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Juarez Machado
Colagem
Década de 1980
Juarez Machado (1941) é um pintor, escultor, desenhista, caricaturista, ilustrador e cartunista, considerado um dos mais brilhantes artistas brasileiros.
Juarez Machado (1941) nasceu em Joinville, Santa Catarina, no dia 16 de março de 1941. Filho de um artista, colecionador e caixeiro viajante, passou a maior parte de sua infância ao lado de sua mãe, também artista, e de seu irmão. Começou a desenhar ainda muito pequeno, e também gostava de fazer “esculturas” com barro. Com 14 anos começou a trabalhar em uma gráfica no setor de produção de rótulos de remédios, embalagens e cartazes para laboratório.
Com 20 anos mudou-se para Curitiba. Entre 1961 e 1965 estudou na Escola de Música e Belas Artes do Paraná. Em 1964 realizou sua primeira mostra individual em Curitiba. Em 1966 foi morar no Rio de Janeiro, onde viveu durante 20 anos e teve intensa participação no movimento artístico da cidade. Foi chargista dos principais jornais do país. Através de uma arte que retrata sua típica irreverência e bom humor, logo se projetou no cenário nacional e internacional.
Em 1973 o artista teve um quadro de humor e arte na televisão nos primeiros anos do programa Fantástico da TV Globo, onde fazia vinhetas animadas, com cenários projetados pelo artista, em que atuava como mímico ou “desenhista do gesto” como ele gostava de dizer. Ele interagia com seus próprios desenhos e se apresentava com o rosto pintado de branco e uma roupa que misturava cenário e boneco.
Em 2015, para comemorar um ano da existência do Instituto Internacional Juarez Machado, Juarez realizou uma exposição em Joinville onde reuniu 200 peças para a mostra “Juarez Machado na Hora do Recreio”. O artista, que é reconhecido pelo leve surrealismo e por explorar suas obras como críticas sociais irreverentes, reuniu na exposição, objetos, esculturas, desenhos, fotografias, além das pinturas com as figuras femininas, quase sempre presentes em sua obra. “Eu trabalho muito com o deboche, o humor é uma forma crítica que provoca e diverte, resolvi fazer uma exposição para me divertir”, disse o artista.
The Theatre of Dionysus is an ancient Greek theatre in Athens. It is built on the south slope of the Acropolis hill, originally part of the sanctuary of Dionysus Eleuthereus (Dionysus the Liberator). The first orchestra terrace was constructed on the site around the mid- to late-sixth century BC, where it hosted the City Dionysia. The theatre reached its fullest extent in the fourth century BC under the epistates of Lycurgus when it would have had a capacity of up to 25,000, and was in continuous use down to the Roman period. The theatre then fell into decay in the Byzantine era and was not identified, excavated and restored to its current condition until the nineteenth century.
Sanctuary and first theatre
The cult of Dionysus was introduced to Attica in the Archaic period with the earliest representation of the God dating to c. 580 BC. The City Dionysia (or Great Dionysia) began sometime in the Peisistratid era. and was reorganised during the Kleisthenic reforms of the 520s BC. The first dramatic performances likely took place in the Agora where it is recorded that the wooden bleachers set up for the plays (ikria) collapsed. This disaster perhaps prompted the removal of dramatic production to the Sanctuary of Dionysus on the Akropolis, which took place by the time of the 70th Olympiad in 499/496 BC. At the temenos the earliest structures were the Older Temple, which housed the xoanon of Dionysos, a retaining wall to the north and slightly further up the hill a circular terrace that would have been the first orchestra of the theatre. The excavations by Wilhelm Dörpfeld identified the foundations of this terrace as a section of polygonal masonry, indicating an archaic date. It is probable there was an altar, or thymele, in the centre of the orchestra. No formally constructed stone seating existed at this point; only ikria and the natural amphitheatre of the hill served as a theatron.
Besides the archaeological evidence, there is the literary testimonia of the contemporary plays from which there are clues as to the theatre's construction and scenography. For this earliest phase of the theatre there is the work of Aeschylus, who flourished in the 480–460s BC. The dramatic action of the plays does point to the presence of a skene or background scenery of some description, the strongest evidence of which is from the Oresteia that requires a number of entrances and exits from a palace door. Whether this was a temporary or permanent wooden structure or simply a tent remains unclear since there is no physical evidence for a skene building until the Periclean phase. However, the hypothesis of a skene is not contradicted by the known archaeology of the site. The Oresteia also refers to a roof from which a watchman looks out, a step to the palace and an altar.[19] It is sometimes argued that an ekkyklema, a wheeled trolly, was used for the revelation of the bodies by Clytemnestra at line 1372 in Agamemnon, amongst other passages. If so it was an innovation of Aeschylus' stagecraft. However, Oliver Taplin questions the seemingly inconsistent use of the device for the dramatic passages claimed for it, and doubts whether the mechanism existed in Aeschylus' lifetime.
Periclean theatre
The substantial changes to the theatre in the late fifth century BC are conventionally called Periclean since they coincide with the completion of the Odeon of Pericles immediately adjacent and the wider Periclean building programme. However, there is no strong evidence to say the theatre's reconstruction was of the same group as the other works or from Pericles’ lifetime. The new plan of the theatre consisted of a slight displacement of the performance area northward, a banking up of the auditorium, the addition of retaining walls to the west, east and north, a long hall south of the skene and abutting the Older Temple and a New Temple which was said to have contained a chryselephantine sculpture of Dionysus by Alkamenes. The seating during this phase was probably still in the form of ikria but it may be the case that some stone seating had been installed. Inscribed blocks, displaced but preserved in the retaining walls, with fifth-century BC epigraphy on them might indicate dedicated or numbered stone seats. The use of breccia in the foundations of the west wall and the long hall gives a terminus ante quem of the early fifth century BC, and a likely date of the last half of that century when its use was becoming common. Also the last recorded statue of Alkamenes was 404 BC, again placing the works in the late 400s. Pickard-Cambridge argues that the reconstruction was piecemeal over the last half of the century into the period of Kleophon.
From the evidence of the plays there is a larger corpus to draw upon during this most vital period of Greek drama. Sophocles, Aristophanes and Euripides were all performed at the Theatre of Dionysus. From these we can deduce that stock sets may have been in use to meet the requirements of the plays such that the Periclean reconstruction included post-holes built into the terrace wall to provide sockets for movable scenery. The skene itself was likely unchanged from the theatre's earlier phase, with a wooden structure of at most two floors and a roof. It is also possible that the stage building would have had three doors, with two in the projecting side-wings or paraskenia. Mechane or geranos were used for the introduction of divine beings or flights through the air as in Medea or Aristophanes' Birds.
One point of contention has been the existence or otherwise of the prothyron or columned portico on a skene that represents the interior spaces of temples or palaces. It is a supposition partly supported by the texts, but also from vase painting believed to be depictions of plays. Aeschylus Choēphóroi 966 and Aristophanes' Wasps 800-4 both refer directly to a prothyron, while the parodos-chant in Euripides’ Ion makes indirect reference to one. The mourning Niobe loutrophoros in Naples and the Boston volute krater, for example, both depict a prothyron. Pickard-Cambridge questions if this was permanent structure since interior scenes were rare in tragedy. The evidence from the plays for the use of an ekkyklema in this period is ambiguous; passages such as Acharnians 407 ff or Hippolytus 170-1 suggest but don't require the device. The argument for its use depends largely on reference to the ekkyklema in later lexographers and scholiasts.
Lycurgan theatre
Lycurgus was a leading figure in Athenian politics in the mid- to late-fourth century prior to the Macedonian supremacy, and controller of the state's finances. In his role as epistate of the Theatre of Dionysus he was also instrumental in transforming the theatre into the stone-built structure seen today. There is a question of how far up the hill the stone theatron of this phase went; either all the way up to the rock of the Akropolis (the kataome) or only as far as the peripatos. Since the Choragic Monument of Thrasyllos of 320/319 BC required the rock face to be cut back such that it is likely that the epitheatron beyond the peripatos would have reached that point by then.
