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Design for Formula track unveiled 1 in Piraeus

Meeting of the mayor of Keratsini with the president of the PPA
The proposal of the municipality of Keratsini-Drapetsonas for the creation of a Formula racing track 1 in the former industrial area of ​​Lipasmati, was discussed at a meeting of the mayor of the city Louka Tzani, with the president and CEO of PPA SA, George Anomeritis.
The meeting took place at the town hall of Keratsini, where the construction plan of the track was presented in detail by the architect Thanasis Papatheodorou, which inspired the proposal, while p’ the agreement of the PPA was reaffirmed for her immediate promotion to the co-competent ministries, the FIA ​​and the co-owners of the former Fertilizers industrial area.
“An eventual construction of a Formula track 1 it does not only concern Drapetsona and Keratsini, it is a proposal that concerns the entire wider area of ​​Piraeus" said the mayor Loukas Tzanis, saying the plan is financially viable. He emphasized, that approx 250 acres will turn green, while they will open approx 3.500 jobs.
For his part, the president of PPA SA Giorgos Anomeritis stated, that the Formula design 1 is an excellent proposal that gives a completely different dimension to the regeneration case. He characterized the specific investment proposal as a challenge and suggested that a special purpose company be created immediately, to move the matter forward.
Source : newsbeast.gr
Uncategorized

Ancient Greek port next to Constantinople

It is dated to the 2nd BC. X. century and is located at a distance 20 kilometers from the city

A port from the Roman era and next to it an older one, which presents Greek elements and dates back to the 2nd BC. X. century have been brought to light by the excavations carried out in Constantinople at a distance 20 kilometers from the city, on a small peninsula of the Kyutsukcekmetse lake.

The first has already been identified as it is believed to be the city of Vathonea, some ruins of which are submerged in the waters of the lake. Bathonea came to light for the first time in 2007, after a dry spell, when the water level of the lake went down. Then it was discovered that the port was hiding a huge treasure of ancient artifacts, dating from the 4th to the 6th century AD. X., that is, the period, in which Constantinople was founded.

Harbor walls, well-built multi-storey buildings that may have belonged to a mansion or palace, a huge outdoor tank, a Byzantine temple of the 5th or 6th century that was built on the foundations of an ancient Greek temple, a cemetery of the same era as well as stone-built roads were brought to light by archaeologists during the last excavation period in the area of ​​the smaller port. Currency, pottery and other findings besides, suggest that the church was largely destroyed by an earthquake in 557 but remained in use until the 1037, when another earthquake completely demolished it.
As is obvious, the specific area had continuous habitation and activity since the ancient Greek era. As announced by the Turkish archaeologists who are carrying out the excavations, the settlement was very large since it seems to have extended at least to 7,8 square km. The harbor walls are also long, which reaches at least half the length of the walls of Constantinople.
The possibility that this was a resort of the time is something that is being investigated, however, the name Vathoneas is not certain either, as the reports about her, derived from ancient and Byzantine sources are unclear. In particular, Pliny the Elder speaks in his "Natural History" of a river called Bathynia, which flows into the lake.

While a Byzantine monk, Saint Theophanes the Confessor mentions a region in the 9th century, who calls her Vathyasos.

However, glass objects and ceramics dating back to the 14th century were found at the site, but also plinths with the inscription KONCTANS, of the 5th m. X. century. Other findings also show the city's commercial relations with distant regions such as Palestine and Syria. However, its relationship with Constantinople remains unclear although it could have served both merchant ships and the empire's fleet as a safe harbor outside the city walls.. As is well known, Constantinople had ports in the Horned Gulf and the Sea of ​​Marmara.
The discovery of a building structure at the bottom of the lake is also interesting, which probably belonged to a lighthouse. And if this is verified, it will be one of only three Roman lighthouses, which are known to have existed in the eastern Mediterranean, next to those of Alexandria and Patara (ancient city and port of Lycia in Asia Minor).
Source : tovima.gr
Uncategorized

Modern art is inspired by Byzantine art

Exhibition of a Danish artist at the Byzantine Museum
The Danish painter and sculptor was inspired by Byzantine art, writer and poetPer Kirkebywho presents his works at the Byzantine and Christian Museum from February 1 in an exhibition entitled "A creative dialogue with Byzantine art".

