζωντανοί οργανισμοί, βρίσκονται σε αρκετούς δρόμους της Πάτρας
και παραμένουν στην ίδια θέση για πολλά χρόνια. Επιπλέον, σε πολλά παραμύθια
συναντάμε δέντρα που μιλάνε. Έτσι, το θεατρικό δρώμενο σχεδιάστηκε πάνω σε
αυτή την βασική ιδέα.
Στο θεατρικό δρώμενο επιλέχθηκε να γίνει χρήση δύο ειδών μουσειακού θεάτρου:
της ερμηνείας πρώτου προσώπου και του διαδραστικού θεάτρου. Η ηθοποιός, ως
δέντρο, αφηγείτο ιστορίες σχετικές με τα εκθέματα, ενώ παράλληλα καλούσε το
κοινό να συμμετάσχει λεκτικά κατά την διάρκεια της παράστασης.
Ο βασικός στόχος του θεατρικού δρώμενου ήταν η προώθηση της μάθησης και της
ψυχαγωγίας σε όλους τους συμμετέχοντες. Επιπλέον, στόχευε στην αξιολόγηση
των δύο χρησιμοποιηθέντων ειδών μουσειακού θεάτρου σε μια έκθεση Σύγχρονης
Τέχνης, σε έναν εκθεσιακό χώρο που δεν έχει ξαναγίνει χρήση μουσειακού
θεάτρου.
Ωστόσο, η ντροπαλή στάση των ενηλίκων κατά την διάρκεια του διαδραστικού
θεάτρου ήταν ως ένα βαθμό αναμενόμενη. Παρόμοια προγράμματα μουσειακού
xxvii
θεάτρου σε μουσεία του εξωτερικού έχουν αποδείξει την ντροπαλότητα των
ενηλίκων όταν συμμετέχουν λεκτικά σε ομαδικές δραστηριότητες.
Το σενάριο του θεατρικού δρώμενου γράφτηκε από μένα και βασίστηκε στα
εκθέματα. Η ηθοποιός παρίστανε ένα δέντρο στο κέντρο της Πάτρας, το οποίο
παραμένοντας στο ίδιο σημείο για πάνω από σαράντα χρόνια, αφηγείτο για
δεκαπέντε λεπτά ιστορίες από την πόλη. Πιο συγκεκριμένα, κατά την διάρκεια του
θεατρικού, το κοινό καλείτο να συμμετάσχει λεκτικά, με σκοπό να εμπλακεί σε ένα
φανταστικό ταξίδι στο κέντρο της Πάτρας, να εντοπίσει σημαντικά κοινωνικά
προβλήματα της πόλης (όπως φτώχεια και ανεργία), να αναγνωρίσει οικεία
πρόσωπα, και να συζητήσει για την Σύγχρονη Ελληνική Τέχνη. Μεταξύ των άλλων,
το δέντρο μετέδιδε ένα οικολογικό μήνυμα - ότι δεν υπάρχουν πολλά δέντρα πλέον
στις τσιμεντένιες ελληνικές πόλεις.
Όσον αφορά το υποκριτικό κομμάτι, ήταν προσωπική μου επιλογή να "ζήσω" την
θεατρική αυτή εμπειρία και να αναλάβω τον ρόλο. Η εμπειρία μου στα μουσειακά
εκπαιδευτικά προγράμματα με βοήθησε να δω την όλη διαδικασία ως μία
ενδιαφέρουσα και εμπλουτισμένη ξενάγηση για ενήλικες.
Η θεατρική παράσταση ήταν σχεδιασμένη αποκλειστικά για ενήλικες, με σκοπό να
μελετηθεί το μουσειακό θέατρο αυστηρά σε συνάρτηση με το κοινό αυτό.
Ένα σημαντικό ακόμα κομμάτι της διοργάνωσης του θεατρικού δρώμενου ήταν η
σωστή και ασφαλής αξιοποίηση του αρχιτεκτονικού χώρου της έκθεσης. Ο
εκθεσιακός χώρος αποτελείτο από δύο διαφορετικά επίπεδα, ένα μικρό
υπερυψωμένο και ένα μεγάλο πιο χαμηλό επίπεδο. Το υψηλότερο επίπεδο
επιλέχθηκε ως η "σκηνή" του θεατρικού δρώμενου, ενώ το χαμηλότερο επίπεδο
δόθηκε στο κοινό. Επιπλέον, αποφασίστηκε τα εκθέματα να χρησιμοποιηθούν ως
σκηνικά της θεατρικής παράστασης.
xxviii
Το κοστούμι της ηθοποιού ήταν απλό: ένα πράσινο πουλόβερ και ένα καφετί
κολάν. Το μινιμαλιστικό σύνολο συνοδεύτηκε από ένα κλαρί ελιάς. Οι λόγοι για
την επιλογή του συγκεκριμένου κοστουμιού ήταν δύο: πρώτον ένα απλό κοστούμι
δεν θα αποσπούσε την προσοχή των συμμετεχόντων από τα εκθέματα, και
δεύτερον το απλό και οικονομικό αυτό κοστούμι αποδεικνύει ότι δεν χρειάζονται
υπερβολικά έξοδα για να δημιουργηθεί ένα ενδιαφέρον θεατρικό σκηνικό σε έναν
συνηθισμένο εκθεσιακό χώρο.
Το θεατρικό δρώμενο ήταν σχεδιασμένο να ξεκινήσει με ήχους από πόλη, οι οποίοι
μεταδόθηκαν στην αίθουσα της έκθεσης μέσω δύο μεγάλων ηχείων. Οι ήχοι της
πόλης σηματοδοτούσαν την έναρξη της θεατρικής παράστασης και παρείχαν στην
ηθοποιό τον απαραίτητο χρόνο για να εμφανιστεί στην σκηνή.
Η διαφήμιση του θεατρικού δρώμενου έγινε μέσω τοπικών εφημερίδων,
διαδικτυακών ιστοσελίδων και κοινωνικών μέσων δικτύωσης. Η διαφήμιση τόνιζε
ότι το δρώμενο ήταν κομμάτι διδακτορικής έρευνας, ότι απευθυνόταν μόνο σε
ενήλικες, και ότι η είσοδος ήταν ελεύθερη.
Πραγματοποιήθηκαν στο σύνολο δύο παραστάσεις, η μία στις 18 Φεβρουαρίου 2014,
ώρα 7:00 μ.μ., και η άλλη στις 25 Φεβρουαρίου 2014, ίδια ώρα. Στην πρώτη θεατρική
παράσταση παρευρέθησαν 23 ενήλικες, ενώ στην δεύτερη 27.
Μετά το τέλος του θεατρικού δρώμενου ακολούθησε η αξιολόγηση. Η αξιολόγηση
στο συγκεκριμένο θεατρικό αποτελείτο κυρίως από ερωτηματολόγια, από την
παρατήρηση των εκφράσεων και κινήσεων των επισκεπτών, καθώς και από λίγες
άτυπες συνεντεύξεις.
Πιο συγκεκριμένα, ζητήθηκε από τον κάθε συμμετέχοντα να συμπληρώσει τρία
διαφορετικά ερωτηματολόγια: ένα πριν την έναρξη του θεατρικού δρώμενου, ένα
xxix
ακριβώς μετά την θεατρική παράσταση, και τέλος ένα τρεις μήνες μετά το θεατρικό
δρώμενο. Το πρώτο ερωτηματολόγιο στόχευε στην αναγνώριση του επισκέπτη και
των ενδιαφερόντων του, το δεύτερο στην γνώμη του επισκέπτη για το θεατρικό
δρώμενο, και το τρίτο στην ανάκληση του θεατρικού και των εκθεμάτων έπειτα
από τρεις μήνες. Όλα τα ερωτηματολόγια αποτελούνταν από ερωτήσεις ανοιχτού
και κλειστού τύπου.
Τα ποιοτικά δεδομένα, τα αποτελέσματα δηλαδή από την παρατήρηση και τις
άτυπες συνεντεύξεις, υπογραμμίζουν την θετική στάση των συμμετεχόντων
απέναντι στο μουσειακό θέατρο. Τα κυριότερα στοιχεία που εξέφρασαν οι ίδιοι οι
συμμετέχοντες είναι ότι το μουσειακό θέατρο βοηθάει:
στην απόκτηση νέων γνώσεων
στην βαθύτερη εμπλοκή με τα εκθέματα
στην παρατήρηση λεπτομερειών των εκθεμάτων
στην ενίσχυση της ψυχαγωγίας
Τα ποσοτικά δεδομένα της έρευνας (τα αποτελέσματα των ερωτηματολογίων)
έδειξαν συναφή θετικά στοιχεία. Σύμφωνα με τα πενήντα δεύτερα συμπληρωμένα
ερωτηματολόγια, η πλειοψηφία των συμμετεχόντων έδειξε μια πραγματικά θετική
στάση απέναντι στην εμπειρία του μουσειακού θεάτρου. Πιο συγκεκριμένα, το 58%
των επισκεπτών είχε μια πολύ θετική γνώμη για την θεατρική παράσταση, το 38%
είχε απλά θετική γνώμη, ενώ αντίθετα μόνο το 2% είχε αρνητική. Είναι σημαντικό
να σημειωθεί ότι το 77% των συμμετεχόντων παραβρέθηκε για πρώτη φορά σε
παράσταση μουσειακού θεάτρου.
Όσο για τα είκοσι ερωτηματολόγια ανάκλησης, το 100% των επισκεπτών μπόρεσε
να θυμηθεί τον ρόλο της ηθοποιού. Το 70% του κοινού μπόρεσε να θυμηθεί
xxx
λεπτομέρειες των εκθεμάτων, ενώ το 60% λεπτομέρειες της θεατρικής
παράστασης.
Τα αποτελέσματα τονίζουν την θετική επίδραση του μουσειακού θεάτρου σε μια
έκθεση Σύγχρονης Τέχνης. Με βάση τα ερωτηματολόγια ανάκλησης, το 100% των
συμμετεχόντων πιστεύει ότι το θεατρικό δρώμενο βοήθησε να θυμούνται καλύτερα
τα εκθέματα. Επίσης, το 100% των επισκεπτών είναι θετικό σε μια μελλοντική
παράσταση μουσειακού θεάτρου.
Το Κεφάλαιο IV παρουσιάζει τη δεύτερη περιπτωσιολογική μελέτη, το μουσειακό
θεατρικό δρώμενο "Το Ορφανοτροφείο: Καθαρίζοντας και Συλλογιζόμενη
Διαμέσου των Ετών". Το δρώμενο αυτό πραγματοποιήθηκε στην έκθεση
"Skagiopouleio Project" στα πλαίσια του φεστιβάλ "RE-Culture III". Στο κεφάλαιο
αυτό παρουσιάζονται βήμα-βήμα η σύλληψη της ιδέας του θεατρικού δρώμενου, ο
σχεδιασμός του, η διεξαγωγή του, καθώς και η αξιολόγησή του.
Το 'RE-Culture' αποτελεί ένα παγκόσμιο φεστιβάλ Σύγχρονης Τέχνης, που
πραγματοποιείται κάθε δύο χρόνια, από την Art in Progress, μια μη-κερδοσκοπική
πολιτιστική εταιρία με έδρα της την Πάτρα. Εκτός από το παραπάνω φεστιβάλ, η
Art in Progress διοργανώνει ποικίλα εργαστήρια, ομιλίες, σεμινάρια, παρουσιάσεις
βιβλίων, και αρχιτεκτονικούς διαγωνισμούς.
Από τις 8 Νοεμβρίου 2014 έως τις 28 Δεκεμβρίου 2014, το Art in Progress διογάνωσε
το 3ο Διεθνές Φεστιβάλ Σύγχρονης Τέχνης. Μέρος του φεστιβάλ αποτελούσε και η
έκθεση "The Skagiopouleio Project". Η έκθεση συμπεριελάμβανε έργα που
συνδέονταν άμεσα ή έμμεσα με το πατρινό ορφανοτροφείο 'Σκαγιοπούλειο'. Τα
είκοσι εκθέματα, όλα σύγχρονων Ελλήνων καλλιτεχνών, ήταν ποικίλης φύσεως:
εγκαταστάσεις, πίνακες, κολάζ, βίντεο, και φωτογραφίες. Η έκθεση φιλοξενείτο
xxxi
στο παλιό κτήριο του ορφανοτροφείου, δίπλα στα καινούργιο, το οποίο δεν
χρησιμοποιείται πλέον.
Στη συνέχεια του κεφαλαίου δίνεται μια σύντομη περιγραφή των επιλεγμένων
εκθεμάτων για τον σχεδιασμό του θεατρικού δρώμενου. Επιλέχθηκαν κυρίως έργα
που είχαν άμεση σχέση με την ιστορία του Ορφανοτροφείου.
Η πλούσια ιστορία του ορφανοτροφείου και η επιβλητική ατμόσφαιρα του κτηρίου
λειτούργησαν ως βάσεις για την έμπνευση του θεατρικού δρώμενου. Η έκθεση
αποτέλεσε ιδανική ευκαιρία για τον σχεδιασμό παράστασης μουσειακού θεάτρου
για ποικίλους λόγους. Πρώτον, ο τοπικός χαρακτήρας της έκθεσης ήταν ένα ισχυρό
κριτήριο: ενώ πολλοί γνωρίζουν το κτήριο του ορφανοτροφείου, ελάχιστοι ξέρουν
την ιστορία του. Επιπλέον, η έννοια του ορφανοτροφείου θεωρήθηκε σημαντική
πρόκληση για την συγκεκριμένη έρευνα. Σκοπός του προγράμματος ήταν να
αποδείξει ότι ένα τόσο ευαίσθητο θέμα μπορεί μέσω του μουσειακού θεάτρου να
παρουσιαστεί με έναν ευχάριστο και εκπαιδευτικό τρόπο. Τέλος, ο υπεύθυνος της
Art in Progress, Κλεομένης Κωστόπουλος, καθώς και ο επιμελητής της έκθεσης,
Νίκος Ποδιάς, ήταν πολύ συνεργάσιμοι και ενθουσιασμένοι με την ιδέα του
μουσειακού θεάτρου.
Η ιδέα του θεατρικού δρώμενου ήταν η ακόλουθη: μία ηλικιωμένη καθαρίστρια
αφηγείται ιστορίες από το ορφανοτροφείο. Η παράσταση δεν ήταν διαδραστική,
έγινε χρήση μόνο της ερμηνείας πρώτου προσώπου. Οι θεατές παρακολουθούσαν
την ηλικιωμένη καθαρίστρια να σκουπίζει, ενώ παράλληλα αφηγείτο ιστορίες
βασισμένες σε αληθινές πληροφορίες και γεγονότα.
Σκοπός του θεατρικού δρώμενου ήταν η χρήση και η αξιολόγηση του μουσειακού
θεάτρου σε μία έκθεση Σύγχρονης Τέχνης, καθώς και το ζωντάνεμα του
ορφανοτροφείου και των εκθεμάτων με έναν τερπνό και διδακτικό τρόπο.
xxxii
Σε αντίθεση με την πρώτη περιπτωσιολογική μελέτη της διατριβής, σε αυτή την
περίπτωση αποφασίστηκε να μην γίνει χρήση του διαδραστικού θεάτρου, έτσι ώστε
να προκύψουν ορισμένες συγκρίσεις και συμπεράσματα.
Τα αναμενόμενα αποτελέσματα της θεατρικής παράστασης " Το Ορφανοτροφείο:
Καθαρίζοντας και Συλλογιζόμενη Διαμέσου των Ετών" ήταν η αποτελεσματική
επιρροή του δρώμενου στην εκπαίδευση και ψυχαγωγία του κοινού. Από την άλλη,
η μεγαλύτερη πρόκληση ήταν η προεργασία, δηλαδή η συλλογή πληροφοριών για
το ίδρυμα και για τις συνθήκες ζωής σε αυτό, για τους σκοπούς της συγγραφής του
δρώμενου.
Για τον παραπάνω λόγο, το σενάριο του θεατρικού δρώμενου γράφτηκε από μένα,
μετά από την συλλογή όλων των απαραίτητων πληροφοριών τόσο για το ίδιο το
ορφανοτροφείο όσο και για τα εκθέματα της έκθεσης. Το θεατρικό σχεδιάστηκε να
διαρκέσει περίπου δεκαπέντε λεπτά. Στο θεατρικό δρώμενο επιλέχθηκε να παίξει
τον ρόλο μία φοιτήτρια του Πανεπιστημίου Πατρών, του Τμήματος Αρχιτεκτόνων
Μηχανικών, με πολλά χρόνια εμπειρίας στο θέατρο, η Φαίδρα Πέττα.
Η θεατρική παράσταση σχεδιάστηκε μόνο για ενήλικες, έτσι ώστε να
πραγματοποιηθεί μία σωστή και αντικειμενική σύγκριση με τα αποτελέσματα του
θεατρικού δρώμενου της πρώτης περιπτωσιολογικής μελέτης της διατριβής.
Η έκθεση "The Skagiopouleio Project" φιλοξενείτο σε τρία δωμάτια του
ορφανοτροφείου: δύο ευρύχωρα και ένα πολύ μικρό. Το μικρό δωμάτιο ήταν
κατειλημμένο από το έργο βίντεο τέχνης "I [Never] Promised you a Rose Garden". Ο
χώρος της έκθεσης ήταν ιδανικός για την διεξαγωγή του θεατρικού δρώμενου,
εφόσον τα δωμάτια ήταν ευρύχωρα τόσο για το κοινό και την ηθοποιό, όσο και για
την ασφάλεια των εκθεμάτων. Επιπλέον, τα εκθέματα αποφασίστηκε να
χρησιμοποιηθούν ως σκηνικά της παράστασης.
xxxiii
Το κοστούμι της ηθοποιού ήταν απλό και ρεαλιστικό: μια μαύρη φούστα, ένα παλιό
πολύχρωμο πλεκτό πουλόβερ, σκισμένα παντοφλάκια, ένα κίτρινο μαντήλι στα
μαλλιά και μία σκούπα. Το βάψιμο ήταν απαραίτητο στοιχείο της μεταμφίεσης.
Η θεατρική παράσταση δεν περιείχε κανένα μουσικό στοιχείο. Η έναρξη του
δρώμενου ανακοινώθηκε προφορικά.
Η διαφήμιση της παράστασης πραγματοποιήθηκε μέσω διαφόρων ιστοσελίδων και
τοπικών εφημερίδων. Η διαφήμιση τόνιζε την φύση του δρώμενου και ότι η είσοδος
για το κοινό ήταν ελεύθερη.
Η παράσταση πραγματοποιήθηκε στις 18 Δεκεμβρίου 2014, στις 7:30 μ.μ.. Είκοσι
τέσσερις ενήλικες παρευρέθησαν.
Μετά το τέλος της θεατρικής παράστασης ακολούθησε η αξιολόγηση. Η
αξιολόγηση στο συγκεκριμένο θεατρικό βασιζόταν κυρίως σε ερωτηματολόγια,
αλλά και στην παρατήρηση των εκφράσεων και κινήσεων των επισκεπτών, καθώς
και σε κάποιες άτυπες συνεντεύξεις. Ζητήθηκε από τον κάθε συμμετέχοντα να
συμπληρώσει δύο διαφορετικά ερωτηματολόγια: ένα ακριβώς μετά την θεατρική
παράσταση, και ένα μετά από τρεις μήνες. Το πρώτο ερωτηματολόγιο στόχευε
κυρίως στην γνώμη του επισκέπτη για το θεατρικό δρώμενο, ενώ το δεύτερο στην
ανάκληση του θεατρικού και των εκθεμάτων έπειτα από τρεις μήνες. Όλα τα
ερωτηματολόγια αποτελούνταν από ερωτήσεις ανοιχτού και κλειστού τύπου.
Τα ποιοτικά δεδομένα, τα αποτελέσματα δηλαδή από την παρατήρηση και τις
άτυπες συνεντεύξεις, υπογραμμίζουν και σε αυτή την περίπτωση τα θετικά
συναισθήματα των συμμετεχόντων απέναντι στο μουσειακό θέατρο.
Επιπροσθέτως, τα ποσοτικά δεδομένα (τα αποτελέσματα των ερωτηματολογίων)
ενισχύουν την θετική στάση των θεατών απέναντι στο μουσειακό θέατρο. Πιο
xxxiv
συγκεκριμένα, σύμφωνα με τα είκοσι τέσσερα πρώτα ερωτηματολόγια, η
παράσταση απέσπασε πολύ θετικά σχόλια. Συγκεκριμένα, το 83,3% των
συμμετεχόντων δήλωσε ότι έχει πολύ θετική γνώμη για το μουσειακό θεατρικό
δρώμενο.
Εν συνεχεία, το κοινό εντόπισε με την βοήθεια του ερωτηματολογίου τους
παράγοντες που επηρεάζουν την θετική του στάση απέναντι στο μουσειακό
θέατρο. Το 37,5% του κοινού ένιωσε ότι το θεατρικό δρώμενο "ζωντάνεψε" τα
εκθέματα, ενώ το 35% δήλωσε ότι το θεατρικό έκανε την έκθεση πιο ενδιαφέρουσα.
Αντιθέτως, το 10% των επισκεπτών πιστεύει ότι η παράσταση κατηύθυνε την
γνώμη και την σκέψη τους.
Από την ερμηνευτική σκοπιά της αξιολόγησης, το 87,5% δήλωσε ότι το θεατρικό
δρώμενο βοήθησε στην καλύτερη κατανόηση των εκθεμάτων, παρέχοντας τις
απαραίτητες πληροφορίες για κάθε έργο τέχνης.
Τέλος, το 91,6% δήλωσε ότι το μουσειακό θέατρο θα έπαιζε πολύ σημαντικό ρόλο
στην απόφασή του να επισκεφτεί μια άλλη έκθεση στο μέλλον. Η θετική αυτή
στάση των ερωτηθέντων προς μια μελλοντική συμμετοχή τους σε παρόμοιο
θεατρικό δρώμενο, αποδεικνύει ότι η πλειοψηφία των ενηλίκων βρίσκουν το
μουσειακό θέατρο ενδιαφέρον και διασκεδαστικό.
Όσο για τα ερωτηματολόγια ανάκλησης, τα αποτελέσματα είναι εντυπωσιακά. Το
93,4% του κοινού θυμόταν τον ρόλο της ηθοποιού, ενώ το 100% θυμόταν ότι η
ηθοποιός διηγείτο ιστορίες από το ορφανοτροφείο.
Το 83,4% των συμμετεχόντων θυμόταν ότι τα περισσότερα έργα είχαν σχέση με το
Σκαγιοπούλειο και ότι κάποια από αυτά αποτελούνταν από αντίγραφα παλιών
φωτογραφιών. Το 93,4% του κοινού μπορούσε να θυμηθεί τουλάχιστον ένα έκθεμα.
xxxv
Επιπλέον, το 100% των ερωτηθέντων δήλωσε ότι το θεατρικό δρώμενο βοήθησε όχι
μόνο να καταλάβουν τις συνθήκες ζωής του ορφανοτροφείου αλλά και να
κατανοήσουν καλύτερα τα ίδια τα εκθέματα.
Το δεύτερο μουσειακό θεατρικό δρώμενο λοιπόν αποδεικνύει για μία ακόμα φορά
την θετική επίδραση του θεάτρου σε εκθέσεις Σύγχρονης Τέχνης. Και στις δύο
περιπτωσιολογικές μελέτες η πλειοψηφία του ενήλικου κοινού επιβεβαίωσε την
ενδιαφέρουσα, διδακτική και ευχάριστη φύση του μουσειακού θεάτρου. Επιπλέον,
παρατηρήθηκε ότι η ερμηνεία πρώτου προσώπου λειτούργησε καλύτερα με το
ενήλικο κοινό. Στην περίπτωση του διαδραστικού θεάτρου, οι συμμετέχοντες
φάνηκε να είχαν αναστολές να απαντήσουν στις ερωτήσεις της ηθοποιού.
Τέλος, το Κεφάλαιο V παρουσιάζει τα βασικά αποτελέσματα και συμπεράσματα
της διατριβής. Παράλληλα, δίνονται ιδέες για περαιτέρω έρευνα.
Πιο συγκεκριμένα, τα βασικά συμπεράσματα της διατριβής είναι τα εξής:
Τα ελληνικά μουσεία εστιάζουν στον εκπαιδευτικό τους ρόλο και
προσπαθούν να αυξήσουν το διαδραστικό χαρακτήρα των εκπαιδευτικών
τους προγραμμάτων, σε πολλές περιπτώσεις χρησιμοποιώντας και θεατρικά
στοιχεία. Συγκρίνοντας όμως την χρήση του θεάτρου ως ερμηνευτικού μέσου
στα διάφορα είδη ελληνικών μουσείων, τα μουσεία τέχνης χρησιμοποιούν το
μουσειακό θέατρο ελάχιστα, με πιθανόν μία προτίμηση προς το
κουκλοθέατρο.
Δεν είναι μόνο τα ελληνικά μουσεία τέχνης που δεν χρησιμοποιούν τα
μουσειακό θέατρο ως ερμηνευτικό μέσο, αλλά και τα περισσότερα μουσεία
τέχνης παγκοσμίως. Παρόλο αυτά πιο συνηθισμένη μορφή μουσειακού
θεάτρου στα ξένα μουσεία τέχνης φαίνεται να είναι η αφήγηση.
xxxvi
Τα προγράμματα μουσειακού θεάτρου των ελληνικών αλλά και των ξένων
μουσείων είναι σχεδιασμένα σχεδόν αποκλειστικά για παιδιά. Στην Ελλάδα,
οι ενήλικες σποραδικά ίσως έχουν την ευκαιρία να παρακολουθήσουν
κάποιο πρόγραμμα αφήγησης.
Το πρακτικό κομμάτι της διατριβής αναδεικνύει την θετική επίδραση του
θεάτρου στους ενήλικες, καθώς και την επιτυχημένη χρήση του σε εκθέσεις
Σύγχρονης Τέχνης.