A coin of the Hadrianic period crudely suggests a division of the theatre into two sections, but only one diazoma, or horizontal aisle, and not two if the epitheatron went past the peripatos. The auditorium was divided by twelve narrow stairways into thirteen wedge-shaped blocks, kerkides, two additional staircases ran inside the two southern supporting walls. There is a slight slope to each step, the front edge is almost 10 cm lower than the back. The seats were 33 cm in depth and 33 cm in height with a forward projecting lip, with seventy-eight rows in total. The two fronts rows, still partially preserved today, consist of Pentelic stone chairs or thrones; these were the prohedria or seats of honour. Originally sixty-seven in number, the surviving ones each bear the name of the priest or official who occupied it, the inscriptions are all later than the fourth century, albeit with signs of erasure, and from the Hellenistic or Roman periods. The central throne, which is tentatively dated to the first century BC, belonged to the priest of Dionysus. Towards the orchestra there is a barrier from the Roman era, then a drainage channel contemporary with the Lycurgan theatre.
The skene of this phase was built back-to-back with the earlier long hall or stoa, the breccia foundations of which remain. It is evident that the new skene building consisted of a long chamber from which projected at either end northward two rectangular paraskenia. Whether there was also a distinct proskenion in the Lycurgan theatre is a subject of controversy, despite literary testimonia from the period there is no firm agreement where or of what form this took. This era is that of the new comedy of Menander and late tragedy of which it is sometimes supposed that the chorus disappeared from productions. It is further hypothesised that the decline in the use of the orchestra would imply, or permit, a raised stage where all the action would take place.
Hellenistic theatre
Amongst the innovations of the Hellenistic period was the creation of a permanent stone proskenion and the addition of two flanking paraskenia in front. The date of this construction is not secure, it belongs to some point between the third and first centuries BC. The proskenion was fronted with fourteen columns. Immediately above was the logeion, a roof to the proskenion, which perhaps functioned as a high stage. On this second storey and set back from the logeion is conjectured to be the episkenion whose facade was punctured with several thyromata or apertures where the pinakes or painted scenery would have been displayed. The date of this change devolves onto the question of the date at which the action of the drama transferred from the orchestra to the raised stage, and by analogy with other Greek theatres of the period and the direction of influence between Athens and the other cities. Wilamowitz argues that Dithyrambic contest ended with the choregia in 315, however, Pickard-Cambridge notes that the last recorded victory was in 100 AD. Clearly, the chorus was in decline during this period, so would have been the use of the orchestra. The theatres of Epidaurus, Oropos and Sikyon all have ramps up the logeion, their dates range from late fourth century to c. 250 BC. It remains an open question whether the existence of a logeion on these theatres implies a change in dramatic form at Athens.
Another feature of the Hellenistic stage that might have been used in Athens was the periaktoi, described by Vitruvius and Pollux, these were revolving devices for rapidly changing scenery. Vitruvius places three doors on the scaenae frons with a periaktos are the extreme ends which could be deployed to indicate that the actor coming stage-left or -right was at a given location in the dramatic context.
Roman period to present day
With the conquest of Greece by Sulla and the partial destruction of Athens in 86 BC The Theatre of Dionysus entered into a long decline. King Ariobarzanes II of Cappadocia is attributed with the reconstruction of the Odeion and the presence of an honorary inscription to him found embedded in a late wall of the skene suggest he may have had a hand in the reconstruction of the theatre, There appears to have been a general refurbishment during the time of Nero whose name was erased from the entablature of an aedicule of the scaenae frons in antiquity. The skene foundation was underpinned with limestone blocks in this period, the orchestra was reduced in size and refloored in varicoloured marble with a rhombus pattern in the centre. A marble barrier was erected in 61 AD or later, enclosing the orchestra up to the parodoi. The object of this might have been to protect the audience during gladiatorial combats. The last phase of restoration was in the Hadrianic or Antonine era with the construction of the Bema of Phaidros, an addition to the Neronian high pulpitum stage.
After the late 5th century AD the theatre was abandoned: its orchestra became an enclosed courtyard for a Christian basilica (aithrion) which was built into the eastern parados, while its cavea served as a stone quarry. The basilica was subsequently destroyed and by the mid-eleventh century the Rizokastro wall crossed the bema and the parodos walls. Archaeological examination of the site began in earnest in the nineteenth century with the excavation of Rousopoulos in 1861. Subsequent major archaeological campaigns were Dörpfeld-Reisch, Broneer and Travlos.
Audience
Evidence points to the enormous popularity of theatre in ancient Greek society. From competition for scarce seating, the expanding number of festivals and performances to theatre lovers touring the Rural Dionysia. It is also clear from fragments of audience reaction that have come down to us that the public were active participants in the dramatic performance, and that there was reciprocal communication between performers and spectators. It is possible, for example, that laws were enacted in the late fifth century to curtail comic outspokenness such was the offence taken by some of the views expressed on the stage. One anecdote that illustrates the fraught nature of this highly partisan audience reaction is that recorded by Plutarch who writes that in 468 BC when Sophocles was competing against Aeschylus there was so much clamour Kimon had to march his generals into the theatre to replace the judges and secure Sophocles’ victory. While ancient drama undoubtedly excited passion in contemporary spectators, there remains the question of to what degree they valued or appreciated the work before them. Aristotle's Poetics remarks: “[h]ence there is no need to adhere at all costs to the traditional stories, around which tragedies are constructed. For to try to do this would be ridiculous, since even the well-known materials well-known only to a few, but nevertheless delights all.” This raises the question of how uniform the response to Greek drama was, and whether communicative comprehension and audience competence can be taken for granted.
While the plays of the time are addressed to the adult male citizen class of the city, it is apparent that metics, foreigners and slaves were also in attendance; the cost of tickets was underwritten by the Theoric Fund. Much more controversial is whether women were also present. All arguments on the subject are ex silentio since there is no direct evidence that women attended the Theatre of Dionysus. Jeffrey Henderson argues that since women participated in other rites and festivals they could certainly have attended the theatre. In contrast, Simon Goldhill maintains that the City Dionysia was a socio-political event similar to the courts or the assembly from which women were excluded. No definite answer to the problem has been put forward.
Acoustics
Due to the poor state of its preservation, the acoustics of the Theatre of Dionysus cannot be reconstructed. However, by analogy with other, similar Greek amphitheatres, some idea of the sound quality of the ancient theatre can be gleaned. Ancient theatres are long renowned for their excellent acoustics, but it is only recently that scientific analysis of this has taken place. The ERATO project in 2003–2006, Gade and Angelakis in 2006, and Psarras et al. in 2013 used omnidirectional source-receivers to make measured maps of strength, reverberation and clarity. Hak et al 2016, used a large number of source-receivers to make an even more detailed mapping. Their findings were that the speech clarity was best in the Odeon of Herodes Atticus and that there is a greater degree of reverberation at Epidaurus due to reflection from the opposing seats.
Athens is a major coastal urban area in the Mediterranean, and it is both the capital and the largest city of Greece. With its urban area's population numbering over three million, it is also the eighth largest urban area in the European Union. Athens dominates and is the capital of the Attica region and is one of the world's oldest cities, with its recorded history spanning over 3,400 years, and its earliest human presence beginning somewhere between the 11th and 7th millennia BC. The city was named after Athena, the ancient Greek goddess of wisdom.
Classical Athens was one of the most powerful city-states in ancient Greece. It was a centre for democracy, the arts, education and philosophy, and was highly influential throughout the European continent, particularly in Ancient Rome. For this reason, it is often regarded as the cradle of Western civilization and the birthplace of democracy in its own right independently from the rest of Greece. In modern times, Athens is a huge cosmopolitan metropolis and central to economic, financial, industrial, maritime, political and cultural life in Greece. In 2023, Athens metropolitan area and its surrounding municipalities (consisting the regional area of Attica) has a population of approximately 3.8 million.
Athens is a Beta-status global city according to the Globalization and World Cities Research Network, and is one of the biggest economic centers in Southeastern Europe. It also has a large financial sector, and its port Piraeus is both the 2nd busiest passenger port in Europe, and the 13th largest container port in the world. The Municipality of Athens (also City of Athens), which constitutes a small administrative unit of the entire urban area, had a population of 643,452 (2021) within its official limits, and a land area of 38.96 km2 (15.04 sq mi). The Athens metropolitan area or Greater Athens extends beyond its administrative municipal city limits as well as its urban agglomeration, with a population of 3,638,281 (2021) over an area of 2,928.717 km2 (1,131 sq mi). Athens is also the southernmost capital on the European mainland.