Kirkeby's works, however, are not copies of religious icons or theological scenes, although the viewer can detect some colors in them, shapes, structures but also topics related to the Byzantine tradition, but which are included in his work in a completely personal way.

Per Kirkeby (Copenhagen 1938) is one of the most important exponents of neo-expressionism in Denmark but his work is presented for the first time in Greece – although it has previously been exhibited in important foreign museums such as the Tate Modern in London, the National Museum of Contemporary Art-Center Georges Pompidou in Paris and the Metropolitan Museum of Modern Art in New York. Not long after that, his exhibition is organized at the "Palais des Beaux Arts", in Brussels.
They are presented in Athens 29 his works and the exhibition is curated byMichael Wiebel, art historian, scholar of his work while the organization, which has been undertaken by the Danish embassy in Greece, is under the auspices of the Danish Presidency of the European Union.
The exhibition is accompanied by an illustrated catalog with texts by the artist, the curator as well as the director of the museumAnastasia Lazaridou. As part of the exhibition, which will last until March 24 2012, thematic lectures and other parallel activities will be held.
Source : tovima.gr
Uncategorized

Uncle Vanias from the historic Moscow Theater in Badminton

When one of the most importanttheatersof Europe, ofEvgeniy Vakhtagov(Vakhtangov) and a director with a unique
vision (Rim Tumin) join forces then we can only talk about an improbable, genius result.
A new subversive look at a classic masterpiece of Russian drama and a subversive theater, history, mythical, which carries in its scrolls the glory and the fragrance of allRussian theater. A wonderful one, almost mystical, meeting that we will have the unique opportunity to enjoy in Badminton, exactly as it was first performed in the theater itselfEugene Vakhtangovat 2 September of 2009.
Then the active reaction of the public, as well as the Russians, but also of foreign critics led even the Minister of Culture A. Avdeev to say characteristically that "this production is an amazing re-examination of Chekhov" expressing at the same time the certainty of its great worldwide success. Of course he was justified!
The vision of a theater group that could shake up the stagnant waters of the Moscow theater establishment, born in 1911 through the eyes and thoughts of a director and actor, by Eugene Vakhtangov. During his tenure the promising new theater saw itself steal the limelight from the rest of the more commercial "offshoots" of the Moscow Art Theater with just two productions (Maeterlinkck: The Miracle of St. Anthony 1921 by Gozzi : Turandor-1922).
That's how it is 1926, as expected, the theater was finally baptized with the name of its creator and the most important Russian directors rush to become part of his vision(Meyerhold, Popov, Zavadsky and Akimov). Especially Akimov's unorthodox translation of Hamlet with Shostakovich's music, the 1932, she was the one who introduced this theatrical microcosm to the whole world and caused the first waves of admiration inside and outside of Russia.
Among the important also directors, that run to contribute to the myth, we also discover Okhlopkov and Pogodin as well as a whole series of brilliant young creators who lead decade after decadeVakhtangov Theaterin the 21st century. The high artistic standards and the subversive look they introduce with each of their performances succeed to this day and keep it in its place, perhaps Russia's greatest theatrical myth.
One of those brilliant young creators, it's also Rimas Tuminas and it's not the first time he's produced a Chekhov play. The Three Sisters and his Cherry Orchard, they won public and critical acclaim. Chekhov's plays offer ground for exploration, clarification of the essence, justification of the species. Every Tuminas production is a new step towards the meaning of that mysterious word 'comedy', which so belies the context of the plot. Uncle Vanya's production has already been recognized as one of the best events of recent seasons in Moscow, while the work of S.Makovetsky and V.Simonov deserves to be mentioned in the world encyclopedia of theater.
The most interesting of course in the case of Rimas Tuminas, it is the way he perceives and "translates" this Russian classic masterpiece. No,  he didn't vandalize either, nor rewrite the text, didn't cut it either. Just read the text again, as if there were no interpretations before him. Why, there is nothing ordinary, beautiful, intimate. Chekhov's mansion surrounded by gardens does not exist, there are no comfortable armchairs, nor a table laid with a lace tablecloth and a warm samovar, nor the sense of a Home where many generations have lived... There is only empty space, deserted by life, the theater space with the gray corridors, an alabaster lion – a symbol of St. Petersburg – may be the birthplace of the ancestor who built the mansion, there is a workbench with rough slabs, an old sofa and several chairs.
Chekhov's characters, as Tuminas saw them and as embodied by the actors, strongly remind us of a part of ourselves. They live in conditions of conflicting ambitions, philosophize, they work hard or they are lazy, serve and consume. They are very different, but also similar – everyone's life went wrong. Why; We discover this from scene to scene, from the dialogues, the fights, revelations and sarcasm. People discover the principles of the theater of the absurd in the works of Chekhov. His characters say something and then do something else, while they think in a completely different way. Tuminas' Uncle Vanya deals with what the characters think and confess in times of spiritual turmoil. Sometimes they are incoherent, like Uncle Vanya or very violent, like Astrov. But their confessions burst forth from their souls so impetuously, like stepping out of a stuffy room into the fresh air.
"Our Uncle Vanias is needed today to support us, let's not be cynical, rude, unconscious people", λέει ο Rimas Tuminas. “With everything he faced in his life, he did not lose the virtue of honesty and continued to work. Near our theater, there is a monument to Princess Turandot. Maybe we should build a monument to Uncle Vanya".
In the best show for the 150 years of Chekhov, from the great Vagtagov Theater with the 100 years of theatrical history star, including, the award-winning "People's Artists" Sergey Macovetsky;, Ludmila Maksakova, Vladimir Simonov, Anna Dubrovskaya, Yury Kraskov και Galina Konovalova.
 