Συνολικά, το 98% των ερωτηθέντων και στα δύο θεατρικά προγράμματα είχε
θετική στάση απέναντι στην εμπειρία του μουσειακού θεάτρου, ενώ το 79,2%
μπορούσε να θυμηθεί λεπτομέρειες των εκθεμάτων.
Υπάρχουν πολλά διαφορετικά είδη μουσειακού θεάτρου. Η διατριβή έδειξε
ότι δεν είναι όλα τα είδη κατάλληλα για όλες τις περιπτώσεις.
Παραδείγματος χάριν, η ερμηνεία πρώτου προσώπου αποδείχθηκε
καταλληλότερο είδος για το ενήλικο κοινό από ό,τι το διαδραστικό θέατρο.
Το θέατρο αποδείχθηκε ως ένα εξαιρετικό μέσο για να ερμηνευθούν
ευαίσθητα θέματα, όπως το θέμα του ορφανοτροφείου. Το θέατρο βοήθησε
ώστε το κοινό να μην νιώσει άβολα ή στενάχωρα κατά την διάρκεια της
επίσκεψής του στην έκθεση.
Το οικονομικό κόστος του μουσειακού θεάτρου μπορεί να είναι αρκετά
χαμηλό. Για τους σκοπούς αυτής της διατριβής και τα δύο θεατρικά δρώμενα
σχεδιάστηκαν και υλοποιήθηκαν με μηδενικό κόστος.
Τέλος, παρουσιάζονται κάποια σημεία που θα μπορούσαν να αποτελέσουν
ερέθισμα για περαιτέρω έρευνα:
Χρειάζεται να γίνει περισσότερη έρευνα στον ελληνικό μουσειακό χώρο,
εφόσον αυτή η διατριβή δεν είναι δυνατόν να καλύψει όλα τα πρακτικά και
θεωρητικά προβλήματα του αντικειμένου.
xxxvii
Η έρευνα του μουσειακού θεάτρου σε μουσεία τέχνης, και ειδικότερα
Σύγχρονης Τέχνης, είναι επίσης περιορισμένη, καθώς και η έρευνα του
μουσειακού θεάτρου για τους ενήλικες. Αυτά τα δύο θέματα δεν έχουν
μελετηθεί και αναλυθεί εκτενώς ούτε σε παγκόσμια κλίμακα.
Στη διατριβή χρησιμοποιήθηκαν κυρίως ερωτηματολόγια, ηλεκτρονικό
ταχυδρομείο, καθώς και κάποιες μορφές άτυπης συνέντευξης. Για
μελλοντική έρευνα θα ήταν καλό να χρησιμοποιηθούν και άλλα μέσα
επικοινωνίας, όπως τηλεφωνικές συνεντεύξεις και προσωπικές τυπικές
συνεντεύξεις.
Τέλος, η αμήχανη και άβολη στάση των ενηλίκων απέναντι στο διαδραστικό
θέατρο δεν αναλύθηκε επαρκώς επιστημονικά από τον τομέα της
ψυχολογίας.
xxxviii
1 INTRODUCTION
1.1 WHAT IS A MUSEUM?
Ever since the creation of the first museums, the meaning and function of these institutions have changed dramatically. "It is understandable, that finding one definition which covers all different museum types, from all over the world, was not an easy accomplishment."1 The formation of the modern museum was a long term procedure. "The public museum, as is well known, acquired its modern form during the late eighteenth and nineteenth centuries."2 According to ICOM (The International
Council of Museums), "the definition of a museum has evolved, in line with developments in society. Since its creation in 1946, ICOM updates this definition in accordance with the realities of the global museum community"3. So what exactly is a museum?
According to the ICOM Statutes, adopted by the 22nd General Assembly in Vienna,
Austria on August 24th, 2007:
"A museum is a non-profit permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.
The definition is a reference in the international community."4
1 Economou 2003, 15. 2 Bennett 1995, 19. 3 ICOM website [Accessed 26 January 2016]. 4 ICOM website [Accessed 26 January 2016].
1
Worldwide, museums follow the above attributes and share the same objectives.
However, there is a wide range of interpretative tools in order to use and fulfill their basic aim; to offer knowledge and enjoyment to their visitors. This thesis focuses on the use and evaluation of the theatrical interpretative means. But how did even theater emerge within museums?
1.2 WHAT IS THEATER AND ITS CONNECTION TO MUSEUMS?
Theater can be traced back to ancient times, more precisely to the sixth century BCE; it originated in Ancient Athens, Greece, and it derives from the Greek verb
«θεάομαι/θεῶμαι» (theaomai/theomai – to look, to see). “The tragedies of Aeschylus,
Sophocles, and Euripides, along with the comedies of Aristophanes and Menander, are cornerstones of the Western literary canon.”5 Ancient Greek theater was thought to be a tool for searching for the truth, and analyzing people’s fears and problems. “This aesthetic and emotional outlet allows for potential catharsis, a safe way for citizens to express their concerns, criticisms and frustration to each other and to society at large.”6
Theater has been part of human history and has a long story of educating. Theater may take many different forms, it can be found in many different cultures, but its goals remain unalterable: to make people think, feel, and learn. Theater’s educational power was detected many centuries ago.
"Throughout its history, theater has been used as a tool for teaching. Taplin wrote, 'In fifth-century Athens the playwrights, often known as teachers were directors, composers, and trainers as well as writers'."7 Hughes indicated that during Renaissance,
5 Hart 2010, 1. 6 Prendergast - Saxton 2009, 7. 7 Hodas 2008, 46. - Citation of Taplin: O. Taplin, Greek Theatre (2001) 18.
2
theater was used in education because of its ability to communicate ideas through rhetoric."8
In the 19th century, “focus on classical ideals led Humanists to emphasize that plays, or literature, have as their main functions ‘to teach and to please’ (Brockett). This etched a place for drama in education”9. In the twentieth century, education and theater combined professionally, and developed two new educational fields: the Theater-In-
Education (TIE) and the Drama-In-Education (DIE). Today, museum theater, which has its roots in these two movements, is one important and very effective interpretative tool for the museum world. Museum theater has been in the middle of controversy ever since it first appeared. For more than two decades, museum theater has been a hot academic issue; while some support its effectiveness and usefulness, others judge its authenticity and its trend towards entertainment. So, what exactly is museum theater?
1.3 WHAT IS MUSEUM THEATER?
Museum theater may be thought of as a huge colorful umbrella, underneath which all sorts of different styles and forms of theater may be found. While Tessa Bridal in her book Exploring Museum Theatre examines and presents different definitions as stated by different museum directors10, according to the International Museum Theater Alliance
(IMTAL), museum theater may be simply defined as follows:
A specific kind of interpretation that employs fictional activity to communicate ideas, facts and concepts. A museum-theatre performer assumes the role of a character (as a solo gallery character, an interpreter or as part of a play or scenario) in order to entertain and educate visitors. They take on the role of a particular character in a particular circumstance in order to
8 Hodas 2008, 46. - Citation of Hughes: C. Hughes, Museum Theatre: Communicating with Visitors Through Drama (1998) 29. 9 Hughes 1998, 29. - Citation of Brockett: O. Brockett, History of the Theatre (1977) 160. 10 Bridal 2004, 1-10.
3
help visitors appreciate and understand the story in hand and, through that, some aspect of the host museum or site.11
In other words, museum theater can be characterized as any theater technique that takes place in a museum or cultural organization, in order to both provide information and amuse visitors. Museum theater is a kind of interpretation; its role is to help visitors better understand what they observe within an exhibit.
Over the years though, not only different definitions have been developed, but different terms have been also conceived for describing museum theater; ‘live interpretation’ by
C. Hughes, ‘living history’ by S. Roth, or even ‘gallery drama’ by G. Farmelo are only some of them. All these terms though, cannot capture the whole nature and variety of museum theater. Museum theater covers a wide range of activities, from storytelling and puppetry to interactive plays, and so on.
Thus, it is quite obvious that museum theater is a complex subject, because of its variety of techniques, theories, and even definitions and terms; the difficulty of identifying museum theater is also analyzed by Tessa Bridal. It is true; museum theater can have so many different forms and styles, but which are its basic characteristics?
Its purpose is educational and entertaining.
Performances are usually shorter than traditional theater performances.
The exhibition/museum usually defines the props of the play.
The performance is related to the exhibit/museum.
The audience is asked to interact with the actors.
Most museum theater programs are free of charge for the audience.
Performances may include costumes, sets, music, and special lighting.
11 IMTAL-Europe website [Accessed 14 March 2014].
4
One may easily identify the similarities and the differences when comparing a traditional theatrical play to a museum theater play. The differences rely on the different objectives and outcomes each type aims to achieve; for example, museum theater programs aim at interpreting exhibits and artworks, and as many studies have shown, this interpretative method is very successful, popular, and effective. "With museum theater, 'no matter what age, what background, you will find something that suits your needs' (Berrin). Unlike fixed exhibits, theater provides a new experience each time visitors attend the museum."12
1.4 PROBLEM STATEMENT
Finding ways to make art more accessible to museum visitors has always been a main concern in the museum world. Museum theater has come to cover some interpretative gaps. Yet, although theatrical techniques seem to be a great interpretative way in making exhibits more understandable, and while many proposals, experiments, and programs have been designed and conducted in the museum theater’s field, the focus has mainly been on specific types of museums.
The main question that motivated this thesis is whether or not Greek museums make use of museum theater in their educational programs. As no papers or practical reports have been issued on the topic, the challenge is indeed significant. The topic is brand new for the Greek academic and museum world.
Furthermore, special interest is placed on art museums, and especially on the contemporary art institutions. "Art museums had presented storytelling and performance art, but in the late 1980s began to use the more traditional form, scripted
12 Craig 2006, 37. - Personal Communication with L. Berrin (April 7, 2006).
5
plays, to interpret specific artworks or movements in art."13 Though this may be true, even today, most art museums and galleries are using museum theater to a very limited extent.
It is understood that ancient, medieval, and renaissance art can easily inspire and offer museum educators a wide range of museum theater ideas and stories. “An art historical period that is far enough away in time to enable the actors to be dressed in interesting costumes is an obvious choice.”14 There is always a story behind an artwork; "works of art, like literature, also tell a story, whether the focus is historical, political, cultural, or social."15
But what about contemporary art? Is there a story behind contemporary artworks that can be presented via theatrical means? Can contemporary art museums and galleries make use of museum theater techniques? Is it difficult to interpret contemporary artworks through theater? Is there a way that museum theater can make contemporary art easier to appreciate, more accessible, and understandable? This is an important question that needs to be addressed and analyzed.
1.5 AIM AND OBJECTIVES
The basic aim of this thesis is to connect museums with the world of theater.
Specifically, it aims to research the use of museum theater practices in Greek museums and galleries, with special focus on art museums; a topic on which almost no prior work exists, as museum theater appears to be an innovative scientific subject in Greece. The thesis also aspires to present two proposed actions (ideas) of using museum theater
13 Hughes 2008, 11. 14 Stillman 1990, 9. 15 Chou 2010, 1.
6
within two different contemporary art exhibitions. The proposed theatrical productions are designed and conducted for adult visitors only.
The specific questions posed in this thesis are the following:
What is museum theater, and what is its impact on museums?
Which museums mostly use museum theater techniques and why?
What is happening at an international level?
Do international art museums use theatrical techniques in their educational programs?
Do Greek museums use museum theatrical techniques?
Do Greek art museums use museum theater in their educational programs?
Which theatrical techniques are used by different museum types in order to interpret their collections?
Are there any similarities between national and international art museums concerning the use of museum theater?
Are there any similarities among different types of Greek museums?
How can museum theater be best applied in a contemporary art exhibition?
What do adult-visitors say about their museum theater experience? What are the findings?
1.6 LITERATURE REVIEW
Throughout the last few decades, many studies, experiments, and evaluations have been carried out on museum theater techniques; many museum professionals
7
worldwide have dedicated their careers in designing, supporting, and promoting museum theater programs.
Catherine Hughes is a well-known contemporary pioneer in this field, and in her book
Museum Theatre: Communicating with Visitors through Drama (1998) she tries to define and explore museum theater. Even though Hughes had been the Science Theatre
Coordinator at the Boston Museum of Science, and her main focus was on science subjects, she deals with many different museum theater examples and strategies, and strongly believes that there is not only one way of doing museum theater. Her main belief is that “theatre can open the senses and touch the heart and mind, challenging audiences’ understanding and provoking them to rethink their own ideas”16. Hughes believes in theater’s educational power and suggests that museum theater programs can be designed for all museums, but always according to their needs and resources.
Hughes also analyses the challenges that may occur when designing and conducting a museum theater play, pointing out the pros and cons of each situation. Her book may be characterized as providing a great insight in the museum theater’s world, giving a valuable perspective based on her own experiences.
Tessa Bridal, the author of the book Exploring Museum Theatre (2004), is another major professional in the field. In her book, the richness of museum theater is presented, the term museum theater is explored, and suggestions for designing and producing theatrical plays are analyzed. Exploring Museum Theatre is a how-to-do-it book, dealing with important practical issues: how to develop a museum theater program, how to fund the costs, how to handle technical requirements and staff, how to market the programs, and how the contracts should be. The first chapter deals with the difficulty of defining what museum theater is; “there are, in fact, so many styles of museum theater, encompassing
16 Hughes 1998, vii.
8
such a wide array of subjects that the term itself has come into question”17. Bridal believes that even though it is quite difficult to precisely define and categorize all different museum theater styles, “what is presented, where, by, and for whom define museum theater, and that this definition matters to the institution utilizing theatre, to theatre practitioners, to audiences, and, ultimately to program funders”18. Her book is full of examples and guidelines, offering a global view of the use of museum theater in different museums. Though most cited examples refer to science, history and children’s museums, a few citations to art museums may be noticed as well: the Frederick R.
Weisman Museum of Art and the Walters Art Gallery in Baltimore, Maryland.
While both Bridal and Hughes cover in detail a huge scientific area and provide much information and important details, they mainly focus on the use of museum theater in science museums.
In Europe, the British Professor Emeritus of Educational Theatre at the University of
Manchester, Anthony Jackson, has devoted his career in studying, experimenting, and evaluating museum theater. He and his colleagues conducted an investigation into the effectiveness of theater techniques in museums, called Performance, Learning and
Heritage19. The project lasted three years (2005-2008), involved several British museums and historical sites, and is the most important museum theater study ever undertaken.
“For the first time, this research was able to look at adult visitors, family groups and school groups, and it is clear that for all groups, performance added significantly to the impact of a site or museum.”20 The performance’s impact on visitors was noticeable in learning, emotional connecting, recalling, and entertaining. Jackson points out that one important museum theater’s effect is ‘unsettlement’ – “this notion was coined by
17 Bridal 2004, 1. 18 Bridal 2004, 5. 19 Manchester University website [Accessed 12 June 2014]. 20 Jackson - Kidd 2008, 141.
9
Jackson’s team to indicate an experience the respondents at all sites frequently articulated: that of having expectations overturned, assumptions about the subject matter challenged, of finding that they were personally being confronted with strong emotion or were expected to participate verbally or even physically”21. Although, unsettlement may either have a positive or a negative effect, Jackson’s findings indicate that it generates strong emotions and enables people to easily recall information about a play or/and an exhibition.
Recall questionnaires constitute an important evaluation method, first used by Anthony
Jackson, as they record what people may remember after a few months of participating in a museum theater program. Furthermore, Jackson focuses on British historical sites.
An evaluation study called Enlightening or Embarrassing? was conducted at London’s
Science Museum in 1993. At the time, the lack in evaluating museum theater’s effectiveness led Sandra Bicknell and Susie Fisher to carrying out this complex and rich research. Their study showed that although most people (80% of the sample interviewed) were positive towards museum theater, there is a significant difference between children and adults. “Children are more liberated than adults. They think about what they can get from an experience and worry less about whether they will be shown up. On the other hand, the adults are distrustful and are caught off guard and they are afraid of being shown off.”22 Teenagers on the other hand, are the hardest group to get into a museum “as they are ‘bored’ because the museum experience is known and their open personalities seek more of a challenge”23. So, it is obvious that museum theater can be both enlightening and embarrassing; it depends on the visitors’ age, needs, and attitude.
21 Jackson 2011, 18. 22 Bicknell - Fisher 1993, 85. 23 Bicknell - Fisher 1993, 86.
10
Most museum theater studies have focused on children, while adults are usually considered to be a more difficult and challenging visitor group. Taking the challenge, the present thesis focuses mostly on adults.
Probably the first written article on the use of museum theater in art museums is Diane
Brandt Stillman’s Living History in an Art Museum (1990). Stillman is the director of education at the Walters Art Gallery in Baltimore, Maryland, and strongly believes in the effectiveness of living history plays in order to make art come alive. Her article focuses on two past living history plays, the Echoes from the Middle Ages and the Of
Courts and Courtship: Scenes from the Renaissance. The Walters Gallery’s theater programs
“provide a pleasant and social experience; the actors are links with the human element in the work of art; the familiarity of theater lessens the visitor’s fear of the unknown; and visitors’ perceptual skills are enhanced by the dramatic way the actors point out significant details in works of art”24. Furthermore, Stillman also underlines some important criteria in choosing which art collections are suitable for living history plays;
“collections that present the greatest opportunity to investigate issues of patronage, symbolism, craftsmanship, different kinds of art, esthetics, and social history are excellent candidates”25. She also argues that careful planning and conducting of a theatrical play is essential in order for all visitors to enjoy and learn from their visit.
Stillman refers to two theatrical plays, the one based on Middle Ages art and the other on Renaissance art. But what about contemporary art, where there is no historical distance from today? This is an important question that needs to be researched and analyzed.
Graham Farmelo’s article Drama on Galleries (1992) openly criticizes the use of theater in museums and galleries. The use of museum theater hides both advantages and
24 Stillman 1990, 8. 25 Stillman 1990, 9.
11
disadvantages; theater can attract gazes, educate and entertain, achieve several interpretations of a single object, but on the other hand, it is costly, it changes a museum’s silent atmosphere, it dominates an exhibition room or a whole museum/gallery, it may not always sustain its accuracy, and it may cause visitor-flow problems. Farmelo gives a solution for all these problems: the design of new galleries, the proper evaluation of theater programs, and the collaboration between museums.
Theater’s power is highly valued by Farmelo, as he states: “The emotional responses of audiences to actors, performing on museum galleries are often a joy to behold: how many of the visitors would have been as affected by a label or, for that matter, by an audio or video presentation?”26
Lindsay Michelle Genshaft’s M.Sc. thesis Bridging Theatre and Visual Art: The Role of an
Applied Theatre Practitioner in a Fine Art Museum (2011) is one of the few studies on the use of museum theater in art museums. Specifically, Genshaft’s study includes four museum theater pieces conducted at the Blanton Museum of Art in Texas; the 19th
Century Tea focused on three famous woman artists of the time in the male dominated world, the Collectors in Role (I & II) presented well-known early American art collectors, and the Artist’s Message indicated that artists create art to express their ideas and to communicate. All Genshaft’s plays were focused on two exhibitions, the Turner to Monet and the Repartee: 19th-Century Prints and Drawing exhibitions.
Genshaft highlights the types of museum theater that are most suitable for the Blanton
Museum of Art; “portraying an artist or figure from a work of art, telling a story about the artwork, performing a traditional scripted play, improvisation/interacting with visitors, role playing – putting visitors in role to interact with actors, and using drama- based instruction as an interpretative tool with visitors”27. Also in Genshaft’s post-
26 Farmelo 1992, 46. 27 Genshaft 2011, 41.
12
survey program’s evaluation two things are evident: the difficulty of clearly defining museum theater, and the visitors’ positive reaction towards the use of theatrical plays in a museum setting. After her personal museum theater experiences, Genshaft concludes that “drama has the power to be an innovative entry point into visual art by engaging its audience on an emotional level and generating critical thought”28. Genshaft’s M.Sc. thesis reveals museum theater’s magical capacity of not only bringing past stories and art personalities back to life, but also helping visitors entering an artwork’s world.
Again, all Genshaft’s museum theater plays were focused on the 19th century art; this leads to an important question: would it be possible to design and conduct a theatrical play about a collection of contemporary artworks?
Another M.Sc. thesis focused on the use of theater techniques in art museums is
Kathryn Jean Kelley’s Movement and Theatre in the Art Museum: Professional Development
Practices for K-12 Classroom Teachers (2012). Though this thesis may mostly concern K-12 teachers, it also includes a basic research on the use of museum theater in American art museums. According to Kelley, scripted theater, role-play and puppetry are the most common theater techniques in US art museums. Kelley’s main belief is that “theater and movement strategies allow students to empathize with historical figures, painted narratives, and animals in a deeper level than they can through lectures and book learning”29. Museum theater is indeed a powerful tool for all museum types, but even in this research, only two art museums are mentioned; the San Francisco Asian Art
Museum and the Newark Museum in New Jersey. Is there a huge scientific gap, or do art museums simply avoid using museum theater as an interpretative tool? If so, why is that happening?
28 Genshaft 2011, 84. 29 Kelley 2012, 13.
13
In Greece, museum theater is a brand new scientific field. Although numerous museums make use of theatrical techniques as part of their educational programs, no extended studies have been conducted on Greek museums. Alkistis Kondoyianni’s research Museum and Drama in Education, which was carried out in 2004 by students of the Department of Museum Education at the University of Thessaly, is the sole work published thus far.
The study was exclusively focused on Greek archaeological, art, and science museums, and its aim was the selection of the most appropriate theater techniques for each museum type. The research includes information about several museum theater programs conducted at three Greek museums and their evaluations. The important conclusion of the research is that different museums use different theater techniques;
“at the art museum, drama was combined with language exercises, story-telling, improvisation, and concentration exercises, while at the archaeological museum, dramatic play was applied together with the time machine, spatial exercises, brainstorming, and imagination exercises.”30 Kondoyianni’s research was focused on 10-
12 year-old school students. It surely lays the foundations for a more extended study on
Greek museums.
Concluding, it may easily be observed that although museum theater has found an echo in many cultural institutions worldwide, “art museums have been the slowest discipline to pick up the idea of using theatre”31. On the contrary, science museums, history museums, children’s museums, industry museums, zoos, and aquaria are quite familiar with using museum theater for interpretative reasons. “Perhaps this is due to
30 Kondoyianni 2005, 66. 31 Hughes 1998, 75.
14
these types of museums being traditionally more story-centered than object-centered and also being early adapters of including interactive elements in design exhibition.”32
But is museum theater such a successful interpretative method in general? As numerous studies have shown, not only museum professionals have emphasized the importance of museum theater as an interpretative tool in a museum setting, but regular visitors have also been thrilled by the experience. So what makes museum theater so thriving?
Indeed, it is quite easy to think of some of the benefits of using theater in a cultural institution. First of all, museum theater may aid interpretation. A museum theater play can help visitors better understand the meanings or messages of an artifact, while many times they may not be aware of the story behind an artwork, or simply do not understand what the work of art is about. Thus, a well constructed theatrical play may enrich understanding and enhance learning. In 1995, the Minnesota Historical Society evaluated its interpretative programs and concluded that “eighty-five percent of participants attributed some impact on their understanding of the exhibit to the play”33.
Furthermore, a museum theater play may be characterized as an ideal tool to reveal aspects of untold stories, to bring out hidden realities about an artwork, and to deal with controversial subjects. As Catherine Hughes has discovered “museum theater, within the context of a play, can facilitate discussions that approach difficult topics without making the visitor feel threatened or accountable for what they have to say”34.
Many museums worldwide have taken advantage of theater’s ‘magical’ capacity, in order to reveal hidden secrets and deal with complex topics, such as slavery, AIDS, racism, politics, gender issues, and more.
32 Genshaft 2011, 12. 33 Bridal 2004, 112. 34 Chou 2010, 4. - Citation of Hughes: C. Hughes, Museum Theatre: Communicating with Visitors Through Drama (1998).
15
Museum theater may also stimulate interest and attract visitors’ attention. Indeed, observing a theatrical play in a museum setting, for most people, may be a surprising, new, and bizarre experience; visitors in a museum do not expect to watch a theatrical performance. Hence, museum theater can increase curiosity and as Stuart Miller’s study showed, “theatre not only attracted visitors to an exhibit area, but also held visitors in an exhibit area”35. Thus, museum theater has the power to attract the gazes, prevent from passing indifferently through the exhibits, and make visitors more curious about them.
Museum theater may as well provoke empathy and make visitors connect emotionally with an artwork’s story. “Interpretative theatre builds on a fundamental empathy, the ability of audience to relate better to real people than to objects, to compare their own experiences, responses or quality of life with those of the characters.”36 Theater has the ability to take visitors on a journey into the past, while at the same time building emotional connections with the characters behind the artworks’ stories. When connecting emotionally with the characters of an exhibit, visitors better engage and more strongly feel the importance and uniqueness of a specific artwork. “McGaugh reported that humans remember more about an event when it is associated with an emotional story.”37 Therefore, museum theater can humanize lifeless objects and transform a casual museum visit into a memorable and emotional experience.
Moreover, besides its educational nature, museum theater may also be entertaining.
Visitors have constantly underlined that theater has added enjoyment to their museum experience. Though this may be an important benefit of using museum theater, there have also been raised many philosophical concerns about it. Do museums use theater in
35 Bridal 2004, 109. - Citation of Miller: D. Stuart Miller, The Effect of Interpretative Theatre on Children in the Museum Setting (1998). 36 Alsford - Parry 1991, 17. 37 Baum - Hughes 2001, 358. - Citation of McGaugh: J.L. McGaugh, Memory - a Century of Consideration (2000).
16
order to entertain and attract visitors or to educate and better interpret their collections?
