Acceptance is the act of consenting to receive something that is offered. Focusing on an individual’s acceptance, it falls under the realm of judging their adequacy, their validity and whether this can make them conform to the norms. Acceptance is a scale, and controls it. One’s acceptance can either be based on their character […]


Marginalization, according to Webster, is In the text, the recurrent marginalization of ethnic minorities in Greek are defined in terms of the binary relationship of Given Greek’s historical standing as, Hellenism alludes to the glorified and idealized aspects of ancient Greek history which use cultural lineage and national purity as a validation to relegate under-represented […]


Natalie Zervou speaks of certain approach associated with Greek nationality identity. One such approach is ‘Hellenism’. The word ‘Hellenism’ comes from the name Hellen. Hellen,according to Greek mythology, . Zervou defines Hellenism as, . Greek natives assume their national identity based on their historical lineage. They assume that to be Greek you must be a […]

Legal limbo

(175). In Bodies of Silence and Resilience: Writing Marginality Natalie Zervou explores the relationship between the concept of Greek national identity as “an appropriation of ancient Greek glorifies ideas” and the marginalization process in the country. Accordingly to the scholar, the reason why under-represented communities such as, for instance, homeless people and immigrants are being […]


I think that the reading that caught my attention the most was the one about the organization El Sistema Greece, because it is about the organization we are going to work with throughout the next few days. According to the founder of this organization, Anis Barnat, part of the vision for his/her project is This […]


“Undocumented” and “illegal” are the words that are the most closely related to “immigrant” in Fragments of the European Refuge Crisis by Natalie Zervou. These words seems to add another layer to the definition of immigrant on the Oxford Dictionaries, which is The word immigrants seemed to sound less than “a person”, or, “a human”, […]


Disappear is defined as according to the Merriam Webster dictionary and is used quite powerfully in this paper. Although used scarcely, its subtle yet strong use was quite distinct and represented the harsh reality of the immigrant crisis in Europe and the seemingly common national European perspective towards the crisis. The paper begins with a […]


In current years Greece has fallen victim to both a financial and a refugee crisis. According to the Oxford English Dictionary, (online). This phenomenon, is considered a crisis to European states as it has brought on a time of difficulty filled with analytical, ethical and political challenges. Crisis is an underlying term that is found […]

The railing

According to Natalie Zervou, the image of the railing (a fence made of rails) presents a strong metaphor in the performance titled Bodies of Resilience, which revolves around immigrant experience in Greece. In the performance, people are “” (177), which opens up various interpretations and their implications. Zervou thinks of the railings as metaphors of […]


“Marginalization” refers to  In the text of the article “Bodies of Silence and Resistance: Writing Marginality” by Natalie Zervou, “marginalization” refers to the advocacy of cultural and linguistic lineage and the resulting inferior position of non-native Greek-speaking ethnic groups—in other words, the ethnic minorities in Greece. According to Zervou, the marginalization of ethnic minorities has […]


Migration is the movement of people, animals or things from one place to another due to some factors. The reasons for migration can be economic, social, political or environmental. There are usually push factors and pull factors at work. Migration can be internal or international. Internal migration is when people or things migrate within the […]


The body is the physical framework of an animal, dead or alive. It is inclusive of the bones, flesh and organs. In the Fragments of the European Refugee Criss: Performing Displacement and the Re-Shaping of Greek Identity, Zervou explains that the refugees in Greece who do not speak Greek only have their bodies as their […]


Natalie Zervou provides what is a western definition of pain, and that is “a lonely thing.” It is difficult to determine exactly what this means, but it hints at the fact that westerners associate pain, which in context is not just physical pain, to loneliness or lacking support. Even so, with regards to performance, Zervou […]


Greekness “Greekness” is a word that is coined to describe a version of the perceived Greek national identity. According to Natalie Zervou, Greekness (175).  It is in contrast to the concept “Hellenism”, which implies the historical existence of ancient Greece. In the article Zervou relates this viewpoint to the economic crisis Greece is going through. […]


