The workshop suggests the use of drama as an experiential approach to the teaching of the subject of literature. The example upon which we will focus is George Seferis' poem "On a foreign verse". The workshop will be combining theory and practice. Specifically, we aim to open a dialogue with the teachers in relation to the use of drama in the teaching of literature - a dialogue that will be based on their experience of participating in the dramatic process. At the same time, we aim to present various drama techniques, through appropriate dramatic activities. In addition, we will show on video an example of a performance based on the same poem, as it evolved through related drama work with first year lyceum students (16 year olds). This work will provide a basis for discussion on how to proceed from drama to theatre and how classroom teaching material, for example a poem, can be used in a school performance.

Avra Avdi is a philologist with graduate studies in ancient greek theatre. Since her appointment in secondary education in 1982, she became involved in the educational process (participated in the writing of textbooks on Essay - Expression for the Lyceum and in the compilation of the Curriculum for the teaching of the greek language) and in Educational Drama/Theatre (school theatre groups and research in the context of her doctorate (PhD) work). She taught in the Department of Education in the Aristotelion University of Thessaloniki and in the 1st Regional Centre for Continuing Professional Development of Teachers in Thessaloniki, in educational programmes related to language teaching and theatre education. She has published work on related topics in educational journals. She is a member of the Panhellenic Association of Educational Drama.

Melina Hadjigeorgiou is a teacher with graduate studies in Drama in Education. She has participated in various seminars related to theatre, drama, theatre-in-education and puppetry. From 1993 on, she has been teaching drama in state and public primary schools and the Regional Theatre of Ioannina. She has also been involved with teacher training in the field of drama. She is a member of the Panhellenic Association of Educational Drama.

2.

THEATRE GAMES AND THEATRE:
THE PLACE OF A PERSON IN A GROUP-COMMUNICATION -
THE DIFFERENCES
ChristianePage, University of Artois of Arras and University of Sorbone (Paris III), animator, actress
AntigoneMorou, Greek literature and theatre teacher
5hours, Sunday, French - Greek

Dramatic games and improvisation lead participants to develop a new and active relation with others. It incites them to try new behaviors, to risk to be "pierced" by the others, to be open to new positions in the space and create with others common references. All these sides of dramatic games present it as a possibility of person 's evaluation, as the space of personal liberation to youth' s expression, who are spread out to create a positive relation with others surpassing the differences or playing with them. This studio uses the model of "partenariat" (classroom teacher and actor) following the French example of teaching theatre in school.

Christiane Page is Maitre of conferences in University of Paris III, where she sustained her thesis in Dramatic games and Theatre Pedagogy (1995). She teaches also in University of Artois of Arras and is member of "Center of Research of the fantastic and didactic". She animates studios of teachers (training of teachers). She has also published two books ("Educating with dramatic game", Paris 1997 and "Theatre's Practice", Paris 1998) and articles relative to the subject "Education - Theatre".

Antigone Morou holds a degree in Greek Literature and a PhD of Theatre' s Studies (Paris III, Sorbonne). She has attended dramatic art classes and teaches in schools using dramatic methods. Detached for three years to Ministry of National Education, she was member of the Organizing and Critical Committee of "Panhellenic School's Agones of Theatre". As member of Thematic Commission of Pedagogical Institute has been involved in syntaxis of the Esthetics Curriculum (Theatre - Music - Painting). In the last two years she is engaged in teacher training.

3.

This practical workshop will explore the notion that drama in education has learning at its heart. It is more that just performance skills, although it includes these. It is more than just games and personal development, although these are important too. It involves the skills and knowledge of the playwright, director, performer and designer. Centrally it is concerned with evoking the imagination of young people so they can bring to consciousness different life possibilities than those that are usually imposed on them.

David Davis is Professor of Drama in Education at the University of Central England. He was Director of the International Centre for Studies in Drama in Education and also Pathway Leader for both the MA Drama in Education and the Certificate and Diploma in Drama in Education courses at this University. Previous to this he was for many years Course Director of the initial qualification PGCE Drama in Education course, which prepared drama specialists for secondary schools. He taught Drama in secondary schools for 15 years. He has presented workshops in many parts of the world and published widely. He now works part-time exclusively with his PhD students in Drama in Education and continues with research.