As Anthony Jackson and Jenny Kidd have mentioned, “education and entertainment should go hand in hand”38. Museologists ought to find a balance between learning and amusement. As Catherine Hughes has concluded in her book Museum Theatre:
Communicating with Visitors through Drama, “education and entertainment are not mutually exclusive, and museum theater can bring the two together in new ways that are having a positive impact on visitors”39. Museum theater can provoke intense feelings to the visitors, and above all, it can convert a museum into a more alive and interesting space.
Finally, another important benefit of using theater in a museum setting is the audience’s unsettlement. Suddenly, a casual visitor/a passive member of the audience, becomes active, when he/she is asked to participate verbally or physically in a play. Unsettlement may have either positive or negative outcomes though; it may be exciting, interesting and surprising, but on the other hand, it may be annoying, demanding or even embarrassing. In order to avoid these negative effects, museum specialists have the obligation to primarily define and study their visitors’ needs, and then carefully design the theatrical programs. “The unsettlement may be a deliberate part of the aim of the piece but it has to be handled with skill and sensitivity.”40
On the contrary, one of the most important limitations of using theater for interpretative reasons in a museum or a gallery, is the financial cost of setting and transacting such a program. Money is needed for costumes, props, a playwright, actors, sound, and many more. Usually all these financial constraints discourage museums from organizing and producing theatrical plays. Many museums though have been using nonactors as performers; it is not difficult to find students or volunteer performers willing to
38 Jackson - Kidd 2008, 120. 39 Hughes 1998, 139. 40 Jackson 2011, 20.
17
participate. While the benefits of using nonactors are clear – reduced cost and community involvement - the challenges should also be underlined; “they include scheduling difficulties, varying degrees of commitment and discipline, and varying quality”41.
Another restriction of using museum theater may be the lack of experience. Some museologists may find the idea of using theater as an interpretative tool quite challenging and demanding. But this is only one side of the coin; there are theatrical techniques, like storytelling or first person interpretation, that can be designed and carried out in a few simple steps without any special prior experience or knowledge.
Also, studying Bridal’s and Hughes’ books on museum theater may be a great starting point on thinking what to do and how to do it.
However, the most controversial aspect of museum theater concerns its authenticity.
“The use of performance at museums and heritage sites has frequently been criticized for representing a sanitized and fictitious ‘past’ (Hewison, 1987).”42 Part of this is true, as many reconstructions are required when conducting a museum theater program; but a deep historical research can help in avoiding uncertainties and untruth realities.
Museologists are obliged to carefully examine the past and provide to their visitors all aspects of history in a realistic way. Until recently, “decisions (judgments) have been made about which histories to represent, in what way, and to whom”43. Today, things have changed and authenticity plays an important role in interpreting artifacts, as museums seek multifaceted truth.
Concluding, museum theater may be characterized as a powerful interpretative tool, which can be incredibly beneficial to the visitor, only if each theatrical play is well-
41 Bridal 2004, 80. 42 Jackson - Kidd 2008, 124. - Citation of Hewison: R. Hewison, The Heritage Industry (1987). 43 Jackson - Kidd 2008, 124.
18
researched, well-written, well-designed, and well-acted. According to J. Kidd,
“performance at museums and heritage sites must thus serve a dual function: it must be beneficial to the visitor by adding to their site experience, positively impacting upon their learning outcomes, and bringing the site into life; but it must also serve the trade of the site by bringing people in, ensuring their quality of experience and valuable word-of-mouth publicity in order to bring in more (and perhaps different) people”44.
Museum theater offers an effective way of combining learning and entertainment; and if it is done well, then more people – even non-traditional visitors – may also be interested in attending.
What is needed though is a deeper research as "the majority of extant literature on museum theater represents evaluation research conducted by museum personnel, rather than independent research, which seeks to examine questions of feasibility and goal attainment"45. To this date, all museum theater studies and evaluations have been conducted exclusively through questionnaires, surveys, interviews, visual recording, and observation. "After-performance surveys or questionnaires though have been the most commonly used instrument in museum theater studies."46 Museum theater may have a great resonance on visitors, but an objective evaluation with new methods is more than necessary.
1.7 RESEARCH METHODOLOGY
The thesis methodology comprises four distinct and complementary approaches.
First a theoretical approach, which means research based on existing bibliography, papers, and opinions of museum professionals and theater professionals.
44 Kidd 2007, 59. 45 Hughes 2008, 43. 46 Hughes 2008, 110.
19
Second, an approach based on interviews by museum professionals that have experience in using museum theater techniques.
Third, a practical approach based on taking part in several museum theater activities for shaping a personal point of view, and on designing and conducting two theatrical productions within two different contemporary art exhibitions (the thesis' two proposed actions).
Last, an approach based on questionnaires for analyzing and evaluating the two proposed actions.
1.8 RESEARCH LIMITATIONS
Because museum theater contains many different theater techniques, this study’s practical part only focuses on two specific museum theater types: interactive theater and first-person interpretation. So, conclusions have been shaped based on only these two theatrical techniques.
In addition, theater programs not related to a museum’s permanent or temporary exhibitions are not included in this study. No theatrical productions, even conducted in a museum setting, are considered if they are irrelevant to the exhibits.
Geographically, the study mostly focuses on American and European museums and galleries, and on western traditional theater. Special emphasis is placed on Greek museums and on art institutions.
Furthermore, no extended analysis of acting, directing, and controlling sound and light is provided. Similarly, no issues related to writing a play or choosing actors are included.
20
Last but not least, the study analyzes museum theater programs and activities designed for adults. The focus on adults may render the study relevant to a wider range of museum professionals and visitors.
1.9 RESEARCH INNOVATIONS AND SIGNIFICANCE
Though several Greek museums timidly make use of several theater techniques, only a few are aware of museum theater as a scientific subject. In other words, there is a lack of scientific knowledge about museum theater in Greek museums. Meanwhile, many professionals around the world have studied and recorded the pros and cons of using museum theater in different situations, concluding that museum theater is not suitable for all cases or exhibitions. Therefore, the thesis focuses on exploring what is happening in the Greek museum world, and how museum theater is being used in different museum types.
Moreover, although current literature clearly outlines the special and beneficial impact of museum theater programs, there is little, if any, scholarly work on the use and evaluation of theater techniques in art museums, and especially in contemporary art museums and galleries. Most professionals have focused on history, science, children museums, zoos and aquariums. Thus there is a significant scientific gap that this thesis is about to explore, study, and analyze.
Furthermore, both proposed actions refer to adult visitors only. While most institutions design theatrical productions specifically for children, this thesis explores the adults' feelings towards museum theater mostly via questionnaires, observation, and informed interviews.
21
1.10 MUSEUM THEATER AND ITS PARAMETERS
1.10.1 MUSEUM THEATER: HISTORY, PRESENT AND FUTURE
Theater techniques started being used in museums in order to help visitors better understand the exhibits. According to Anthony Jackson, museum theater has its roots in the theatre-in-education (TIE) movement47. The TIE movement began in the 1960s and
“it was valued by teachers for its ability to engage children in a range of subject areas
(such as local history, racism, health education, even mathematics), and in ways that complemented more conventional teaching programs, varying its methods of approach according to the target audience”48. But what about before 1960? If we go back in time, will we be able to trace an earlier use of theater in a museum setting?
And yet, there are some references back from the late 1800s about an adult education movement called Chautauqua in the United States. “Originally providing rural communities with wholesome evenings of music, lectures, and performances for edification, it has evolved into cultural tourism events that ‘combine theatre with a historical theme’.”49 The Chautauqua movement offered education, music, culture, lectures, classes, and entertainment to people that actually wanted it. This combination of education and entertainment could really be the museum theater’s ancestor.
Another reference of an early form of museum theater can be found in Edith
Serkownek’s thesis, “showmen such as Phineas Taylor Barnum (Figure 1), the creator of several successful museums in mid-nineteenth century America, flourished by giving
47 Hughes et alii 2007, 679. 48 Ibid, 679. 49 Hughes 2008, 3.
22
the public exhibits, ‘curiosities’, and theatrical entertainment.”50 It is almost unbelievable that the birth of museum theater may be dated over two centuries ago.
Figure 1: Phineas Taylor Barnum (source: Barnum Museum website)
Barnum opened his American Museum in New York, which “became a shrine for advancing public knowledge of fine arts, music, literature and the marvels of nature, showcasing natural curiosities alongside artistic and historic exhibitions”51. His museum became very popular for more than two decades and offered entertainment to the American society.
Still, the most coherent early form of museum theater may be found in the early 1900s.
Anna Curtis Chandler was famous for her stories and her love for art. She used several theater techniques at New York’s Metropolitan Museum of Art in order to recount stories about different famous artists, important artworks and varied countries (Figure
2).
50 Bridal 2004, 11. 51 Barnum Museum Website [Accessed 20 March 2014].
23
Figure 2: "Children to Study Art", NYT, September 22, 1917. (source: New York Times website)
“Chandler viewed museums as a ‘storehouse’ of art’s treasures that could be made a place of living joy especially for children”52. By storytelling, Anna Curtis Chandler brought to life artworks and heroes from the past. She has written many books about some of the most important artists of our history, like Filippo Lippi, Leonardo Da Vinci,
Giotto, Velazquez, and many more, while also many of her books have been published with a variety of stories from different civilizations around the world. For example, in her book More magic pictures of the long ago (1920), one can read stories from many different countries; a story from Egypt with the Queen Hatshepsut, a story from Greece with Minotaur, a story from Constantinople with Empress Theodora & Justinian, a story from India with a Prince and so on. Although that “in the early 1990s, Chandler’s expertise was considered ‘amateur’, ‘women’s work’, and not deemed to be academic,
52 Genshaft 2011, 13.
24
professional or scholarly”53, her work today is considered very important and influential. Nowadays, the use of theater and storytelling constitute two of the most important and successful interpretative techniques in a museum or a gallery.
Furthermore, one of the first examples of museum theater is the open-air museum
Skansen in Sweden of the early 1900s. Created in October 1881 by Swedish educator
Arthur Hazelius, Skansen is a true size reproduction of a Swedish old village with actors performing as its residents. The actors successfully demonstrate the lives of the villagers, performing the bakers, the craftsmen, always wearing costumes from the past century. Hazelius strongly believed that artifacts should be presented in their historical environment in order to gain the authenticity and the understanding they deserve.
Also, he “believed that without activity his museum would be as dead and static as other history museums”54, so he used actors in his try to enliven his ‘old’ village,
Skansen. “Live interpretation and living history have been functions of museums on and off since that first experiment at Skansen.”55 Indeed, thousands of history museums around the world have been influenced and since then make use of live interpretation and living history for their audiences.
But it was not until the 1980s that museum theater got shaped and formed as an official movement in the museum world. The big chronicle blank between the ancestors of museum theater and its actual ‘birth’ is clearly noticeable though. Since the 1980s, when museums got eventually visitor-centered, instead of object-centered like they used to be, museum professionals have focused on the visitors’ needs, and started looking for interpretative techniques that could easily reveal untold stories and make artifacts more accessible to visitors. New theories have been developed; new experiments have been tested in a broader extent.
53 Genshaft 2011, 14. 54 Mateer 2006, 34. 55 Hughes 1998, 33.
25
The first three museums that officially made use of museum theater techniques are the
Smithsonian’s National Portrait Gallery, the Science Museum of Minnesota, and the
Museum of Science and Industry in Chicago. The first pioneer, the Smithsonian’s
National Portrait Gallery (Washington DC), in 1972 “developed The Trial of John Brown, which included a long reenactment of John Brown’s trial for treason in 1859”56. Since then, the Smithsonian’s National Portrait Gallery offers its visitors a great variety of performances with professional actors and musicians. The other pioneer, the Science
Museum of Minnesota (Saint Paul, Minnesota), started using puppetry and developed a show with Pete and Doc, two puppets - anthropologists. Sondra Quinn and Phillip
Taylor are the creative people behind the success, of the Pete and Doc show, and they quickly started using several theatrical techniques for the museum’s interpretation purposes. “Quinn had perceived sufficient interest in the museum community to offer a three-day workshop focusing on the use of theatre.”57 So, in 1984 they organized the first Theatre in Museums Workshop, which runs until today. The third pioneer, the
Museum of Science and Industry in Chicago (Chicago, Illinois), started using theater in the early 1970s, when four plays were designed for exploring science issues and the life of scientists.
After all these attempts and first practices of using theater in a museum setting, the need for an official organization flourished. So, the first organization dedicated to museum theater, the International Museum Theatre Alliance (IMTAL), was developed in 1990 by Catherine Hughes; she also runs the theater programs at the Museum of
Science in Boston. IMTAL today promotes the use of museum theater not only in North
America, but also in Europe, in Asia and the Pacific. Members at IMTAL are zoos, aquariums, historical houses, all types of museums and professionals who support the use of theater in cultural organizations. Every year, IMTAL organizes workshops,
56 Bridal 2004, 15. 57 Bridal 2004, 16.
26
conferences and meetings, so that people from different countries and organizations can meet, discuss, and exchange ideas and problems about museum theater practices. Also,
“in 1992, Tessa Bridal of the Science Museum of Minnesota and others formed an
American Association of Museums’ Professional Interest Council on museum theater
(MTPIC) to further increase communication”58. Both organizations are approved by the
American Association of Museums (AAM) and have been helpful for the expansion of museum theater and its many different forms in museums from all around the world.
Today, though theater is a popular interpretative technique in many cultural organizations worldwide, not all museum types or countries use museum theater to the same degree. These issues are being analyzed in detail in the following chapters.
As for the future, museum theater seems to gain new supporters, as new developments and experiments are continuously being carried out. But, it must be underlined that "the future of museum theater depends on the value we place on the things theater does best
- touching our emotions, personalizing information, and challenging perceptions"59.
Stimulated by theater's multiple positive characteristics, museologists today are able to choose from a wide range of techniques and design educational programs for almost all different museum exhibitions and visitor groups. The museum theater's future is basically in our hands!
1.10.2 MUSEUM EDUCATION IN RELATION TO MUSEUM THEATER
Education has always been one of the main museum goals. Ever since the Renaissance, artworks and peculiar objects have been kept, displayed, and preserved in museums for future generations.
58 Hughes 1998, 44. 59 Bridal 2004,160.
27
However, officially, museum education can be found in the eighteenth century when public museums first appeared. "The beginnings of the public museum are commonly traced to either the founding of the Ashmolean Museum in 1683 or the opening of the
Louvre Palace's Grand Gallery in 1793."60 Until then, most museums provided limited access to the public. "In the latter half of the nineteenth century, as industrialization progressed, populations moved to the cities, and science and industry reshaped life, governments also increasingly took responsibility for social services and education.
Museums were viewed as one type of institution among several that could provide education for the masses."61
But it was not until recently, that museums noticeably shifted their attention from objects to visitors. Specifically, in the 1970s, “The New Museology identified aspects of a ‘reflective turn’ in museums in which orientation towards visitors was combined with an institutional consciousness of the museum’s role in the construction of knowledge”62.
The 'New Museology' changed the way museums work; museums started developing less elicit modes of practice in order to become accessible to more people. Interactivity and interaction became very important elements in the development of new interpretative museum programs. Furthermore, today "objects are being studied and interpreted based on their multifaceted relations with the complex psychological and social dimensions of human reality"63.
Nowadays, “all museums and galleries have an educational role, which can be defined as the development of responsive relationships with visitors and other users that increased enjoyment, motivation, and knowledge result”64. Museums are considered to
60 Abt 2011, 115 - The Ashmolean Museum is the University of Oxford’s museum of art and archaeology. 61 Hein 1998, 4. 62 Jackson - Kidd 2008, 12. 63 Nakou 2001, 125. 64 Hooper-Greenhill 1994, 1.
28
be rich places where people can learn, socially interact, and have fun. Most cultural institutions are open to the public, and offer a wide range of educational and interpretative programs, suitable for different needs and interests. More specifically,
"museums give people the opportunity to discover their collections and draw inspiration, knowledge and pleasure from them. They are institutions that collect, protect, and make accessible objects and specimens of the natural world for society's benefit"65.
Museum education includes many different forms:
"Education for all visitors, regardless of sex, age or origin.
Education in groups (school groups, adults, elderly, people with special needs,
individual visitors and so on).
Education through exhibitions, presentation of exhibits, labels and so on.
Education through museum catalogues, books, leaflets, lending material.
(Hortarea)."66
In the 1980s, a new trend called museum theater was established in the museum educational field. Museum theater constitutes all the above educational values, plus the imaginative nature of theater. Museum theater has indeed an educational character, as its basic aim is to provide visitors with knowledge and entertainment.
1.10.3 NEW TECHNOLOGIES, MUSEUM, THEATER, AND EDUCATION
Just like any other sector of modern society, new technologies have influenced the world of museums as well. The impact of technology on museums and galleries can be identified in many different ways. Technology has not only been used for the better
65 Mouliou - Bounia 1999, 42. 66 Ioannidi 2005, 2. Citation of Hortarea: E. Hortarea, Historical Development of Educational Programs in Greek and International Museums (2002).
29
presentation and conservation of a museum’s exhibits, but also for expanding its audience and for helping them better understand the exhibited artworks. Thus, the solutions provided by the new technological devices are usually practical, educational and interpretative.
New technologies can also positively affect museum theater events. Museum theater productions can either be enhanced by video projections or be recorded by video devices. In other words, new technologies can benefit a theatrical event during conducting time (video projectors may enrich a theatrical production by screening images or videos instead of using props) or even after it (a theatrical event can be recorded for more people to watch). Probably there are more ways of combining museum theater with new technologies, but the above two are the most common ones today.
1.10.4 ARCHITECTURE, MUSEUMS, AND THEATER (MUSEUM DESIGN)
The museum notion is directly connected with architecture, as the museum as a building is an architectural object. While museum buildings worldwide may have many different architectural characteristics, the purpose of their buildings remains the same.
"A museum building has a lengthy laundry list of technical tasks to fulfill: security and storage; crowd control and circulation for staff and visitor; fire detection and prevention; microclimates and specialized systems; lighting, heating, ventilation, air conditioning, plumbing, electricity, and communications for various different spaces."67
Over the years, interior and exterior museum architecture has radically evolved. While at the beginning of public museums, existing buildings, villas or palaces were chosen to house important art collections, "the current twist is for museums to inhabit not
67 Sirefman 1999, 297.
30
domestic buildings, but industrial edifices: railroad stations, power stations, public schools, abandoned government structures."68
The interior design of a museum has also evolved. A range of users - professionals, researchers, families, elderly people, visitors with disabilities, tourists, organized groups, individual visitors and so on - has influenced the configuration of a museum space. Museums grow in order to fulfill people's needs and expectations. New rooms are added, new spaces are being invented or amended.
Specifically, many museums offer special rooms or restricted spaces for new technological means, such as monitors, speakers, projectors, touch screens, and so on - as new technologies have remarkably influenced the museum world.
Architectonically, many institutions also possess an amphitheater. Amphitheaters are very useful spaces as they accommodate a great number of visitors. Many events, workshops, lectures, and seminars usually take place in this kind of lecture halls, as they offer a comfortable space for people to interact. It is also common to attend theatrical activities in an amphitheater a storytelling event or even a theatrical performance.
Yet, this thesis focuses on theatrical events taking place within the exhibition rooms themselves. "Many museum theater productions are performed without a set, using existing exhibits as backdrops, or utilizing only props. Set pieces can range from elaborate to simple. It all depends in locale, budget, and staff."69 But even in this case, some architectural interventions are indeed necessary, as some space must be devoted to the actors and some to the visitors.
68 Sirefman 1999, 306. 69 Bridal 2004, 99.
31
Thus, in order to conduct a museum theater production - from a puppet show to a theatrical performance - within an exhibition room, the first thing to check is the room spaciousness, for two main reasons: for the visitors' and actors' convenience and safety, but for the exhibits' protection as well.
1.10.5 CONTEMPORARY ART EXHIBITIONS
Contemporary art includes all art practices from the 1980s to the present. In contemporary art, one can identify a variety of unconventional materials and techniques. ‘Where there was once a relatively clear distinction between something that was art – a painting or a sculpture, for instance – and something that was not art – a refrigerator, perhaps – this is not necessarily the case with contemporary art.’70 Objects, mixed media, photography, video and the human body are some of the main materials used by artists today in various types of art practices, including performances, video, installations, and happenings.
Furthermore, the artworks produced since the 1950s are not based at all on the mimesis of the world, but on the contrary, they are based on the artists’ unique ideas and intentions. In other words, an artwork’s concept is more important than its actual physical identity today; and that is why many people find contemporary art challenging and difficult to interpret.
Contemporary art exhibitions often puzzle, thrill or make people feel repulsion. Thus, interpretation is more than necessary in order to make contemporary art more understandable and accessible to the public. Museum theater could probably offer interesting ideas in making contemporary art more comprehensive.
70 Whitham - Pooke 2010, xiv.
32
This thesis' practical part provides two proposed actions, two theatrical plays within two different contemporary art exhibitions. Focusing on contemporary art's challenges, the thesis examines whether and how museum theater could be useful in such exhibitions.
33
2 MUSEUM THEATER STRATEGIES IN INTERNATIONAL ART MUSEUMS AND GREEK MUSEUMS
Introduction
This chapter presents the different strategies of museum theater and focuses on their usage in international art museums and in Greek museums. What are the categories of museum theater? To what extent do art museums worldwide utilize theater techniques? Do
Greek museums use museum theater? Do Greek art museums offer museum theater plays to theirs visitors? What do museum professionals have to say about the usage of museum theater?
What are their experiences?
In other words, the purpose of this chapter is to document and present the current usage of museum theater techniques at a specified international (only at art museums) and a more general national level. This is achieved via online research, current papers, personal visits, and emails. Concerning the Greek museum world, it is important to underline that this is the first time that a recording on this topic is being carried out.
2.1 MUSEUM THEATER STRATEGIES
Museum theater may take numerous theater styles and techniques. “The nuances of each, and the overlaps that undoubtedly exist between their uses, easily make ‘museum theatre’ as complex a term as both ‘museum’ and ‘theatre’ are independently.”71 Some museum theater performances can be humorous or tripping, while others can be dramatic or touching. Museum theater techniques also vary; but a mix and match combination is quite popular when designing a theater program. What follows is a list
71 Kidd 2007, 58.
34
of the most popular and important theater techniques generally used in a museum setting.
First person interpretation:
The interpreter takes a particular role from a past period and, while dressed up in an appropriate costume, chronicles a story, interprets a collection, and interacts with the visitors. The interpreter is not presented to be himself/herself, but fully assumes a particular role and usually ‘brings’ the audience back in time.
Third person interpretation:
The interpreter, dressed up in a period costume, remains himself/herself, and tells stories about the past.
Participatory and Interactive Theater:
The interpreter can either ask the audience/visitors to join the play – to dance, sing or play (participatory theater), or he/she can ask them to express their thoughts, feelings, and opinions through dialogue (interactive theater). In both cases, the visitor is called to take part in the play physically or verbally.
Storytelling:
Storytelling has its history and traditions. Storytelling in a museum setting can be traced back to Anna Curtis Chandler72 who was gathering children and used to tell stories about artworks and artists. Nowadays, “museums have employed storytellers to tell children’s tales, to appear in costume and weave stories around particular exhibits, and for cultural purposes – to share traditions, history, myths, and folk stories”73. It can
72 See Chapter 1.10.1. 73 Bridal 2004, 20.
35
be said for sure, that storytelling is a very popular type of museum theater, especially for children.
Role play:
Role playing is when the interpreter and the audience are working together and interacting in different roles. It is an easy and common museum theater technique, as it may or may not require costumes and special preparation.
Re-enactment:
Re-enactment is a popular technique for re-creating a historical event, usually a battle. It requires careful preparation as participants should behave respectively in specific costumes.
Puppetry:
Puppets are an excellent theatrical tool for museum visitors, especially for children.
Puppets can take any color and size, provide an illustration of a mythical creature or an unusual animal, and create atmosphere. “Puppets can be gender-ambiguous, timeless, and much more approachable than an actor – even if the actor is standing beside the puppet; there is no eye contact or movements to threaten the visitor’s balance.”74 In other words, puppets are adorable, and may be found in many museums, ready to
‘welcome’ visitors and ‘help’ them engage with the exhibits.
Mime:
Mime is a type of theater, where the interpreter acts out a story through his/her body movements without speaking; it is a silent performance. “There are two ways of incorporating mime into a performance. It can be used to demonstrate an action or
74 Kelley 2012, 16.
36
object within an otherwise nonmimed play, or it can be an entire, silent performance of its own.”75
Living History:
Living history is mostly applied in historic sites and open-air museums. Interpreters usually use either first or third person interpretation in order to bring visitors back in the past. The aim of using living history is to re-enact a past event or to recreate the living conditions of a specific period.
There are no boundaries in how many theater techniques or combinations of them, an institution can make use of. In the contrary “using a single strategy can be limiting because there may be misses opportunities to allow for the visitors to engage in creative participation”76. Each exhibition needs special care and thought, before deciding how to interpret it; it has to be understood that not all theater strategies are suitable for all exhibitions. The decision of which style to use depends not only on the resources of each exhibitions and institution, but also on the needs of its visitors. According to Tessa
Bridal, “each museum should determine what, where, and for whom museum theater is presented”77. These three questions should certainly be answered before designing a museum theater program. Different museums use different museum theater techniques for efficient interpretation.
2.2 MUSEUM THEATER PROGRAMS IN INTERNATIONAL ART MUSEUMS
As mentioned in the thesis' Introduction, several museums in the United States had already began using museum theater techniques in their educational programs in the
75 Bridal 2004, 26. 76 Genshaft 2011, 64. 77 Bridal 2004, 5.
37
80s. Today, museum theater is a well-known way to interpret a museum's collection, but is it so widespread in art museums?
