Tylastrona - Revision history

Madoka Tylastrona: /* Visual Arts */

2026-04-19T13:37:30Z

Visual Arts

Madoka Tylastrona: /* Far-Right */

2026-04-19T13:25:24Z

Far-Right

@@ Line 270: / Line 270: @@
 Founded: 2015<br />
 It defends the supremacy of theocracy and is hard-line on industrialism and nationalism, with a policy of welfare exclusivism. It is a breakaway nationalist faction from the UT that advocates expanded temple governance and strict immigration controls. It has a small parliamentary presence, but a strong rhetorical impact.
 == List of heads of government ==

Madoka Tylastrona: /* Other Performing Arts */

2026-04-01T12:34:55Z

Other Performing Arts

← Older revision		Revision as of 12:34, 1 April 2026
Line 2,246:		Line 2,246:
	*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.		*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.
	*'''Tylastronian Variety''' - It started during the early single-party period as a way to distract the people from the nation's problems. These shows started in national radio, and used mostly sketch comedy, clownery, acting and music. By the 50s, post-Mylonas single-party period, Television started to host the variety shows, now with visual aid sketch comedy, clown shows, acting were accompanied by jugglers, ventriloquists and puppetry theatre. Eínai Pánta éna Ypérocho Apógevma (1958-1980) was the most popular variety show, ending even after the end of the single-party state. Japanese variety media started to be broadcasted in the late 1980s. Included Takeshi's Castle and Gaki no Tsukai. Nowadays, Tylastronian Variety shows are described to be totally funded by the Television, the TNB, Tylastronian National Broadcaster. With shows like Kaliméra, Tylastróna (1988-present), Pída to Potámi (1998-2002, 2007-2015), a show similar to Wipeout and Takeshi's Castle. And Komşuya Bakın! (1997-present), the game show/variety show fully in the Turkish language. Sketch comedy, late night shows also started to be popular during the late 80s. Saturday Night Live started to be broadcasted in 1988, The Daily Show in 1999, Ametalk! in 2003, Jimmy Kimmel Live! in 2005 and Conan between 2012-2021. These shows inspired TNB to created its own shows, sketch comedy shows: Koíta ton Ilíthio! (1995-present), O Klóoun tou Symvoulíou tou Naoú (2007-2013) and Kisu to Hagu (2004-present). Late Night Shows: Nychteriní Parástasi me Paschalis Hondroglou (1991-1998, 2003-2005), Argá to vrády tis Paraskevís me Xanthippi Chronea (2000-2009, 2021-present), Ierí Nýchta me Iéreia Ifigeneia (2015-present).		*'''Tylastronian Variety''' - It started during the early single-party period as a way to distract the people from the nation's problems. These shows started in national radio, and used mostly sketch comedy, clownery, acting and music. By the 50s, post-Mylonas single-party period, Television started to host the variety shows, now with visual aid sketch comedy, clown shows, acting were accompanied by jugglers, ventriloquists and puppetry theatre. Eínai Pánta éna Ypérocho Apógevma (1958-1980) was the most popular variety show, ending even after the end of the single-party state. Japanese variety media started to be broadcasted in the late 1980s. Included Takeshi's Castle and Gaki no Tsukai. Nowadays, Tylastronian Variety shows are described to be totally funded by the Television, the TNB, Tylastronian National Broadcaster. With shows like Kaliméra, Tylastróna (1988-present), Pída to Potámi (1998-2002, 2007-2015), a show similar to Wipeout and Takeshi's