RIM TUMINAS (Artistic Director)
Winner of the State Prize of the Russian Federation and the Zolotaya Maska Russian Theater Prize.
He was born on 20 January 1952 in the city of Kelme (Lithuania). During the period 1970 – 1974 studied at the Lithuanian Conservatory. The 1978 graduated from the production department of GITIS (class of I. Tumanov). His first production was the play January by J. Radickov (1978) at the Drama Theater of the Lithuanian Soviet Socialist Republic, while his first production in Moscow was O.Zagradnik's Peacock Tune (1979) at the K.S.Stanislavsky Theater. From the 1979 up to 1990, worked at the State Academic Dramatic Theater of Lithuania (State Academic Drama Theater of Lithuania), and from 1994 became its art director. The 1999, Tuminas left the theater, with the last productions being Oedipus Rex by Sophocles (1998) and Shakespeare's Richard III (1999). Rimas Tuminas directed more than 20 plays in many theaters in Lithuania and abroad. His work abroad includes Theios Vanias (1992) and the Seagull (1993) of Chekhov in Finland, and Moliere's Don Juan in Iceland (1995). The 1990, Tuminas founded the Small Theater of Vilnius (Small Theater of Vilnius).
There, the following productions were presented: Chekhov's Cherry Orchard (1990), Brecht's Galileo (1991), God, Smile to Us του G.Kanovichus (1994), Masquerade by M. Lermontov (1997), which also traveled abroad. (Finland, Sweden, Poland, Iceland, Ms.)  Tuminas' productions successfully participate in festivals such as the International Baltic Theater Spring, Baltic House, Life, Contact, International Chekhov Theatre Festival, etc. After the successful show Masquerade, which won the Russian National Theater Award Zolotaya Maska in the category "Best Foreign Production 1998" in Moscow and within the framework of the 3rd Chekhov Festival, Tuminas was invited to the Sovremennik Theater, where he produced Playing… Schiller! the 2000. The 2002, on the stage of the E.Vakhtangov Theater, Rimas Tuminas produced Gogol's The Inspector General. The 2007, after the death of M.A. Ulyanov, Tuminas accepted the proposal of the Federal Service for Culture and Cinema and the management of the E.Vakhtangov Theater, to become the Artistic Director of the Theatre.
Source : culturenow.gr
Uncategorized