The definition of the word “research” can be quite ambiguous, because of the two meanings that the prefix “re-” can have. First, it can mean to repeat something; do it again. Secondly, it can mean to do something with additional emphasis. Moreover, it can even have both meanings simultaneously. To clarify this ambiguity, it may […]


Risk can be defined as a situation that involves an exposure to danger. The term danger is very relative as it can mean something else at different moments or situations. Danger can either mean a physical harm, an emotion or even a mental harm. It truly depends on how an individual reacts to risk at […]


Katherine Profeta defines the word hybridity in reference to Ralph’s attraction. Ralph is a choreographer Profeta uses throughout her book.  In her book, Dramaturgy in Motion, Profeta refers to it as a mixture of people. She speaks of (169). Ralph had many dancers present, all different from each other. This difference ranged from gender, culture […]

Cultural Exchange

Cultural exchange is “”. Katherine Profeta uses this term in the chapter Interculturalism in regards to her understanding of the role of a dramaturg in a culturally diverse setting. Profeta discusses Rustom Bharucha’s idea of uneven power among culturally diverse participants in relation to the meaning of cultural exchange. She elaborates on ideas of genuine […]


In Dramaturgy in Motion, Katherine Profeta defines risk as the, and stated that the risks of intercultural collaborations can be the chance of embarrassment, frustration, disruption of lives, disapproval from those in one’s own cultural background, and, of course, physical risk. In the chapter Interculturalism, Profeta talks about the nature of risk in theatre work […]


The word “crisis” has its roots in Greek word krisis, which is translated as “decision”. In English, Oxford dictionary defines crisis as both . That is an unsafe situation in which an urgent and important decision has to be made. Ironically, “crisis” is the word with which global society describe the situation that has happened […]


A motive is generally defined as a state of physiological or psychological arousal which influences how we behave. For example, a physiological arousal such as hunger, or thirst motivates us to get something to eat or drink. A psychological arousal such as the need for love and companionship motivates us to seek the company of […]


Defined as  the term “hybridity” has become even more significant in the contexts of cultural and postcolonial studies. The possibility of establishing/dismantling paradigms and social conjectures based on mixtures and interchanges between cultures has sparked the interest of scholars, who have developed different theories to explain how hybridity occurs, what it entails and what its consequences […]


“Hybridity”, as a noun, usually has the same meaning as “hybrid”. It refers to . In the text of the “Interculturalism” of the book Dramaturgy in Motion by Katherine Profeta, “hybridity” refers to While the resistance against power structures and the same structures’ dominance are usually contradictory and cannot coexist, hybridity allows that to happen. […]


The most resounding word I found in Anis Barnat’s (founder of El Sistema Greece) interview, was her repetitive use of community. In somewhat contrast the Webster definition of community being Barnat argues that this very sense of fellowship can be conjured through the meaningful sharing and transfer of different, not necessarily common, cultures and interests. […]


Motives Motives refer to , according to Oxford English Dictionary. In book Dramaturgy in Motion, Katherine Profeta describes motives as “including what assumptions are being made about what the other members of the collaboration represent within the conversation” (189). It is the reason why people choose a certain way of creating and practicing dance, especially […]


Risk is quite an expansive term as it could have a variety of definitions in different scenarios. For example, Merriam-Webster defines risk as an “ while Katherine Profeta defines risk as “a departure from a comfort zone.” (201) Profeta’s definition of risk slightly differs from the general definition above due to the context that she […]


To romanticise is to portray something in an unrealistic or exaggerated manner, making it more appealing or mysterious than it really is. To romanticise is not to be confused with the . In art and literature, romanticisation can be problematic, especially if something or someone is falsely presented. In Dramaturgy in Motion, Ralph expressed his […]


Honeybee in Greek is Melissa. Melissa is a network in Athens that brings women from the migrant community together to start up better and new lives in Greece. Greece is dealing with an economic crisis, and with the migration crisis, it means that the migrants face challenges in the communities they are. This is what […]

Tight Places

The phrase tight place is used throughout the book I Want To Be Ready: Improvised Dance As a Practice Of Freedom by the author Danielle Goldman who borrowed the phrase from Houston Baker, a scholar writing on African Americans’ struggles. According to Baker, tight places are defined to be “” (5). As this definition could […]


