What are the particular features of dramaturgy in Greek Theatre for Young Audiences in the last quarter of the 20th century, and who are the intended spectators?
How are the dramatic worlds of this production structured and expressed?
If theatre serves as a site of notation and a vehicle for the projection of ideas and social representations, which aspects of childhood are constructed and projected in the dramaturgy of the examined period?
What breaks and ruptures does the progressive artistic movement of the post-dictatorship era bring, envisioning a "different" theatre for children and adolescents under the influence of democratic and modern pedagogical concepts?
How is the evolving trajectory of Theatre for Young Audiences reflected in the theatre of the 21st century?
This volume aims to answer the above questions. The goal is to compile a history of contemporary Greek Theatre for young audiences. However, for this purpose, a simplistic, chronological presentation of the creators and theatrical production is not chosen. Nor is a formalistic approach that ignores the historical and social context as well as the role of the spectator. On the contrary, the writing of a "history of forms" according to G. Gennette is preferred, in which the dialectical relationship between theatre and history is considered.
A history of social representations, projected ideas, and the parameters that shaped the production and reception of this particular theatrical genre, marking the beginning of its regenerative and modernizing path after the dictatorship. In this context, the connection with the prehistory of the subject and the developments in the 21st century is not overlooked. Additionally, a series of research-based methodological tools for ideological analysis and typologies for studying the depth structures and expressions of dramatic texts are provided to new researchers, artists, and anyone interested, contributing to their aesthetic-theatrical and pedagogical evaluation.
Finally, the well-structured periodization and the results of the socio-notation approach are offered for further research and comparative study of the examined theatrical phenomenon internationally, both synchronically and diachronically.