The heritage of the Classical Era is still evident in the city, represented by ancient monuments, and works of art, the most famous of all being the Parthenon, considered a key landmark of early Western culture. The city also retains Roman, Byzantine and a smaller number of Ottoman monuments, while its historical urban core features elements of continuity through its millennia of history. Athens is home to two UNESCO World Heritage Sites, the Acropolis of Athens and the medieval Daphni Monastery. Landmarks of the modern era, dating back to the establishment of Athens as the capital of the independent Greek state in 1834, include the Hellenic Parliament and the Architectural Trilogy of Athens, consisting of the National Library of Greece, the National and Kapodistrian University of Athens, and the Academy of Athens. Athens is also home to several museums and cultural institutions, such as the National Archeological Museum, featuring the world's largest collection of ancient Greek antiquities, the Acropolis Museum, the Museum of Cycladic Art, the Benaki Museum, and the Byzantine and Christian Museum. Athens was the host city of the first modern-day Olympic Games in 1896, and 108 years later it hosted the 2004 Summer Olympics, making it one of five cities to have hosted the Summer Olympics on multiple occasions. Athens joined the UNESCO Global Network of Learning Cities in 2016.
Etymology and names
In Ancient Greek, the name of the city was Ἀθῆναι (Athênai, pronounced [atʰɛ̂ːnai̯] in Classical Attic), which is a plural word. In earlier Greek, such as Homeric Greek, the name had been current in the singular form though, as Ἀθήνη (Athḗnē). It was possibly rendered in the plural later on, like those of Θῆβαι (Thêbai) and Μυκῆναι (Μukênai). The root of the word is probably not of Greek or Indo-European origin, and is possibly a remnant of the Pre-Greek substrate of Attica. In antiquity, it was debated whether Athens took its name from its patron goddess Athena (Attic Ἀθηνᾶ, Athēnâ, Ionic Ἀθήνη, Athḗnē, and Doric Ἀθάνα, Athā́nā) or Athena took her name from the city. Modern scholars now generally agree that the goddess takes her name from the city,[24] because the ending -ene is common in names of locations, but rare for personal names.
According to the ancient Athenian founding myth, Athena, the goddess of wisdom and war, competed against Poseidon, the God of the Seas, for patronage of the yet-unnamed city; they agreed that whoever gave the Athenians the better gift would become their patron and appointed Cecrops, the king of Athens, as the judge. According to the account given by Pseudo-Apollodorus, Poseidon struck the ground with his trident and a salt water spring welled up. In an alternative version of the myth from Vergil's poem Georgics, Poseidon instead gave the Athenians the first horse. In both versions, Athena offered the Athenians the first domesticated olive tree. Cecrops accepted this gift and declared Athena the patron goddess of Athens. Eight different etymologies, now commonly rejected, have been proposed since the 17th century. Christian Lobeck proposed as the root of the name the word ἄθος (áthos) or ἄνθος (ánthos) meaning "flower", to denote Athens as the "flowering city". Ludwig von Döderlein proposed the stem of the verb θάω, stem θη- (tháō, thē-, "to suck") to denote Athens as having fertile soil. Athenians were called cicada-wearers (Ancient Greek: Τεττιγοφόροι) because they used to wear pins of golden cicadas. A symbol of being autochthonous (earth-born), because the legendary founder of Athens, Erechtheus was an autochthon or of being musicians, because the cicada is a "musician" insect. In classical literature, the city was sometimes referred to as the City of the Violet Crown, first documented in Pindar's ἰοστέφανοι Ἀθᾶναι (iostéphanoi Athânai), or as τὸ κλεινὸν ἄστυ (tò kleinòn ásty, "the glorious city").
During the medieval period, the name of the city was rendered once again in the singular as Ἀθήνα. Variant names included Setines, Satine, and Astines, all derivations involving false splitting of prepositional phrases. King Alphonse X of Castile gives the pseudo-etymology 'the one without death/ignorance'. In Ottoman Turkish, it was called آتينا Ātīnā, and in modern Turkish, it is Atina.
History
Main article: History of Athens
For a chronological guide, see Timeline of Athens.
Historical affiliations
Kingdom of Athens 1556 BC–1068 BC
City-state of Athens 1068 BC–322 BC
Hellenic League 338 BC–322 BC
Kingdom of Macedonia 322 BC–148 BC
Roman Republic 146 BC–27 BC
Roman Empire 27 BC–395 AD
Eastern Roman Empire 395–1205
Duchy of Athens 1205–1458
Ottoman Empire 1458–1822, 1827–1832
Greece 1822–1827, 1832–present
Antiquity
The oldest known human presence in Athens is the Cave of Schist, which has been dated to between the 11th and 7th millennia BC. Athens has been continuously inhabited for at least 5,000 years (3000 BC). By 1400 BC, the settlement had become an important centre of the Mycenaean civilization, and the Acropolis was the site of a major Mycenaean fortress, whose remains can be recognised from sections of the characteristic Cyclopean walls. Unlike other Mycenaean centers, such as Mycenae and Pylos, it is not known whether Athens suffered destruction in about 1200 BC, an event often attributed to a Dorian invasion, and the Athenians always maintained that they were pure Ionians with no Dorian element. However, Athens, like many other Bronze Age settlements, went into economic decline for around 150 years afterwards. Iron Age burials, in the Kerameikos and other locations, are often richly provided for and demonstrate that from 900 BC onwards Athens was one of the leading centres of trade and prosperity in the region.
By the sixth century BC, widespread social unrest led to the reforms of Solon. These would pave the way for the eventual introduction of democracy by Cleisthenes in 508 BC. Athens had by this time become a significant naval power with a large fleet, and helped the rebellion of the Ionian cities against Persian rule. In the ensuing Greco-Persian Wars Athens, together with Sparta, led the coalition of Greek states that would eventually repel the Persians, defeating them decisively at Marathon in 490 BC, and crucially at Salamis in 480 BC. However, this did not prevent Athens from being captured and sacked twice by the Persians within one year, after a heroic but ultimately failed resistance at Thermopylae by Spartans and other Greeks led by King Leonidas, after both Boeotia and Attica fell to the Persians.
The decades that followed became known as the Golden Age of Athenian democracy, during which time Athens became the leading city of Ancient Greece, with its cultural achievements laying the foundations for Western civilization. The playwrights Aeschylus, Sophocles and Euripides flourished in Athens during this time, as did the historians Herodotus and Thucydides, the physician Hippocrates, and the philosopher Socrates. Guided by Pericles, who promoted the arts and fostered democracy, Athens embarked on an ambitious building program that saw the construction of the Acropolis of Athens (including the Parthenon), as well as empire-building via the Delian League. Originally intended as an association of Greek city-states to continue the fight against the Persians, the league soon turned into a vehicle for Athens's own imperial ambitions. The resulting tensions brought about the Peloponnesian War (431–404 BC), in which Athens was defeated by its rival Sparta.
By the mid-4th century BC, the northern Greek kingdom of Macedon was becoming dominant in Athenian affairs. In 338 BC the armies of Philip II defeated an alliance of some of the Greek city-states including Athens and Thebes at the Battle of Chaeronea. Later, under Rome, Athens was given the status of a free city because of its widely admired schools. In the second century AD, The Roman emperor Hadrian, himself an Athenian citizen, ordered the construction of a library, a gymnasium, an aqueduct which is still in use, several temples and sanctuaries, a bridge and financed the completion of the Temple of Olympian Zeus.
In the early 4th century AD, the Eastern Roman Empire began to be governed from Constantinople, and with the construction and expansion of the imperial city, many of Athens's works of art were taken by the emperors to adorn it. The Empire became Christianized, and the use of Latin declined in favour of exclusive use of Greek; in the Roman imperial period, both languages had been used. In the later Roman period, Athens was ruled by the emperors continuing until the 13th century, its citizens identifying themselves as citizens of the Roman Empire ("Rhomaioi"). The conversion of the empire from paganism to Christianity greatly affected Athens, resulting in reduced reverence for the city.[33] Ancient monuments such as the Parthenon, Erechtheion and the Hephaisteion (Theseion) were converted into churches. As the empire became increasingly anti-pagan, Athens became a provincial town and experienced fluctuating fortunes.