In dance, choreography has come to mean, This definition finds new meaning in Danielle Goldman’s I Want To Be Ready, as it explores the relationship of the body in dance movements and social movements, bringing forth the notion of ‘choreography in protest’. According to scholar Susan Foster, during the 1999 World Trade Organization protests in […]


. [/tome_reference]The term is generally associated with the absence of deliberation. In the arts, it is seen in performance showing the skill and creativity of the artist be it in music, dance or theater or any form of art that can be perceived by an audience. In I Want to be Ready by Danielle Goldman […]


Danielle Goldman uses the word ‘falling’ when speaking of the non-violence training that activists take part in. According to the Merriam-Webster dictionary f. But, in the case of the activists it means forming a ball with your body or being lifeless. Goldman uses the word falling in many ways to describe different forms of activism. […]


  This term can be defined as a piece of art that is created without preparation. It focuses on a wide range of art forms such as music, drama, dance and many more. It is usually referred to creating or composing something on the fly. There is a common misconception that improvisation is random or […]


Also referred as demonstrations, protests have occurred in various instances throughout history in different places. As part of my engagement with the book “I Want To Be Ready: Improvised Dance as a Practice of Freedom,” I decided to choose the word “protest” for this essay. Defined as  the word protest can refer to both violent […]


In Danielle Goldman’s I Want To Be Ready scholar examines improvisation in dance. Accordingly to the author improvisation is . That is, explored in the context of dance practices, improvisation is the simultaneous action of performance and composition. As I understood it from the thick introduction description, the central question the book is attempting the […]

Cultural Affiliation

In this assignment, I chose a term, rather than one keyword, that was used in Profeta’s final chapter, Interculturalism. In order to introduce a general definition to the term, I will break down the word into its’ two distinct parts; culture is defined as according to the Merriam-Webster dictionary, while affiliate is defined as Hence […]


Dance is practiced in many forms and for many reasons, including social, educative, political and therapeutic reasons. Studying the aesthetics of dance one of the many ways to approach it, in order to better understand what is and why it matters to people. Dictionary of Merriam-Webster define dance as, “” It is to move or seem […]


Vocabulary, according to the Oxford Dictionaries, is . In Dramaturgy in Motion, Katherine Profeta also mentioned “movement vocabularies”, and these vocabularies, as she clarified, . She explains how knowing these vocabularies open up new things for ourselves to be aware of. She used the vocabularies of Laban’s system as an example of how vocabulary (142) […]


Transgressive is the word that really caught my attention while reading Danielle Goldman’s book “I Want to be Ready”. It is defined as anything that involves the . This term tends to change with different cultures, religions and parts of the world so it is very possible that if some act is regarded as transgressive […]


Empathy is the ability to understand and share the feelings of another individual. It can be viewed as putting oneself in the shoes of another. In Dramaturgy in Motion, Profeta uses the term kinaesthetic empathy, an empathy that arises through motion. The idea of kinaesthetic empathy states that the way an individual is able to […]


“Anatomy” usually refers In the text of the “Movement” section of the book Dramaturgy in Motion by Katherine Profeta, the vocabularies of anatomy refer to the words that could be used to describe movement in dance. To quote Katherine, In other words, an anatomical word itself could suggest some body movement that could be carried out […]


From the class, How Movement Makes Meaning, choreography has been defined in various ways. These are: vision translated into motion, transference of embodied knowledge, structure, design, relationship, movements with intent, and sequence. Although the definitions are limited to single phrases and words, they reveal the fact that choreography can be viewed in various ways. However, it […]


. .  It is strongly related to themes of interculturalism, and post-colonial theory. In performance, cultural hybridity is present when the piece is a merger of elements from contrasting cultures and ideals. Since dance is an expression identity, and we live in a highly globalized world, hybridity is very relevant to dance today. In Dramaturgy […]


Hybridity Hybridity refers to mixture. It implies an action of combining two or more different elements together and come up with on one unit, a fusion. In Katherine Profeta’s book hybridity is used in the realm of dance style formation out of distinct varieties. Its production comes through a process of recursive translation. Katherine recounts […]