Castle. And Komşuya Bakın! (1997-present), the game show/variety show fully in the Turkish language. Sketch comedy, late night shows also started to be popular during the late 80s. Saturday Night Live started to be broadcasted in 1988, The Daily Show in 1999, Ametalk! in 2003, Jimmy Kimmel Live! in 2005 and Conan between 2012-2021. These shows inspired TNB to created its own shows, sketch comedy shows: Koíta ton Ilíthio! (1995-present), O Klóoun tou Symvoulíou tou Naoú (2007-2013) and Kisu to Hagu (2004-present). Late Night Shows: Nychteriní Parástasi me Paschalis Hondroglou (1991-1998, 2003-2005), Argá to vrády tis Paraskevís me Xanthippi Chronea (2000-2009, 2021-present), Ierí Nýchta me Iéreia Ifigeneia (2015-present).
	*'''Stand-up Comedy''' - Stand-up in Tylastrona started from the clown and sketch comedy traditions of Tylastronian Circus, the Astonian Comedy tradition in puppetry, theatre and ventriloquism and later the XX Century tradition of Tylastronian Variety. The first stand-up comedians were in fact performers without props or costumes, which distinguished these acts from clownery and sketch comedy. First comedians of these genres performed in the early First Republic under the name of monologuists or comic speeches, within circus skills. Tylastronian stand-up was heavily censored by the military junta and the single-party state, with comedians often finding asylum in Ventriloquists shows in turkish communities or in the controlled radio and TV variety shows. Tylastronian contemporary stand-up (post-1970 Theocratic Revolution) is characterised by: narrative comedy, anecdotal comedy, deadpan delivery, self-depreciating humour, philosophical inquiries, wordplay, satire, observational comedy, musical comedy and magic-involved comedy. Stathis Paulatos (born 1967), Callirhoe Raptoti (born 1981), Magdalini Meloglou (born 1979), Ablak Ilgaz (born 1980), Ugursoy Ganopoulos-Basturk (1981-~~2009~~) and Kou Hiroto (they/them, born 1997) are some of the most known Tylastronian stand-up comedians.		*'''Stand-up Comedy''' - Stand-up in Tylastrona started from the clown and sketch comedy traditions of Tylastronian Circus, the Astonian Comedy tradition in puppetry, theatre and ventriloquism and later the XX Century tradition of Tylastronian Variety. The first stand-up comedians were in fact performers without props or costumes, which distinguished these acts from clownery and sketch comedy. First comedians of these genres performed in the early First Republic under the name of monologuists or comic speeches, within circus skills. Tylastronian stand-up was heavily censored by the military junta and the single-party state, with comedians often finding asylum in Ventriloquists shows in turkish communities or in the controlled radio and TV variety shows. Tylastronian contemporary stand-up (post-1970 Theocratic Revolution) is characterised by: narrative comedy, anecdotal comedy, audience interaction, deadpan delivery, self-depreciating humour, philosophical inquiries, wordplay, satire, observational comedy, musical comedy and magic-involved comedy. Stathis Paulatos (born 1967, who did an audience interaction routine at the House of Eunomia in 1996), Callirhoe Raptoti (born 1981), Magdalini Meloglou (born 1979), Ablak Ilgaz (born 1980), Ugursoy Ganopoulos-Basturk (1981-2021) and Kou Hiroto (they/them, born 1997) are some of the most known Tylastronian stand-up comedians. Many of new comedians gain status at monologue talk shows and at variety shows and sketch comedy shows.