4.

This workshop will introduce the drama conventions and techniques that enable teachers to plan and teach effective drama to children. The emphasis is on giving children the tools to explore and discover through active participation in drama. The drama conventions can be used in any curriculum area to help children learn more effectively and to reflect on their learning.

Jonothan Neelands is Senior Lecturer in Drama and Theatre Education in the Institute of Education, University of Warwick, where he teaches the PGCE English and Drama and the MA in Drama and Theatre Education. He has worked as an Advisor and advisory teacher for Drama and is an experienced trainer and workshop leader with a national and international reputation for delivering high quality professional training and development opportunities. He is the author of several texts for teachers and students, which have influenced the development of drama in recent years including Structuring Drama Work, Beginning Drama 11-14 and Drama and Theatre Studies at A/S and A level.

5.

Objects and documents are evocative of the people who possessed them. This workshop will show how combinations of artifacts can stimulate participants to enter drama activity as a means of exploring their connection and meaning. The work will reveal drama as a research process in which the sharing of drama outcomes becomes the research report. Although predominantly practical, we will also explore the underlying theories in attempts to prepare participants to develop their own materials for use in their teaching.

John Somers is senior lecturer at the Drama Department of Exeter University, He specializes in Drama and Theatre-in-Education and recently completed TIE programmes on bulling, alcohol education, racism, and young people's self awareness. His teaching and research took him in many countries including Poland, Greece, Taiwan, Brazil. He is director of the MA in Applied Drama course, editor of the journal Research in Drama Education and director of an international research conference.

6.

A whole day workshop for all those using drama with children and young people. The main focus of the workshop is influenced by the work of two exciting professional theatre companies who use physical theatre and mask - Trestle Theatre and Trading Faces. After using a variety of drama games and warm up 'ensemble' activities, we will practically explore 'tension states' and 'archetypes' - essential when doing this particular sort of mask work. The work will be developed into devised drama and can be performed in groups, using the Trestle masks. This workshop is great fun and many of the activities can be easily used with children from 7 years old to adults in a variety of settings.
Workshop members are asked to bring a sample of their favorite music (on CD or cassette) and one or two items of costume or props such as a hat, a bag, a scarf, shoes (as unusual or ordinary as you wish!).

Marigold Ashwell is a Director of Hands On, a company specialising in teacher's professional development and the arts. She is a specialist drama practitioner and has many years experience as a teacher, County Drama Adviser and trainer. Her current work includes work with schools, theatre companies, arts organisations and national training companies. She is working with the Arts Council of England on the new initiative ' Artsmark' and with the Qualifications Curriculum Authority (QCA) and the Teacher Training Authority as a consultant in drama. Marigold teaches on the PGCE Secondary Drama and BA/ED courses at the University of Reading and is co-author of Progression in Secondary Drama., published by Heinemann in 2000.

7.

This workshop will be of particular interest to people who are working with children and young people in contexts of social and political tension. Reflecting on experience gained over twenty years in Northern Ireland the workshop will examine issues of single and multiple cultural identity. Taking historical biography as the core of the workshop drama strategies will be used to address issues arising from language, culture and identity. A range of approaches to drama/theatre will be described and employed as an integral aspect of the workshop and its associated paper presentation.

Hamish Fyfe is a Principal Lecturer at Stranmillis University College in Belfast, Northern Ireland. He is a member of the Arts Council of Northern Ireland, an adviser to the Northern Ireland devolved government and a frequent contributor to national and international conferences. He has published widely on drama in national and international publications. He is an active playwright and in 1996 he was awarded the Sunday Times Playwriting award for his play 'Making the Number Up'.

8.

In this workshop the work of a drama group in young offenders' institution of Avlona in the period March - July 2001 is briefly presented in a participative way. The group consisted of 15 young male inmates aged 16-20. The workshop follows step by step the work of this group, from its first meeting, through exercises, group processes and improvisations, until the creation and presentation of a small play. The themes of this play were drawn from scenes of everyday life, common to the group members.

