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・ Athanasios Polychronopoulos
・ Athanasios Psalidas
・ Athanasios Raptis
・ Athanasios Roussopoulos
・ Athanasios Sekeris
・ Athanasios Skaltsogiannis
・ Athanasios Skourtopoulos
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・ Athanasios Tsakalov
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・ Athanasios Tsigas
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Athanasios Veloudios
・ Athanasios Vouros
・ Athanasiou
・ Athanasiou Diakou Street
・ Athanasiu
・ Athanasius (disambiguation)
・ Athanasius (grandson of Theodora)
・ Athanasius (praetorian prefect)
・ Athanasius Allanson
・ Athanasius I
・ Athanasius I (bishop of Naples)
・ Athanasius I Gammolo
・ Athanasius I of Constantinople
・ Athanasius I of Ohrid
・ Athanasius II


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Athanasios Veloudios : ウィキペディア英語版
Athanasios Veloudios

Athanasios Veloudios (Greek: ''Αθανάσιος Βελούδιος'', 1895 – 1992)〔(Lifo:Ένα αφιέρωμα στον μύστη Θάνο Μούρραη-Βελλούδιο. )〕 was a Greek military officer, actor and writer.〔
==Biography==
Veloudiow was born in Athens in 1895. He took part in World War I and the Greco-Turkish war of 1919 – 1922.〔(【引用サイトリンク】url=http://www.haf.gr/el/history/history/pa_history05.asp )〕 After his retirement from army ( 1934 ), he became an actor. In 1927, Veloudios was invited by Eva Palmer-Sikelianos to present the "Ancient Greek pyrrhic dance" at the Delphic Festival of 1927. She also asked him to be "a choreographer and to maintain the right rhythm" ("I was maintaining the rhythm on my own, with a drum," he writes in a text) and also teach the steps and the kinesiology of the ancient war dance to young people (teenagers, members of the "City Scouts" and "Soldiers that I "'borrowed" from the Royal Hellenic Army, "as Veloudios remembers regarding the participants in the dance groups). The initial success of the first "Amphictyony" (as he is referring to them, incorrectly remembering – in one case- 1928 as their chronology) of Angelos Sikelianos led to the resumption of the teaching and presentation of the pyrrhic dance in 1930 by him.
According to Veloudios, the popular in Greece dance of Zeibekiko, comes from the ancient dance "Arto-Zin". The word "Zeu" (from Zeus) symbolizes the spirit, while the "bekos", the 'bread' symbolizes the body. So with the Zeibekiko a man gains "his gets rid of any depressive complex that may oppress him" and enters a state of Doric and Phrygian harmony through this devout contemplation in a space located between time and space (away from the Good and the Evil).〔Θ. Μουρράης–Βελλούδιος, ''Ευγονία και άλλα τινά'', εκδόσεις Άγρα, Αθήνα 1991, σ. 137–138.〕

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