The city remained an important center of learning, especially of Neoplatonism—with notable pupils including Gregory of Nazianzus, Basil of Caesarea and emperor Julian (r. 355–363)—and consequently a center of paganism. Christian items do not appear in the archaeological record until the early 5th century. The sack of the city by the Herules in 267 and by the Visigoths under their king Alaric I (r. 395–410) in 396, however, dealt a heavy blow to the city's fabric and fortunes, and Athens was henceforth confined to a small fortified area that embraced a fraction of the ancient city. The emperor Justinian I (r. 527–565) banned the teaching of philosophy by pagans in 529, an event whose impact on the city is much debated, but is generally taken to mark the end of the ancient history of Athens. Athens was sacked by the Slavs in 582, but remained in imperial hands thereafter, as highlighted by the visit of the emperor Constans II (r. 641–668) in 662/3 and its inclusion in the Theme of Hellas.
Middle Ages
The city was threatened by Saracen raids in the 8th–9th centuries—in 896, Athens was raided and possibly occupied for a short period, an event which left some archaeological remains and elements of Arabic ornamentation in contemporary buildings—but there is also evidence of a mosque existing in the city at the time. In the great dispute over Byzantine Iconoclasm, Athens is commonly held to have supported the iconophile position, chiefly due to the role played by Empress Irene of Athens in the ending of the first period of Iconoclasm at the Second Council of Nicaea in 787. A few years later, another Athenian, Theophano, became empress as the wife of Staurakios (r. 811–812).
Invasion of the empire by the Turks after the Battle of Manzikert in 1071, and the ensuing civil wars, largely passed the region by and Athens continued its provincial existence unharmed. When the Byzantine Empire was rescued by the resolute leadership of the three Komnenos emperors Alexios, John and Manuel, Attica and the rest of Greece prospered. Archaeological evidence tells us that the medieval town experienced a period of rapid and sustained growth, starting in the 11th century and continuing until the end of the 12th century.
The Agora (marketplace) had been deserted since late antiquity, began to be built over, and soon the town became an important centre for the production of soaps and dyes. The growth of the town attracted the Venetians, and various other traders who frequented the ports of the Aegean, to Athens. This interest in trade appears to have further increased the economic prosperity of the town.
The 11th and 12th centuries were the Golden Age of Byzantine art in Athens. Almost all of the most important Middle Byzantine churches in and around Athens were built during these two centuries, and this reflects the growth of the town in general. However, this medieval prosperity was not to last. In 1204, the Fourth Crusade conquered Athens and the city was not recovered from the Latins before it was taken by the Ottoman Turks. It did not become Greek in government again until the 19th century.
From 1204 until 1458, Athens was ruled by Latins in three separate periods, following the Crusades. The "Latins", or "Franks", were western Europeans and followers of the Latin Church brought to the Eastern Mediterranean during the Crusades. Along with rest of Byzantine Greece, Athens was part of the series of feudal fiefs, similar to the Crusader states established in Syria and on Cyprus after the First Crusade. This period is known as the Frankokratia.
Ottoman Athens
The first Ottoman attack on Athens, which involved a short-lived occupation of the town, came in 1397, under the Ottoman generals Yaqub Pasha and Timurtash. Finally, in 1458, Athens was captured by the Ottomans under the personal leadership of Sultan Mehmed II. As the Ottoman Sultan rode into the city, he was greatly struck by the beauty of its ancient monuments and issued a firman (imperial edict) forbidding their looting or destruction, on pain of death. The Parthenon was converted into the main mosque of the city.
Under Ottoman rule, Athens was denuded of any importance and its population severely declined, leaving it as a "small country town" (Franz Babinger). From the early 17th century, Athens came under the jurisdiction of the Kizlar Agha, the chief black eunuch of the Sultan's harem. The city had originally been granted by Sultan Ahmed I (r. 1603–1617) to Basilica, one of his favourite concubines, who hailed from the city, in response of complaints of maladministration by the local governors. After her death, Athens came under the purview of the Kizlar Agha.
The Turks began a practice of storing gunpowder and explosives in the Parthenon and Propylaea. In 1640, a lightning bolt struck the Propylaea, causing its destruction. In 1687, during the Morean War, the Acropolis was besieged by the Venetians under Francesco Morosini, and the temple of Athena Nike was dismantled by the Ottomans to fortify the Parthenon. A shot fired during the bombardment of the Acropolis caused a powder magazine in the Parthenon to explode (26 September), and the building was severely damaged, giving it largely the appearance it has today. The Venetian occupation of Athens lasted for six months, and both the Venetians and the Ottomans participated in the looting of the Parthenon. One of its western pediments was removed, causing even more damage to the structure. During the Venetian occupation, the two mosques of the city were converted into Catholic and Protestant churches, but on 9 April 1688 the Venetians abandoned Athens again to the Ottomans.
Modern history
In 1822, a Greek insurgency captured the city, but it fell to the Ottomans again in 1826 (though Acropolis held till June 1827). Again the ancient monuments suffered badly. The Ottoman forces remained in possession until March 1833, when they withdrew. At that time, the city (as throughout the Ottoman period) had a small population of an estimated 400 houses, mostly located around the Acropolis in the Plaka.
Following the Greek War of Independence and the establishment of the Greek Kingdom, Athens was chosen to replace Nafplio as the second capital of the newly independent Greek state in 1834, largely because of historical and sentimental reasons. At the time, after the extensive destruction it had suffered during the war of independence, it was reduced to a town of about 4,000 people (less than half its earlier population) in a loose swarm of houses along the foot of the Acropolis. The first King of Greece, Otto of Bavaria, commissioned the architects Stamatios Kleanthis and Eduard Schaubert to design a modern city plan fit for the capital of a state.
The first modern city plan consisted of a triangle defined by the Acropolis, the ancient cemetery of Kerameikos and the new palace of the Bavarian king (now housing the Greek Parliament), so as to highlight the continuity between modern and ancient Athens. Neoclassicism, the international style of this epoch, was the architectural style through which Bavarian, French and Greek architects such as Hansen, Klenze, Boulanger or Kaftantzoglou designed the first important public buildings of the new capital. In 1896, Athens hosted the first modern Olympic Games. During the 1920s a number of Greek refugees, expelled from Asia Minor after the Greco-Turkish War and Greek genocide, swelled Athens's population; nevertheless it was most particularly following World War II, and from the 1950s and 1960s, that the population of the city exploded, and Athens experienced a gradual expansion.
In the 1980s, it became evident that smog from factories and an ever-increasing fleet of automobiles, as well as a lack of adequate free space due to congestion, had evolved into the city's most important challenge.[citation needed] A series of anti-pollution measures taken by the city's authorities in the 1990s, combined with a substantial improvement of the city's infrastructure (including the Attiki Odos motorway, the expansion of the Athens Metro, and the new Athens International Airport), considerably alleviated pollution and transformed Athens into a much more functional city. In 2004, Athens hosted the 2004 Summer Olympics.
Geography
Athens sprawls across the central plain of Attica that is often referred to as the Athens Basin or the Attica Basin (Greek: Λεκανοπέδιο Αθηνών/Αττικής). The basin is bounded by four large mountains: Mount Aigaleo to the west, Mount Parnitha to the north, Mount Pentelicus to the northeast and Mount Hymettus to the east. Beyond Mount Aegaleo lies the Thriasian plain, which forms an extension of the central plain to the west. The Saronic Gulf lies to the southwest. Mount Parnitha is the tallest of the four mountains (1,413 m (4,636 ft)), and has been declared a national park. The Athens urban area spreads over 50 kilometres (31 mi) from Agios Stefanos in the north to Varkiza in the south. The city is located in the north temperate zone, 38 degrees north of the equator.
Athens is built around a number of hills. Lycabettus is one of the tallest hills of the city proper and provides a view of the entire Attica Basin. The meteorology of Athens is deemed to be one of the most complex in the world because its mountains cause a temperature inversion phenomenon which, along with the Greek government's difficulties controlling industrial pollution, was responsible for the air pollution problems the city has faced. This issue is not unique to Athens; for instance, Los Angeles and Mexico City also suffer from similar atmospheric inversion problems.
The Cephissus river, the Ilisos and the Eridanos stream are the historical rivers of Athens.
Environment
By the late 1970s, the pollution of Athens had become so destructive that according to the then Greek Minister of Culture, Constantine Trypanis, "...the carved details on the five the caryatids of the Erechtheum had seriously degenerated, while the face of the horseman on the Parthenon's west side was all but obliterated." A series of measures taken by the authorities of the city throughout the 1990s resulted in the improvement of air quality; the appearance of smog (or nefos as the Athenians used to call it) has become less common.