George Zamboulakis was born in 1966. He studied drama and stage direction at Hadzikos Drama School and continued his studies at Dramatiska Institute in Sweden. He organised seminars for actors in Greece and other European countries (UK, Germany, Sweden, Spain) on the thematic fields "body" and "voice". In Greece he directed various theatre performances with DH.PE.THE Kalamatas, in Athina Theatre and in the National Theatre. He has translated theatre plays to Greek. He has written and presented poems.

George Moschos was born in Athens in 1957. He studied law (Athens) and criminology (M.Phil in LSE, Britain). He has been working in Greece since 1984 in the field of youth empowerment. He co-ordinated interventions in young offenders' institutions, organised support services in the open community for troubled youth and school drop outs, taught to young people, students and professionals of the social field and was involved in the production of special educational instruments. He is a co-founder of the n.g.o. ARSIS (Association for the Social Support of Youth) (1992). Since 1985 he has been organising and co-ordinating regularly drama workshops for children and adolescents.

9.

Can drama promote understanding and learning about conflicts? The Swedish Dracon program for drama and conflict management with teenagers is focused on third party intervention. This workshop is based on a research program conducted in Swedish schools, exploring the use of third party intervention in a modified form of Forum Theatre and its reflection relating conflict management. Verbal and non-verbal drama-exercises, role-plays, a modified form of forum theatre and its reflection are presented in this workshop. Dracon (Drama as a method of Conflict Resolution) is an international research and development project involving researchers from Universities in Sweden, Malaysia and Australia.

Dr Margret Lepp is Assistant Professor at University College of Health Sciences, Borås, Sweden. For over fifteen years she has involved drama in her work as a researcher and a consultant involving students, academic staff as well as schoolteachers. Dr Lepp´s research studies include drama for conflict management, reflective supervision and cultural understanding. She is currently involved in the DRACON international research project on drama and conflict handling in schools. At present she is co-chair of the IDEA Research Group. She is co-editor of Drama for Life: Stories of Adult Learning and Empowerment.

10.

When learning and practising a foreign language, one of the abilities most difficult to attain is speaking. Communicating is one of the main objective in our foreign language class. Nevertheless, shyness, self-cosciousness anf fear of not being correct. often prevent us from speaking and expressing ourseleves freely and fluently in a foreign language. Drama techniques can help, to overcome these drawbacks.

Maria Vilanova (Doctor of Philosophy and Education) is also graduated with a BA in English Philology. She is currently teaching English and Drama at the University of Barcelona. She has taken part in educational projects in some Third World countries (Bolivia, Nepal and Rwanda). She has written articles about the use of Drama in the teaching of a foreign language, and she is author of two books about Drama in Education (Que representarem avui? and Jocs de Drama) and one about her teaching experience in Rwanda (Un agost a Rwanda). She is a member of National Drama and IDEA and has made some contributions to National and International Conferences.

11.

Participants will first have a historical and artistic introduction about origins of Commedia dell Arte. Then they will fabricate their own mask exploring techniques of making "mezza maschera". Finally we will explore techniques of using the mask: the body, the movement, the expression, the communication, the character, and improvisation on text.

Mario Gallo plies his activities as educator, actor, author and theatre director in Italy and in many International Festivals. He works in education programs for CEE and Italian Ministries for Education and Internal Affairs. He has set up in 1992 "Teatro Ricerche sperimentazione dei linguaggi" and in 1993 the Company of Teatro Popolare "Arte/Mascarà" in Florence with G. Pedullà. This year he founded the Centre for Theatre Education Contemporaneo Tempo in Lubriano (VT) with Gianni Abbate (Teatro Null - Teatro dei Calanchi). He studied in Cantiere Internazionale Arte of Montepulciano and Istituto di Scienze dello Spettacolo e Sociologia della Comunicazione at Urbino University. He considers also essential his meetings with Jan Ferslev (Odin Teatret), Sosta Palmizi, Marcel Marceau, Hal Yamanouchi, Phil Radice (J. Lecoq School, Parigi), Kassim Bayatly and Gianfranco Pedullà (Centre for Theatre Education E.G.Craig, Florence).

12.