	==== Visual Arts ====		==== Visual Arts ====

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T22:56:02Z

Other Performing Arts

← Older revision		Revision as of 22:56, 31 March 2026
Line 2,246:		Line 2,246:
	*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.		*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.
	*'''Tylastronian Variety''' - It started during the early single-party period as a way to distract the people from the nation's problems. These shows started in national radio, and used mostly sketch comedy, clownery, acting and music. By the 50s, post-Mylonas single-party period, Television started to host the variety shows, now with visual aid sketch comedy, clown shows, acting were accompanied by jugglers, ventriloquists and puppetry theatre. Eínai Pánta éna Ypérocho Apógevma (1958-1980) was the most popular variety show, ending even after the end of the single-party state. Japanese variety media started to be broadcasted in the late 1980s. Included Takeshi's Castle and Gaki no Tsukai. Nowadays, Tylastronian Variety shows are described to be totally funded by the Television, the TNB, Tylastronian National Broadcaster. With shows like Kaliméra, Tylastróna (1988-present), Pída to Potámi (1998-2002, 2007-2015), a show similar to Wipeout and Takeshi's Castle. And Komşuya Bakın! (1997-present), the game show/variety show fully in the Turkish language. Sketch comedy, late night shows also started to be popular during the late 80s. Saturday Night Live started to be broadcasted in 1988, The Daily Show in 1999, Ametalk! in 2003, Jimmy Kimmel Live! in 2005 and Conan between 2012-2021. These shows inspired TNB to created its own shows, sketch comedy shows: Koíta ton Ilíthio! (1995-present), O Klóoun tou Symvoulíou tou Naoú (2007-2013) and Kisu to Hagu (2004-present). Late Night Shows: Nychteriní Parástasi me Paschalis Hondroglou (1991-1998, 2003-2005), Argá to vrády tis Paraskevís me Xanthippi Chronea (2000-2009, 2021-present), Ierí Nýchta me Iéreia Ifigeneia (2015-present).		*'''Tylastronian Variety''' - It started during the early single-party period as a way to distract the people from the nation's problems. These shows started in national radio, and used mostly sketch comedy, clownery, acting and music. By the 50s, post-Mylonas single-party period, Television started to host the variety shows, now with visual aid sketch comedy, clown shows, acting were accompanied by jugglers, ventriloquists and puppetry theatre. Eínai Pánta éna Ypérocho Apógevma (1958-1980) was the most popular variety show, ending even after the end of the single-party state. Japanese variety media started to be broadcasted in the late 1980s. Included Takeshi's Castle and Gaki no Tsukai. Nowadays, Tylastronian Variety shows are described to be totally funded by the Television, the TNB, Tylastronian National Broadcaster. With shows like Kaliméra, Tylastróna (1988-present), Pída to Potámi (1998-2002, 2007-2015), a show similar to Wipeout and Takeshi's Castle. And Komşuya Bakın! (1997-present), the game show/variety show fully in the Turkish language. Sketch comedy, late night shows also started to be popular during the late 80s. Saturday Night Live started to be broadcasted in 1988, The Daily Show in 1999, Ametalk! in 2003, Jimmy Kimmel Live! in 2005 and Conan between 2012-2021. These shows inspired TNB to created its own shows, sketch comedy shows: Koíta ton Ilíthio! (1995-present), O Klóoun tou Symvoulíou tou Naoú (2007-2013) and Kisu to Hagu (2004-present). Late Night Shows: Nychteriní Parástasi me Paschalis Hondroglou (1991-1998, 2003-2005), Argá to vrády tis Paraskevís me Xanthippi Chronea (2000-2009, 2021-present), Ierí Nýchta me Iéreia Ifigeneia (2015-present).
			*'''Stand-up Comedy''' - Stand-up in Tylastrona started from the clown and sketch comedy traditions of Tylastronian Circus, the Astonian Comedy tradition in puppetry, theatre and ventriloquism and later the XX Century tradition of Tylastronian Variety. The first stand-up comedians were in fact performers without props or costumes, which distinguished these acts from clownery and sketch comedy. First comedians of these genres performed in the early First Republic under the name of monologuists or comic speeches, within circus skills. Tylastronian stand-up was heavily censored by the military junta and the single-party state, with comedians often finding asylum in Ventriloquists shows in turkish communities or in the controlled radio and TV variety shows. Tylastronian contemporary stand-up (post-1970 Theocratic Revolution) is characterised by: narrative comedy, anecdotal comedy, deadpan delivery, self-depreciating humour, philosophical inquiries, wordplay, satire, observational comedy, musical comedy and magic-involved comedy. Stathis Paulatos (born 1967), Callirhoe Raptoti (born 1981), Magdalini Meloglou (born 1979), Ablak Ilgaz (born 1980), Ugursoy Ganopoulos-Basturk (1981-2009) and Kou Hiroto (they/them, born 1997) are some of the most known Tylastronian stand-up comedians.