Ancient Greek port next to Constantinople

It is dated to the 2nd BC. X. century and is located at a distance 20 kilometers from the city

A port from the Roman era and next to it an older one, which presents Greek elements and dates back to the 2nd BC. X. century have been brought to light by the excavations carried out in Constantinople at a distance 20 kilometers from the city, on a small peninsula of the Kyutsukcekmetse lake.

The first has already been identified as it is believed to be the city of Vathonea, some ruins of which are submerged in the waters of the lake. Bathonea came to light for the first time in 2007, after a dry spell, when the water level of the lake went down. Then it was discovered that the port was hiding a huge treasure of ancient artifacts, dating from the 4th to the 6th century AD. X., that is, the period, in which Constantinople was founded.

Harbor walls, well-built multi-storey buildings that may have belonged to a mansion or palace, a huge outdoor tank, a Byzantine temple of the 5th or 6th century that was built on the foundations of an ancient Greek temple, a cemetery of the same era as well as stone-built roads were brought to light by archaeologists during the last excavation period in the area of ​​the smaller port. Currency, pottery and other findings besides, suggest that the church was largely destroyed by an earthquake in 557 but remained in use until the 1037, when another earthquake completely demolished it.
As is obvious, the specific area had continuous habitation and activity since the ancient Greek era. As announced by the Turkish archaeologists who are carrying out the excavations, the settlement was very large since it seems to have extended at least to 7,8 square km. The harbor walls are also long, which reaches at least half the length of the walls of Constantinople.
The possibility that this was a resort of the time is something that is being investigated, however, the name Vathoneas is not certain either, as the reports about her, derived from ancient and Byzantine sources are unclear. In particular, Pliny the Elder speaks in his "Natural History" of a river called Bathynia, which flows into the lake.

While a Byzantine monk, Saint Theophanes the Confessor mentions a region in the 9th century, who calls her Vathyasos.

However, glass objects and ceramics dating back to the 14th century were found at the site, but also plinths with the inscription KONCTANS, of the 5th m. X. century. Other findings also show the city's commercial relations with distant regions such as Palestine and Syria. However, its relationship with Constantinople remains unclear although it could have served both merchant ships and the empire's fleet as a safe harbor outside the city walls.. As is well known, Constantinople had ports in the Horned Gulf and the Sea of ​​Marmara.
The discovery of a building structure at the bottom of the lake is also interesting, which probably belonged to a lighthouse. And if this is verified, it will be one of only three Roman lighthouses, which are known to have existed in the eastern Mediterranean, next to those of Alexandria and Patara (ancient city and port of Lycia in Asia Minor).
Source : tovima.gr
Uncategorized

Modern art is inspired by Byzantine art

Exhibition of a Danish artist at the Byzantine Museum
The Danish painter and sculptor was inspired by Byzantine art, writer and poetPer Kirkebywho presents his works at the Byzantine and Christian Museum from February 1 in an exhibition entitled "A creative dialogue with Byzantine art".

Kirkeby's works, however, are not copies of religious icons or theological scenes, although the viewer can detect some colors in them, shapes, structures but also topics related to the Byzantine tradition, but which are included in his work in a completely personal way.