A workshop in which by observing simple everyday movement (for example: greetings, walking, head scratching, running etc) we will create short movement forms. In succession, we will explore how these forms can: a) help in the creation of theatrical role and b) obtain theatrical value as an independent piece of choreography.

Antigone Gyra (Athens 1970) graduated from the Laban Centre London (1st class Honors BA) and gained the graduate's choreographic award in 1993. She has attended dance and Theatre workshops in New York, Amsterdam, London and Athens. Since 1993 she has choreographed many theatre productions of Ancient Theatre and Modern Repertory. She is the artistic director and choreographer of KINITIRAS dance spectacle and has choreographed all its productions until today. With her company she represented Greece in International Dance Festivals and Biennalle of Torino (1997). Antigone is teaching movement to actors and choreography to dancers at professional theatre and dance schools.

13.

Tapa will lead participants through the basic lines of the school of the three worlds. Exercises and ideas on the development and expression of the worlds of body, mind, spirit will be central to this workshop; together with improvisations on how theses three worlds unite and how they lead to human creativity.

Tapa Sudana was born in Bali, Indonesia in 1945. Actor, master of martial arts and mask, dancer and musician, he lives in Paris since 1975. He worked with Peter Brook for almost 20 years performing in the shows: "The conference of the birds", "Carmen", "The Mahabarata", "The Tempest" and touring all over the world. The last years he is guiding workshops in Europe and America focused on the cultivation of the expression of the three worlds: body, emotion, thought.

14.

How can we use the comic element, the coincidental or the "mistake", even while preparing a "serious" show? How can we love somebody who plays all sorts of pranks and makes awful jokes, somebody who thinks that he knows all and can do everything? In a clown workshop anything can happen except for what we "expect". And if you think you are in trouble, don' t worry, the others are responsible for it! The aim of this workshop is to make teachers feel liberated through the joy of playing games and the will to become a child again, to take the place of their pupils, to search and find with them the truth, to share the experience and stop "teaching". The beginning of this trip will be the joy of the adventure.

Maria Pavlidi was born in Athens and studied Drama in ECOLE PHILIPPE GAULIER in London where she worked also as assistant of Ph. Gaulier. She has studied physical theatre, clown, mask etc. at several workshops with teachers as S. Margenat, R. Malbran of ECOLE LECOQ, Mario Gonzales, J.J. Tesson, Zoe Valassi, Ì. Kinigou, N, Graikos, K. Sarropoulou, T. Wethal and R. Carrerri from ODIN THEATRE, S. Abkarian from THEATRE DU SOLEIL, C. Chaub, A. Arden and M. Magni from THEATRE DE COMPLICITE, Tapa Sudana, collaborator of Peter Brooke. She has worked with Dionissis and Zoe Valassi on the educational project "With a book I fly" and with J. J. Tesson in "Zaza from A to Z". Since 1992 she works with childrens' theatre groups and participates in shows with the theatre companies "2 on the Fm" and "Bottle in the see". She teaches clowning, group games, exercises and improvisation at the workshops for teachers in the educational project "Education and Theatre " in Athens. She is also a graduate of German Language and Literature at the University of Athens.

15.

Animated objects of everyday use give birth to creatures on a table-universe. An introduction to puppet theatre with the help of pots, saucepans, fork, knives and other academic kitchen-rubbish (improvisations, exercises, visual documentation, presentation of short shows.)

Stathis Markopoulos has been an apprentice to the Spanish puppet company Marionetas del Matadero and studied at the State Academy of Puppet Theatre in Prague. Since 1992, he performs puppet shows in Greece and abroad, in the streets, in theatres, at festivals etc. He has collaborated with many theatre companies and has organized workshops for adults and children. Since 1996 he is the General Secretary of the Greek Center of Puppet Theatre and Karaghiozis, UNIMA-Hellas.

16.

The use of theatre conventions and techniques can give the participants the opportunity to experience an historical event placed in its time and space ('here and now' in theatre art-form). Drama in Education is not just a dramatization. Both its structure and philosophy seeks to stimulate participants' creative imagination respecting at the same time historical truth so as to deepen understanding. The use of frame - distancing technique in role can both illuminate various viewpoints of the historical event and at the same time creates those communicational environments for various language - genres to be used. Also considering the role of the historian the participants are engaged in the process to compare and evaluate historical documents. Moreover to evaluate and reflect on the school - book itself, under the protection and freedom of the theatre art - form dechipline.