In their books, Tessa Bridal and Catherine Hughes respectively refer to many different, mostly American, museums using museum theater techniques. The most frequently quoted ones are the following: the Carnegie Science Center (Pittsburgh, Pennsylvania), the Explora Science Center and Children's Museum of Albuquerque (New Mexico), the
Lawrence Hall of Science (California), the Minnesota History Center, the Museo de
Historia Natural "Dr. Carlos A. Torres de la Losa" (Montevideo, Uruguay), the
Philadelphia Zoo Treehouse, the Science Museum of Minnesota, the Science Museum of
Virginia, the Frederick R. Weisman Museum of Art (Minnesota), the Wheaton History
Center (Illinois), the Whitaker Center for Science and Arts (Harrisburg, Pennsylvania), the Witte Museum (San Antonio, Texas), the Museum of Science (Massachusetts,
Boston), and the Science Museum (London, UK).
This thesis explores programs using theater techniques in art museums and galleries.
The selection of the following six art museums was based on the extent of museum theater techniques employed.
2.2.1 THE NATIONAL GALLERY OF ART, WASHINGTON DC, UNITED STATES
The National Gallery of Art, located in Washington DC, acquires a great collection from
Byzantine altarpieces to pop art. Storytelling is a popular interpretative technique in several of its educational programs.
In particular, the museum offers a series of programs based on storytelling called Stories in Art. Each year, the museum organizes programs with different topics, where each topic highlights a different part of the permanent exhibition. "Stories in Art introduces children (ages 4 to 7) to artists through careful looking, storytelling, and hands-on
38
experimentation. Led by museum educators, each program includes reading a children's book, exploring one work of art in the galleries, and completing a simple, hands-on activity."78 During story time, museum educators use drama to introduce children to different artists and specific works of art.
For the summer period of 2016, within the program Stories in Art, the museum offers four different topics to choose from: Explore Italy, Discover Dutch Art, Tour de France, and
American Adventure. As all the above activities have the same structure, only one will be analyzed below.
During the Discover Dutch Art activity, children have the opportunity to visit the
Netherlands and focus on Rembrandt's landscape paintings. Particularly, children "visit a windmill, sail the seas, discover mince pie, and listen to a concert. They learn about landscapes, still life, seascapes, and scenes of interior Dutch life"79 through storytelling, close-looking, and creating.
2.2.2 THE ART GALLERY OF SOUTH AUSTRALIA, ADELAIDE, AUSTRALIA
The Art Gallery of South Australia, located in Adelaide, is one of the most important art museums in Australia, displaying more than 38.000 works of art. "The gallery collects and displays art from Australia, Europe, North America, and Asia, and spans the period from ancient Rome to the present day."80
The gallery is well-known for its storytelling and its interactive performance-based educational programs for children. According to the Annual Report 2014-2015, the interactive performance program Art Alive enabled students to explore, understand and analyze selected artworks. "Led by actors using a storytelling and multi art approach,
78 The National Gallery of Art website [Accessed 15 April 2016]. 79 The National Gallery of Art website [Accessed 15 April 2016]. 80 The Art Gallery of South Australia website [Accessed 16 April 2016].
39
students engaged their senses and emotions, while applying skills in interpretation and evaluation."81
Currently, the gallery offers two programs based on storytelling: the Start at the Gallery and the Magic Object Mystery Tour.
The Start at the Gallery program is held on the first Sunday of every month, and each time, the program's theme varies. In particular, on Sunday 1st of May 2016, the museum offers the program Start at the Gallery - Cabinet of Curiosities, during which, participants attend "a trick show by the magician Mickster the Trickster and watch a storytelling performance about a girl who learns to skip in her sleep."82
The Magic Object Mystery Tour, "commencing in the Magic Object exhibition, is a walking tour that combines storytelling, art appreciation, and an art activity. Led by the ever theatrical Michael Mills, children enjoy a day of magic and mystery".83
2.2.3 THE NEWARK MUSEUM, NEW JERSEY, UNITED STATES
The Newark Museum, located in New Jersey, holds a rich collection of African,
American, Asian, Latin American, ancient, contemporary, and decorative art.
Occasionally, the museum offers theater programs for both children and adults. The museum organizes a program called Telling Tales, specifically for children. In this children listen to myths and stories inspired by selected museum's exhibits.
Furthermore, the program encourages children, via improvisation, to "use the museum's artifacts as inspiration and find ways to tell their own stories"84.
81 Annual Report 2014-2015, 129. 82 The Art Gallery of South Australia website [Accessed 16 April 2016]. 83 The Art Gallery of South Australia website [Accessed 16 April 2016]. 84 Newark Museum website [Accessed 8 May 2015].
40
As for adults, the Newark Museum sporadically organizes theater narratives for specific works of art. In 2011, based on Winslow Homer's 1866 painting 'Near Andersonville', a theatrical performance was conducted and videotaped85. "The script was written and performed by actress Tia James, who dressed in the costume represented in the painting. In addition to the video, James also performed the work in the gallery alongside the painting on several occasions."86 (Figure 3)
Figure 3: Tia James performing the painting 'Near Andersonville' (source: YouTube website)
2.2.4 THE WALTERS ART MUSEUM, BALTIMORE, UNITED STATES
The Walters Art Museum, located in Baltimore Maryland (USA), holds a great art collection covering the period from 3,000 BC to the early 20th century. Among its programs and activities, the museum offers live performances, dress up games, and storytelling events. According to Tessa Bridal, in 1986 the museum, funded by the NEA
(The National Endowment for the Arts), organized a performance based on specific artworks from the Walters' late Gothic collection. "The actor portraying a sixteenth-
85 The video is available on YouTube: YouTube website [Accessed 8 May 2015]. 86 Kelley 2012, 22.
41
century lord of the manor 'discussed leisure pursuits, dining habits, and game playing while pointing out the artistic features of each object.'"87
Today, the Walters Art Museum provides many different educational programs with theater activities. Preschool children have the opportunity, during the programs Moon
Theater and The Night the Moon Fell: A Maya Myth by Pat Mora, to learn about specific exhibits through hands-on activities and storytelling. Furthermore, during weekends the museum offers to families a program called Play the Part. During this program, each child is encouraged to "tell his or her tale through set design, theatrical props, and even masks!"88. Another museum program also based on improvisation, is the Lights, Camera
Action! program, during which "families are invited to improvise and perform a production inspired by the museum's collection"89.
2.2.5 THE HEPWORTH WAKEFIELD GALLERY, WEST YORKSHIRE, ENGLAND - UNITED KINGDOM
The Hepworth Wakefield is an art gallery in West Yorkshire (England), named after the artist Barbara Hepworth. Even from its opening to public, in 2011, the gallery provides a great variety of educational programs for all ages. Particularly, the gallery offers to children three different programs with theatrical techniques: the Walking with the Giants, the Place Poems and the Devising Drama Through Art.
Walking with the Giants is a program which through storytelling, helps children better engage with selected artworks from the gallery. The story is interesting and imaginary: there is a giant that lives in the gallery who has a friendly pet snake that has escaped.
The snake is friendly and wants to show children the giant's sculptures while he is
87 Bridal 2004, 70. - Citation of Stillman: Diane Brandt Stillman, Living History in an Art Museum (1990). 88 Walters Art Museum website [Accessed 11 May 2015]. 89 Walters Art Museum website [Accessed 11 May 2015].
42
sleeping. On the other hand, Abstracting the Figure is program that promotes creativity and improvisation. Children are asked to "work with writer and spoken artist Becky
Cherriman to explore games, stream of consciousness writing, metaphor, repetition and white space to craft and perform free verse poetry inspired by works of art"90. Finally, the Devising Drama Through Art program is an ideal workshop for students who are interested in theater, as they work with a professional director. They first have to
"identify an aspect of the gallery that they have a reaction to, and after being introduced to a series of techniques that generate dramatic material, they have to create a short piece of drama"91.
Apart from the above permanent educational programs, "in 2011, the Hepworth
Wakefield partnered with The Theatre Royal Wakefield and commissioned a new play written by Jane Thornton and directed by John Godber to illustrate the themes of
Barbara Hepworth's life and work"92. The play, called The Sculptor's Surprise, was specifically designed for 7-11 year olds, and introduced them to Hepworth's love of sculpture and to some of her own artworks (Figure 4).
Figure 4: The Sculptor's Surprise (source: Annual Review 2011-2012)
90 Hepworth Wakefield Gallery PDF [Accessed 12 May 2015]. 91 Hepworth Wakefield Gallery PDF [Accessed 12 May 2015]. 92 Annual Review 2011-2012, 110.
43
2.2.6 THE SCOTTISH NATIONAL PORTRAIT GALLERY, EDINBURGH, SCOTLAND - UNITED KINGDOM
The Scottish National Portrait Gallery in Edinburgh is an art gallery which holds the national portrait and photography collection. Amongst its wide educational programming, the gallery provides two activities for children based on role play and storytelling.
The first program is called Portrait Detectives, during which children become detectives, they get a special kit and "join detectives Raeburn and Rothko as they attempt to keep order amongst the rogues and vagabonds in the gallery's portraits"93. Children are asked to solve a mystery from history, while at the same time they better engage with the exhibits and learn more about them (Figure 5).
Figure 5: Portrait Detectives (source: National Galleries of Scotland website)
93 National Galleries of Scotland website [Accessed 14 May 2015].
44
The second program, called Storytelling, takes place once a month and brings selected artworks and their stories to life. For instance, in May 2015 the gallery organized a storytelling event called Mary, Queen of Scots, where children with their families had the opportunity to enjoy "storytellers Fergus and Claire McNicol narrating fun stories and songs about the amazing adventures of Scotland's most famous queen"94.
2.2.7 CONCLUSIONS
Although there are many museums using theater interpretative techniques, museum theater can be found only in a few art institutions worldwide, while in contemporary art galleries it is almost non-existent.
Based on our research on the above art museums, storytelling is their most preferable technique. This technique is cost efficient and very familiar to children. As it seems, children constitute the main target group of almost all educational programs.
Storytelling requires a safe, quiet and relaxed environment in which children can engage in a high level, while expanding their imagination. In addition to that, there is little to no risk of damaging the artworks. On the other hand, only one program specifically designed for adults is found in the aforementioned art museums. This seems to be a big gap to be filled based on the fact that most people who visit art museums and galleries are adults.
2.3 MUSEUM THEATER PROGRAMS IN GREEK MUSEUMS
Though museum theater may be a new scientific field in Greece, there are plenty of
Greek museums making use of theater techniques in their educational programs. The
94 National Galleries of Scotland website [Accessed 14 May 2015].
45
degree and variety of the use of museum theater techniques in the Greek museum world is presented in the sequel.
The following eleven museums are well-known in Greece for their significant collections, as well as for their interesting and varied educational programs. Moreover, they aptly represent Greece's history and culture, as well as the Greek museum practice.
2.3.1 THE MUSEUM OF LOCAL ART AND AGRICULTURAL HISTORY, AROLITHOS
The Museum of Local Art and Agricultural History in Arolithos, Crete, holds a great collection of everyday life objects, agricultural objects and local artworks. Despite the fact that it is a small museum, it offers eleven educational programs, seven of which include theater elements. The main theater techniques used in these programs are mime, role play, improvisation and first-person interpretation.
In particular, during the program Guests at Granny's House, students have the chance to learn about traditional household objects and compare life in the past to contemporary.
The interpreter of the program is dressed up in a period costume and invites children to participate in numerous interactive and mimetic games (Figure 6).
Figure 6: Guests at Granny's House (source: Arolithos Museum website)
46
The A Museum like an Old Picture is an educational program based on role play, improvisation and storytelling; children become photographers and are called to investigate the hidden stories behind the exhibits. While exploring, "children are digging up for their own memories, they make choices and liberate their imagination and feelings"95. Furthermore, the museum offers a program called My Great-Grandfather the Builder, during which children learn about occupations of the past via role play.
Specifically, students "actively participate in their acquaintance with the tools and materials of craftsmen by taking roles and acting according to the performer"96. Another interesting program based on role play is the Cretan Wedding, during which children actively participate and learn about the customs and traditions of different social class families. Finally, the programs Cretan Costumes, Art of Weaving and Magic World of Worry
Beads are all based on mimetic games.
2.3.2 THE B&M THEOCHARAKIS FOUNDATION, ATHENS
The B&M Theocharakis Foundation, located in Athens, is concerned with music and the fine arts at an international and national level. The museum offers a wide range of educational programs, many of which include theater techniques such as storytelling, puppetry and first-person interpretation.
In particular, the program It was a Pirate Ship, performed by the Fairytale Group, helps children learn about specific artworks via animations, puppets, music and songs. The
Poet's Christmas with the Mountain Fairy is another program designed for children, during which "the Fairytale Group presents a theatrical performance based on the play
'The Mother's Ring' of C. Kambisis, referring to the life of the poet K. Krystalli"97. The
95 Arolithos Museum website [Accessed 18 May 2015]. 96 Arolithos Museum website [Accessed 18 May 2015]. 97 B&M Theocharakis Foundation website [Accessed 20 May 2015].
47
performance initiates students to the Greek Christmas customs and traditions, while examining how great painters have portrayed the Christmas spirit in their artworks.
Occasionally, the museum organizes storytelling events not only for children but also for adults. The Theocharakis Foundation cooperates frequently with the storyteller
Sassa Voulgari and presents an event called Stories with Colors Harmoniously. In April
2014, the program was held within the framework of the temporary exhibition
Konstantinos Parthenis: Art and Spirit. Sassa Voulgari recounted theatrically three stories based on three different artworks of Parthenis; the first story was the myth of Orpheus and Eurydice, the second the myth of Hercules and the Amazons and the last a princess tale from Thrace. All stories were accompanied by simple music played by Voulgari herself (Figure 7).
Figure 7: Stories with Colors Harmoniously (source: personal collection)
48
2.3.3 THE ATHENS UNIVERSITY MUSEUM, ATHENS
The Athens University Museum is a small museum situated beneath the Acropolis, in
Athens. Its collection consists of books, manuscripts, scientific instruments, medals, and diplomas. Although small, it offers several educational programs based on museum theater techniques.
Why on earth would you study science? is an educational program provided to students from nine to eleven years old. The program includes puppetry, improvisation and role play techniques. Children are asked to take an imaginary journey back in time, learn about the history of the museum and meet the first professors and students of the old
University of Athens via puppetry (Figure 8).
Figure 8: Why on earth would you study science? (source: Tsitou 2013)
49
In particular, the students 'meet' Galileo, Sevasti Kallisperi (one of the first Greek female university students in Paris during the 19th century) and many professors. Finally, the students are divided into five groups, "they are given a number of props (costumes, object replicas such as Greek ancient marbles, a telescope, human teeth, barber's scissors, ink pens, an X ray puppet, theater dialogues, photographs, etc.) and they are asked to use them to improvise five scenes based on the previous interactive tour inside the galleries. At the end, each group shows everybody their improvisations in short scenes."98
Furthermore, the museum provides to children and their families a program based on role play, the Guess who? Guess what?. Children become detectives and try to
'investigate' the stories behind the museum's portraits, learn about the first professors of the University of Athens and the scientists of the 19th century. In a subsequent workshop children take the role of future inventors or university professors and learn more about their discoveries.
During the program So inanimate objects do you have a soul? children get familiar with the museum as a concept, learn about selected exhibits, and conjure up stories.
Improvisation, role play and shadow theater are the main theater techniques used in this program. Specifically, children become museologists and they are asked to make up their own stories about selected exhibits and then curate and present them within an exhibition.
Finally, the Athens University Museum occasionally organizes storytelling events for teenagers and adults. In November 2014 the museum presented the scientific narrative presentation The Secret of Life. The narrator Nafsika Kapsala, influenced by some of the museum's exhibits, recounted the history of the discovery of the double-stranded DNA.
98 Tsitou 2013, 151.
50
2.3.4 THE BENAKI MUSEUM, ATHENS
The Benaki Museum, located in Athens, houses a great collection of Greek artworks from prehistorical to modern times. Amongst its wide range of educational methods and activities, the museum provides several programs based on theatrical techniques.
The program Trips to a Forgotten Town: European Travelers Discover Athens helps children learn more about important Greek and international personalities who were leading in the socio-political and artistic life from the 17th to the 19th century. The program begins with a short performance conducted by two museologists, both dressed up in period costumes. Archaeologist William Gell and architect Samuel Atkins visit Athens in order to discover Greek history and culture. After the performance, the students are guided within the exhibition and take part in several activities. At the end, students are divided into three groups, study old newspapers and try to write their own theater scenarios.
Each group takes the necessary props (hats, gloves, handkerchiefs, walking sticks), chooses an appropriate background (via a projector) and presents a short performance
(Figure 9).
Figure 9: Trips to a Forgotten Town (source: Benaki Museum website)
51
As for younger children, the museum provides the program The Journey of Ligeri. Based on selected exhibits, the program represents Greece during the Ottoman period. Via storytelling and puppetry, children have the opportunity to learn more about this historical period and about selected exhibits.
2.3.5 THE MUSEUM OF GREEK FOLK ART, ATHENS
The Museum of Greek Folk Art, situated in Plaka (Athens), holds a great collection of objects of the Greek folk life: costumes, jewelry, wovens, ceramics, paintings, everyday tools, and shadow theater figures. Visitors may explore the numerous aspects of the
Greek cultural heritage through several educational programs, some of them based on museum theater techniques.
In particular, the museum provides a program called That Old Time during which children learn about selected exhibits, take part in interactive games and dramatize scenes from Greek folk tales and tradition. Improvisation and role play are the two main techniques used in this activity.
Occasionally, the museum organizes storytelling events for both children and adults.
Specifically for children, the Museum of Greek Folk Art organized a storytelling event called We Fairytale-Travel and Create Masks in April 2014 (Figure 10). Based on a temporary exhibition with Greek carnival disguises, children learn about this tradition.
As for adults, the museum collaborated with Sassa Voulgari and offered a storytelling event about Greek Christmas traditions, called The Seashore's Flower Paganos and the
Light of Christmas, in December 2012. Voulgari recounted old stories, influenced by selected exhibits (costumes).
52
Figure 10: We Fairytale-Travel and Create Masks (source: Museum of Greek Folk Art website)
2.3.6 THE NATIONAL ARCHAEOLOGICAL MUSEUM, ATHENS
Located in Athens, the National Archaeological Museum is one of the most important
Greek museums. It hosts a great collection of more than 11,000 Greek antiquities, dating back from the Prehistoric period up to Late Antiquity.
"The National Archaeological Museum was founded by presidential decree on August
9, 1893, and its purpose is 'the study and teaching of the science of archaeology, the propagation of archaeological knowledge and the cultivation of a love for the Fine
Arts'."99 Since then, the museum has focused even more on its educational role, and today it offers many educational programs to all visitor groups, such as school students, teachers, university students and researchers, families, adults, foreign visitors, and people with disabilities or special needs.
Specifically, the museum offers several educational activities based on theater techniques specifically designed for students. First, the Do we play sculptures? program initiates young children to ancient Greek sculpture through mimicking. After learning
99 National Archaeological Museum website [Accessed 15 January 2015].
53
about selected exhibits, children are asked to represent them while dressed up accordingly.
The program Music is a discovery of Gods introduces students to the world of ancient
Greek music. After learning about the ancient musical instruments and participating in interactive games, children take roles for a shadow theater performance. They are divided into five groups: the judges, the official lord, the audience, the choir and the performers; each student is provided by a cloak and a script. Following this, the children in the choir are divided into two groups, with each group singing and dancing an ancient Greek song. The judges are asked to rank the performances and announce the winner.
The program These games remind me of something... is an educational one based on role play and shadow theater. At first, children learn about several ancient toys and games, participate in several activities and at the end, split into three groups; each group takes scripts, costumes and props, and presents a short performance (Figure 11). The themes of these performances are the following: the school in ancient Athens, the guitarist, and the palestra. Each performance lasts about 2-3 minutes and is full of basic information about its subject.
Figure 11: These games remind me of something... (source: National Archaeological Museum website)
54
As for younger students, the museum offers a program based on storytelling and puppetry, the Myths, myths, tale: Stories with mythical creatures. Via this activity children learn about the centaur, the sphinx, the siren, and Gorgo. In particular, the museologist uses puppets while recounting myths.
It is also important to underline that the museum organizes occasional storytelling events for young children and their families. Storytelling events are based on selected ancient Greek artifacts and are accompanied by live music.
2.3.7 THE ARCHAEOLOGICAL MUSEUM OF PATRAS, PATRAS
The Archaeological Museum of Patras is housed in a new modern building, on the outskirts of the city of Patras. "With a national competition organized in 2001 the architectural office of Th. Bobotis was responsible for the development of architectural and other studies for the new museum, which began to be built in 2005."100 The museum opened its doors to the public in 2009.
The museum's exhibits recount the history of Patras from prehistoric times to the late
Roman period. The museum's permanent collection is divided into three sections: private life, public life and necropolis, and it mainly consists of vases, sculptures, mosaic floors, tombs, utilitarian, war and decorative objects. One of the museum's aim is to provide various educational activities and events in order to help people learn about the history of Patras and appreciate ancient Greek art. The Archaeological
Museum of Patras is now a reference point for the city and it provides a wide range of educational programs for school students, adults, foreign visitors, professionals, teachers, people with kinetic difficulties and families. Yet, theater techniques are exclusively designed for children.
100 Odysseus Culture website [Accessed 22 January 2015].
55
During the 2012-13 academic year the museum provided an educational program based on role play and pantomime, called Bright Fire Stories, within the ministerial action
Environment and Culture 2012. After listening to several ancient myths, children were divided into groups and were given costumes. Each group was asked to represent, through theater, a specific myth, while the rest of the students were supposed to identify the particular myth performed. In addition, children had the opportunity to attend a storytelling activity, called Fire Stories. During this program, students listened to three ancient Greek myths about fire, all influenced by three exhibits or groups of exhibits: the three graces mosaic, the Asclepius statue, and an ancient lamps collection.
Currently, the museum frequently organizes storytelling events for young children, all influenced or based on selected artworks from the exhibition rooms. In September 2014, the museum organized an event called What comes around, goes around...; the storytellers
Aspa Papadopoulou and Artemis Theologi recounted ancient Greek myths in accompaniment with live guitar music101. Today, all storytelling events take place in front of the corresponding exhibit.
2.3.8 THE ACROPOLIS MUSEUM, ATHENS
The Acropolis museum is one of the most well-known museums in Greece, each year being overcrowded by visitors from all over the world. The monuments of the
Acropolis withstand and impress since ancient times. Nowadays, “the new Acropolis
Museum has a total area of 25,000 square meters, with exhibition space of over 14,000 square meters, ten times more than that of the old museum on the Hill of the Acropolis.
The new Museum offers all the amenities expected in an international museum of the
101 Personal communication with Lila Koutsoumpeliti (Education Department), May 2015.
56
21st century”102. Yet, theater techniques are not greatly used, as there are only few activities based on storytelling and role play.
The Artifacts Speak is a program offered to students during which they become archaeologists-researchers and, with the help of the museologist-host, they analyze and learn about selected exhibits. Each student gets all the necessary equipment: a magnifying glass, archaeologists' notes, a block, a pen, and a flashlight. During the program, the museologist-host interprets the artifacts via storytelling.
Once a month the museum organizes a special workshop for children based on storytelling, the Myths in Pictures event103. Each workshop deals with selected exhibits either from the archaic or the classical years. During it children learn about myths and stories behind the artifacts. At the end of the program, children are encouraged to recount the myths they learned in their own personal way.
2.3.9 THE MUSEUM OF CYCLADIC ART, ATHENS
The Museum of Cycladic Art, located in the heart of Athens, holds the greatest collection of Cycladic art, as well as important artifacts of ancient Greek and Cypriot art. While most educational programs are designed based on interactivity, storytelling is the only theater technique used in the museum's activities. All programs with storytelling elements are conducted by the storyteller Antonia Velliou. The museum offers three permanent educational programs based on storytelling.
Firstly, the All Around the Cyclades program 'travels' young children to the Greek islands
Delos, Serifos, Amorgos, Mykonos, Naxos and Sifnos; each workshop deals with a different destination. During this program, children learn about Cycladic art through
102 Acropolis Museum website [accessed 23 October 2014]. 103 Acropolis Museum website [accessed 9 May 2016].
57
images, traditional songs and dances, tales and myths. Storytelling activates children imagination and makes learning more fun.
The program A Cycladic Figurine is Welcoming us and so the Journey Begins, also designed for young children, combines several interpretative techniques: a tour, interactive games, storytelling, and a creative art workshop. Storytelling plays an important role in this activity, as all myths are connected to selected exhibits. Via storytelling, the exhibits come to life, children familiarize themselves with Cycladic art and learn more about the artworks.
Furthermore, the Museum of Cycladic Art offers a program to preschool students called
Once in Athens... . Storytelling consists an important part of the activity, as an ancient boy's story helps children realize how different Athens was in ancient years.
As part of the International Museum Day 2015, the museum offered a special storytelling event, the Tales for Spells, Amulets and Magic, based on the temporary exhibition Iasis (Figure 12). For two hours, children with their families had the chance to learn about the history of medicine.
Figure 12: Tales for Spells, Amulets and Magic (source: Museum of Cycladic Art website)
58
Finally, during the second day of the Summer Camp 2015, children got inspired by ancient Greek myths and learned about water - one of the four basic elements of nature.
Once again, storytelling was the main interpretative technique. After listening to the myths about the creation of the world, water and the gods who were protecting it, children got the chance to illustrate the part they liked the most.
The focus now lies on national art museums that make use of theatrical techniques.
2.3.10 THE MACEDONIAN MUSEUM OF CONTEMPORARY ART, THESSALONIKI
The Macedonian Museum of Contemporary Art (MMCA) was founded in 1993, by the cultural association MACEDONIAN CENTRE OF CONTEMPORARY ART, a group of local lovers of the visual and plastic arts. The museum's permanent collection consists of more than 1,700 contemporary artworks, including the following types: photography, painting, engraving, sculpture, drawing, installation, construction, mixed media, collage, video installation, print, video, photogram, batik and hologram.