Per Kirkeby (Copenhagen 1938) is one of the most important exponents of neo-expressionism in Denmark but his work is presented for the first time in Greece – although it has previously been exhibited in important foreign museums such as the Tate Modern in London, the National Museum of Contemporary Art-Center Georges Pompidou in Paris and the Metropolitan Museum of Modern Art in New York. Not long after that, his exhibition is organized at the "Palais des Beaux Arts", in Brussels.
They are presented in Athens 29 his works and the exhibition is curated byMichael Wiebel, art historian, scholar of his work while the organization, which has been undertaken by the Danish embassy in Greece, is under the auspices of the Danish Presidency of the European Union.
The exhibition is accompanied by an illustrated catalog with texts by the artist, the curator as well as the director of the museumAnastasia Lazaridou. As part of the exhibition, which will last until March 24 2012, thematic lectures and other parallel activities will be held.
Source : tovima.gr
Uncategorized

Uncle Vanias from the historic Moscow Theater in Badminton

When one of the most importanttheatersof Europe, ofEvgeniy Vakhtagov(Vakhtangov) and a director with a unique
vision (Rim Tumin) join forces then we can only talk about an improbable, genius result.
A new subversive look at a classic masterpiece of Russian drama and a subversive theater, history, mythical, which carries in its scrolls the glory and the fragrance of allRussian theater. A wonderful one, almost mystical, meeting that we will have the unique opportunity to enjoy in Badminton, exactly as it was first performed in the theater itselfEugene Vakhtangovat 2 September of 2009.
Then the active reaction of the public, as well as the Russians, but also of foreign critics led even the Minister of Culture A. Avdeev to say characteristically that "this production is an amazing re-examination of Chekhov" expressing at the same time the certainty of its great worldwide success. Of course he was justified!
The vision of a theater group that could shake up the stagnant waters of the Moscow theater establishment, born in 1911 through the eyes and thoughts of a director and actor, by Eugene Vakhtangov. During his tenure the promising new theater saw itself steal the limelight from the rest of the more commercial "offshoots" of the Moscow Art Theater with just two productions (Maeterlinkck: The Miracle of St. Anthony 1921 by Gozzi : Turandor-1922).
That's how it is 1926, as expected, the theater was finally baptized with the name of its creator and the most important Russian directors rush to become part of his vision(Meyerhold, Popov, Zavadsky and Akimov). Especially Akimov's unorthodox translation of Hamlet with Shostakovich's music, the 1932, she was the one who introduced this theatrical microcosm to the whole world and caused the first waves of admiration inside and outside of Russia.
Among the important also directors, that run to contribute to the myth, we also discover Okhlopkov and Pogodin as well as a whole series of brilliant young creators who lead decade after decadeVakhtangov Theaterin the 21st century. The high artistic standards and the subversive look they introduce with each of their performances succeed to this day and keep it in its place, perhaps Russia's greatest theatrical myth.
One of those brilliant young creators, it's also Rimas Tuminas and it's not the first time he's produced a Chekhov play. The Three Sisters and his Cherry Orchard, they won public and critical acclaim. Chekhov's plays offer ground for exploration, clarification of the essence, justification of the species. Every Tuminas production is a new step towards the meaning of that mysterious word 'comedy', which so belies the context of the plot. Uncle Vanya's production has already been recognized as one of the best events of recent seasons in Moscow, while the work of S.Makovetsky and V.Simonov deserves to be mentioned in the world encyclopedia of theater.
The most interesting of course in the case of Rimas Tuminas, it is the way he perceives and "translates" this Russian classic masterpiece. No,  he didn't vandalize either, nor rewrite the text, didn't cut it either. Just read the text again, as if there were no interpretations before him. Why, there is nothing ordinary, beautiful, intimate. Chekhov's mansion surrounded by gardens does not exist, there are no comfortable armchairs, nor a table laid with a lace tablecloth and a warm samovar, nor the sense of a Home where many generations have lived... There is only empty space, deserted by life, the theater space with the gray corridors, an alabaster lion – a symbol of St. Petersburg – may be the birthplace of the ancestor who built the mansion, there is a workbench with rough slabs, an old sofa and several chairs.
Chekhov's characters, as Tuminas saw them and as embodied by the actors, strongly remind us of a part of ourselves. They live in conditions of conflicting ambitions, philosophize, they work hard or they are lazy, serve and consume. They are very different, but also similar – everyone's life went wrong. Why; We discover this from scene to scene, from the dialogues, the fights, revelations and sarcasm. People discover the principles of the theater of the absurd in the works of Chekhov. His characters say something and then do something else, while they think in a completely different way. Tuminas' Uncle Vanya deals with what the characters think and confess in times of spiritual turmoil. Sometimes they are incoherent, like Uncle Vanya or very violent, like Astrov. But their confessions burst forth from their souls so impetuously, like stepping out of a stuffy room into the fresh air.
"Our Uncle Vanias is needed today to support us, let's not be cynical, rude, unconscious people", λέει ο Rimas Tuminas. “With everything he faced in his life, he did not lose the virtue of honesty and continued to work. Near our theater, there is a monument to Princess Turandot. Maybe we should build a monument to Uncle Vanya".
In the best show for the 150 years of Chekhov, from the great Vagtagov Theater with the 100 years of theatrical history star, including, the award-winning "People's Artists" Sergey Macovetsky;, Ludmila Maksakova, Vladimir Simonov, Anna Dubrovskaya, Yury Kraskov και Galina Konovalova.
 