Lia Damianaki works in secondary schools teaching Greek language and theatre. She has a postgraduate degree, M. A. Drama in Education, from UCE Birmingham and she is the vice - president in the Greek Association of Drama in Education. The last three years directs the theatre group 'Odos Oniron' in Xanthi where she leaves.

17.

The "forest" as symbol, space and environment of theatre activity and action. Extracts from Vacchai, Euripides, Midsummer Night Dream, Shakespeare and Blood Wedding, Lorca will be looked upon. The workshop will approach the meaning and environment of the "forest", by means of sound, rhythm, improvisation as well as the artistic representation of the "wood" in a given space. The dramatic approach and interpretation of the texts will combine rhythm and movement with poetry and action. Common elements in the works of the three dramatists will be searched, as far as Space, Myth and Poetry are concerned and the research will lie on the whole extent of universal theatre history: ancient drama, renaissance, modern theatre. The principle of co-operation will be consider crucial for the progress of the workshop and the participants are strongly advised to familiarize themselves with the texts first.

Yorgos Biniaris is actor, director and theatre pedagogue and tutor with longtime experience in teachers' education. He has collaborated with numerous theatre companies in Athens and has toured in London and Brussels. He has instructed and directed many plays in Universities of Athens and Crete, in municipal theatre companies all over Greece, and in "Empros" Theatre School of Drama. He is artistic director of "Mythologia" Theatre Company.

Maria Lourou has accomplished her post-graduate studies on Applied Drama and Theatre in Education (MA University Exeter). She has worked in Greek and British schools. She has been member of the theatre-pedagogique group "ATRYTON" and tutored in seminars for teachers in Athens and Salonica. She participated in many drama seminars as well as in performances in Greece and England.

Smaro C. Gregoriadou is guitarist, composer and music-pedagogue. She studied guitar and composition in Greece and England. She is guitar soloist in concerts worldwide and has been honoured with Greek and international prizes both for her interpretation and compositions. She has extensively composed music for theatre in Greece and many other European cities. She is professor of guitar in Diethnes Conservatory of Athens and very frequently she tutors in seminars concerning history and evolution of music, guitar's technique and music experience in theatre and education.

Nikos Govas has worked as actor, musician and director in theatre and music groups in Athens (Theatro tou Neou Kosmou, Bouffonoi group etc), Melbourne, Munich, London, the Municipal Theatres of North Aigeo, Sparta, Kastoria, Tripoli, Loutraki, Laurion etc. In 1994 he founds Theatre Lab Company in London and directs performances in Saddler's Well, Chelsea Theatre and Theatro Technis. He participates in European Festival of Theatre in Camden London, in the International Festival "Theatre Spring" of Experimental Theatre in Salonica and receives the Hellenic Foundation Award 1997. He is teacher and theatre tutor in Secondary Education; he has generated the "education & theatre" project and has coordinated cultural programms in Secondary Education of Eastern Attica since 1998.

18.

Usually, whenever content related to environmental education is explored through drama, the focus inevitably tends to be either large scale global problems such as the destruction of the rain forest, or fictional local issues with titles along the lines of the Rubbish Tip or the The New Road. Valid as this may be, it is not the only, nor necessarily most productive, interface between drama in education and what is now often referred to as education for sustainability. This drama based workshop will build upon ideas emanating from Agenda 21 and citizenship to explore ways of creating preferred futures, encompassing critical thinking and a positive action led outcome. It will be appropriate for teachers from all phases of education who are interested in discovering the commonalities of these two important learning disciplines.

Phil Sixsmith lived for many years in the U.K. where his career included working alongside and advising practicing teachers, managing a local authority drama centre/small scale theatre and chairing committees for a regional arts association. Since moving to Thessaloniki he has presented seminars in drama methodology to teachers through the country, and is a regular contributor to the Theatre Studies, Pre-school and Primary Departments of the Aristotle University of Thessaloniki.