Measures taken by the Greek authorities throughout the 1990s have improved the quality of air over the Attica Basin. Nevertheless, air pollution still remains an issue for Athens, particularly during the hottest summer days. In late June 2007, the Attica region experienced a number of brush fires, including a blaze that burned a significant portion of a large forested national park in Mount Parnitha, considered critical to maintaining a better air quality in Athens all year round. Damage to the park has led to worries over a stalling in the improvement of air quality in the city.
The major waste management efforts undertaken in the last decade (particularly the plant built on the small island of Psytalia) have greatly improved water quality in the Saronic Gulf, and the coastal waters of Athens are now accessible again to swimmers.
Parks and zoos
Parnitha National Park is punctuated by well-marked paths, gorges, springs, torrents and caves dotting the protected area. Hiking and mountain-biking in all four mountains are popular outdoor activities for residents of the city. The National Garden of Athens was completed in 1840 and is a green refuge of 15.5 hectares in the centre of the Greek capital. It is to be found between the Parliament and Zappeion buildings, the latter of which maintains its own garden of seven hectares. Parts of the City Centre have been redeveloped under a masterplan called the Unification of Archeological Sites of Athens, which has also gathered funding from the EU to help enhance the project. The landmark Dionysiou Areopagitou Street has been pedestrianised, forming a scenic route. The route starts from the Temple of Olympian Zeus at Vasilissis Olgas Avenue, continues under the southern slopes of the Acropolis near Plaka, and finishes just beyond the Temple of Hephaestus in Thiseio. The route in its entirety provides visitors with views of the Parthenon and the Agora (the meeting point of ancient Athenians), away from the busy City Centre.
The hills of Athens also provide green space. Lycabettus, Philopappos hill and the area around it, including Pnyx and Ardettos hill, are planted with pines and other trees, with the character of a small forest rather than typical metropolitan parkland. Also to be found is the Pedion tou Areos (Field of Mars) of 27.7 hectares, near the National Archaeological Museum. Athens' largest zoo is the Attica Zoological Park, a 20-hectare (49-acre) private zoo located in the suburb of Spata. The zoo is home to around 2000 animals representing 400 species, and is open 365 days a year. Smaller zoos exist within public gardens or parks, such as the zoo within the National Garden of Athens.
Climate
Athens has a hot-summer Mediterranean climate (Köppen climate classification: Csa). According to the meteorological station near the city center which is operated by the National Observatory of Athens, the downtown area has an annual average temperature of 19.2 °C (66.6 °F) while parts of the urban agglomeration may reach up to 19.8 °C (67.6 °F), being affected by the urban heat island effect. Athens receives about 433.1 millimetres (17.05 in) of precipitation per year, largely concentrated during the colder half of the year with the remaining rainfall falling sparsely, mainly during thunderstorms. Fog is rare in the city center, but somewhat more frequent in areas to the east, close to mount Hymettus.
The southern section of the Athens metropolitan area (i.e., Elliniko, Athens Riviera) lies in the transitional zone between Mediterranean (Csa) and hot semi-arid climate (BSh), with its port-city of Piraeus being the most extreme example, receiving just 331.9 millimetres (13.07 in) per year. The areas to the south generally see less extreme temperature variations as their climate is moderated by the Saronic gulf. The northern part of the city (i.e., Kifissia), owing to its higher elevation, features moderately lower temperatures and slightly increased precipitation year-round. The generally dry climate of the Athens basin compared to the precipitation amounts seen in a typical Mediterranean climate is due to the rain shadow effect caused by the Pindus mountain range and the Dirfys and Parnitha mountains, substantially drying the westerly and northerly winds respectively.
Snowfall is not very common, though it occurs almost annually, but it usually does not cause heavy disruption to daily life, in contrast to the northern parts of the city, where blizzards occur on a somewhat more regular basis. The most recent examples include the snowstorms of 16 February 2021 and 24 January 2022, when the entire urban area was blanketed in snow.
Athens may get particularly hot in the summer, owing partly to the strong urban heat island effect characterizing the city. In fact, Athens is considered to be the hottest city in mainland Europe, and is the first city in Europe to appoint a chief heat officer to deal with severe heat waves. Temperatures of 47.5°C have been reported in several locations of the metropolitan area, including within the urban agglomeration. Metropolitan Athens was until 2021 the holder of the World Meteorological Organization record for the highest temperature ever recorded in Europe with 48.0 °C (118.4 °F) which was recorded in the areas of Elefsina and Tatoi on 10 July 1977.
Administration
Athens became the capital of Greece in 1834, following Nafplion, which was the provisional capital from 1829. The municipality (City) of Athens is also the capital of the Attica region. The term Athens can refer either to the Municipality of Athens, to Greater Athens or urban area, or to the entire Athens Metropolitan Area.
The large City Centre (Greek: Κέντρο της Αθήνας) of the Greek capital falls directly within the Municipality of Athens or Athens Municipality (Greek: Δήμος Αθηναίων)—also City of Athens. Athens Municipality is the largest in population size in Greece. Piraeus also forms a significant city centre on its own within the Athens Urban Area and it is the second largest in population size within it.
Athens Urban Area
The Athens Urban Area (Greek: Πολεοδομικό Συγκρότημα Αθηνών), also known as Urban Area of the Capital (Greek: Πολεοδομικό Συγκρότημα Πρωτεύουσας) or Greater Athens (Greek: Ευρύτερη Αθήνα), today consists of 40 municipalities, 35 of which make up what was referred to as the former Athens Prefecture municipalities, located within 4 regional units (North Athens, West Athens, Central Athens, South Athens); and a further 5 municipalities, which make up the former Piraeus Prefecture municipalities, located within the regional unit of Piraeus as mentioned above.
The Athens Municipality forms the core and center of Greater Athens, which in its turn consists of the Athens Municipality and 40 more municipalities, divided in four regional units (Central, North, South and West Athens), accounting for 2,611,713 people (in 2021) within an area of 361 km2 (139 sq mi). Until 2010, which made up the abolished Athens Prefecture and the municipality of Piraeus, the historic Athenian port, with 4 other municipalities make up the regional unit of Piraeus. The regional units of Central Athens, North Athens, South Athens, West Athens and Piraeus with part of East and West Attica regional units combined make up the continuous Athens Urban Area, also called the "Urban Area of the Capital" or simply "Athens" (the most common use of the term), spanning over 412 km2 (159 sq mi), with a population of 3,059,764 people as of 2021. The Athens Urban Area is considered to form the city of Athens as a whole, despite its administrative divisions, which is the largest in Greece and the 9th most populated urban area in Europe.
Demographics
The Municipality of Athens has an official population of 643,452 people (in 2021). According to the 2021 Population and Housing Census, The four regional units that make up what is referred to as Greater Athens have a combined population of 2,611,713 . They together with the regional unit of Piraeus (Greater Piraeus) make up the dense Athens Urban Area which reaches a total population of 3,059,764 inhabitants (in 2021).
The municipality (Center) of Athens is the most populous in Greece, with a population of 643,452 people (in 2021) and an area of 38.96 km2 (15.04 sq mi), forming the core of the Athens Urban Area within the Attica Basin. The incumbent Mayor of Athens is Kostas Bakoyannis of New Democracy. The municipality is divided into seven municipal districts which are mainly used for administrative purposes.
For the Athenians the most popular way of dividing the downtown is through its neighbourhoods such as Pagkrati, Ampelokipoi, Goudi, Exarcheia, Patisia, Ilisia, Petralona, Plaka, Anafiotika, Koukaki, Kolonaki and Kypseli, each with its own distinct history and characteristics.
Safety
Athens ranks in the lowest percentage for the risk on frequency and severity of terrorist attacks according to the EU Global Terrorism Database (EIU 2007–2016 calculations). The city also ranked 35th in Digital Security, 21st on Health Security, 29th on Infrastructure Security and 41st on Personal Security globally in a 2017 The Economist Intelligence Unit report. It also ranks as a very safe city (39th globally out of 162 cities overall) on the ranking of the safest and most dangerous countries. As May 2022 the crime index from Numbeo places Athens at 56.33 (moderate), while its safety index is at 43.68.Crime in Athens According to a Mercer 2019 Quality of Living Survey, Athens ranks 89th on the Mercer Quality of Living Survey ranking.
Economy
Athens is the financial capital of Greece. According to data from 2014, Athens as a metropolitan economic area produced US$130 billion as GDP in PPP, which consists of nearly half of the production for the whole country. Athens was ranked 102nd in that year's list of global economic metropolises, while GDP per capita for the same year was 32,000 US-dollars.