The MMCA is an "important cultural institution of Thessaloniki, promoting and supporting contemporary artistic creation and initiative, bringing the public in contact with the Greek and international visual arts through exhibitions, parallel events and educational programs"104. For more than ten years, the museum offers educational programs to different visitor groups: school students, families, teachers, university students, adults and people with special needs.
The MMCA makes great use of museum theater techniques: role play, dramatization, improvisation, puppetry and storytelling. In particular, the museum offers two educational programs based on theatrical elements: the Meet the Artists of the MMCA's
104 Macedonian Museum of Contemporary Art website [Accessed 10 February 2015].
59
Permanent Exhibition and the Alex Mylona programs. Both programs are designed especially for young children.
During the Meet the Artists of the MMCA's Permanent Collection program, children get the chance to focus on a specific artist and learn about his/her work in many different interactive ways. There is the opportunity for teachers to choose a particular artist. Role play, dramatization, improvisation and puppetry are the theater techniques used in order to motivate children to be active and better understand the artist's style, work, and personality.
On the other hand, the Alex Mylona program is merely based on storytelling. Derived from Mylona's art, children learn about her work and style. Throughout the program children engage with some of her artworks ['Forest' (1962), 'Defense' (1960), 'The sun is traveling at night' (1991) and 'Pyramid' (1990)], all exhibited in the museum. Via an imaginary story, children learn about the artist's expressive language, which is
"characterized by angular formats, sharp contrasts, and by the artworks' relation to scenography"105.
2.3.11 THE MUSEUM OF CONTEMPORARY ART (MOCA GOULANDRIS FOUNDATION), ANDROS ISLAND
The Museum of Contemporary Art was inaugurated in 1979 in Hora, the capital of
Andros island. "The initial reason for the construction of the museum was to exhibit the collection of works by Andros native sculptor, Michael Tombros, which he bequeathed to his native island. The exhibits were further enriched by part of the personal collection of the two founders, Basil and Elise Goulandris Foundation."106 Nowadays, the museum's collection consists of a significant number of artworks by important Greek
105 Macedonian Museum of Contemporary Art website [Accessed 12 June 2015]. 106 Museum of Contemporary Art website [Accessed 18 February 2015].
60
artists of the 20th and 21st century. Apart from the permanent exhibition, the museum often hosts important Greek and international temporary exhibitions of works by
Picasso, Matisse, Kandinsky, A. Fassianos, D. Mytaras, N. Hadjikyriakos-Ghikas and many others.
Although the MoCA provides its educational activities mostly during the summer season, theater techniques are quite preferred and used as interpretative methods.
Specifically, in 2011, within the temporary exhibition N. Hadjikyriakos-Ghikas: A Timeless
Contemporary, the museum provided a special educational program for children based on puppetry. The puppet was recounting the artist's biography.
Furthermore, the MoCA museum-kit is mostly based on pantomime. "Each kit includes photographic reproductions of important artworks, a DVD featuring the video game
'The Mysterious Sculptures', a monograph on artist Michalis Tombros with information of his work, and instructions about activities to be incorporated into the curriculum."107
Additionally, the kit includes instructions on how to conduct the educational activity
Statues Playing Pantomime!. By actively participating in this theater program, children learn about contemporary Greek sculpture.
2.3.12 CONCLUSIONS
Concluding, storytelling is indeed one of the most popular museum theater techniques in Greek museums. Alongside, role play and puppetry are also very common. It is important to underline that all these techniques are quite economical and easy to use.
Another significant observation is that Greek museums utilize theater techniques mostly in educational programs designed for children. This indeed is a global fact; theater elements are mostly associated with children, as children are more spontaneous
107 Museum of Contemporary Art website [Accessed 15 June 2015].
61
and playful. Adults, on the other hand, are less targeted by theater activities, except for occasional storytelling events.
It is noticeable that Greek archaeological museums make more use of theater techniques in their educational programs than Greek art museums. Only two Greek art museums, something that is of great concern, are found to be using a type of museum theater technique.
It is also clear that each museum type mainly uses a specific theater technique; storytelling is mostly widespread in archaeological museums, while puppetry in contemporary art museums.
Storytelling is indeed a natural and easy way to recount ancient Greek myths, so it is understandable that archaeological museums mostly use this theatrical element in their programming. On the other hand, a possible explanation for the connection between puppetry and contemporary art museums is needed.
Puppets are an excellent tool for dealing with sensitive issues, historical characters, dangerous animals and so on, as they can bring almost anything to life in an approachable and playful way. Also, puppets can create a safe, imaginary environment within which visitors may learn, critically think, and enjoy. Contemporary art is often incomprehensible. Thus, as puppets may take any form, shape or character, they may be a great tool to make contemporary art more accessible, understandable, and fun. By creating an imaginary story with real or unreal characters, visitors may feel more familiar with contemporary art and its puzzling concepts.
62
2.4 WHY USE MUSEUM THEATER?
The issue of interest now is on the specific and actual reasons for choosing theater techniques in museum educational activities and on the success of those programs.
Having analyzed, in a general context, the benefits of using theater in museum education, this section seeks to present why these specific museums have chosen museum theater as an interpretative technique in their activities. Included in this section are remarks and evaluations provided by museum officials through personal communication or publications.
The Manchester Museum has published online the aims and the evaluation of its museum theater project This Accursed Thing. The main objectives of the project are "to use performance as a medium to 'bring to life' the museum collection and involve visitors/audience in the stories the collection had to tell, and to allow the audience members to question characters involved and interact with the performance to create relationships with characters and the subject matter".108 In other words, the Manchester
Museum has used theater techniques to enliven its exhibits and help visitors have a deeper engagement and involvement with the exhibited artifacts. The evaluation outcomes of the project This Accursed Thing suggested that "performances did promote a remarkable degree of detailed recall, of empathy with characters from the past, and of
'focused looking' at the collections"109. Based on the positive feedback from the audience and on the continuance of using theater in their educational programs, the Manchester
Museum has surely found the right way to use theatrical methods in its museum context.
The London Museum of Natural History chooses adult puppetry when dealing with slavery and indigenous matters in the performance Over the Edge. "Through the use of
108 Manchester University Museum website [Accessed 19 June 2015]. 109 Jackson et alii 2002, 78.
63
puppet theater, these and other sensitive issues were more easily received than when presented though live performer, perhaps because psychologically puppets are less threatening than an actor."110 Puppets are funny, cute, and an effective tool for presenting sensitive subjects. "Over the Edge was produced on a stage, requiring a number of props, actors, and a large monetary commitment. Even so, the very lack of a theatrical tradition allowed the museum to take chances, resulting in a work both disturbing and brave [which] heralds a breakdown of traditional prejudices."111 Today, theater has become an important interpretative technique in the London Museum of
Natural History and is being used effectively in many different ways and programs.
In a personal communication112, Abigail Tinkler, the museum's Education Strategy
Manager, indicated that "theater is one of the ways in which surprise, narrative and fun engage our visitors with our collections. I see only benefits in using theater. However, our theater programs sit alongside other learning opportunities, such as our hands-on science center, to give a range of options for different learning styles and depths of engagement".
The Scottish National Portrait Gallery uses two theater techniques (role play and storytelling) in educational programs designed for children and families. In a personal communication113, Meg Faragher, the museum's Families and Communities Learning
Co-ordinator, indicated that "Using drama allows us to bring some of the amazing stories of our portraits alive and enables our audiences to see aspects of these narratives and personalities animated. This means families can interact with the artworks and take on roles themselves, becoming active enquirers. By using drama, e.g. acting out scenarios, and wearing costumes, families can imaginatively inhabit certain periods in
110 Kelley 2012, 19. 111 Kelley 2012, 20. - See also Hawkey 2003, esp. 44-47. 112 Personal communication, June 2015. 113 Personal communication, July 2015.
64
history and explore them in an active and engaging way. Allowing families and children to be active and physical in the gallery keeps their attention and allows us to address the learning needs of kinesthetic learners who learn best by doing rather than being passive receptors of information." Thus, theater is preferred for its engaging and interactive nature, as it encourages visitors to learn by doing.
In 2012, the Athens University Museum started a pilot educational program called Why on earth would you study science?, a program based on puppetry, which today constitutes one of the museum's main educational programs. "Since the permanent museum exhibition was not at the moment (2012) particularly engaging for young visitors, re- enactment, comic, illustrations, role play, and above all puppet imagery and techniques were employed to involve the young audience into a meaningful narrative."114 Thus, the
Athens University Museum chooses theater as an interpretative technique to provide a more attractive and pleasant museum environment for children and students. As theater methods are mainly popular among children, puppetry could easily transform the children's museum experience into an interesting and enjoyable one. Additionally, puppetry is used to make a connection between the past and the present; "as the scenario contained many characters from different periods and as the museum exhibits are not child-friendly for the time being, the medium of puppetry seemed promising"115.
After the pilot carrying out of the program, role play was added at the end of the activity, so that students could actively participate during the program and not only passively watch a puppet show. Role play increases interactivity, which is a very important element for a fruitful and engaging museum visit. Via puppetry and role play, the museum intends "not only to provide a playful and safe environment for participants to open up and relax but also to achieve a state of flow among participants,
114 Tsitou 2013, 141. 115 Tsitou 2013, 143.
65
exhibits, puppets, where puppet imagery and interaction with the action on stage would be more important than the acquisition of knowledge"116.
Likewise, the Archaeological Museum of Patras uses theater methods only in school and family educational programs. In a personal communication117, Dr. Elena Partida, the museum's director, indicated that "theater is an important new tool for interpreting a collection, as it makes the whole experience more interesting and vibrant. Until recently, museums were merely providing to visitors an enumeration of each artifact's characteristics, while today most museums try to offer a more fruitful and interactive experience. Not always though, is theater an appropriate medium to work with." Based on the director's experience, storytelling events are indeed successful, while on the other hand, the Bright Fire Stories activity of 2012 was not as successful, especially with high-school students, as they were mostly laughing and did not seriously participate in the activity.
The Museum of Contemporary Art (MoCA Goulandris Foundation) is currently providing a museum-kit for children with pantomime activities. In a personal communication118, Eirini Strati, the museum's director of educational programs, indicated that "pantomime is a great way for children to engage with the exhibits as it encourages them to participate with both their body and mind, and makes them feel more familiar with the museum environment."
Museum education in public museums and institutions in Greece is also heavily influenced by the rules and decisions of the Ministry of Culture. In the case of the
Museum of Contemporary Art of Crete, despite the efforts to enrich its educational
116 Tsitou 2013, 145. 117 Personal communication, June 2015. 118 Personal communication, June 2015.
66
programming with theatrical techniques, the respective positions have yet to be approved by the authorities.
Overview
There are indeed many factors affecting the degree and type of the use of theater methods in museum education. One common observation amongst Greek and international museums is that museum theater is a popular interpretative tool, mainly for children. In Greek museums, adults usually have the opportunity to enjoy only storytelling events.
What is more, it is confirmed that art museums make a limited use of museum theater techniques. Among international art institutions, storytelling seems to be the most popular theatrical tool. Likewise, Greek art museums do not use theatrical techniques in their educational programs. It must be underlined that only two Greek art museums were found to be using museum theater techniques; both institutions are contemporary art museums, and they mostly prefer puppetry. Puppets are economical and great for dealing with sensitive issues, uncanny concepts and different time periods. Moreover, puppets may transform a museum environment into a playful and motivating one. On the other hand, other types of Greek museums make great use of theatrical techniques: next to puppetry, role play, first-person interpretation, and storytelling are the most popular ones. It may be thus said that contemporary art museums are still using more traditional interpretative techniques. But why does this happen?
It is probably easier to make use of the rich Ancient Greek history and mythology, even of science or Greek folk history and culture in order to interpret a museum's collection.
There are so many stories and so many characters that can be used in theatrical productions. On the other hand, contemporary art museums are called to interpret
67
artworks made with nontraditional materials, in more controversial ways, depicting today's issues. It seems not as easy to write a story about an unconventional artwork or a current situation.
Additionally, based on the reasons of using theater and the evaluation results, all museologists referred above highlight the importance and the positive effect of theater techniques in a museum context. Theater may enliven the artifacts, make the museum environment more accessible, and help visitors further engage with the exhibits.
Yet, even though the positive impact of theater techniques in museum educational programs is recognized at a universal level, art museums and especially contemporary art museums do not yet use theater methods in their educational programs. As numerous proposals, attempts, and evaluations are available for science, natural history, history, and children museums, it is time to try to promote 'theatrical magic' in contemporary art institutions as well. Two proposals on how museum theater can be easily and economically used within contemporary art exhibitions are presented in the following chapters.
68
3 PROPOSED ACTION 1: 'A STREET IS ALL'
Introduction
Being intrigued by the fact that there are no academic reports, papers, or even significant documented applications on the use of theater techniques in contemporary art institutions, this thesis presents two implemented attempts of using museum theater in two different Greek contemporary art exhibitions.
In this chapter the first proposed action, entitled 'A Street is All', is presented. The focus is on the complete procedure step-by-step: how was the theatrical production designed, how was it conducted, and the analysis of evaluation results.
3.1 THE PERI TECHNON CULTURAL CENTER
3.1.1 DESCRIPTION
The cultural center Peri Technon was founded in 1996119 and for more than 18 years it promoted numerous cultural activities, art exhibitions and book presentations (Figure
13). Specifically, Peri Technon was a general partnership company which "emerged as an art space and an idea not only to house the numerous elegant publications, but also to offer room for intellectual creativity and expression"120.
Located in the center of Patras, Peri Technon was housed in a neoclassical 20th century building. The space included two levels: the ground floor which was used as a lobby, a small cafeteria and an exhibition room, and the basement which operated as an open space for exhibitions and presentations.
119 Operation suspended in September 2014. 120 Peri Technon website [Accessed 9 July 2015].
69
Over the years, Peri Technon hosted innumerable temporary art exhibitions and collaborated with important Greek artists, such as Kyriakos Katzourakis, Alekos
Fassianos, Giorgos Stathopoulos and others. Due to the fact that there was no permanent exhibition, there were no specific educational programs. Nevertheless, guided tours for school students and special lectures for adults were provided for most exhibitions.
Figure 13: The 'Peri Technon' Cultural Center (source: personal collection)
3.1.2 MISSION STATEMENT
In a personal communication121, Vaso Maryelou, the cultural center's owner, indicated that "the main aim of Peri Technon is the publication of books and magazines and the organization of cultural events and services. Peri Technon operates as an art gallery as well". "The philosophy of Peri Technon has always been based on an open door policy for everyone and all opportunities relating art" she added.
121 Personal communication, May 2014.
70
3.2 THE THEATRICAL PRODUCTION 'A STREET IS ALL'
3.2.1 BEFORE THE THEATRICAL PRODUCTION
3.2.1.1 DESCRIPTION OF THE EXHIBITION
In February 2014, Peri Technon hosted a contemporary art exhibition called 'It's a Long
Road', within which George Liakopoulos and Christos Katsiyiannis ("ondo"), two young local artists, met to redefine the reality of communication through art (Figure 14).
Figure 14: 'It's a Long Road' Exhibition's Poster (source: personal collection)
The artworks exhibited consisted of small and medium sized canvases. Specifically,
George Liakopoulos' work included mixed media artworks and a paper sculpture, whereas Christos Katsiyiannis' work consisted of graffiti artworks and ink sketches.
The exhibits filled up the spacious exhibition area. While entering the room, on the left hand, the Liakopoulos' artworks were hanging on the walls, and on the right, one could
71
admire the Katsiyiannis' works. While most exhibits displayed city streets, some depicted people and subjects specifically from the city of Patras.
3.2.1.2 PRESENTATION OF THE SELECTED EXHIBITS
The exhibition consisted of thirty artworks, eighteen crafted by George Liakopoulos, and the rest by Christos Katsiyiannis. Yet, not all were used for the theatrical performance. The exhibits used for the theatrical production are the following:
1) Wall I, by George Liakopoulos, 2013, mixed media. (Figure 15)
Old posters and newspaper pieces, slogans, and an old man's figure constitute the artwork's composition. The painting represents how a wall inside a city can look after several human interventions.
Figure 15: Wall I (source: personal collection)
72
2) Homeless Person, by George Liakopoulos, 2013, mixed media. (Figure 16)
This painting depicts a serious current city problem: homeless people. In particular, the painting represents a person (probably a woman because of the rich, long, black hair) lying on the ground. The blue color on the upper left represents the daytime, while the black color on the right, the nighttime; as the person lives on the street all day and night. Furthermore, the yellow 'for rent' sign on the top left hints on the woman's pitiable economical situation, as she has no money to afford even a tiny apartment.
Figure 16: Homeless Person (source: personal collection)
3) Our Paper Visitor, by George Liakopoulos, 2013, paper sculpture. (Figure 17)
This paper sculpture depicts another important city problem: unemployment. This casual young man, who has just finished his bachelor degree, sits down on the street complaining about his tough future and openly asks for help. He is not homeless, as his clothes are clean and neat, he just protests in public about his unfair treatment by the society.
73
Figure 17: Our Paper Visitor (source: personal collection)
74
4) Wall II - Portrait of Kessanlis Nikos, by George Liakopoulos, 2013, mixed media. (Figure
18)
This artwork represents Nikos Kessanlis, one of the most important Greek painters of the 20th century. His powerful presence in the painting, along with some smaller details
(the man who sits alone, the coca cola sign, the references to the economical crisis), poses questions about today's art, and how it gets influenced by social and economic factors.
Figure 18: Wall II - Portrait of Kessanlis Nikos (source: personal collection)
75
5) Wall III - Portrait of Katsiyiannis Christos, by George Liakopoulos, 2013, mixed media.
(Figure 19)
This painting contains a great degree of tension, as current problems such as anarchy and immigration fully fill the artwork's surface. On the left, the artist Christos
Katsiyiannis appears between the lines, as if art could save our society.
Figure 19: Wall III - Portrait of Katsiyiannis Christos (source: personal collection)
76
6) Twelve Small-Sized Portraits, by George Liakopoulos, 2013, acrylics. (Figure 20)
This collection of twelve small-sized portraits mostly contains casual figures from the city of Patras; people that pass by the city's streets many times a day, people familiar to most residents.
Figure 20: Twelve Small-Sized Portraits (source: personal collection)
77
7) The Road, by Christos Katsiyiannis, 2013, graffiti and acrylics. (Figure 21)
The Road is one of Christos Katsiyiannis' graffiti artworks. It represents a street being part of a woman's body. The woman reminds of Joker (Batman's eternal enemy). This painting symbolizes the direct relation we all have with our city; each city and its streets is what it is because of us.
Figure 21: The Road (source: personal collection)
3.2.1.3 FAMILIARIZATION WITH THE EXHIBITION
Gradually realizing the exhibition's multiple messages and references to immigration, anarchy, love, economic reality and several more local issues, one observation was certain: this exhibition could benefit from a theatrical production. The play could be
78
based on the multitude of the exhibition's messages, suitably combined into one interesting and entertaining performance.
The exhibition's multiple messages were only one reason for choosing it for a museum theater play. Its local character and its emphasis on the city, was surely an emotional reason too. Thirdly, the gallery owner's positive attitude and enthusiasm of the museum theater idea played a vital role in the decision. Vaso Maryelou was indeed very helpful and open-minded.
Thus, the first step was to familiarize myself with the exhibition, pay attention to the exhibits, learn about the artworks, discuss with the curator, and meet in person with the two artists. Numerous visits to the gallery were absolutely necessary.
3.2.1.4 THE BACKGROUND OF THE IDEA
The issue was on how to best combine all exhibits and messages conveyed into a single play. The brainstorming that followed was an interesting phase, as ideas were building up and breaking down, notes were torn off.
Finally, a surreal but exciting idea incurred: trees are the only living organisms that stand steadfast in one specific place for a really long period of time. In fairytales, trees often acquire human attributes and characteristics, so people are quite familiar with the idea of 'talking' trees. This was the basis for starting designing the theatrical program: a tree in the city of Patras that observes and talks about happenings in its surroundings.
Exhilarated by the theoretical research on museum theater, and specifically by the benefits of using drama in a museum context, a play based on first-person interpretation - the highest level of theater act - would be best, and also best serve the thesis' objectives. The first-person interpretation would best fit with the idea of a talking
79
tree, a humanized tree talking directly with the visitors. It was also thought that it would be interesting if visitors interact with the actress during the performance, so interactive theater was added to the play's nature.
3.2.2 DURING THE THEATRICAL PRODUCTION
3.2.2.1 AIMS AND OBJECTIVES
The basic aim of this project was to promote learning and enjoyment to all adult- visitors. Particularly, it aimed at evaluating first-person interpretation and interactive theater within a contemporary art exhibition - and especially in a gallery that had never used theatrical techniques before - and at examining how adult-visitors would experience and feel about museum theater.
In order to accomplish this aim, the gallery owner, Vaso Maryelou, and the two artists,
George Liakopoulos and Christos Katsiyiannis, helped in gathering information about the exhibits. The theatrical production was based on this information, and was designed to be conducted according to first-person interpretation and interactive theater.
The play's evaluation and its interpretation effectiveness for the adult-visitors was mostly achieved via questionnaires, observation, and personal informal interviews.
Overall, the greatest challenge of this project was to find a balance between didacticism and entertainment within a contemporary art exhibition. As there are no papers describing and analyzing the usage of museum theater in a contemporary art exhibition, there were no specific instructions to follow. So, the whole project was mainly based on theatrical experiences from other museum types and on personal creativity.
80
3.2.2.2 EXPECTED RESULTS
The play was designed to provide a high level, enjoyable, learning experience for the visitors. However, as mentioned in many other international papers and reports, adults usually appear to be quite shy in experiencing interactive activities. While museum theater would possibly impress adult-visitors, the shyness could once again be a serious issue.
3.2.2.3 SCENARIO
The scenario, written by myself, was based on the exhibits and the gathered information about the selected artworks. Although I had no prior experience in writing a theatrical plot, the gathered information and my personal experience of conducting educational activities and guiding tours, helped me design the play in order to enhance learning and enjoyment for all visitors. The plot of the play was quite imaginary: the actress impersonates a tree that lives in a busy street in Patras and recounts what is happening around it. It also poses observational and emotional questions to the visitors (see
Appendix A - Scenario, pages 136-138).
Specifically, the tree has the ability to see people coming by, people writing on the surrounding walls, hear people talking, arguing, laughing, crying; the tree simply knows the secrets of this part of the city. The tree confides background stories about the writings on the walls (exhibits) and refers to several graffiti artworks that actually exist in the city.
In addition, the tree conveys an ecological message, as at the beginning of the play the actress complains that there are not many trees left in the city today.
81
3.2.2.4 ACTING
Apart from merely designing the project, I decided to personally 'live' the theatrical experience and conduct the play myself. Having no past theatrical experience was not a reason for discouraging me to play the role. On the contrary, I personally found the process like an interestingly enhanced gallery tour.
When the scenario was written, the sets were ready, and the costume was prepared, the rehearsals began. The gallery owner was a source of constant help and support during the rehearsals. All rehearsals took place in the exhibition area.
3.2.2.5 TARGET AUDIENCE
The target audience were adults, which was somewhat challenging as most museum theater plays have, at global level, been designed for children.
Much attention had to be paid on the play's nature; adults do not easily get impressed, while many would rather think that theatrical plays in museums are mostly addressed to children. Thus, this was indeed the greatest challenge: to design a theatrical play without any childishly elements, while at the same time to stir the visitors' interest.
What makes adults such a challenging visitor group? According to M. Knowles'122 adult learning theory, "during an educational process, adults bring with them a stock of experiences, which is totally different and much greater than those children do."123
Adults constitute a more complicated and complex group of visitors than children do, as each visitor has his/her own experiences, knowledge, and beliefs, which indeed he/she brings along when visiting a museum or a gallery.
122 Malcolm Knowles (1913-1997) was an important American Adult Educator, famous for his theory of andragogy (adult education). 123 Kokkos 2005, 49.
82
Knowles, according to A. Kokkos, has also stated "adults need to know the reason why they have to learn something before engaging in its learning process"124; there is a need to explain why specific things are essential to be taught or explained. Thus, this activity was advertised accordingly: participants were clearly informed about the theatrical play, its learning nature, its interactive elements, and its evaluation phase. As for the random gallery visitors, a corresponding announcement was given orally by the gallery owner before the start of the theatrical play.
3.2.2.6 ARCHITECTURE SPACE AND PROPS
The exhibition room consisted of two levels; a large lower level and a narrow higher one. It was decided that the actress would stand at the highest level, so that visitors would have better sight of her. The lower ground was spacious, so that visitors would feel comfortable to move around during the play, and the artworks would not be threatened by accidents.
As for the performance's props, it was decided to use the exhibits themselves. Since the play was based on specific artworks, it was thought that it would be necessary to fully involve them in the theatrical process. Additionally, the idea of using the exhibits themselves as props for the theatrical play would also be a quite economical way to have a meaningful and interesting scenery.
3.2.2.7 COSTUME
The costume was chosen to be simple: a green jumper and brown leggings. The minimalist outfit was accompanied by a branch of olive tree. The reason for choosing the specific costume was twofold. Firstly, the aim was to use a simple outfit, so that
124 Kokkos 2005, 48.
83
attention would be paid to the exhibits and not to an impressive costume, and secondly, it was important to prove that even without any economical funding, simple costumes can be created and used in similar museum theater programs.
The gallery owned a small private space, right next to the exhibition room - which was operating as an office. It was used as a dressing room for the actress to change her costume before and after the theatrical play.
3.2.2.8 MUSIC
A minor, yet important, detail had also to be clarified: how to announce the opening act.