Indecipherable describes a piece of language that is difficult or impossible to understand or attain meaning from. It can be  defined as not being able to be read or understood. Something that is not understandable and not possible to deduce what the words or language are about. In Dramaturgy in Moton, Jones stated that Paxton […]


Human perception is defined as . In the context of an audience perception, Katherine Profeta in Dramaturgy In Motion, explains perception as something based on what an audience member already knows and recognizes, arguing that, “we need to have a learnt what a glass is first before we see the glass sitting on the table […]


Katherine Profeta does not exactly define the word fragment in her book Dramaturgy in Motion: At Work on Dance and Movement Performance, but instead, she mentions what a role of a fragment is and how does it exist within the process of research. According to Cambridge Dictionary, a fragment is “”. One could assume that […]


. In terms of the performing arts, the dramaturg is sometimes presented as the audience’s advocate. However, this concept is highly debated as critics wonder whether the dramaturg is truly the advocate as then cannot really know thoroughly the people for whom they are acting . Nevertheless, the dramaturg is closest to the audience as […]

Active Archive

In her book, Dramaturgy in Motion, Katherine Profeta uses the phrase ‘active archive’. She does this in reference to her research and how she gathers information for future use. The word archive, as defined by Merriam-Webster, means An archive refers to a place that preserves historical documents.   When speaking of research, Profeta introduces us […]


The term mourning can be defined as the expression of deep sorrow that shows pain. It is usually dedicated to someone who has passed away. It can be expressed through many forms, such as crying. Whereas, others can express their pain and shock through wailing out loud, and on the other end of the spectrum, […]


To perceive someone or something as doing or being a particular thing is your opinion that they do this thing or that they are that thing. In other words, it is to become aware of something using one of the sense, especially that of sight. Cambridge dictionary defines perception as, “” It is noticing someone or something that is obvious. […]


Katherine Profeta’s second chapter focuses on the connection between research and the role of the dramaturg. In her portrayal of the relationship between the two, she breaks down the definition of the term ‘research’ quite profoundly; she dissects the word into two categories, as ‘ (62) and as (63). This precise dissection of the word […]


In the second and the third chapters of Dramaturgy in Motion: At Work on Dance and Movement Performance, Katherine Profeta speaks about research and audience, and how these two constructions relate to dance dramaturgy. While these two parts are seemingly different in their aspects, they might be united by one in the concept of knowledge. […]

Trance Dance

The word trance, as defined in the Oxford Dictionary, is a ‘’. . This dance is performed in many ways but the most common feature that this dance involves is fire.  Katherine Profeta introduces the trance dance in her book ‘Dramaturgy in Motion’ when she shares an example from her life to put forward the implication […]


, as a noun, usually refers to “a small part broken off or separated from something” or “an isolated or incomplete part of something”, while as a verb, it refers to “break or cause to break into fragments”. In the text of the section “Research” of the book Dramaturgy in Motion by Katherine Profeta, “fragments” […]


Narrative, according to the Oxford dictionary, is or simply, “stories told through language.” The core idea being, expression in words is a prerequisite for narrative. In Dramaturgy In Motion, Katherine Profeta challenges this notion, bringing forth an alternative proposition of “textless and abstract expression” wherein stories have the scope of being told without words or […]


Under the intriguing discussion of Audience and the inevitably crucial relationship between the audience and the performers, Katherine Profeta includes the aspect of humor within the book, Dramaturgy in Motion: At Work on Dance and Movement Performance. The major terms utilized by Profeta, which potentially, define what humor is, are “funny” “punchline” and “playful use […]


Katherine Profeta has given two definitions of the word research in Dramaturgy in Motion in the chapter Research. The first definition is, and the aim is to organize existing information according to already established means of understanding. That material compiled then becomes ‘research’, the noun.” The second definition is , and as Profit has put […]


Invitation Invitation means the action of inviting someone to go somewhere or to do something according to Oxford English Dictionary. In the book of Katherine Profeta, it refers to the dancers’ intention to bring the audience into the theater and watch their performance. It is a kind of attitude the performers and choreographers have towards […]