Athens is one of the major economic centres in south-eastern Europe and is considered a regional economic power. The port of Piraeus, where big investments by COSCO have already been delivered during the recent decade, the completion of the new Cargo Centre in Thriasion, the expansion of the Athens Metro and the Athens Tram, as well as the Hellenikon metropolitan park redevelopment in Elliniko and other urban projects, are the economic landmarks of the upcoming years.
Prominent Greek companies such as Hellas Sat, Hellenic Aerospace Industry, Mytilineos Holdings, Titan Cement, Hellenic Petroleum, Papadopoulos E.J., Folli Follie, Jumbo S.A., OPAP, and Cosmote have their headquarters in the metropolitan area of Athens. Multinational companies such as Ericsson, Sony, Siemens, Motorola, Samsung, Microsoft, Teleperformance, Novartis, Mondelez and Coca-Cola also have their regional research and development headquarters in the city.
The banking sector is represented by National Bank of Greece, Alpha Bank, Eurobank, and Piraeus Bank, while the Bank of Greece is also situated in the City Centre. The Athens Stock Exchange was severely hit by the Greek government-debt crisis and the decision of the government to proceed into capital controls during summer 2015. As a whole the economy of Athens and Greece was strongly affected, while data showed a change from long recession to growth of 1.4% from 2017 onwards.
Tourism is also a leading contributor to the economy of the city, as one of Europe's top destinations for city-break tourism, and also the gateway for excursions to both the islands and other parts of the mainland. Greece attracted 26.5 million visitors in 2015, 30.1 million visitors in 2017, and over 33 million in 2018, making Greece one of the most visited countries in Europe and the world, and contributing 18% to the country's GDP. Athens welcomed more than 5 million tourists in 2018, and 1.4 million were "city-breakers"; this was an increase by over a million city-breakers since 2013.
Tourism
Athens has been a destination for travellers since antiquity. Over the past decade, the city's infrastructure and social amenities have improved, in part because of its successful bid to stage the 2004 Olympic Games. The Greek Government, aided by the EU, has funded major infrastructure projects such as the state-of-the-art Eleftherios Venizelos International Airport, the expansion of the Athens Metro system, and the new Attiki Odos Motorway
Education
Located on Panepistimiou Street, the old campus of the University of Athens, the National Library, and the Athens Academy form the "Athens Trilogy" built in the mid-19th century. The largest and oldest university in Athens is the National and Kapodistrian University of Athens. Most of the functions of NKUA have been transferred to a campus in the eastern suburb of Zografou. The National Technical University of Athens is located on Patision Street.
The University of West Attica is the second largest university in Athens. The seat of the university is located in the western area of Athens, where the philosophers of Ancient Athens delivered lectures. All the activities of UNIWA are carried out in the modern infrastructure of the three University Campuses within the metropolitan region of Athens (Egaleo Park, Ancient Olive Groove and Athens), which offer modern teaching and research spaces, entertainment and support facilities for all students. Other universities that lie within Athens are the Athens University of Economics and Business, the Panteion University, the Agricultural University of Athens and the University of Piraeus.
There are overall ten state-supported Institutions of Higher (or Tertiary) education located in the Athens Urban Area, these are by chronological order: Athens School of Fine Arts (1837), National Technical University of Athens (1837), National and Kapodistrian University of Athens (1837), Agricultural University of Athens (1920), Athens University of Economics and Business (1920), Panteion University of Social and Political Sciences (1927), University of Piraeus (1938), Harokopio University of Athens (1990), School of Pedagogical and Technological Education (2002), University of West Attica (2018). There are also several other private colleges, as they called formally in Greece, as the establishment of private universities is prohibited by the constitution. Many of them are accredited by a foreign state or university such as the American College of Greece and the Athens Campus of the University of Indianapolis.
Culture
The city is a world centre of archaeological research. Alongside national academic institutions, such as the Athens University and the Archaeological Society, it is home to multiple archaeological museums, taking in the National Archaeological Museum, the Cycladic Museum, the Epigraphic Museum, the Byzantine & Christian Museum, as well as museums at the ancient Agora, Acropolis, Kerameikos, and the Kerameikos Archaeological Museum. The city is also the setting for the Demokritos laboratory for Archaeometry, alongside regional and national archaeological authorities forming part of the Greek Department of Culture.
Athens hosts 17 Foreign Archaeological Institutes which promote and facilitate research by scholars from their home countries. As a result, Athens has more than a dozen archaeological libraries and three specialized archaeological laboratories, and is the venue of several hundred specialized lectures, conferences and seminars, as well as dozens of archaeological exhibitions each year. At any given time, hundreds of international scholars and researchers in all disciplines of archaeology are to be found in the city.
Athens' most important museums include:
the National Archaeological Museum, the largest archaeological museum in the country, and one of the most important internationally, as it contains a vast collection of antiquities. Its artefacts cover a period of more than 5,000 years, from late Neolithic Age to Roman Greece;
the Benaki Museum with its several branches for each of its collections including ancient, Byzantine, Ottoman-era, Chinese art and beyond;
the Byzantine and Christian Museum, one of the most important museums of Byzantine art;
the National Art Gallery, the nation's eponymous leading gallery, which reopened in 2021 after renovation;
the National Museum of Contemporary Art, which opened in 2000 in a former brewery building;
the Numismatic Museum, housing a major collection of ancient and modern coins;
the Museum of Cycladic Art, home to an extensive collection of Cycladic art, including its famous figurines of white marble;
the New Acropolis Museum, opened in 2009, and replacing the old museum on the Acropolis. The new museum has proved considerably popular; almost one million people visited during the summer period June–October 2009 alone. A number of smaller and privately owned museums focused on Greek culture and arts are also to be found.
the Kerameikos Archaeological Museum, a museum which displays artifacts from the burial site of Kerameikos. Much of the pottery and other artifacts relate to Athenian attitudes towards death and the afterlife, throughout many ages.
the Jewish Museum of Greece, a museum which describes the history and culture of the Greek Jewish community.
Architecture
Athens incorporates architectural styles ranging from Greco-Roman and Neoclassical to Modern. They are often to be found in the same areas, as Athens is not marked by a uniformity of architectural style. A visitor will quickly notice the absence of tall buildings: Athens has very strict height restriction laws in order to ensure the Acropolis Hill is visible throughout the city. Despite the variety in styles, there is evidence of continuity in elements of the architectural environment throughout the city's history.
For the greatest part of the 19th century Neoclassicism dominated Athens, as well as some deviations from it such as Eclecticism, especially in the early 20th century. Thus, the Old Royal Palace was the first important public building to be built, between 1836 and 1843. Later in the mid and late 19th century, Theophil Freiherr von Hansen and Ernst Ziller took part in the construction of many neoclassical buildings such as the Athens Academy and the Zappeion Hall. Ziller also designed many private mansions in the centre of Athens which gradually became public, usually through donations, such as Schliemann's Iliou Melathron.
Beginning in the 1920s, modern architecture including Bauhaus and Art Deco began to exert an influence on almost all Greek architects, and buildings both public and private were constructed in accordance with these styles. Localities with a great number of such buildings include Kolonaki, and some areas of the centre of the city; neighbourhoods developed in this period include Kypseli.
In the 1950s and 1960s during the extension and development of Athens, other modern movements such as the International style played an important role. The centre of Athens was largely rebuilt, leading to the demolition of a number of neoclassical buildings. The architects of this era employed materials such as glass, marble and aluminium, and many blended modern and classical elements. After World War II, internationally known architects to have designed and built in the city included Walter Gropius, with his design for the US Embassy, and, among others, Eero Saarinen, in his postwar design for the east terminal of the Ellinikon Airport.
Urban sculpture
Across the city numerous statues or busts are to be found. Apart from the neoclassicals by Leonidas Drosis at the Academy of Athens (Plato, Socrates, Apollo and Athena), others in notable categories include the statue of Theseus by Georgios Fytalis at Thiseion; depictions of philhellenes such as Lord Byron, George Canning, and William Gladstone; the equestrian statue of Theodoros Kolokotronis by Lazaros Sochos in front of the Old Parliament; statues of Ioannis Kapodistrias, Rigas Feraios and Adamantios Korais at the University; of Evangelos Zappas and Konstantinos Zappas at the Zappeion; Ioannis Varvakis at the National Garden; the" Woodbreaker" by Dimitrios Filippotis; the equestrian statue of Alexandros Papagos in the Papagou district; and various busts of fighters of Greek independence at the Pedion tou Areos. A significant landmark is also the Tomb of the Unknown Soldier in Syntagma.