Two speakers were acquired, and it was decided to use them for bringing several city sounds into the room. This would draw the attention of the visitors and mark the start of the play. It would also provide the necessary time for the actress to appear on 'stage'.
The city sounds were chosen as the most suitable for implicating the visitors into the theatrical play's atmosphere. The gallery owner was in charge of the city sounds; when all visitors gathered in the exhibition space, she turned the "music" off.
3.2.2.9 ADVERTIZING
The advertising of the event was based on local newspapers (Figure 22), internet sites
(Figure 23), and social media. It was important for the project to attract people potentially interested in experiencing a museum theater production. Thus, care was taken for press releases emphasizing that the project was part of a Ph.D. thesis, it was addressing adults, and admission was free of charge.
84
Figure 22: Advertisement on the local newspaper "Peloponnisos" 25.02.2014 (source: personal collection)
Figure 23: Advertisement at www.iNews.gr 21.02.2014 (source: iNews website)
3.2.2.10 DESCRIPTION OF THE PLAY
The performance was scheduled for 7:00pm on February 18th, 2014. As planned, once the visitors were in the gallery room, the city sounds announced the beginning of the play.
85
The actress stood on 'stage', holding a big olive tree branch and looking at the audience
(Figure 24). After the city sounds were over, she started performing: "Hello everyone!
Welcome to my street! I am a tree. One of the few trees of this city. I live here, on this same old street for the past thirty years. Every day I hear many different stories. I see people passing by, talking, arguing, chatting, laughing…" The tree knew and testified all the gossip, all the secrets behind the walls of this city, behind the artworks of the exhibition.
Figure 24: 'It's a Long Road' - The Theatrical Play (source: personal collection)
The performance was interactive. Apart from merely sharing secrets and information about the exhibits and the city of Patras, the tree was also posing questions to the audience: "Does anybody feel the same? Do you hear it? What is she doing? Can you please tell me what is written on this wall today? What slogans do you see? Do you like them?". It was
86
thought that observational and emotional questions would make the experience more interesting and motivating; it would make the visitors deeper engage, express their opinions and feelings, and interact with the actress.
During the play the actress was standing on a specific spot, as 'real' trees do not move, and was concerned with what was happening around. At first, the tree focused on a young man (a paper sculpture) laying on the ground just a meter away (see Figure 17, page 73): "Look! There is someone standing beside me! I can see him… He is a young man! But why is he sitting on the ground? I believe that something worries him… Because I am a tree and
I cannot read, can you please tell me what is written on his sign?"
Beside the actress, twelve small-sized portraits were hanging on the gallery wall, depicting familiar faces mainly from the city of Patras (see Figure 20, page 76). The tree knew them by sight, they were passing by almost every day, and so the tree wondered:
"As you can understand, everything is changing at my street… But some faces are quite familiar to me… They pass by very often… many times a day… Do you recognize anyone from my frequent passengers?"
Behind the actress, there was a big painting depicting a homeless person (see Figure 16, page 72), so the tree began to wonder: "What’s behind me? I can hear someone breathing… I think that he or she is breathing heavily… Do you hear it? Is the person young or old? Man or woman? What is she doing? Do you think that she wants to sleep under my branches tonight?".
Thus, during the play (Figure 25), participants engaged into an imaginary journey in the city center, identified important social problems (such as poverty and unemployment), learnt about some of city's graffiti artworks, spotted familiar faces, and discussed about
Greek contemporary art.
87
Figure 25: 'It's a Long Road' - The Theatrical Play (source: personal collection)
But as expected, adults were not particularly active at the beginning of the performance, as for most, it was their first museum theater experience. Although the questions posed were not special or difficult, and the flow of the play was partly depending on their answers, visitors were quite shy in participating. As the play continued, it was noticeable that visitors started to feel more and more comfortable, get more familiar with the theater experience, and participate with enthusiasm.
At the end, the actress conveyed another ecological message by stating: "As Iraklitos, the ancient Greek philosopher, said, 'everything is changing', likewise, our town is changing every
88
single day. But you can help for a better change, and keep our city beautiful and civilized!
Have fun and keep walking at our city’s beautiful streets!".
The play lasted about fifteen minutes and was attended by twenty three adults. Due to its success, a second performance was scheduled for February 25th, 2014. Twenty seven adults attended that event.
3.2.3 AFTER THE THEATRICAL PRODUCTION
3.2.3.1 THE EVALUATION METHODS
Evaluation constitutes a very vital part of this research as it provides important information for improving the use of theater in contemporary art exhibitions. In this project, three basic evaluation methods were used: questionnaires, observation, and informal interviews.
Qualitative information came from the informal interviews and observational records, while quantitative data were gathered from the questionnaires. In this project, the gallery owner, Vaso Maryelou125, was the observer-participant, taking notes of the visitors' reactions during the performance, while I personally undertook the informal interviews. All observational notes were taken before and during the performance, using an observational form126.
The visitors were asked to complete three different questionnaires: one before the theatrical play, one just after the performance, and the last one three months later.
125 Vaso Maryelou has a M.S. degree in Cultural and Museum Studies. 126 Appendix A, 139.
89
3.2.3.2 THE AIM OF EVALUATION
Both questionnaires and the observational form were designed to acquire the information needed for the performance's evaluation. They helped in documenting the participants' feelings and experiences about the theatrical play within the contemporary art exhibition and in highlighting some parameters for potential improvement. The main purpose of the evaluation was to provide information on the overall impact of museum theater to adult-visitor groups within a contemporary art exhibition.
3.2.3.3 THE QUESTIONNAIRES
All three questionnaires included both open-end and closed-end questions. Open-end questions "just pose the question and leave a blank. They are aimed at discovering new information and do not allow statistical treatment and extrapolation but can be categorized"127. Whereas, closed-end questions favor "dichotomy (yes/no), multiple choice (quantify appearance of pre-defined categories), liker scale (degree of satisfaction or agreement, from 1-5 or 1-7, always number and word). Closed-end questions are general and standardized"128.
The first questionnaire129, the one completed by the visitors before the theatrical play, was focused on general issues: visitor gender, age, museum or gallery visits per year, kinds of exhibitions preferred, feelings about contemporary art, interpretation necessity, and so forth.
"Pre-performance surveys have been used in a few studies, in most cases to establish a baseline of participants' knowledge of a performance's content."130 In this study, the pre- performance questionnaires focused on participants’ demographics, preferences, and experiences.
127 EXARC website [Accessed 20 July 2015]. 128 EXARC website [Accessed 20 July 2015]. 129 Appendix A, 140-141. 130 Hughes 2008, 110.
90
The second questionnaire131, the one completed just after the performance, was focused on the theatrical experience: previous museum theater experiences, opinions on the play, interpretation effectiveness, the play's effect on focusing in details, feelings on the interactive nature of the play, interest in attending more museum theater plays, and so on. "Post- performance surveys have been the most commonly used instrument in museum theater studies."132 In this study, the post-show questionnaire was one and a half page long, so that participants would easily complete it within a few minutes. Also, it was important to include in the questionnaire an open-ended question about the participants' experience of the theatrical play (Question 9) in order to gather their real feelings and thoughts on it.
Finally, the third questionnaire133, the one completed by some of the visitors three months later, was focused on recall - what visitors remember about the play or the exhibition three months after the performance: the exhibition's title, the subject impersonated by the actress, the writings on the walls/paintings, the artworks themselves,
Christos Katsiyiannis' artwork in the streets of Patras, the extent to which the play helped one better remember the exhibits, and so on. Recall interviews have been used in the important museum theater study "Seeing it for Real" (Jackson et alii 2002). The recall questionnaire included ten questions and it was sent to participants via email.
3.2.3.4 THE FINDINGS
Qualitative Data
During the performance, visitors were smiling and carefully listening to the actress.
There were no signs of sloth. Usually people talk or move continually when they are
131 Appendix A, 142-143. 132 Hughes 2008, 110. 133 Appendix A, 144-145.
91
bored or not interested in something. Thus, the face expressions and moves of the audience indicated that the theatrical play was interesting.
According to the informal interviews, visitors enjoyed the theatrical performance, as it provided them with a new, different aspect of learning within the museum context.
Specifically, the participants stated that museum theater contributed to:
gaining new knowledge
deeper engaging with the exhibits
concentrating on details
enjoying the museum visit
Quantitative Data
All questionnaires were anonymous and were handed out by myself. Before the theatrical play, I estimated the number of participants and printed the questionnaires.
All completed questionnaires were also collected by myself.
Moving on to the quantitative findings of the fifty pre-performance questionnaires, the basic demographics data showed that more women than men attended the theatrical event. Specifically, 64% of the audience were women, while 36% men. This is a global fact though, as it is proven in several studies worldwide that "more females than males tend to visit art museums, and more males than females tend to visit science museums"134. The addition of museum theater within a museum space apparently did not overturn the basic genre theory of museum visitors.
Moreover, most participants were not quite regular museum-goers, as 30% visit a museum or a gallery once every three months, and 34% once a year. Nevertheless, that specific day they visited the gallery to attend the theatrical performance 'A Street is All'.
134 Soren 2001, 56.
92
It is important to also underline that almost half of the participants visited the gallery for the first time (40%). Probably the theatrical play attracted people that would not otherwise intend to visit the exhibition or even the gallery itself.
29 out of the 50 questioned participants (58%) generally enjoy visiting contemporary art exhibitions, even if most of them find contemporary art quite puzzling (38.5%) and inspiring (50%). Probably that is why many visitors (50%) stated that interpretation is necessary within an exhibition. This question's aim was to detect the perceived degree of interpretation necessity.
Question 9 - "Would you like to attend several art events within an art exhibition (video projections, lectures, workshops)?" - provided some impressive data: 97.9% of the participants checked the yes option. This question aimed in filtering the visitors' predisposition to possibly attend a theatrical play within an art exhibition.
Finally, 91.6% of the visitors stated that they discuss their museum or gallery visit with their friends. Museum theater could that way be outspreaded, so that more museums, more galleries, and more people learn about it.
According to the fifty after-performance questionnaires completed, 77% of the participants attended a museum theater play for the first time. Yet, although the experience of a theatrical play within an art exhibition was new to most, 96% provided positive feedback. In particular, 58% of the visitors had a very positive opinion about the play, 38% a positive one, and only 2% had an indifferent opinion and 2% negative.
The comments were rewarding:
"It was a special experience which I enjoyed. It helped me better understand the
exhibits. I would like to see more such events in other art exhibitions."
93
"The theatrical play really traveled us in space and the exhibits came alive through
the words..."
"The play was pleasant and it encouraged us to pay more attention to the artworks.
Clever!"
"It was something different, out of the box, we need such initiatives. Thank you!"
"I have never attended a museum theater play before. I do not even like contemporary
art. However, due to the play, the artworks became more interesting and I better
understood them."
Despite the positive feedback, there were only three unenthusiastic comments about the theatrical play:
"Nice space. I believe the performance would be more successful if the audience were
different (for example different age). Very good try!"
"Good try but indifferent audience!"
"I did not understand what was the aim of this performance. I did not gain any new
information, experience or knowledge."
Obviously, the age issue emerges in this research as well. There is a small percentage of participants (3.3%) that believes that theatrical plays are more suitable for younger ages; this observation was also made in an informal personal interview with a participant.
In question 6: "Do you believe that the play helped you better understand the exhibits?", 78% of the participants stated that the theatrical play enhanced their understanding of the artworks. Moreover, 82% believed that the performance helped in focusing more on the exhibits - visitors focused on details or even on entire exhibits that otherwise would overtake indifferently.
94
Although in the beginning, participants were quite shy to participate in the dialogue with the actress, 86% of the visitors agreed that they enjoyed their active role during the theatrical play. Obviously, as the performance evolved, they felt more comfortable with the interactive theatrical experience. This was indeed an important question to ask, as its aim was to explore adult-visitors' feelings about participating in theatrical activities.
Lastly, 90% of the visitors stated that a museum theater play would constitute an important motive to visit another art exhibition in the future. This percentage indeed highlights the positive influence of museum theater in deciding to visit an exhibition or not.
Based on the twenty recall questionnaires completed, the following conclusions were reached:
100% of the participants could recall what the actress impersonated during the
play
70% of the audience recalled details about the exhibits: the kinds of artwork
included in the exhibition, the presence of a human figure (sculpture) among the
exhibits, the writings painted on the walls/artworks
60% of the participants recalled details of the performance: how many painters
were depicted on the artworks and where one can find Christos Katsiyiannis'
graffiti works in Patras
100% of the participants believed that the performance helped them better
remember the exhibits
100% of the participants were very positive on attending another theatrical play
again in the future
95
These results indicated that the majority of the adults demonstrated very clear recall of what they had done and seen in the gallery. Most of them could recall not only basic information about their theatrical experience, but details about the exhibits as well.
Question 10 ("Would you like to experience museum theater again?") proved the success of using museum theater within a contemporary art exhibition to adult-groups. In this project, 100% of the visitors stated that they would like to experience a theatrical event again in the future.
Overview
Thus, the research findings indicate that museum theater can be also designed for adults, in addition to children, but with some verbal and conceptual differences. While adults are seeking enjoyment through exploring art in depth, children are seeking enjoyment in a more playful way.
Although this is a small scale project, it clearly shows that museum theater can captivate adult visitors as well. In total, the performance gained positive reactions and promising comments, even though visitor participation was not the most powerful aspect of it. Obviously, theater is a powerful tool that clearly excited participants. The results highlight the positive impact of using theater techniques in a gallery context, and specifically within a contemporary art exhibition.
96
4 PROPOSED ACTION 2: 'THE ORPHANAGE HOUSE: CLEANING AND THINKING THROUGH THE AGES'
Introduction
This chapter presents the thesis second proposed action, entitled 'The Orphanage
House: Cleaning and Thinking Through the Ages'. Once again, the focus lies on the whole procedure step-by-step: on how the theatrical production was designed, how it was conducted, and what the evaluation results have been.
It is important to underline that this theatrical performance includes some major differences when compared to the first proposed action. Using the experience of the first, several improvements were implemented. In addition, first-person interpretation was the only theatrical mean employed.
The differences between the two proposed actions were also expected to lead to some interesting conclusions.
4.1 THE ART OF PROGRESS COMPANY
4.1.1 COMPANY DESCRIPTION
Founded in 2011, Art in Progress is a non-profit cultural company, operating in Patras.
Based on collaboration and volunteering, Art in Progress promotes the national and international contemporary art.
Once every two years, Art in Progress organizes an important international festival of contemporary art in Greece, the RE-Culture Festival. During this period of time, two or three thematic exhibitions are organized. The organization collaborates with the
97
municipality of Patras for temporary exhibition housing, with the same buildings used every year: the Agora Argiri building, the Skagiopouleio Foundation, and the Former
Municipal Baths.
Even though Art in Progress is a new organization, its activity is quite significant. Apart from collaborating and presenting artworks from important Greek and international artists, Art in Progress organizes many educational activities for children and adults: creative workshops, tours, lectures, student projects, and book presentations. It is important to underline that all exhibitions are free of charge, while the cost for participating at the workshops is nominal (Figure 26).
Figure 26: RE-Culture I, Agora Argiri (source: Art in Progress website)
98
4.1.2 MISSION STATEMENT
"Art in Progress focuses on the design, development and implementation of artistic, cultural and educational events with the main objective of bringing the contemporary artistic creation to the citizens of Patras as well as the establishment of appropriate conditions for the city's cultural progress."135 Furthermore, Art in Progress aims at promoting cultural education to children, students, and the society.
Art in Progress mainly depends on collaboration and volunteering, and it "invites all citizens who have a passion for art to participate"136. University students, young people and citizens of Patras are the main volunteers, helping in many different ways: by performing guided tours, by curating the exhibitions, by overseeing the exhibition areas, and even by lending personal objects (projectors, laptops and so on).
4.2 THE THEATRICAL PRODUCTION 'THE ORPHANAGE HOUSE: CLEANING AND THINKING THROUGH THE AGES'
4.2.1 BEFORE THE THEATRICAL PRODUCTION
4.2.1.1 DESCRIPTION OF THE EXHIBITION
Art in Progress organized RE-Culture III, the 3rd International Contemporary Art
Festival from November 8th to December 28th, 2014 (Figure 27). Part of this festival constituted an art exhibition referred to as 'The Skagiopouleio Project'. Within this exhibition, ten Greek contemporary artists dealt with the orphanage, as Skagiopouleio is a National Male Orphanage137, founded in 1926 by the late Panagiotis Skagiopoulos.
135 Art in Progress website [Accessed 27 July 2015]. 136 Art in Progress website [Accessed 27 July 2015]. 137 The Skagiopouleio orphanage is still operating.
99
Figure 27: RE-Culture III poster (source: personal collection)
The exhibition was housed in the orphanage's old building (Figure 28) - next to its new counterpart. Inspired by the building's functionality, artists were called to express their ideas, feelings and concerns about this or other orphanages. "The purpose of this artistic act was not just a representation about the past, but also the revival of those remaining
100
unaffected by time."138 The 'Skagiopouleio Project' aimed at highlighting the orphanage's history through art.
Figure 28: Skagiopouleio Old Building - Exhibition Building (source: Skagiopouleio Study website)
"The ambience of the neoclassical building of the institution, the memories and stories surrounding it, the faces of the children who were housed in it, but also the personality of the man who created it, emerge from the creations of the ten contemporary artists who took part in this outline."139 The ten artists who took part in the exhibition were all
Greek, in alphabetical order: Angelou Eleni, Bisylla Niki, Bourika Maria, Eliakis Marios-
138 Skagiopouleio Study website [Accessed 28 July 2015]. 139 RE-Culture III Catalogue 88, 2014.
101
Sergios, Lyra Eleni, Moschovitis Charalampos, Panonidou Elpida, Papadopoulou
Gioula, Papaioannou Clio-Anastasia, Stavraki Margarita.
The exhibition included paintings, installations, collages and video art. It was held in three rooms, two spacious ones and a smaller for the video projection. In the middle of the second exhibition room, visitors had the opportunity to read a copy of
Skagiopoulos' will.
4.2.1.2 PRESENTATION OF THE SELECTED EXHIBITS
The exhibition included twenty different artworks, but as it is reasonable, not all of them were selected for the theatrical performance. The selection was based on the feelings and the aura of each artwork, as the project's aim was to provide the real atmosphere of the orphanage, without causing depressing feelings to the visitors.
Moreover, the artworks more directly connected to the reality of the orphanage's stories, were also immediately selected for the production without any hesitation.
Thus, the artworks selected were the following:
1) Portrait of P.S., by Eleni Angelou, 2014, mixed media. (Figure 29)
This artwork represents the will of the orphanage's creator, Panagiotis Skagiopoulos. In particular, the composition consists of Panagiotis Skagiopoulos' portrait and his will, written in spirals. The spirals indicate movement, symbolizing Panagiotis Skagiopoulos' intention to always help people. In particular, "he donated the biggest part of his property by a 'living will' and founded, out of altruism, the Skagiopouleio Orphanage, whose running and course he closely watched until his death"140.
140 RE-Culture III Catalogue 87, 2014.
102
Figure 29: Portrait of P.S. (source: personal collection)
2) Uterus, by Clio - Anastasia Papaioannou, 2014, felt. (Figure 30)
This installation represents a uterus, made by felt. The felt symbolizes the warmness and the fondness a baby feels in his/her mother's womb. The embryo that sleeps in the nest-like uterus' part also symbolizes the protection a baby feels in his/her mother's body. The connection between “child(-birth)” and “orphanage” is obvious, as is the idea of having been born well protected, and having been exposed to live as an orphan later.
103
Figure 30: Uterus (source: personal collection)
3) Still I, by Charalampos Moschovitis, 2013, acrylics. (Figure 31)
In this painting, the artist combined the two physical parameters of the orphanage: the nature and the human soul. The orphanage was providing agricultural education, thus all boarders have a close relation with nature. The figure in the painting reflects this connection.
104
Figure 31: Still I (source: personal collection)
105
4) Still II, by Charalampos Moschovitis, 2013, acrylics. (Figure 32)
As Still I, likewise, this painting represents the significant presence of nature in the orphanage. The building on the left symbolizes that of the orphanage itself.
Figure 32: Still II (source: personal collection)
106
5) Untitled, by Elpida Panonidou, 2014, ink sketches. (Figure 33)
This artwork represents the life story of an orphan girl. The story is not based on actual events, it is a total fabrication of the artist's imagination. The artist allows the viewer to make up his/her own story and meaning about the artwork.
Figure 33: Untitled (source: personal collection)
107
6) Assets of Life, by Marios - Sergios Eliakis, 2014, pillow, plastic toys and plaster. (Figure
34)
The artwork Assets for Life consists of a plaster hand, several plastic animals (such as cows and pigs), and some agricultural tools, all carefully placed on a big white pillow.
They all symbolize the assets and education the boarders obtain during their stay at the orphanage. In particular, "the institution aimed at the systematic agricultural education and the induction of the graduates in the socio-economic network of the country, at a time when agriculture constituted a very important asset to the national economy"141.
Figure 34: Assets of Life (source: personal collection)
141 RE-Culture III Catalogue 87, 2014.
108
7) I [Never] Promised you a Rose Garden, by Gioula Papadopoulou, 2014, video. (Figure
35)
This video projection is a digital manipulation of an archival image, of a real, old photograph. The image represents dozens of orphans, all dressed in the same clothes, standing next to each other. In the foreground, one can see some of the people who have worked in the institution (teachers, doctors, assistants and so on).
Figure 35: I [Never] Promised you a Rose Garden (source: personal collection)
109
8) Family Hunger, by Niki Bisylla, 2014, color sketch. (Figure 36)
In this artwork, the artist painted her own family. The bright and cheerful colors symbolize the happiness one feels when he/she is surrounded by his/her loved ones.
Figure 36: Family Hunger (source: personal collection)
110
9) Crib, Repetition, by Eleni Lyra, 2014, digital prints on paper. (Figure 37)
This painting represents a crib repetition, which symbolizes the high number of children that could be accommodated in a room. On the contrary, regular children enjoy their bedrooms on their own or with their siblings.
Figure 37: Crib, Repetition (source: personal collection)
111
10) Untitled, by Maria Bourika, 2014, mixed media. (Figure 38)
Inspired by the book novel Oliver Twist, the artist attributes her own meaning to the orphanage concept. This artwork is overflowed with scenes from the Oliver Twist story and collaged flowers. The flowers symbolize the agricultural character of the
Skagiopouleio orphanage; they are not perfectly cut, just like young children would cut them.
Figure 38: Untitled (source: personal collection)
112
4.2.1.3 FAMILIARIZATION WITH THE EXHIBITION
Before starting familiarizing myself with the exhibit, and brainstorming about the theatrical production, permission was requested and granted by the Art in Progress director, Kleomenis Kostopoulos. Thus, the research and the project design began.
Starting with the exterior and the interior architectural spaces, the orphanage's neoclassical building itself testifies to its rich history. By just entering the main door, one can feel the emotional atmosphere; there should be so many hidden secrets and untold stories about this place. The exhibited artworks reflected this atmosphere as well. There was an incredible connection between the exhibition space and the artworks, and there were so many concepts to work on. The exhibition was indeed a perfect opportunity to elaborate upon and design a museum theater production.
Once again, the exhibition's local character was an important factor in choosing it for designing a museum theater play. The imposing Skagiopouleio building is well-known to all city residents, but only a few actually know its history. Additionally, the sensitive concept of the orphanage was more than a challenge for this thesis. The aim was to prove whether or not museum theater could help in presenting the specific subject in an interesting, educational and cheerful way. Finally, once more, the company director,
Kleomenis Kostopoulos and the exhibition's curator, Nikos Podias, were both very cooperative. Their willingness to help was an important factor in actually beginning to form the basic idea of the play.
Thus, the first step was to familiarize myself with the exhibition; pay attention to the exhibits, learn basic information about the artworks, discuss with the curator and the director, visit the municipal library for historical information, meet in person with an old boarder, and undoubtedly, visit the exhibition multiple times.
113
4.2.1.4 THE BACKGROUND OF THE IDEA
Inspiration began just by looking at the exhibits and strolling through the building.
Everything was magical! The artworks, hanging on the walls, were recounting stories from the past: who lived here, how children got here, what they did, what they learnt.
Indeed, the 'Skagiopouleio Project' was a great attempt to enliven this place and its history, but theater could surely add some more magic.
How interesting would it be to listen to stories by someone who has lived or worked in this place? Immediately the idea incurred: an old maid recounting stories from the orphanage's past. Maids usually know all the secrets, they work in silence and do not get much involved. They work close to the children, they take care of their daily needs and they surely have seen many incidents. An orphanage's maid knows the real living conditions, she has no need to embellish things or prove that the orphanage is an excellent place; something an orphanage's manager would possibly do.
First-person interpretation was adopted as most appropriate museum theater technique for the maid idea. The maid would herself encounter all the stories and secrets of the orphanage to the audience.
4.2.2 DURING THE THEATRICAL PRODUCTION
4.2.2.1 AIMS AND OBJECTIVES
The aim of this project was threefold: to use and evaluate museum theater in a contemporary art exhibition, and to enliven the Skagiopouleio Orphanage and the exhibits in a pleasant way. In particular, this project aimed at offering an educational and enjoyable experience to all adult-visitors, and evaluating it via questionnaires, observation and informal interviews. Moreover, presenting the difficult issue of the
114
orphanage without causing dissatisfaction to the visitors was indeed challenging, thus careful presentation of the proper information was indeed necessary.
In order to achieve the project's aims, all gathered information should be well documented and researched. The exhibition's curator, Nikos Podias, was really helpful in giving information about the idea behind the exhibition and about the exhibits themselves. But more inside stories were needed to shape the role; true stories about the orphanage. So, Stathis Mastrogiannopoulos, a former boarder and current employee at the Skagiopouleio Orphanage, gave, via personal interview, information on the old and present days of the orphanage. He was very cooperative and shed light on unknown facts and everyday details. This information helped in shaping the old maid's role in accurately recounting true stories about the Skagiopouleio Orphanage.
