{"id":1015,"date":"2021-01-31T15:53:05","date_gmt":"2021-01-31T15:53:05","guid":{"rendered":"https:\/\/savrami.gr\/?page_id=1015"},"modified":"2021-02-14T14:13:24","modified_gmt":"2021-02-14T14:13:24","slug":"chapters-in-books-and-editor","status":"publish","type":"page","link":"https:\/\/savrami.gr\/en\/publications\/chapters-in-books-and-editor\/","title":{"rendered":"Chapters in books and editor"},"content":{"rendered":"\n<div class=\"wp-block-qubely-row alignfull qubely-section qubely-block-2a46ce\"><div class=\"qubely-row-overlay\"><\/div><div class=\"qubely-container\"><div class=\"qubely-row \">\n<div class=\"wp-block-qubely-column qubely-column qubely-column-front qubely-block-a451d6\"><div class=\"qubely-column-inner\">\n<div class=\"wp-block-qubely-heading qubely-block-679654\"><div class=\"qubely-block-heading  \"><div class=\"qubely-heading-container\"><h2 class=\"qubely-heading-selector\">Publications<\/h2><\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-qubely-column qubely-column qubely-column-front qubely-block-6f3fb5\"><div class=\"qubely-column-inner\"><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-qubely-row qubely-section qubely-block-e2ef09\"><div class=\"qubely-row-overlay\"><\/div><div class=\"qubely-container\"><div class=\"qubely-row \">\n<div class=\"wp-block-qubely-column qubely-column qubely-column-front qubely-block-754a5a\"><div class=\"qubely-column-inner\">\n<div class=\"wp-block-qubely-heading qubely-block-1a04d2\"><div class=\"qubely-block-heading  qubely-has-separator qubely-separator-position-bottom\"><div class=\"qubely-heading-container\"><h2 class=\"qubely-heading-selector\">Chapters in books and editor<\/h2><div class=\"qubely-separator qubely-separator-after\"><span class=\"qubely-separator-type-css qubely-separator-solid\"><\/span><\/div><\/div><\/div><\/div>\n\n\n\n<p>Savrami K., \u201cCassia\u2019s \u201cWoman of Many Sins\u201d: From the Two-Dimensional to the Three-Dimensional Interpretation of Byzantine Poetry\u201d, in THEORETICAL APPROACHES TO PERFORMANCE AND PERFORMATIVITY (ed.) Niki Tsironi. London: Rutledge, forthcoming, 2021.<\/p>\n\n\n\n<p>Savrami K., The Dynamic in space, exploring and developing Rudolf Laban\u2019s ideas for the 21st century , presentations title: DirectorNotation from the Laban International Conference, October 2008, at Laban Center Conservatoire of Music and Dance, London, (ed.) Valerie PrestonDunlop, Lesley-Anne Sayers. London: Dance Books, 2010.<\/p>\n\n\n\n<p>Savrami K., \u201cThe Analytical and Educational model of Choreological Studies\u201d in Theory of Dance. pp 135-148 (ed.) K Savrami (Open University, Greece 2003).<\/p>\n\n\n\n<p>Savrami K., Introduction for The Album Dance on the Contemporary Greek Choreographers, Introduction. KOAN, Athens 2004.<\/p>\n\n\n\n<p>Savrami K., \u201cAesthetic Evaluation in Dance\u201d in The Art Of Dancing Today\u2013Education, Production, Performance. pp 31-39 (proceedings ed.) K. Savrami (Alexander S. Onassis Public Benefit Foundation, Athens 2003).<\/p>\n\n\n\n<p>Savrami K., \u201cDance and Criticism\u201d in Art Judgements. pp 55-78 (ed.) K. Savrami (DIAN, Athens 2002).<\/p>\n\n\n\n<p>Savrami K., \u201cAesthetic Evaluation in Art and Sport\u201d in Terpsichore: Seven Moves. pp 43-64 (ed.) K. Savrami (DIAN, Athens 2002).<\/p>\n\n\n\n<p>Savrami K., \u201cRhythmic Sport Gymnastics and Aesthetic Evaluation\u201d in Culture and Art: Seven Essays On Dance. pp 168-192 (ed.) A. Lionarakis,(Propombos, Athens 2000).<\/p>\n\n\n\n<p>Savrami K., \u201cBodies that move and co-move\u201d. University of Patras Press, 2010, pp 74-88. In Dance and Narrativity, 2009 (proceedings ed. Savrami K., (ed.) An Artists Profile: Dora Tsatsou. (DIAN, Athens 2004).<\/p>\n\n\n\n<div style=\"height:140px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":999,"menu_order":67,"comment_status":"closed","ping_status":"closed","template":"","meta":{"qubely_global_settings":"","qubely_interactions":"","footnotes":""},"class_list":["post-1015","page","type-page","status-publish","hentry"],"blocksy_meta":{"page_title_panel":"","has_hero_section":"disabled","0df2dca53447789c9966a9ee2482ae8e":"","hero_section":"type-1","hero_elements":[{"id":"custom_title","enabled":true,"heading_tag":"h1","title":"Home"},{"id":"custom_description","enabled":true,"description_visibility":{"desktop":true,"tablet":true,"mobile":false}},{"id":"custom_meta","enabled":false,"meta_elements":[{"id":"author","enabled":true,"label":"By","has_author_avatar":"yes","avatar_size":25},{"id":"post_date","enabled":true,"label":"On","date_format_source":"default","date_format":"M 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