Entertainment and performing arts
Athens is home to 148 theatrical stages, more than any other city in the world, including the ancient Odeon of Herodes Atticus, home to the Athens Festival, which runs from May to October each year. In addition to a large number of multiplexes, Athens plays host to open air garden cinemas. The city also supports music venues, including the Athens Concert Hall (Megaro Moussikis), which attracts world class artists. The Athens Planetarium, located in Andrea Syngrou Avenue, in Palaio Faliro is one of the largest and best equipped digital planetaria in the world. The Stavros Niarchos Foundation Cultural Center, inaugurated in 2016, will house the National Library of Greece and the Greek National Opera. In 2018 Athens was designated as the World Book Capital by UNESCO.
Restaurants, tavernas and bars can be found in the entertainment hubs in Plaka and the Trigono areas of the historic centre, the inner suburbs of Gazi and Psyrri are especially busy with nightclubs and bars, while Kolonaki, Exarchia, Metaxourgeio, Koukaki and Pangrati offer more of a cafe and restaurant scene. The coastal suburbs of Microlimano, Alimos and Glyfada include many tavernas, beach bars and busy summer clubs.
The most successful songs during the period 1870–1930 were the Athenian serenades (Αθηναϊκές καντάδες), based on the Heptanesean kantádhes (καντάδες 'serenades'; sing.: καντάδα) and the songs performed on stage (επιθεωρησιακά τραγούδια 'theatrical revue songs') in revues, musical comedies, operettas and nocturnes that were dominating Athens' theatre scene.
In 1922, following the war, genocide and later population exchange suffered by the Greek population of Asia Minor, many ethnic Greeks fled to Athens. They settled in poor neighbourhoods and brought with them Rebetiko music, making it also popular in Greece, and which later became the base for the Laïko music. Other forms of song popular today in Greece are elafrolaika, entechno, dimotika, and skyladika. Greece's most notable, and internationally famous, composers of Greek song, mainly of the entechno form, are Manos Hadjidakis and Mikis Theodorakis. Both composers have achieved fame abroad for their composition of film scores.
The renowned American-born Greek soprano Maria Callas spent her teenage years in Athens, where she settled in 1937. Her professional opera career started in 1940 in Athens, with the Greek National Opera. In 2018, the city's municipal Olympia Theatre was renamed to "Olympia City Music Theatre 'Maria Callas'" and in 2023, the Municipality inaugurated the Maria Callas Museum, housing it in a neoclassical building on 44 Mitropoleos street.
Sports
The Panathenaic Stadium of Athens (Kallimarmaron) dates back to the fourth century BC and has hosted the first modern Olympic Games in 1896.
Agia Sophia Stadium
Athens has a long tradition in sports and sporting events, serving as home to the most important clubs in Greek sport and housing a large number of sports facilities. The city has also been host to sports events of international importance.
Athens has hosted the Summer Olympic Games twice, in 1896 and 2004. The 2004 Summer Olympics required the development of the Athens Olympic Stadium, which has since gained a reputation as one of the most beautiful stadiums in the world, and one of its most interesting modern monuments. The biggest stadium in the country, it hosted two finals of the UEFA Champions League, in 1994 and 2007. Athens' other major stadiums are the Karaiskakis Stadium located in Piraeus, a sports and entertainment complex, host of the 1971 UEFA Cup Winners' Cup Final, and Agia Sophia Stadium located in Nea Filadelfeia.
Athens has hosted the EuroLeague final three times, the first in 1985 and second in 1993, both at the Peace and Friendship Stadium, most known as SEF, a large indoor arena, and the third time in 2007 at the Olympic Indoor Hall. Events in other sports such as athletics, volleyball, water polo etc., have been hosted in the capital's venues.
Athens is home to three European multi-sport clubs: Panathinaikos, originated in Athens city centre, Olympiacos, originated in the suburb of Piraeus and AEK Athens, originated in the suburb of Nea Filadelfeia. In football, Panathinaikos made it to the 1971 European Cup Final, Olympiacos have dominated domestic competitions, while AEK Athens is the other member of the big three. These clubs also have basketball teams; Panathinaikos and Olympiacos are among the top powers in European basketball, having won the Euroleague six times and three respectively, whilst AEK Athens was the first Greek team to win a European trophy in any team sport.
Other notable clubs within Athens are Athinaikos, Panionios, Atromitos, Apollon, Panellinios, Egaleo F.C., Ethnikos Piraeus, Maroussi BC and Peristeri B.C. Athenian clubs have also had domestic and international success in other sports.
The Athens area encompasses a variety of terrain, notably hills and mountains rising around the city, and the capital is the only major city in Europe to be bisected by a mountain range. Four mountain ranges extend into city boundaries and thousands of kilometres of trails criss-cross the city and neighbouring areas, providing exercise and wilderness access on foot and bike.
Beyond Athens and across the prefecture of Attica, outdoor activities include skiing, rock climbing, hang gliding and windsurfing. Numerous outdoor clubs serve these sports, including the Athens Chapter of the Sierra Club, which leads over 4,000 outings annually in the area.
Athens was awarded the 2004 Summer Olympics on 5 September 1997 in Lausanne, Switzerland, after having lost a previous bid to host the 1996 Summer Olympics, to Atlanta, United States. It was to be the second time Athens would host the games, following the inaugural event of 1896. After an unsuccessful bid in 1990, the 1997 bid was radically improved, including an appeal to Greece's Olympic history. In the last round of voting, Athens defeated Rome with 66 votes to 41. Prior to this round, the cities of Buenos Aires, Stockholm and Cape Town had been eliminated from competition, having received fewer votes. Although the heavy cost was criticized, estimated at $1.5 billion, Athens was transformed into a more functional city that enjoys modern technology both in transportation and in modern urban development. The games welcomed over 10,000 athletes from all 202 countries.
Vado Putana, camino a Tatio Rio Putana
Saímos dos gêiseres e passamos pelo Valle do Rio Putana. Este vale tem uma beleza muito peculiar pois estava praticamente seco, pelo menos nesta época, mas que mistura uma diversidade de cores, como o verde da vegetação, as diversas tonalidades de marrom das montanhas, tudo isso emoldurado por pequenos espelhos d’água e pelas montanhas e vulcões nevados ao fundo. Muito bonito !
Clara Fernandes (São Paulo/1955) estudou Psicologia na PUC/SP e Jornalismo na Escola de Comunicações e Artes da USP. Vive e trabalha em Florianópolis desde 1983. Participa desde 1985 de mostras coletivas e individuais em diversos estados brasileiros e também no exterior. Suas principais exposições coletivas são: (1987) VIII SALÃO CATARINENSE DE NOVOS ARTISTAS, no Museu de Arte de Santa Catarina em Florianópolis/SC; (1991) II ENCONTRO LATINO AMERICANO MINI TEXTEIS em Montevideo no Uruguai; (1995) A VIEW OF BRAZILIAN TEXTILE ART no Museu de Roterdã em Copenhagen na Dinamarca; (1996) CONVERGENCE 96 na Wenz Gallery em Portland no Oregon/USA, XV ARTISTAS BRASILEIROS no Museu de Arte Moderna em São Paulo/SP, A VIEW OF BRAZILIAN TEXTILE ART, que foi exibida no Museu do Traje na cidade de Lisboa em Portugal, no Museu de Arte do Rio Grande do Sul em Porto Alegre/RS e no Museu de Arte de Santa Catarina em Florianópolis/ SC; (2003) PERSPECTIVA DAS ARTES PLÁSTICAS EM SANTA CATARINA no Memorial da América Latina, Galeria Marta Traba em São Paulo/SP. Entre suas exposições individuais destacam-se as principais: (1989) TERRAL, Intervenção no Centro Integrado de Cultura em Florianópolis/SC; (1997) ILUMINURAS no Museu de Arte de Santa Catarina em Florianópolis/SC e no Museu de Arte de Joinville em Joinville/SC; (2001) VAZANTE no Museu de Arte de Santa Catarina em Florianópolis/SC; (2010) CARTAS AO MAR no Memorial Meyer Filho em Florianópolis/SC; (2009) LUME na Fundação Cultural BADESC, no Museu Histórico de Santa Catarina, no Teatro Álvaro de Carvalho, no Teatro da UFSC e no Espaço 1 UDESC, todos espaços em Florianópolis/SC; (2012) AMORPHOBIA no Museu Victor Meirelles em Florianópolis/SC; (2013) CARTAS AO MAR no Museu de Arte de Santa Catarina em Florianópolis/SC; (2015) EPIFÂNICAS na Fundação Cultural BADESC em Florianópolis/SC. Entre os prêmios mais importantes que a artista recebeu destacam-se: (1992) Destaque na Arte Catarinense – Associação Catarinense dos Artistas Plásticos de Santa Catarina; (1998) VI Salão Victor Meirelles, Florianópolis/SC; (2013) Prêmio Victor Meirelles: Personalidade das Artes da Academia Catarinense de Letras e Artes de SC; (2014) Prêmio Elisabete Anderle de Estímulo à Cultura.