Elissavet Tsaliki has worked extensively in the field of environmental education including project development, teacher training and research. She is currently head of the Environmental Education Centre of Eleftherio - Kordelio Thessaloniki.

19.

What stories do we tell with a movement, with a gesture? Are these stories alive? Are they clear? How do they resonate? Each course begins with rediscovering the relationship between the natural world and the human body, recreating the movement of the physical elements, materials, plants and animals and gaining an understanding of the impulses, responses and movements in the human body which echo the natural world. From this state of readiness, our journey will develop from the concrete to the abstract, exploring emotions and characters. The aim is to extend the performer's range through imaginative confrontation with movement, to articulate relationships between participants and to maximize the potential of the ensemble.

Kostas Fpillipoglou studied theatre in Athens and went on to meet teachers from Peter Brook, Arian Munchkin and Theatre de Complicite. Since 1985 he performs in Greece and since 1998 he is part of Theatre de Complicite Company with which he performs and teaches in UK, Europe and USA. He teaches at the Patras Uni and at N. KARA's Drama School. He has also taught actors, teachers and students in Israel (MATAN School), in New York (Actor's Studio), in London (Actor's Centre).

20.

The workshop is designed to appeal to primary and secondary school teachers (principally language teachers in the first three years of high school). Specific examples and teaching experiments, as applied in the classroom, will be used to demonstrate how in practice we can use the puppet theatre not only as a medium of aesthetic education and culture but also as a tool for the teaching of spoken and written discourse. The puppets can be used to create the necessary communicational context for the generation of discourse, to create the right conditions for shifting the centre of gravity of language teaching towards actual use. Emphasis is laid on helping the students appreciate the rich variety of the language and the wide range of ways in which linguistic meanings can be transmitted.

Athanasios Koutsogiannis is a language teacher at the Drama School of Music. He is particularly interested in puppet and shadow theatre and has taught these two forms of theatre as part of the school's theatre workshop programme. His special academic interests include the utilization of the theatre in the teaching of spoken and written discourse. He has delivered papers at a variety of in-service training seminars for teachers.

21.

The workshop caters to lyceum students as well as to teachers who are responsible for the theatrical performances in their schools. It includes a) theatre games, exercises and improvisations which aim to body movement liberation, to the expressive refinement of the voice, to observation and creative imagination of the participants. b) reading of the play 'Across the river Evros' (M. Repas, A. Papathanasiou). Then the group will deal with a) the basic facts of the play b) character analysis c) relationships among the characters/roles of the play d) building of the play through verbal improvisations.

Takis Christofakis has a Masters of Arts from the Leningrad State Institute of Theatre, Music and Film. He graduated in l975 and went to Athens where he worked with prominent theatre companies. In l980 he returned to Cyprus and until l990 worked with the National Theatre of Cyprus THOK and with Lemesos ÅTHÁÁ (l990 to l992). The last ten years he has been working for the Development Department of THOK and has been teaching drama in high schools. Also he directs amateur theatrical groups in all of free Cyprus.

22.

Love poetry from Sappho, Euripides and Cretan theatre to poetry of Ritsos and Sinopoulos, will be handled in this workshop both as motive for body expression and vehicle for theatrical action. The workshop will search the interrelation between literature and its stage representation. Rhythmic patterns, contact, communication and confidence exercises as well as voice improvisation techniques will encourage the participants to work vividly for the creation of an interesting stage environment as for the composition of a unified dramatic whole, consisting of the basic fundamental elements of speech, image, music and movement. In the end of the whole procedure a performance will take place by young actors and musicians. The importance of the role of such compositions in Education will be strongly emphasized and many such cases and their methodology will be exposed for reference purposes.

Yorgos Biniaris is actor, director and theatre pedagogue and tutor with longtime experience in teachers' education. He has collaborated with numerous theatre companies in Athens and has toured in London and Brussels. He has instructed and directed many plays in Universities of Athens and Crete, in municipal theatre companies all over Greece, and in "Empros" Theatre School of Drama. He is artistic director of "Mythologia" Theatre Company.

Maria Haniotaki studied Civil Engineering, Music and Scenography in London (MA Theatre Design). She works as a stage designer in theatre and education and as writer of children stories. She has presented her artistic work in many exhibitions and Art Rooms.