Moreover, in this project, it was decided not to use interactive theater, so that comparisons with the first proposed action, 'A Street is All', could be made.
4.2.2.2 EXPECTED RESULTS
The theatrical production 'The Orphanage House: Cleaning and Thinking Through the
Ages' was designed to provide an effective influence on learning and entertaining outcomes. Having the experience of the first proposed action, many adjustments have been made to successfully achieve the project's aim. The basic ones are the elimination of interactive elements and the boosting of historical information.
4.2.2.3 SCENARIO
The scenario, written by myself, was entirely based on the gathered information about the Skagiopouleio orphanage and the exhibits. In this project, while the plot was
115
imaginary, all information provided to the visitors during the play was accurate, based on actual facts and data.
The actress, impersonating an old maid, recounts stories about the Skagiopouleio orphanage and about how life has been there. She is in the orphanage building because she works there, and at the present time she has to clean the floors. Thus, the old maid soliloquizes, while whipping the floors of the orphanage. During the performance, the actress recounts stories incorporating the selected exhibited artworks; 'old photographs' hanging on the walls (the exhibits) inspire her to talk about several facts and events about the orphanage (see Appendix B - Scenario, pages 146-148). The play was designed to last about fifteen minutes.
Overall, the greatest challenge of this project was to collect actual information about the orphanage and present it in an enjoyable and learnable way. So the scenario was carefully written to avoid any unhappy feelings. Visitors come to museums and galleries to learn and have fun, they do not want to leave an exhibition room or an event depressed.
4.2.2.4 ACTING
There are a lot of university students who are members of theatrical groups, and the idea of connecting the International Contemporary Art Festival (RE-Culture III) with the University of Patras community, via this project, seemed really interesting.
So, for this project, a female university student with theatrical experience was selected to perform the orphanage's old maid. Faidra Petta, an architecture student, was chosen.
She has theater experience for more than ten years, and, above all, she was very excited about the project.
116
As soon as the scenario was ready, rehearsals began. All rehearsals took place in the exhibition rooms, so that the actress would familiarize herself with the space and the exhibition.
4.2.2.5 TARGET AUDIENCE
In this project, the target audience was adult-visitors. Having enough information from the first project about adults' feelings and thoughts of museum theater within a contemporary art exhibition, it was more than logical to continue the research so that to compare the results of the two different projects.
Important conclusions may occur by this comparison, since not many studies thus far have concentrated on adults. As mentioned in Chapter III, adults constitute a perplex visitor group because of their different beliefs, backgrounds and experiences. Each adult-visitor may also have different motivations for participating in a museum theater program. "Based on their primary motivation for participating, adult learners attending museum programs can be grouped in four general categories: knowledge seekers (they have a strong desire to learn new things), socializers (they seek for social interaction), skill builders (they like to learn by doing), and museum lovers (they love the museum and everything it stands for)."142
Considering all this diversity, it is understandable that creating a museum program, in this case a museum theater production, is quite challenging. The performance should stir the interest of all visitors and enhance enjoyment.
142 Sachatello-Sawyer et alii 2002, 7-9.
117
4.2.2.6 ARCHITECTURE SPACE AND PROPS
As already mentioned above, the exhibition occupied three of the building's rooms, two spacious ones and a smaller one. In the smaller room, where the video artwork I [Never]
Promised you a Rose Garden was being projected, only several visitors at a time could enter due to its limited capacity.
Thus, it was decided that the performance would be conducted in the two larger exhibition rooms. The actress would perform in the same ground level where the audience would be, as there was no need for demarcation between the actress and the visitors. On the contrary, it was better for the actress to be on the same ground level, so as to interact with them in a natural manner, like a true maid would.
Therefore, since the actress would recount stories while wiping, a specific route was selected for the maid to move freely in the exhibition rooms and for the audience to follow. This route was decided during the rehearsals, after several trials.
Moreover, the exhibits constituted the sets of the theatrical play in this project as well.
As the whole theatrical performance was influenced by the artworks, it was vital to include them in the performance. The most efficient and economical way was to integrate them within the performance as props. Nothing was changed in the exhibition rooms for the conduct of the theatrical production.
4.2.2.7 COSTUME AND MAKEUP
The maid's costume was decided to be simple: a black skirt, an old colorful knitted sweater, torn slippers, a yellow kerchief, and a broom. The broom, brought in the exhibition space by me personally, was needed for the actress to wipe during the play.
As for the clothes, they were brought in the exhibition space by the actress herself; she
118
borrowed most of them from her mother. Thus, the outfit was economical, as no money was spent on buying neither clothes nor accessories.
Make up was more than necessary, as the young actress was to be turned into an old jaded woman. Due to her considerable theatrical experience, she undertook this herself.
Makeup and costume changing took place in a small toilet room, just next to the three exhibition rooms. On the day of the theatrical play, the actress arrived an hour earlier to prepare herself for the performance.
4.2.2.8 MUSIC
The exhibition space offered no speakers or any other kind of technological means to provide music before, during, or after the theatrical performance.
Thus, it was my responsibility to announce the beginning of the theatrical play, by gathering all visitors in the first room and explaining what was about to happen for those unaware of the event.
4.2.2.9 ADVERTIZING
The theatrical event was promoted via websites (Figure 39 and 40) and local newspapers. Once again, the press release emphasized that the project was part of a
Ph.D. thesis, it was addressing adults, and admission was free of charge. Moreover, it highlighted the play's short duration.
119
Figure 39: Advertisement at www.thebest.gr 17.12.2014 (source: thebest website)
Figure 40: Advertisement at www.iNewsgr.com 17.12.2014 (source: iNewsgr website)
120
4.2.2.10 DESCRIPTION OF THE PLAY
The performance was scheduled for 7:30pm on December 18th, 2014. Once the visitors were gathered, the old maid began performing.
She was wiping when she suddenly realized that people were looking at her (Figure
41). She immediately felt comfortable with them, and began talking about the place: the founder of the orphanage, why it was built, the living conditions, and so on. Some historical information was more than necessary in order for the visitors to better understand not only the exhibits but also the history of the orphanage itself.
Figure 41: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection)
Like most old women, the maid began soliloquizing, while also providing accurate historical and social information about the orphanage: "In the old days, we used to have one hundred and twenty children here, while today we only host thirty. Well, things were different back then. The Asia Minor disaster, World War II and the Greek Civil War left their
121
imprint on the Greek population. All these wars destroyed us! Many children either lost their parents, or their parents did not have the financial capacity to raise them, so these poor children ended up here... Today we do not have so many orphans... and the children we have are mostly from problematic families, families that are unable to take care of their offspring."
The old maid had been working in the orphanage for the past thirty years, so she knew old and new stories about the foundation. She also strongly believed in destiny, as many old people do: "While all babies grow in their mother's womb for the first nine months of their life - in a warm (like this felt), safe and secure environment - things sometimes do not evolve with the same favorable conditions. I believe in destiny, unfortunately we cannot control everything..." (see Figure 30, page 103).
Then, the old maid focused on the educational character of the orphanage. All boarders had a close relation with nature, they learnt about it, they studied about it. From 1938 until 1973, the Skagiopouleio foundation was operating as an agricultural school for the orphans: "Once graduated, boys would immediately work in the financial or social fabric of the country, when agriculture was still an important sector of the Greek national economy! Since
1973 the agricultural school stopped operating, and from then on, boys go to public schools in the region."
The maid went on recounting about the boarders' everyday schedule and the Sunday visiting hours. She also liked gossiping, so she indeed knew what most of the boys have done in their later lives: what jobs they have, whether they have families, whether they still live in Patras and so on. She was indeed very proud of her boys, as most of them have a lovely family and a good job today (Figure 42).
122
Figure 42: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection)
Before finishing up, the actress began talking about the building: how important it is, how beautiful and old it is, its future, and how glad and lucky we are for having such important buildings in the city. The performance ended when the maid realized that she has been soliloquizing for fifteen minutes: "Pf! Time has passed and I still have work to do! I let you explore the space! I was carried away with the talking again... Excuse me!
Goodnight!" (Figure 43).
The play lasted for about fifteen minutes and was attended by twenty four people.
Figure 43: 'The Skagiopouleio Project' - The Theatrical Play (source: personal collection)
123
4.2.3 AFTER THE THEATRICAL PRODUCTION
4.2.3.1 THE EVALUATION METHODS
Judging by the visitors' faces and their first oral comments, the play was impressive and interesting. Of course, in order to evaluate the performance properly, some tools are necessary: informal interviews, questionnaires and observation of visitor reactions and behavior were used as evaluating methods.
Thus, the project evaluation tools included both qualitative and quantitative methods.
In particular, quantitative information came from informal interviews and observational records, while quantitative data were gathered from the written questionnaires. In this project, I was personally responsible for all three evaluation procedures: observing the visitors' reactions during the play, interviewing the participants, and giving them the questionnaires just after end of the performance.
Two questionnaires were used in this project: one just after the theatrical performance
(the after-performance questionnaire) and one three months later (the recall questionnaire). The after-performance questionnaire included both demographical questions and questions about the museum theater play, so that participants would not get tired or bored with the procedural details, by completing two different questionnaires.
4.2.3.2 THE AIM OF EVALUATION
The aim of the evaluation was to assess the effectiveness of the program and its technique. In particular, all three evaluation methods (the informal interviews, the questionnaires, and the observation) helped in gathering all necessary information for
124
this. Basically, the evaluation methods indicated the participants' feelings, thoughts and reactions towards their museum theater experience.
Moreover, the aim of evaluation was to suggest improvements for future similar productions within contemporary art exhibitions.
4.2.3.3 THE QUESTIONNAIRES
Questionnaires aid in collecting quantitative information for statistical results. Since
"this type of evaluation is less detailed and used with large numbers of people, often using tick boxes or multiple choice"143, both questionnaires were designed to also include open-end questions for the visitors to freely express their feelings and opinions.
In particular, the after-performance questionnaire144, the one completed by the participants just after the play, was focused on participants' demographics and their theatrical experiences: sex, age, feelings about contemporary art, about the play within the exhibition, previous museum theater experiences, the impact of theater on the exhibition, interpretation effectiveness and so on. The aim of this questionnaire was to focus on the participants' basic demographics, to detect their museum theater background and thoughts on the specific performance.
The recall questionnaire145, the one completed by the visitors three months after the theatrical play, was focused on recall - what visitors remember about the play or the exhibition three months after the performance: what did the actress impersonate, lessons learnt about the Skagiopouleio foundation, whether the play helped in better understanding what is/was going on in the Skagiopouleio orphanage, the connection between artworks and the foundation history, whether the artworks are still remembered, and so on. This questionnaire
143 Victoria and Albert Museum website [Accessed 10 February 2016]. 144 Appendix B, 150-151. 145 Appendix B, 152-153.
125
was sent to all participants via email, posing both general and more detailed questions about the exhibition, the theatrical performance, and the institution itself.
4.2.3.4 THE FINDINGS
Qualitative Data
Qualitative data were obtained by both observational information and informal interviews. The observations were my own before and during the museum theater play, whereas the informal interviews, carried out by myself, took place just after the theatrical performance in the exhibition area. The observations were written on a specially designed observational form146.
In detail, observational information mainly focused on the participant behavior during the play. Visitor movements and facial expressions indicated their interest during the performance. In this project, there were no signs of boredom or tiredness. On the contrary, participants were willingly and closely following the actress as she was moving through the exhibition rooms.
Similarly with the observation data of the evaluation report at the Science Museum of
London which showed that "interest begets interest - the more people who are present, the more people will be attracted. Costumes and props are a big draw, as they seem to signal something different"147, the same was observed in this museum theater production: several individual visitors joined the event even after its opening act and stayed till the end.
As for the interviews, visitors expressed their enthusiasm for their experience. In particular, there are two examples worth mentioning. A school teacher asked for re-
146 Appendix B, 149. 147 Bicknell - Fisher 1993, 82.
126
conducting the theatrical play, so that his students will also attend it. Moreover,
Kleomenis Kostopoulos, the company director, proposed a future cooperation, as he was impressed by the performance. He strongly believes that museum theater is the future of today's guided museum tours.
Quantitative Data
As in proposed action I, all questionnaires were anonymous and were handed out personally by me. Before the theatrical play, I estimated the number of participants, printed the questionnaires and gathered several pens for the visitors to use. All completed questionnaires were collected by myself, which I arranged and put in a file folder for later study.
According to the twenty four after-performance questionnaires completed, the number of male participants was equal to that of female ones, which is in contrast to the first project's percentages and to the generalization that more women usually visit art exhibitions. Probably, the museum theater element attracted males and females equally.
Moreover, the museum theater play attracted people that probably would not normally visit the institution or the exhibition. In particular, 70.8% of the respondents had never visited the Skagiopouleio Orphanage before, whereas, 41.7% were not even aware of the contemporary art festival, RE-Culture III. Through the advertisement of this theatrical performance, people got interested, visited the orphanage for the first time, and also learnt about the art festival.
As in the first project, the majority of the participants generally had positive feelings towards contemporary art (57.7%), while 26.9% felt enthusiastic about it.
Overall, the performance seemed to be really successful. 83.3% of the participants stated that they had a very positive opinion about the theatrical play within 'The
127
Skagiopouleio Project' exhibition, while 16.7% had just a positive one. It is stunning that no participant had negative or indifferent feelings.
"I have never experienced something like this before in our city or even in Greece.
It surely made my visit more interesting."
"An interesting experience with surprises!"
"Very interesting, so different from the usual art events in this city!"
"A newfound experience which helped in better understanding the exhibits in a
pleasant way. It provides motivation to visit more exhibitions even for people less
interested in art."
"The play in combination with the exhibition was very interesting. Great script,
very good acting."
"It was a very nice move, as we learned about an important work. It was a lesson
on humanity, something we all need today!"
There was no negative feedback, although a few participants suggested some additional qualities for the theater experience. Specifically, they wrote:
"Interesting, I will try to visit more exhibitions accompanied by a theatrical play.
You could also add some interaction with the audience."
"The way the topic was approached was very interesting, interactive and alive. In
complete contrast to the boring and shopworn guided tour. I would prefer the play
to include some acoustic effects so that the whole experience would be more
intense."
128
Afterward, it was important to exactly identify the factors contributing to the people's positive attitudes towards museum theater. 37.5% of the visitors felt that the play brought the exhibits to life, while 35% stated that the theatrical play made the exhibition more interesting. Then, 10% felt that the play turned the whole museum experience into a totally guided one. Finally, 5% expressed their own opinions - selecting the "other" option.
As mentioned above, 10% of the participants felt that the performance totally guided the whole museum experience. But this happens with any kind of interpretation; for instance, a tour also helps in attracting the interest and facilitating understanding by providing some fixed or received ideas. In this specific case though, the theatrical play was based on true facts and testimonials. So the complete information was real and the play was only intended to shed light on the past and present of this historical foundation.
From the interpretative side, 87.5% of the participants stated that the theatrical play helped in better understanding the exhibits. Obviously, the performance provided all the essential information about each artwork, making art more understandable and accessible to visitors.
Lastly, 91.6%, a very high percentage indeed, stated that museum theater would play a significantly positive role in their decision to visit an exhibition in the future, and they would gladly attend a theatrical performance within an art exhibition. These results indicate that most people find museum theater interesting and enjoyable, and they would like to experience it again.
As for the fifteen recall questionnaires, the results are indeed impressive. 93.4% of the visitors remembered the role of the actress - that she impersonated an old maid - while
129
100% recalled that the actress was recounting stories from the orphanage. Thus almost all visitors remembered the theme of the play.
Likewise, the results indicated that the participants remembered details from the exhibition. 83.4% could successfully recall whether most of the artworks were directly connected with the history of the Skagiopouleio foundation, and whether some were in part copies of old photographs. Moreover, 93.4% could recall at least one artwork.
A remarkable 100% of the participants claimed that the theatrical play also helped them better understand what is/was going on at the Skagiopouleio Orphanage. The play provided sufficient information about the living conditions of the past and the present.
Finally, all visitors felt that the theatrical performance helped them in better remembering the exhibits. In fact, 60% absolutely agreed with the above statement, while 40% just agreed. There was no single negative answer.
This second project further confirmed the positive impact of theater on art exhibitions.
In fact both programs seemed to provide alternative, interesting, didactic and enjoyable experiences to almost all visitors. Contemporary art galleries and museums should surely use theater techniques in their educational programs and activities if they want to impress their visitors and provide a strong motive for revisiting.
4.3 AN OVERVIEW OF THE TWO PROPOSED ACTIONS
The positive comments and statistics of using theater techniques within an art exhibition are indeed impressive, although there are some points to be further analyzed.
Based on the experience gained by conducting the two museum theater programs, one observation is obvious. Adults were quite shy when asked to verbally participate
130
during the theatrical play. On the contrary, they were feeling more comfortable when just attending the play or listening to the actress.
So, the first museum theater play, conducted in the cultural center Peri Technon, which was based on two museum theater genres (first-person interpretation and interactive theater) indicated that adults were quite coy in interacting with the actress. Although the statistics showed that most visitors enjoyed the play and were interested in attending a similar event in the future, the part of participation was a problem.
The same problem was observed at another museum theater event at the National
History Museum in Athens on October 10th, 2015. The play was also based on first- person interpretation and interactive theater, and the adults-participants were shy to respond to the actress' questions, leading to an atmosphere not as interactive as anticipated. The play was an imaginary journey back to 1893, where the actress, dressed up in a 19th century costume, was visiting the grand exhibition on the 1821 Greek
Revolution. This exhibition was organized in order to raise funds for building the museum known today as The National History Museum of Athens. The actress was exploring the artifacts and was posing questions regarding the exhibits: "What does this label say?", "Do you know Markos Botsaris?", "What do you think this is?", and so on.
Participants were not feeling comfortable in answering these questions, although most questions were of an observational nature.
On the contrary, in the case of the 'Skagiopoulio Project' exhibition, the theatrical play was more successful as there was no obvious interaction with the participants.
Although the play was based only on first-person interpretation, there was an slight indirect interaction with the visitors; participants were called to have a closer look at specific exhibits, or follow the maid in the orphanage while wiping. The maid was
131
aware of the visitors' presence but never really posed any questions to them. This important element was key to the success of the program.
Concluding, first-person interpretation is a fantastic tool facilitating adult engagement in a theatrical way. Yet, interactive theater proved not to be a very suitable one.
Interactivity is probably more appropriate when dealing with younger ages. It is reasonable that not all theatrical means are suitable for all visitor groups and ages.
Overview
Although this is a small scale project, the success of both museum theater programs is not only demonstrated by the participants' positive reviews and comments, but also by the positive evaluation results. Theater can make art come alive, make an exhibition more interesting and above all, help in recalling the exhibits and remembering details about the artifacts.
Though theater may seem like a great interpretative tool, attention should be paid to the selection of the type of museum theater in each case. Not all museum theater genres are suitable for all visitor groups. As already analyzed, when dealing with adults, interactive theater was not a wise choice to go for, as they usually are quite shy to take part.
132
5 CONCLUSIONS
5.1 BASIC OUTCOMES OF THE STUDY
Museum theater constitutes a special type of interpretation. Its positive impact was made clear throughout all chapters. Comments showed enthusiasm and a willingness to experience such events again in the future.
Focusing on Greek museums, some basic outcomes are: Greek museums do indeed highlight their educational role and are currently trying to provide educational programs with more interactivity, and in some cases even by adding theatrical elements. But, while this is the general trend in the Greek museum world, Greek art museums do not make use of theatrical interpretative techniques in the same extent other Greek museums do; it is clear that Greek art museums use more traditional interpretative techniques. Some may use theater in their programs, but they mainly apply puppetry, as it is an economical tool and handy with almost all topics. On the contrary, other types of Greek museums make use of several theatrical techniques such as storytelling, role play, first-person interpretation, and puppetry.
This lack of theatrical usage in art museums is a global issue. Even during research, finding international art museums, and especially contemporary art galleries making use of museum theater was not easy. All proposals, evaluations and papers available focus on science, natural history, history, and children museums or aquariums.
Additionally, almost all museum theater programs refer to children. Museum theater is a popular interpretative tool for younger ages at a global level, and there are only few theater activities for adults. In Greek museums for example, adults may only have the
133
chance to experience a storytelling event. Thus, this thesis tries to fill this gap and prove that adults may also benefit by theater techniques within a museum or gallery.
The highly positive statistics of Chapter III and Chapter IV indicate the success of the two museum theater productions designed and conducted only for adults within two contemporary art exhibitions. The first theatrical performance was based on first-person interpretation and interactive theater, while the second one exclusively on first-person interpretation only. The aim of this research was twofold: to prove that museum theater is a great tool for adults as well, and to indicate how to use theater techniques within contemporary art exhibitions. Both goals were achieved.
Adults got impressed by theater's power in making art come alive and in helping them better understand the exhibits. Overall, 98% of the participants in both museum theater programs were positive with their theatrical experience within the exhibition.
Moreover, 79.2% of the participants could recall details about the exhibits. The percentages are indeed high.
Apart from museum theater success, it was observed that adults were quite shy to participate in the first theatrical play, which was an interactive one. There is a wide range of museum theater types and not all are suitable for all visitor groups. According to the thesis evaluation results and outcomes, adults feel more comfortable with first- person interpretation, instead of interactive theater. In simple words, adults prefer to listen to the actor rather than answering questions and interacting with him/her.
Apart from the above, theater proved to be a great tool to deal with sensitive topics, such as the orphanage concept. Theater really helped in approaching this subject without making the audience feeling uncomfortable or sad.
134
Also, another important point is cost of these theatrical plays. While some believe that designing and conducting a museum theater play is quite expensive, this thesis proves that the financial cost of such performances is not high. Both theatrical programs were designed and conducted without any financial support. Theater is not used to impress the audience with material goods, but to make them start a special journey within a museum area. Thus, museum professionals should put fantasy and creativity together and start designing more theatrical programs for their visitors.
5.2 SUGGESTIONS FOR FUTURE WORK
The thesis' significance is threefold: it is the first research focusing on museum theater in Greek museums, and one of the few focusing on museum theater within art museums and on adults. It is thus obvious that more research should be done in all three areas.
While Greek museums make use of theatrical interpretative techniques, there is no scientific background to support it. More research should be done in Greek museums that use theater techniques, as the text presented here could obviously not cover all practical and theoretical issues; there is a huge fertile ground to work on.
Furthermore, research based on the combination of theatrical techniques and art is quite scarce as well. Through this thesis, it is proved that theater can be successfully used in a art exhibition. More papers, research and ideas about this combination could help in establishing museum theater in the art museum world. It is important to highlight that theater is not just a magical tool for children, and not limited to science and history museums; adults and art museums can also benefit from that amazing interpretative medium.
135
Also, more research should be done on examining which museum theater techniques are most suitable for adults within a contemporary art exhibition. This thesis examined only two museum theater genres; there is still a long list of them to try and evaluate.
In more detail, by completing the thesis, some suggestions for future work may be formulated. These are of course motivated and influenced by the thesis' results, limitations and personal experiences.
The small sample of recall questionnaires during the thesis' two theatrical productions is quite noticeable. Unfortunately, not many people filled the recall questionnaires, even though they had given their emails for that purpose. Yet, despite the limited sample of recall questionnaires, a basic picture of what people think and feel about interpretation and museum theater was obtained. It would be probably good for future studies to use other means of communication as well, such as the telephone or formal private interviews.
Further research and detailed analysis on why adults feel uncomfortable during interactive theater would make the problem more precise and understandable. This thesis only focused on observational and generally proved data by other papers or theses. The problem was not analyzed from a psychological point of view. This kind of research would be a great topic to work on.
136
APPENDIX A
PROJECT I - EXHIBITION TITLE: 'IT'S A LONG ROAD'
SCENARIO
-Hello everyone! Welcome to my street! I am a tree. One of the few trees of this city. I live here, on this same old street for the past thirty years. Every day I hear many different stories. I see people passing by, talking, arguing, chatting, laughing…
Many times I accommodate them under my rich foliation. When it’s raining, people usually find a shelter under me!
Moreover, many couples arrange their rendezvous under my branches. And I silently hear their secrets…
Look! There is someone standing beside me! I can see him… He is a young man! But why is he sitting on the ground? I believe that something worries him… Because I am a tree and I cannot read, can you please tell me what is written on his sign?
Does anybody feel the same? (see Figure 17, page 73)
-As you can understand, everything is changing at my street… But some faces are quite familiar to me… They pass by very often… many times a day… Do you recognize anyone from my frequent passerby? (see Figure 20, page 76)
-Hey, please tell me… What’s behind me? I can hear someone breathing… I think that he or she is breathing heavily… Do you hear it?
Is the person young or old? Man or woman?
137
What is she doing? Do you think that she wants to sleep under my branches tonight? (see
Figure 16, page 72)
-Let’s go further down to my street! Across me, there is a wall! I stare at it every day for many years. The wall is changing! It is changing every day! New slogans, new advertisements, new feelings and limericks, new posters and sketches. Can you please tell me what is written on this wall today?
And what about this male figure that looks like he is coming out of an ancient theatrical play? Is there something he wants to tell us? (see Figure 15, page 71)
-Besides me, there are two friends of mine. The one with the glasses does not pass by my road anymore… He is not with us anymore… I’ve heard that he has been one of the most famous
Greek painters. Very important and evolutionary! Who is he? Do you know him?
Does he want to tell us something about today’s life? Or maybe something about today’s art?
(see Figure 18, page 74)
-I know the other guy without the glasses, but I will talk about him later! First, please tell me:
What is written on this wall? What slogans do you see?
I feel great tension looking at this wall! Why? (see Figure 19, page 75)
-And now, I will reveal to you how I met this young man! I saw him painting this wall down there! (see Figure 21, page 77) As I’ve heard, his name is Chris and he has painted many walls in our city with a spray. He has painted the façade of Mods, the wall across the café Amelie…
Have you seen these artworks in our city? Do you like them?