	==== Visual Arts ====		==== Visual Arts ====

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T22:38:41Z

Other Performing Arts

← Older revision		Revision as of 22:38, 31 March 2026
Line 2,245:		Line 2,245:
	*'''Pro-wrestling''' - These events came to Tylastrona during the Fourth Republic, through the slow liberation of Tylastronian television. Mainly through japanese sources like All Japan Pro Wrestling broadcast since 1978, New Japan Pro-Wrestling since 1979, the Frontier Martial-Arts Wrestling broadcast since 1989, Pro Wrestling Noah since 2002 and the World Wonder Ring Stardom since 2012. For american companies, Tylastrona broadcaster WCW, WWF and most recently WWE since the 1980s, TNA since 2010 and AEW since 2020. In Tylastrona pro-wrestling is seen as both a sport and as a performing art. TAYS is the organisation that overseens pro-wrestling under the Tlastronian Wrestling Federation (1988). TWF has registered three companies: Tylastronian Wrestling World since 1985, the Tylastrona Total Wrestling since 1993 and the Tylastronian Knockout Punch since 2005.		*'''Pro-wrestling''' - These events came to Tylastrona during the Fourth Republic, through the slow liberation of Tylastronian television. Mainly through japanese sources like All Japan Pro Wrestling broadcast since 1978, New Japan Pro-Wrestling since 1979, the Frontier Martial-Arts Wrestling broadcast since 1989, Pro Wrestling Noah since 2002 and the World Wonder Ring Stardom since 2012. For american companies, Tylastrona broadcaster WCW, WWF and most recently WWE since the 1980s, TNA since 2010 and AEW since 2020. In Tylastrona pro-wrestling is seen as both a sport and as a performing art. TAYS is the organisation that overseens pro-wrestling under the Tlastronian Wrestling Federation (1988). TWF has registered three companies: Tylastronian Wrestling World since 1985, the Tylastrona Total Wrestling since 1993 and the Tylastronian Knockout Punch since 2005.
	*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.		*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.
			*'''Tylastronian Variety''' - It started during the early single-party period as a way to distract the people from the nation's problems. These shows started in national radio, and used mostly sketch comedy, clownery, acting and music. By the 50s, post-Mylonas single-party period, Television started to host the variety shows, now with visual aid sketch comedy, clown shows, acting were accompanied by jugglers, ventriloquists and puppetry theatre. Eínai Pánta éna Ypérocho Apógevma (1958-1980) was the most popular variety show, ending even after the end of the single-party state. Japanese variety media started to be broadcasted in the late 1980s. Included Takeshi's Castle and Gaki no Tsukai. Nowadays, Tylastronian Variety shows are described to be totally funded by the Television, the TNB, Tylastronian National Broadcaster. With shows like Kaliméra, Tylastróna (1988-present), Pída to Potámi (1998-2002, 2007-2015), a show similar to Wipeout and Takeshi's Castle. And Komşuya Bakın! (1997-present), the game show/variety show fully in the Turkish language. Sketch comedy, late night shows also started to be popular during the late 80s. Saturday Night Live started to be broadcasted in 1988, The Daily Show in 1999, Ametalk! in 2003, Jimmy Kimmel Live! in 2005 and Conan between 2012-2021. These shows inspired TNB to created its own shows, sketch comedy shows: Koíta ton Ilíthio! (1995-present), O Klóoun tou Symvoulíou tou Naoú (2007-2013) and Kisu to Hagu (2004-present). Late Night Shows: Nychteriní Parástasi me Paschalis Hondroglou (1991-1998, 2003-2005), Argá to vrády tis Paraskevís me Xanthippi Chronea (2000-2009, 2021-present), Ierí Nýchta me Iéreia Ifigeneia (2015-present).