Assimilation is most commonly defined as . In We Refugees, Hannah Arendt persistently employs words such as , and – all alluding to the notion of assimilation – a highly pertinent, yet many times misused term. Arendt rebuffs the definition of assimilation as propounding an alternative philosophy that, Written from the perspective of a refugee, […]


A refugee is defined as a ’according to the Merriam-Webster online dictionary. However, in Agamben’s ‘We Refugees,’ The refugee is conveyed as a symbol through which it is He also presents the idea that the status of the refugee is usually expected to be temporary that should The use of the term ‘refugee’ in Agamben’s […]


  The first thought on this…well… It is a controversial term to most. But not so to Hannah Arendt who utilizes the term ‘suicide’ under “We Refugees” within the book Altogether Elsewhere edited by Marc Robinson, to mean freedom; a negative liberty. Arendt mentions that, implying that the Austrian Jews could not bear to lose […]


In her book, Dramaturgy in motion at work on dance and movement performance, Katherine Profeta provides an insightful introduction of this term, giving various definitions to it as per its history. Mind you that I assumed the word meant, a spectator or some kind of audience. However, Profeta first introduces the term as “what is […]


In our modern days, global society faces an urgent “refugees problem,” which have appeared to be an important issue in the middle of the twentieth century and still remains relevant nowadays. When refugee situation arises, it is important to agree on the meaning behind the word refugee, for different scholars add different shades to the […]


Fluidity is defined as the according to the Cambridge English dictionary. Katherine Profeta uses this definition of fluidity in her book, ‘Dramaturgy in Motion: at work on Dance and Movement Performance,’ to explain the dynamic and evolving role of a dramaturg. She argues that we should define dramaturgs by ‘how flexibly they contribute to a […]


The common understanding of the term refugee can be referred to an individual who has been forced out of their country in order to survive a calamity. They end up residing in another country, but this is nothing that they can call home. For most refugees, they end up living in camps that entail a […]


Oscillation has multiple definitions in the Merriam-Webster dictionary. . In the context of Dramaturgy in Motion, oscillation is the fluctuation between two states. Profeta describes oscillation as the constant state of a dramaturg. Firstly, it can be seen through their role descriptors. Many find the idea of the dramaturg acting as an “advocate for the […]


Suicide is the act of killing oneself intentionally and voluntarily. According to the American Psychological Association,. In Arendt’s We Refugees, she explains how the first non-religious Jews persecuted, answered with suicide. Unlike the non-religious Jews, the pious Jews considered suicide an unthinkable act, “” (p.112). According to the pious Jews, one who commits suicide establishes […]


The term dramaturg can be referred to as the art or technique of dramatic composition and theatrical representation. Once a composition is made, by simply following it in certain format, one is able to perform a piece in a specific manner that gives out a clear message to audiences. The texts addresses Brecht’s model in […]


Katherine Profeta uses the word ‘skeleton’ to define the concept of dramaturgy in her book Dramaturgy in Motion. The definition of the skeleton as stated by the Merriam-Webster dictionary is . This describes the core of what dramaturgy is. Profeta uses ‘skeleton’ when speaking of dramaturgy and its relationship to text. In the introduction, she […]


Katherine Profeta’s Dramaturgy in Motion: At Work On Dance and Movement Performance centers on the dramaturgy. To begin with, it is really hard to give the general definition of dramaturgy drawing upon the writer’s work, for it presents various definitions from different field professionals (Gotthold Ephraim Lessing or Bertolt Brecht, for instance) and looks on […]


A refugee, according to the UN Refugee Agency, is someone who is unable to return to their native country in fear of persecution. Reasons for this persecution include: race, religion, nationality, membership of a particular social group, or political opinion. An example of a refugee would be a Polish man who fled to America or […]


 The tasks of the choreographer have changed with the introduction of dramaturgy with there being a more reflective approach to creating the performance. . In the text Dramaturgy in Motion, the role of the choreographer is discussed in terms of the shifts that have been made due to dramaturgy. While before the choreographer was seen […]