Queen of autumn
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Scenography: cork and wood; Figures: painted terracotta, cloth; Baskets with fruits of colored wax.
Please don't just add the photos as your favourites.....make a little comment/testimonial....it doesn't take more than 30 seconds!! otherwise you’ll be BLOCKED.
Non mi piacciono le persone che aggiungono le mie foto come “favourite” senza mettere alcun commento!!!
O amor começa não só na euforia das noites de sexta-feira, mas nos tédios compartilhados de domingo; não só na sinfonia do encontro de timbres, mas no descobrimento da paz que mora dentro dos silêncios cotidianos. O amor começa depois. Depois que aquela vida que nos tira o ar tantas vezes, for também a mesma que, simplesmente por existir e respirar, nos dá coragem e vontade de continuar fazendo o mesmo.
Patrícia Pinheiro
Having a lazy day drinking tea and got inspired to try something new with the scanner
This is the result
Model: Cecilia Suzzi
Hairstyle: Exensial spa hair Lorenza Venturini
Stylist, Scenography and Photoshop: Giulia Ravaglia
Cécile
its beauty is all to analyze: fair skin, freckles, red hair and full lips, briefly, a porcelain doll .. I must say that his finesse does not reflect his character so expansive, relaxed and solar; with her is impossible not to laugh between the nonsense that says serious talk and to listen, ready to tell every detail of his life, always with a smile. Everyone loves his thoughtlessness and his way of being, a little girl, but at the same time a little adult. She is so, she has to understand, but trust that once understood will not want to be without her and her infectious laugh. You know those dark days, gray when everything sucks and getting out of bed to go to school would be the last thing you want to do in this world? That's her in those days it is essential to improve yourself the day, has the ability to make you laugh even when you cry and it is an advantage that not everyone has. is nothing short of stubborn, asks advice at least thirty times a day but it's always on his own, sometimes makes mistakes sometimes, but this is right, knows that his head and knows how to use it, is extremely proud and even a little anxious in situations that are dearest to us. He does not realize how beautiful both inside and out as it is with its strengths and weaknesses; I would call it crazy friend with whom you can be yourself one hundred percent without worrying about how you are your hair or how you dress is, you go to his house in bathrobe for her are always beautiful.
Model: Cecilia Suzzi
Hairstyle: Exensial spa per capelli Lorenza Venturini
Stylist,Scenography and Photoshop: Giulia Ravaglia
Cécile
la sua bellezza è tutta da analizzare: pelle chiara, lentiggini, labbra carnose e capelli rossi, in poche parole una bambola di porcellana.. devo dire che la sua finezza non rispecchia il suo carattere così espansivo,alla mano e solare; con lei è impossibile non ridere tra le baggianate che dice e i discorsi seri da ascoltare, pronta a raccontarti ogni particolare della sua vita sempre con il sorriso. Tutti amano la sua spensieratezza e il suo modo di essere, un pò bambina ma allo stesso tempo un pò adulta. Lei è così, lei è da capire, ma fidatevi che una volta capita non riuscirete più a stare senza di lei e la sua risata contagiosa. Avete presente quelle giornate buie,grigie in cui tutto fa schifo e di alzarvi dal letto per andare a scuola sarebbe l'ultima cosa che vorreste fare a questo mondo? Ecco lei in quei giorni è essenziale per migliorarti la giornata, ha la capacità di farti ridere anche mentre piangi ed è un pregio che non tutti hanno. é a dir poco cocciuta, ti chiede consigli almeno trenta volte al giorno ma fa sempre e comunque di testa sua,a volte sbaglia a volte fa bene, ma è giusto così,sa di avere la testa e sa come usarla,è estremamente orgogliosa e anche un tantino ansiosa per le situazioni che gli stanno più a cuore. Non si rende conto di quanto sia bella sia dentro che fuori così com'è con pregi e difetti; la definirei un'amica pazza con cui puoi essere te stessa al cento per cento senza preoccuparti di come ti stanno i capelli o come ti sta il vestito, potresti andare a casa sua in accappatoio che per lei sei sempre bellissima.
Ruta 23
Autoestrada internacional que chega a atingir uma altitude de 4.580 metros, percorre cenários belíssimos do Deserto do Atacama e dá acesso aos mais famosos pontos turísticos da região de Antofagasta.
Inna & the red bricks
By Binya Photography
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“Entre mim e mim há vastidões bastantes para a navegação dos meus desejos afligidos”
[Cecília Meireles]
Mas este silêncio não deixa provas. Não se pode falar do silêncio como se fala da neve.
(Clarice Lispector)
"Imaginaires" at the abbey of Mont Saint-Michel. Night stroll scenography by Kolektik Alambik.
The Great Pillars Crypt, rebuilt in 1446, replaced the romanesque one that collapsed in 1421. The magnificent columns represent palm trees.
www.tripadvisor.com/LocationPhotoDirectLink-g196646-i4009...
Queen of autumn
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Queen of autumn
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CATEDRAL DE PEDRA
Canela - RS - CENTRO
A Igreja Matriz de Nossa Senhora de Lourdes é uma igreja católica localizada na Praça da Matriz,[1] no município brasileiro de Canela, no estado do Rio Grande do Sul. É conhecida popularmente como Catedral de Pedra, embora na verdade, não seja uma catedral.
A construção da Igreja Matriz de Canela teve inicio em 1953 com projeto do arq. Bernardo Satori; em 1954, os alicerces já estavam bem adiantados; em 1955, ficou definido que a nova igreja seria revestida de pedra basalto; em 64 foram concluídas as paredes ao redor da antiga igreja e então se deu a demolição da mesma; em 65 foi realizada a colocação do telhado e no seguinte a campanha dos vitrais que foram doados por pessoas da comunidade; o forro foi colocado em 1978 e em 82, o piso em pedra basalto; em 87 foi colocada a porta em madeira mogno com escultura gótica de W. Frasson.A "Catedral de Pedra de Canela" como é conhecida pelo seu estilo gótico, está situada bem no centro de Canela, na Praça da Matriz e atualmente é um dos pontos turísticos mais visitados do Rio Grande do Sul.A Igreja tem 65 metros de altura e um carrilhão de doze sinos de bronze fabricados pela fundição Giácomo Crespi, na Itália. Em seu interior destacam-se três painéis que são telas pintadas pelo artista gaúcho Marciano Schmitz, retratando a "Aparição de Nossa Senhora", a "Alegoria dos Anjos" e a "Anunciação". Os quadros da Via-Sacra foram feitos por Pablo Orono Herrera, uruguaio, escultor e restaurador de Arte Sacra. Utilizou madeira e argila, tendo ao fundo pintura sobreposta de imagens em argila.
Seus vitrais representam a ladainha de Nossa Senhora. O altar, cujo tema é a Santa Ceia, é uma obra de arte esculpida em madeira por Júlio Tixe, escultor uruguaio.
Foi eleita uma das Sete Maravilhas do Brasil em 2010, e em comemoração ganhou um novo sistema de iluminação externa.
Out of Space 2016 n°10
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I came back home to the UK a week ago after three months in Spain, and my week has been crazy catching up with my family and friends, christmas shopping, and seeing Mumford and Sons. My friends are all slowly starting to come home from university, so it's starting to feel like home again. I didn't end up feeling as torn being in a different country as I felt just before I left the UK back in September, but I needed some time back at home with everyone I love here.
Spain was incredible. Sevilla is beautiful. I have a black and white film to develop once I finish off the last few shots, and then I can share those photos with you too.