Maria Lourou has accomplished her post-graduate studies on Applied Drama and Theatre in Education (MA University Exeter). She has worked in Greek and British schools. She has been member of the theatre-pedagogique group "ATRYTON" and tutored in seminars for teachers in Athens and Salonica. She participated in many drama seminars as well as in performances in Greece and England.

Smaro C. Gregoriadou is guitarist, composer and music-pedagogue. She studied guitar and composition in Greece and England. She is guitar soloist in concerts worldwide and has been honoured with greek and international prizes both for her interpretation and compositions. She has extensively composed music for theatre in Greece and many other European cities. She is professor of guitar in Diethnes Conservatory of Athens and very frequently she tutors in seminars concerning history and evolution of music, guitar's technique and music experience in theatre and education.

Nikos Govas has worked as actor, musician and director in theatre and music groups in Athens (Theatro tou Neou Kosmou, Bouffonoi group etc), Melbourne, Munich, Municipal Theatre of North Aigeo, Sparta, Kastoria, Tripoli, Loutraki, Laurion etc. In 1994 he founds Theatre Lab Company in London and directs performances in Saddler's Well, Chelsea Theatre and Theatro Technis. He participates in European Festival of Theatre in Camden London, in the International Festival "Theatre Spring" of Experimental Theatre in Salonica and receives the Hellenic Foundation Award 1997. He is teacher and theatre tutor in Secondary Education; he has generated the "education & theatre" project and has coordinated cultural programms in Secondary Education of Eastern Attica since 1998.

23.

Introduction to the work method. Presentation of the goals and process Discussion. Preparation of the group (teachers, professors and pupils): Exercises to warm up, to activate concentration and imagination (psycho-technique). Activate group's dynamic Create internal and external working environment. Work on material drawn from different genres such as poems, songs, novels, photos also based on improvisation .The goal is the final play which will be created threw the participation of everyone. Final selection Plan of the performance Final "scenario" Because of the limited time, we can use the play "The guardian of the stones" by Sylvie Montlahuc. Discussion-Evaluation-Exchange and note views.

Maria Frangi was born in Athens She studied French Literature in Athens University and Theatre in "Pelos Katselis" and "Pireus Association " drama schools. She has been acting in theatre since 1983. Since 1987 she has been working on a master's degree on Greek and French Literature and Theatre Studies in Paris. In 1996, she earned a Ph.D. of Letters and Human Studies, specialized in Performing Arts -Theatre in PARIS X - NANTERRE UNIVERSITY. She leaches Theatre (theory and practice) and Creative Drama in the Universities of Crete, Patras and Athens She directed many productions since 1997.

24.

The workshop aims the change of the viewer's feel towards space-time. With the use of different dance techniques (contact improvisation, butoh, African dance) and audiovisual instruments (slides, music) we lead the participants to this kind of theatre. When we show the world without speech, it becomes present. The speech imprisons the sense of space-time. This reasoning of speech, which is the instrument of the universal education, should be faced with the use of theatre before speech. We must feel the scenery instead of recognise it. The bodily and collective improvisation is the main mean to control the order of space-time and rhythm. Theatre insists on being an experience of the human soul, before being narration.

Maria Mendez, born in Guatemala, is sociologist and choreographer, directs workshops of dance and theatre in Greece and abroad since 1984.She has choreographed for cinema and theatre and she has directed chorotheatrical plays.

25.

This workshop will look closer at the possibilities for using drama/theatre in attitude building work in this field. Relevant issues include: How close to reality is it relevant to work in drama? Who are dictating the premises -children or adults? Which methods are suitable/justifiable? Where is the boarder between learning and therapy? Input here is based on the project "playing against violence" in the Balkans.

Vladimir Krusic is Head of the Educational Dept. of the Zagreb Youth Theatre, Croatia, and one of the founders of the Croatian Centre for Drama Education (Croatian IDEA). Over twenty years he conceived and guided workshops in acting, directing, clowning, speech, group creation, mask work, drama teaching etc. Vladimir dealt with the issue of drama work in the context of war in his papers presented at the Brisbane and Kisumu IDEA Congresses. In 1998, he became the Croatian coordinator of the Playing Against Violence project, which embraced the countries of the former Yugoslavia as well as Bulgaria, Albania and Romania.