. To be free can be directly ties to the term agency. There is not a set way to define agency as with most anthropological concepts it is relative.   Therefore if an individual cannot fully express their true selves and show their whole identity, they are essentially not free. In the text by Hannah Arendt, […]


Although Webster’s definition of dramaturgy affirms that dramaturgy is “the art or technique of dramatic composition and theatrical representation” (3), comprehending the definition of the word “dramaturg” is not so simple as affirming that the dramaturg is the professional that practices dramaturgy. The definition of this word is, in fact, more nuanced, hence also reflecting […]


As a means of dealing with anti-Semitism and persecution throughout history, many Jews have resorted to assimilation into different cultures, societies and countries. The process of assimilation was defined by Park and E. W. Burgess in 1921 as the act of acquiring memories, sentiments and attitudes of a local or foreign group due to common […]

Enemy Alien

The keyword I chose for the present essay is enemy alien, which was mentioned several times in Hannah Arendt’s essay We Refugees.  According to the website, an enemy alien is a person living in a country at war with the country of which this person is a citizen. The term was first used right […]


Choosing the word “home” as a keyword from the article, “WE REFUGEES” by Hannah Arendt is not as simple as it looks. The definition of “Home” is more of subjective and it is quite hard to give a precise definition. By the virtue of most common words of advice, and in some case arguments, presented […]


The word dramaturg-weaver is not an official term concerning dramaturgy, therefore there is no definition that could be easily “googled”. It is used by Katherine Profeta in her book Dramaturgy in Motion: At Work on Dance and Movement Performance and it seems to be specifically coined for the context it was used in. The first […]


Oxford dictionary defines dramaturgy as, “”  It is the study of writing dramatic texts and the representation of the main elements of drama on the stage. A specialist in dramaturgy, especially one who acts as a consultant to a theater company, advising them on possible repertory is called dramaturg.  Dramaturgy in sociological perspective is also commonly […]

Concept Guard

While reading Dramaturgy in Motion, the phrase “concept guard” really caught my attention. The idea of concept guard is very similar to that of controlled media in which an authority or a powerful organization can control and manipulate what is being presented through these modes of communication. These concept guards can ensure a biased presentation […]


“Redundancy” usually refers to In the text of the book Dramaturgy in Motion by Katherine Profeta, the word “redundancy” implies Katherine ran into this word when she tried to define “the dramaturg as a singular, non-dispersed role”, because its definitions From this perspective, it seems that the existence of the dramaturg is “redundant” or not […]

Spoken words

Spoken words Katherine Profeta in the first chapter of her book Dramaturgy in Motion discusses the possible functions of spoken words in dance. Spoken words are oral language or language uttered in speech according to Oxford English Dictionary. Traditionally they rarely exist in dance performance because dance is in nature movement-based and soundless. In the […]


“Optimism” in Hannah Arendt’s “We Refugees” Optimism, according to Oxford Advanced Learner’s Dictionary, refers to tendency to expect the best in all things, confidence in success, or belief that good will triumph over evil in the end. In Hannah Arendt’s article, this optimism describes refugees who think and speak cheerfully that “their whole former life had been passed in a kind of unconscious […]


Redundancy refers to. According to Katherine Profeta in Dramaturgy in Motion, the role of a dramaturg in dance and theater is redundant and overlapping to many existing roles like the director, choreographer, critic, producer, etc. This redundancy, as Profeta states, However, Katherine Profeta uses a quote from Heldegard De Vuyst and an example of Mark […]


The word “Optimism”, according to the definition from the Cambridge Advanced Learner’s Dictionary & Thesaurus, is. In general, it has positive connotations being an admirable quality of people that brings positive effects to one’s mental state. It is used to describe the tendency and ability of people who are in hard situations to be hopeful […]


“Optimism” usually refers to In the text of the article “We Refugees” by Hannah Arendt, the word “optimism”   According to Hannah, the persecuted Jews—the group of people described in the article—desired to start a new life after moving to a new country, and as the process is hard, they have to be optimistic: they […]