-Personally, I admire what a man can create with a spray… How do you call these artworks?
138
Do you believe that graffiti consists a kind of contemporary art, even if you find these specific art pieces out on the streets and walls?
-As Iraklitos, the ancient Greek philosopher said, “everything is changing.” Likewise, our town is changing every single day. But you can help for a better change, and keep our city beautiful and civilized!
Have fun and keep walking at our city’s beautiful streets!
Thank you very much!
139
OBSERVATION FORM
Audience Size: _____ / Date of Performance: ______
Before the theatrical performance
Observed Behavior Check Notes
Visitors standing and waiting
Visitors talking
Visitors walking in the exhibition area
Visitors observing the exhibits
Other
During the theatrical performance
Observed Behavior Check Notes
Movement to audience related to movement in performance
Visitors talking to each other
Audience participation
Visitors looking closely at the artworks
Visitors moving continuously/nervously
Visitors smiling
140
1ST QUESTIONNAIRE - BEFORE THE THEATRICAL PLAY
1. Gender Man Woman
2. Age 18-30 31-50 51+
3. Education level High School
University
Postgraduate Studies
4. How many times per year do you visit a museum or a gallery?
Once a month Once every three months
Once a year Never
Other:
5. Is this your first time at the Peri Texnon gallery? Yes No
6. What kinds of exhibitions do you prefer? (you can choose more than one
options)
Modern Art History
Photography Art
Folk Art Religion
Technology Archaeology
Other:
141
7. How do you find contemporary art?
Indifferent Embarassing
Puzzling Inspiring
Other:
8. Within an exhibition, interpretation is:
Absolutely necessary
Necessary
Indifferent
Unimportant
Totally Unimportant
9. Would you like to attend several art events within an art exhibition (video
projections, lectures, workshops)?
Yes I do not know No
10. Do you discuss your museum or gallery visits with your friends?
Yes I do not know No
Thank you for your time!
142
2ND QUESTIONNAIRE - AFTER THE THEATRICAL PLAY
1. Gender Man Woman
2. Age 18-30 31-50 51+
3. Education level High School
University
Postgraduate Studies
4. Have you ever experienced museum theater before?
Yes I do not know No
5. Your opinion about the theatrical play within the exhibition 'It's a Long Road' is:
Very positive
Positive
Indifferent
Negative
Very negative
6. Do you believe that the play helped you better understand the exhibits?
Yes I do not know No
7. Do you believe that the play helped you focus more on the exhibits?
Yes I do not know No
143
8. Did you like that you had an active role during the play?
Yes I do not know No
9. Please write your comments about your experience at Peri Texnon gallery today.
10. Would a museum theater play constitute an important motive to visit another art
exhibition?
Yes I do not know No
Thank you for your time!
144
3RD QUESTIONNAIRE - RECALL
1. What was the exhibition's theme or title?
......
2. What did the actor impersonate?
………………………………………………………………………………………………
3. In the room, besides the paintings on the wall, there were also:
a homeless person a bicycle a tree
a dog a young boy a traffic light
4. Do you recall any of the writings on the walls/paintings?
………………………………………………………………………………………………
......
5. Was there any human figure (sculpture) among the exhibits?
………………………………………………………………………………………………
6. How many painters were depicted on the artworks?
1 2 3 4 5
7. The artworks of the exhibit included:
collage graffiti dog portraits
human portraits landscapes ink sketches
145
8. There was a reference to some artworks on our city’s walls. Do you remember
where these artworks are?
………………………………………………………………………………………………
…………………………………………......
9. Do you believe that the play helped you remember more about the exhibits?
Absolutely
Yes
I do not know
No
Definitely not
10. Would you like to experience museum theater again?
Absolutely
Yes
I do not know
No
Definitely not
Thank you for your time!
146
APPENDIX B
PROJECT II - EXHIBITION TITLE: 'SKAGIOPOULEIO PROJECT'
SCENARIO
- Excuse me! May I wipe a little bit there? Eh! If you only knew how many years I work here...
Almost thirty years... Since a young lady... I do not regret it though. So many children have come and gone, I have seen them growing up and leaving this place...
You know this orphanage was founded by the great raisin trader Panagiotis Skagiopoulos in
1926, hence the name - Skagiopouleio.
Oh here is his portrait! It is said that he was a good man! Even though he was rich, he was interested in helping children in need. What was the foundation's aim? The upbringing, the healthcare and the provision of education to all children! Indeed! (see Figure 29, page 102)
In the old days, we used to have one hundred and twenty children here in this orphanage, while today we only host thirty. Well, things were different back then. The Asia Minor disaster, the
World War II and the Greek Civil War left their imprint on the Greek population. All these wars destroyed us! Many children either lost their parents in some war, or their parents did not have the financial capacity to raise them, so these poor children ended up here... Today we do not have so many orphans... and the children we have are mostly from problematic families, families that are unable to take care of their offspring.
While all babies grow in their mother's womb for the first nine months of their life - in a warm
(like this felt), safe and secure environment - things sometimes do not evolve with the same favorable conditions. I believe in destiny, unfortunately we cannot control everything... (see
Figure 30, page 103).
147
I do not know if you knew, but in the past, from 1938 till 1973, this orphanage was agricultural, it provided agricultural education to all boarders! Once the boys graduated, they immediately worked in positions of the financial or social fabric of the country, when agriculture was still an important sector of the Greek national economy! Since 1973 the agricultural school stopped operating, and from then on, boys go to public schools in the region. (see Figures 31 & 32, pages 104-105)
Like I told you, this old building has hosted many children. Each boy of course had its own story... Why he came here, how things were for him here, what he was dreaming every night, what he became later in life... From what I know, many children from here have become scientists, lawyers, teachers... sometimes I see them downtown or I learn about them from others!
(see Figure 33, page 106)
As for the courses they used to take when the orphanage was operating as an agricultural school?
From what I recall, they took the courses we all know and have be taught (mathematics, literature, history etc), and in addition they were also taught botanology, zoology, dairy farming, agriculture, arboriculture, gardening, aviculture, agricultural economy, and many others I not remember right now... But you got an idea eh? (see Figure 34, page 107)
However, all children were close to nature, they learnt about it... Oh! Look at this old group photo! Come on! Get close to see! In the past, the orphanage provided all boys with the same clothes annually! You can see it! All children with their uniforms in a row! Every time I look at this photo, it reminds me of a field, a garden...Sometimes I wonder... Which is the garden they were promised to live in and how much could they blossom? (see Figure 35, page 108)
Of course I know that all employers - managers, caretakers, teachers, cookers, technicians, doctors and educators - all people that worked in this foundation tried to provide good nurture and education to all children! Thus, discipline and a scheduled program were both very necessary! The boys used to wake up in the morning, make their beds, have breakfast, go to the
148
agricultural school, eat lunch, study, and then enjoy their free time, during which they used to play basketball or football. Every Sunday the boys used to go to the church!
As for the children who had or have family relatives, they can/could see them during visiting hours on specific days. I was always looking at their faces when hanging their people! I believe that there is no better feeling than that! (see Figure 36, page 109)
Being a boarder... It is not easy to grow up in an orphanage! I have not personally experienced it but after all these years working here, I can imagine how it would be. Well you know, normally in one room there should be one crib, a mother and a father, but here, on the contrary, we have one room with so many cribs. Well, we all do our best, we take care of these children, we love them... That's why we are here after all! (see Figure 37, page 110)
All of you should be aware of the famous novel "Oliver Twist", this well-known orphan's adventures! Probably when most of us think about Oliver Twist, we immediately bring his story in mind. A young boy who, besides hard living conditions, managed to triumph... Like all of our boys here who learnt so many beautiful things about nature and agriculture and succeeded in their later lives... They found a good job, they built a house, they grew a family... (see Figure 38, page 111)
We have so many memories in this old building... Today, it is not used as an orphanage anymore, but it is intended to become a library and workshop space for painting, theater etc. I wish the money will be all secured quickly so that the conversion can happen soon! The building is so impressive, it's historical, full of memories and stories. It is nice to have, preserve and use this kind of buildings!
Pf! Time has passed and I still have work to do! I let you explore the space! I was carried away by the talking again... Excuse me! Goodnight!
149
OBSERVATION FORM
Audience Size: _____ / Date of Performance: ______
Before the theatrical performance
Observed Behavior Check Notes
Visitors standing and waiting
Visitors talking
Visitors walking in the exhibition area
Visitors observing the exhibits
Other
During the theatrical performance
Observed Behavior Check Notes
Movement to audience related to movement in performance
Visitors talking to each other
Audience participation
Visitors looking closely at the artworks
Visitors moving continuously/ nervously
Visitors smiling
150
1ST QUESTIONNAIRE - AFTER THE THEATRICAL PLAY
1. Gender Man Woman
2. Age 18-30 31-50 51+
3. Is this your first time at the Skagiopouleio Foundation?
Yes No
4. Were you aware of RE-Culture III, the International Festival of Contemporary
Art?
Yes No
5. Did you know that Skagiopouleio is hosting a RE-Culture exhibition every year?
Yes No
6. Your feelings towards contemporary art are:
Enthusiastic
Positive
I do not know
Indifferent
Negative
7. Your opinion about the theatrical play within the exhibition 'Skagiopouleio
Project' is:
Very positive
Positive
151
Indifferent
Negative
Very negative
8. Have you experienced museum theater before?
Yes I do not know No
9. The theatrical play turned your gallery visit into more:
Alive Indifferent
Boring Ridiculous
Interesting Impressive
Understandable Totally guided
Other: ......
10. Do you believe the play helped you better understand the exhibits?
Yes I do not know No
11. Please write your comments about your theater experience at Skagiopouleio
today.
12. Would a museum theater play constitute an important motive to visit another art
exhibition?
Yes I do not know No
Thank you for your time!
152
2ND QUESTIONNAIRE - RECALL
1. The actor impersonated:
the orphanage's manager an old boarder
the orphanage's maid a journalist
2. The actress was recounting:
stories from the orphanage gossip from the neighborhood
the story of a particular child stories from World War II
3. Most artworks were directly connected to the history of the Skagiopouleio
Foundation:
Yes I do not know No
4. Was there anything impressive that you learnt about the Skagiopouleio during
the play? If yes, what was that?
......
......
5. Is it true that some artworks were in part copies of old photographs?
Yes I do not know No
6. Did the play help you better understand what is/was going on in the
Skagiopouleio Orphanage?
Yes I do not know No
153
7. Do you recall any of the exhibition's artworks? If so, which one(s)?
......
......
8. Do you believe that the play helped you better remember the exhibits?
Absolutely
Yes
I do not know
No
Definitely not
Thank you for your time!
154
CATALOGUE I
EXHIBITION: 'IT'S A LONG ROAD'
Christos Katsiyiannis, The Road, 2013, mixed media.
George Liakopoulos, Homeless Person, 2013, mixed media.
George Liakopoulos, Our Pauper Visitor, 2013, paper sculpture.
George Liakopoulos, Twelve Small-Sized Portraits, 2013, acrylics.
George Liakopoulos, Wall I, 2013, mixed media.
George Liakopoulos, Wall II - Portrait of Kessanlis Nikos, 2013, mixed media.
George Liakopoulos, Wall III - Portrait of Katsiyiannis Christos, 2013, mixed media.
155
CATALOGUE II
EXHIBITION: 'SKAGIOPOULEIO PROJECT'
Charalampos Moschovitis, Still I, 2013, acrylics.
Charalampos Moschovitis, Still II, 2013, acrylics.
Clio - Anastasia Papaioannou, Uterus, 2014, felt.
Eleni Angelou, Portrait of P.S., 2014, mixed media.
Eleni Lyra, Crib, Repetition, 2014, digital prints on paper.
Elpida Panonidou, Untitled, 2014, ink sketches.
Gioula Papadopoulou, I [Never] Promised you a Rose Garden, 2014, video.
Maria Bourika, Untitled, 2014, mixed media.
Marios - Sergios Eliakis, Assets of Life, 2014, pillow, plastic toys and plaster.
Niki Bisylla, Family Hunger, 2014, color sketch.
156
BIBLIOGRAPHY
Abt 2011 Abt, Jeffrey. "The Origins of the Public Museum",
in: Sharon Macdonald (ed.), A Companion to
Museum Studies. West Sussex: Wiley-Blackwell,
2011, 115-134.
Adams, Marianna – Buck, Lisa – Moreno,
Cynthia – Polk, Molly. "The Dilemma of
Interactive Art Museum Spaces", Art Education
56, no. 5 (2003): 42-52.
Alrutz, Megan. "Performative Galleries:
Integrating Applied Theatre and Digital Media
Into Museum Settings", Youth Theatre Journal 25,
no. 2 (2011): 134-145.
Alsford - Parry 1991 Alsford, Stephen – Parry, David. "Interpretive
theatre: A role in museums?", Museum
Management and Curatorship 10, no. 1 (1991): 8-23.
Ambrose - Paine 1993 Ambrose, Timothy - Paine, Crispin. Museum
Basics. London: Routledge, 1993.
Angelini - Nardi 2013 Angelini, Cinzia - Nardi, Emma (ed.). BEST
PRACTICE 2: A tool to improve museum education
internationally. Roma: Edizioni Nuova Cultura,
2013.
157
Annual Report 2011-2012 Annual Report 2011-2012, Hepworth Wakefield
Gallery, West Yorkshire, United Kingdom.
Annual Report 2013-14, Acropolis Museum,
Athens, Greece.
Annual Report 2014-2015 Annual Report 2014-2015, The Gallery of South
Australia, Adelaide , Australia.
Barrett, Terry. "Interactive Touring in Art
Museums: Constructing Meanings and Creating
Communities of Understanding", Visual Arts
Research 34, no. 2 (2008): 76-84.
Bedford, Leslie. "Storytelling: The Real Work of
Museums", Curator: The Museum Journal 44, no. 1
(2001): 27-34.
Baum - Hughes 2001 Baum, Lynn - Hughes, Catherine. "Ten Years of
Evaluating Science Theater at the Museum of
Science, Boston", Curator: The Museum Journal 44,
no. 4 (2001): 355-369.
Bennett, Susan. Theatre & Museums. Hampshire:
Palgrave Macmillan, 2013.
Bennett 1995 Bennett, Tony. The Birth of the Museum: History,
Theory, Politics. Oxon: Routledge, 1995.
Bicknell - Fisher 1993 Bicknell, Sandra - Fisher, Susie. "Enlightening or
Embarrassing? Drama in the Science Museum,
158
London, United Kingdom", Visitor Studies:
Theory, Research and Practice 6, no. 1 (1993): 79-87.
Birringer, Johannes. "Dancing in the Museum", A
Journal of Performance and Art 33, no. 3 (2011): 43-
52.
Block 1995 Block, Bernard A. "Delphi (Phocis, Greece)", in:
Trudy Ring - Robert M. Salkin (ed.), International
Dictionary of Historic places: Southern Europe.
Chicago, Illinois: Fitzroy Dearbon Publishers,
1995, 183-186 (non vidi).
Bresler 2007 Bresler, Liora (ed.). International Handbook of
Research in Arts Education. Dordrecht: Springer,
2007.
Bridal 2004 Bridal, Tessa. Exploring Museum Theatre. Walnut
Creek: AltaMira Press, 2004.
Bridal, Tessa. "Beyond Museum Education", The
Journal of Museum Education 19, no. 3 (1994): 17.
Casey, Valerie. "Staging Meaning: Performance
in the Modern Museum", TDR: The Journal of
Performance Studies 49, no. 3 (2005): 78-95.
Chou 2010 Chou, Amy. "Show Me What You See: An
Exploration of Learning in Museums and
Learning in Theatre", Journal for Learning through
the Arts 6, no. 1 (2010).
159
Craig 2006 Craig, Ann Sorensen. Creating Historical
Consiouness. Master's Thesis. University of
Oregon, 2006.
Davis, Tracy C. "Performing and the Real Thing
in the Postmodern Museum", TDR: The Journal of
Performance Studies 39, no. 3 (1995): 15-40.
Durant 1992 Durant, John (ed.). Museums and the Public
Understanding of Science. London: NMSI Trading
Ltd Science Museum, 1992.
Economou 2003 Economou, Maria. Museum: a Warehouse or a
Living Organism? Athens: Kritiki, 2003.
Edson - Dean 1996 Edson, Gary - David Dean. The Handbook for
Museums. London: Routledge, 1996.
Falk, John H. - Lynn D. Dierking. Learning from
Museums, Visitor Experiences and the Making of
Meaning. Plymouth: AltaMira Press, 2000.
Farmelo 1992 Farmelo, Graham. "Drama on the galleries", in:
Durant 1992, 45-49.
Fishman, Gail Kaplan. "Writing Museums into
the Script", The Journal of Museum Education 19,
no. 1 (1994): 21-22.
160
Forbes 1990 Forbes, Maggie. "Museum Theater in a
Children's Museum", The Journal of Museum
Education 15, no. 2 (1990): 10-12.
Frykman 2009 Frykman, Sue Glover. "Stories to tell? Narrative
tools in museum education texts", Educational
Research 51, no. 3 (2009): 299-319.
Garoian, Charles R. "Performing the Museum",
Studies in Art Education - A Journal of Issues and
Research 42, no. 3 (2001): 234-248.
Genshaft 2011 Genshaft, Lindsay Michelle. Bridging Theatre and
Visual Art: The Role of an Applied Theatre
Practicioner in a Fine Art Museum. Austin:
Master's Thesis, The University of Texas, 2011.
Hart 2010 Hart, Mary Louise. The Art of Ancient Greek
Theater. Los Angeles, California: Getty
Publications, 2010.
Hawkey 2003 Hawkey, Roy. "All the (Natural) World's a Stage:
Museum Theater as an Educational Tool",
Curator: The Museum Journal 46, no.1 (2003): 42-
59.
Hodas 2008 Hodas, Libbie. IN THE MOMENT: Encouraging
Civic Dialogue Through Museum Theatre. Master's
Thesis. John F. Kennedy University, 2008.
161
Hein 1998 Hein, George E.. Learning in the Museum. New
York: Routledge, 1998.
Hooper-Greenhill 1994 Hooper-Greenhill, Eilean. The Educational Role of
the Museum. London: Routledge, 1994.
Hughes 1998 Hughes, Catherine. Museum Theatre:
Communicating with Visitors Through Drama.
Portsmouth: Heinemann, 1998.
Hughes, Catherine. "Theater and Controversy in
Museums" The Journal of Museum Education 23,
no. 3 (1998): 13-15.
Hughes et alii 2007 Hughes, Catherine – Jackson, Anthony – Kidd,
Jenny. "The role of theater in museums and
historic sites: visitors, audiences, and learners",
in: Bresler 2007, 679-695.
Hughes 2008 Hughes, Catherine. Performance for learning: How
emotios play a part. Doctor Thesis. The Ohio State
University, 2008.
Hughes, Catherine. "Theatre Performance in
Museums: Art and Pedagogy", Youth Theatre
Journal 24, no. 1 (2010): 34-42.
ICOM Newsletter 2013
Illeris, Helene. "Museums and galleries as
performative sites for lifelong learning:
162
constructions, deconstructions and
reconstructions of audience positions in museum
and gallery education", Museum and Society 4, no.
1 (2006): 15-26.
Ioannidi 2005 Ioannidi, Vasiliki. "Museums and socially
excluded groups. The case of people with special
needs: problem, features,applications", Nea
Paideia, no. 114 (2005): 43-54.
Jackson, Anthony. "Inter-acting with the Past -
the use of participatory theatre at museums and
heritage sites", Research in Drama Education: The
Journal of Applied Theatre and Performance 5, no. 2
(2000): 199-215.
Jackson, Anthony. "The Dialogic and the
Aesthetic: Some Reflections on Theatre as a
Learning Medium", Journal of Aesthetic Education
39, no. 4 (2005): 104-118.
Jackson 2010 Jackson, Anthony. "Inter-acting with the Past -
the use of participatory theatre at museums and
heritage sites", Research in Drama Education: The
Journal of Applied Theatre and Performance 5, no.2
(2010): 199-215.
163
Jackson 2011 Jackson, Anthony. "Engaging the audience:
negotiating performance in the museum", in:
Jackson - Kidd 2011, 11-25.
Jackson - Kidd 2007 Jackson, Anthony - Kidd, Jennifer. "Museum
Theatre: Cultivating Audience Engagement - a
case study", Hong Kong: Conference paper
presented at IDEA 6th World Congress, Hong
Kong, 21/7/07, revised 17/10/07, 2007.
Jackson - Kidd 2008 Jackson, Anthony - Kidd, Jennifer. Performance,
Learning & Heritage. Manchester: Centre for
Applied Theatre Research, 2008.
Jackson - Kidd 2011 Jackson, Anthony - Kidd, Jenny (ed.). Performing
Heritage: Research, practice and innovation in
museum theatre and live interpretation. Manchester:
Manchester University Press, 2011. - See also the
reviews by Magelssen, Scott. Theatre Journal 65,
no. 1 (2013): 138-141.; Melton, Elizabeth. Journal
of Dramatic Theory and Criticism 27, no.2 (2013):
192-194.
Jackson et alii 2002 Jackson, Anthony – Johnson, Paul – Leahy, Helen
Rees – Walker, Verity. "Seeing it for real: An
Investigation into the effectiveness of theatre and
theatre techniques in museums ", Report.
Manchester: Centre for Applied Theatre
Research, 2002.
164
Kelley 2012 Kelley, Kathryn Jean. Movement and Theater in the
Art Museum. Master's Thesis. University of
Oregon, 2012.
Kidd 2007 Kidd, Jenny. "Filling the Gaps? Interpreting
Museum Collections Through Performance",
Journal of Museum Ethnography 19 (2007): 57- 69.
Kidd, Jenny. "The Performance of Lives Past",
Kingston: Conference paper, 2009.
Kidd, Jenny. "Performing the knowing archive:
heritage performance and authenticity",
International Journal of Heritage Studies 17, no. 1
(2011): 22-35.
Kokkos 2005 Kokkos, Alexis. Adult Education: Detecting the
Field. Athens: Metaixmio, 2005.
Kondoyianni 2005 Kondoyianni, Alkistis. "Drama in Museum
Pedagogy: Appropriate Exercises and
Techniques", in: Saccone 2005, 59-68.
Kondoyianni, Alkistis. "The Museum as an
Educational 'praxis' Environment, a New
Thematic Linking Cultural Heritage and
Technology in Drama Education", in: Seija
Karppinen (ed.), Neothemi, Cultural Heritage and
ICT, Theory & Practice. Helsinki: Yliopistopaino,
2004, 175-184 (non vidi).
165
Mateer 2006 Mateer, Megan. Living History as Performance: An
Analysis of the Manner in which Historical Narrative
is Developed through Performance. Thesis, Bowling
Green State University, 2006.
Meszaros 2007 Meszaros, Cheryl. "Interpretation in the Reign of
Whatever", Muse January-February (2007): 16-21.
Mouliou - Bounia 1999 Mouliou, Marlen - Bounia, Alexandra. "Museum
and Communication", Archaeology and Arts, no.
72 (1999): 30-48.
Nakou 2001 Nakou, Eirini. Museums: We, the Things and
Culture. Athens: Nisos, 2001.
Oestreicher, Lee. "Museum Theater: Coming of
Age", The Journal of Museum Education 15, no. 2
(1990): 4-5.
Paulus, Odile. "Measuring Museum
Performance: A Study of Museums in France and
the United States", International Journal of Arts
Management 6, no. 1 (2003): 50-63.
Prendergast - Saxton 2009 Prendergast, Monica - Saxton, Juliana. Applied
Theatre: International Case Studies and Challenges
for Practice. Bristol: Intellect, 2009.
RE-Culture III Catalogue 2014 Catalogue 2014, RE-Culture III, Patras.
166
Rutowski, Patricia. "Theater Techniques in an
Aquarium or a National History Museum", The
Journal of Museum Education 15, no. 2 (1990): 5-7.
Saccone 2005 Saccone, Claudia (ed.). NEOTHEMI: ICT and
Communicating Cultures. Rome: Aracne Editrice,
2005.
Sachatello-Sawyer et alii 2002 Sachatello-Sawyer, Bonnie – Fellenz, Robert A. –
Burton, Hanly – Gittings-Carlson, Laura – Lewis-
Mahony, Janet – Woolbaugh, Walter. Adult
Museum Programs: Designing Meaningful
Experiences. Plymouth: Alta Mira Press, 2002.
Simon, Nina. The Participatory Museum. Santa
Cruz: Museum 2.0, 2010.
Sirefman 1999 Sirefman, Susanna. "Formed and Forming:
Contemporary Museum Architecture", Daedalus
128, no. 3 (1999): 297-320.
Soren 2001 Soren, Barbara J.. "Meeting the Needs of
Museum Visitors", in: Lord, Gail Dexter – Lord,
Barry (ed.), The Manual of Museum Planning.
Oxford: Alta Mira Press, 2001, 55-68.
Stillman 1990 Stillman, Diane Brandt. "Living History in an Art
Museum", The Journal of Museum Education 15,
no. 2 (1990): 8-10.
167
Tivers, Jacqueline. "Performing heritage: the use
of live 'actors' in heritage presentations", Leisure
Studies 21, no. 3-4 (2002): 187-200.
Tsitou 2013 Tsitou, Fay - Fotini. "Why on earth would you
study science? Museum puppetry learning
programme for Athens University Museum", in:
Angelini and Nardi 2013, 141-154.
Williams, Polly. "Performing Interpretation",
Scandinavian Journal of Hospitality and Tourism 13,
no. 2 (2013): 115-126.
Whitham - Pooke 2010 Whitham, Graham - Pooke, Grant. Understand
Contemporary Art. London: Hodder Education,
2010.
168