26.

In this workshop the participants will be given various stimuli i.g. paintings, sound, music, themes, and/or objects to explore in depth and try to create a drama out of, expressing their own selves through the chosen tool. The stages of the workshop will be: a) examining the tool in detail (using the 5 sense) b) create a story out of it.(interpretation), c) dramatizing it (using the whole body and interaction with others), d) evaluation by the spectators ( the participants).

Nihal G. Koldas is a graduate from Academy of Fine Arts Istanbul - Dep.Stage&Scenery. She also studied design-pedagogy and acting at the Bilsak Theatre Atelier. She worked as actor and director of Bilsak Theatre Atelier (1987-2001), as art director in various films and TV series and in various plays staged by BilsakThetre Atelier. She attended National and International festivals and has taught drama workshops in several schools including children in MAYA art center and traumatized children after the earthquake at the region of Izmit.

27.

This workshop will look at practical ways of using drama to open up discussion with young people about the issue of drugs. It will look in particular at starting points into the drama work and the importance of the aesthetic dimension to the work. Within the workshop we will also talk about ways of involving disaffected young people into issue based drama projects. We shall also share a peer led model Sharon has devised and used in Bournemouth UK over the last two years. This model looks at creating a Theatre-in-Education play with young people and then taking it into feeder schools. The power and learning potential in peer led work is great. We will also talk about and show video clips of work with Vita Nova, a community theatre group of recovering addicts that Sharon set up nearly three years ago.

Sharon Muiruri is a co-director of Bournemouth Theatre-in-Education team (BTiE). Part of BTiE`s work is to do with dealing and tackling social exclusion. Sharon set up and currently works extensively with a community theatre group of recovering addicts called Vita Nova, which means "new life". Their play Scratchin` the Surface has been seen by over 8000 people and is currently touring schools. Apart from work with those in recovery Sharon works with disaffected young people and refugees in a drama/ theatre context. She has written and devised a multicultural project called Child of The World, which now has a web site. She has presented at IDEA Kenya `98 and at this year with Vita Nova at the Norwegian IDEA 2001. Sharon has written articles for Drama the magazine for National Drama. A part time postgraduate at Exeter University with research based on work with Vita Nova, she is also working for the Arts Council of England around the issue of social exclusion in relation to Vita Nova.

28.

We start with warm up -games that are especially useful in multicultural groups and lead us to the original philosophy of games: the winning is not important but social event and communication. Too many old games are based on the importance to be better, stronger, quicker, and cleverer than the others. But instead of that more -thinking, sociodrama and role plays should teach us that it is fun to play (and work) together, it is nice when nobody is left out, differences of all kind - in culture, characters, fantasy, solutions, ideas etc - are interesting, desirable and enriching the collaboration. We study also how the role-playing in sociodrama differs from that in theatre or in psychodrama, and why sociodrama is so suitable form in school. In the improvisations the participants will study, how to start drama process with students and/or their parents, who have never done drama before; how to be in a role and an invisible spectator; how to build up and change the roles, and how to keep separate the person (one's own or the partner's) and the role.

Tintti Karppinen is Drama teacher and president in FIDEA (Finnish Drama in Education Association) 1974-1984, vice president since 1984. She is Trainer of teachers of different subjects and levels, nurses, social workers etc. Since 1995 she is planner and teacher of courses of socio drama and communication in Theatre Academy in Helsinki. In IDEA (International Drama/Theatre and Education Association) she is a member of Executive Committee (1995-1998), Vice President (1998-2001) and Vice President of General Meeting Committee 2001-2004. She has been the representative of Finland in International Congresses or seminars and/or drama workshop and leader or lecturer in about 20 countries around the world. She took part in the Culture in Use -EU project (1998 - 2000, Denmark, Finland, The Netherlands and Hungary). She is the translator of Brian Way's and Gavin Bolton's books of drama into Finnish and has published several articles about drama, theatre and education in books, journals etc. She has offered workshops in prison for men, who have been many times and years in prison, courses for refugees and immigrants and workshops for whole families.