RIM TUMINAS (Artistic Director)
Winner of the State Prize of the Russian Federation and the Zolotaya Maska Russian Theater Prize.
He was born on 20 January 1952 in the city of Kelme (Lithuania). During the period 1970 – 1974 studied at the Lithuanian Conservatory. The 1978 graduated from the production department of GITIS (class of I. Tumanov). His first production was the play January by J. Radickov (1978) at the Drama Theater of the Lithuanian Soviet Socialist Republic, while his first production in Moscow was O.Zagradnik's Peacock Tune (1979) at the K.S.Stanislavsky Theater. From the 1979 up to 1990, worked at the State Academic Dramatic Theater of Lithuania (State Academic Drama Theater of Lithuania), and from 1994 became its art director. The 1999, Tuminas left the theater, with the last productions being Oedipus Rex by Sophocles (1998) and Shakespeare's Richard III (1999). Rimas Tuminas directed more than 20 plays in many theaters in Lithuania and abroad. His work abroad includes Theios Vanias (1992) and the Seagull (1993) of Chekhov in Finland, and Moliere's Don Juan in Iceland (1995). The 1990, Tuminas founded the Small Theater of Vilnius (Small Theater of Vilnius).
There, the following productions were presented: Chekhov's Cherry Orchard (1990), Brecht's Galileo (1991), God, Smile to Us του G.Kanovichus (1994), Masquerade by M. Lermontov (1997), which also traveled abroad. (Finland, Sweden, Poland, Iceland, Ms.)  Tuminas' productions successfully participate in festivals such as the International Baltic Theater Spring, Baltic House, Life, Contact, International Chekhov Theatre Festival, etc. After the successful show Masquerade, which won the Russian National Theater Award Zolotaya Maska in the category "Best Foreign Production 1998" in Moscow and within the framework of the 3rd Chekhov Festival, Tuminas was invited to the Sovremennik Theater, where he produced Playing… Schiller! the 2000. The 2002, on the stage of the E.Vakhtangov Theater, Rimas Tuminas produced Gogol's The Inspector General. The 2007, after the death of M.A. Ulyanov, Tuminas accepted the proposal of the Federal Service for Culture and Cinema and the management of the E.Vakhtangov Theater, to become the Artistic Director of the Theatre.
Source : culturenow.gr

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