	==== Visual Arts ====		==== Visual Arts ====

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T22:19:33Z

Other Performing Arts

← Older revision		Revision as of 22:19, 31 March 2026
Line 2,244:		Line 2,244:
	*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts		*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts
	*'''Pro-wrestling''' - These events came to Tylastrona during the Fourth Republic, through the slow liberation of Tylastronian television. Mainly through japanese sources like All Japan Pro Wrestling broadcast since 1978, New Japan Pro-Wrestling since 1979, the Frontier Martial-Arts Wrestling broadcast since 1989, Pro Wrestling Noah since 2002 and the World Wonder Ring Stardom since 2012. For american companies, Tylastrona broadcaster WCW, WWF and most recently WWE since the 1980s, TNA since 2010 and AEW since 2020. In Tylastrona pro-wrestling is seen as both a sport and as a performing art. TAYS is the organisation that overseens pro-wrestling under the Tlastronian Wrestling Federation (1988). TWF has registered three companies: Tylastronian Wrestling World since 1985, the Tylastrona Total Wrestling since 1993 and the Tylastronian Knockout Punch since 2005.		*'''Pro-wrestling''' - These events came to Tylastrona during the Fourth Republic, through the slow liberation of Tylastronian television. Mainly through japanese sources like All Japan Pro Wrestling broadcast since 1978, New Japan Pro-Wrestling since 1979, the Frontier Martial-Arts Wrestling broadcast since 1989, Pro Wrestling Noah since 2002 and the World Wonder Ring Stardom since 2012. For american companies, Tylastrona broadcaster WCW, WWF and most recently WWE since the 1980s, TNA since 2010 and AEW since 2020. In Tylastrona pro-wrestling is seen as both a sport and as a performing art. TAYS is the organisation that overseens pro-wrestling under the Tlastronian Wrestling Federation (1988). TWF has registered three companies: Tylastronian Wrestling World since 1985, the Tylastrona Total Wrestling since 1993 and the Tylastronian Knockout Punch since 2005.
			*'''Tylastronian Circus''' - Circus arts in Tylastrona are quite seasonal, normally happening during the summers instead of the european traditions in Winter. Normally occur during the Panathenaia season or, sometimes, during the Dionysia seasons. It is believed that Tylastronian Circus started around the late House of Astona period and kept reinventing itself until the days of today. Circus skills present in Tylastronian Circus are: acrobalance, acrobatics, cheerleading, sketch comedy, figure skating, ice dance, clowns, juggling, contortion, cradle, ladders, trapeze. Animal use in circus has been banned by the government and by TEA since 1985. Magical Circus skills started in the late single-party period which include telekinesis, magical kinesis, biological magic (banned in 1985 in circus) and simulation magic (actual illusion magic). Fourth Republic magical circus skills added shapeshifting and technopathy. Smyrnaphos Troupe of Wonders (founded in 1839) is the oldest and most popular circus troupe in Tylastrona. Their Panathenaia Show is televised since 1958. Tylastronian Circus is overseen by TACT.

	==== Visual Arts ====		==== Visual Arts ====

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T21:12:34Z

Other Performing Arts

← Older revision		Revision as of 21:12, 31 March 2026
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	*'''Puppetry''' - Puppetry is registered to be an entertainment art and cultural production of Tylastrona since the late XV Century (pre-independence). Processional Puppets, Hellenismos Puppets and the Marvel Puppets (Thauma). Puppet Theatre was mostly used to retell myths or to adapt philosophical analogies. It was an art both adored by nobility and lower class. Shadow Puppetry tradition also came from this time, the hellenic and turkish traditions mixing to form the Astonian tradition of Tylastronian Shadow Puppetry. The themes were similar to early Astonian theatre, myths, comedies and tragedies. This maintained throughout the entirety of the House of Astona period. Puppets were mostly made of pine wood, terracotta or iron normally drawn by strings, ventriloquism techniques or magic. By Late House of Astona, Puppetry performances were used mostly for children stories, adaptations of myths, of some famous theatre plays and educational content. This perspective changed in the First Republic, the myths were replaced by simplified versions of the History of Tylastrona, comedy and variety performances for all ages. The military junta and the single-party kept that ideas, but at the same time added the nationalist almost propaganda narratives. The first puppetry performance done after the 1970 Theocratic Revolution was an adaptation of the Allegory of the Cave played by Kiriakos Condides (1929-2021) in December 1970. Puppetry is overseen by the Tylastronian Association of Puppetry (TAP). Nowadays, Puppetry still is seen as a performative art directed at children with simplified retellings of myths, tylastronian history and comedy/variety narratives. Shadow puppetry is still popular, normally Tylastronian shadow puppetry is often voiceless, only the movement of the puppets accompanied by music is registered. Tylastronian shadow puppetry is mostly performed by Turkish-Tylastronian people. Digital puppetry and Technomancy puppetry are the XXI Century puppetry styles. This also includes Animatronics Theatre, instead of electronic circuits, magical circuits may be used. Magical Puppetry peak was at the 1990s. Foivi Melide (born 1969), uses telekinesis and magical kinesis to control the puppets.		*'''Puppetry''' - Puppetry is registered to be an entertainment art and cultural production of Tylastrona since the late XV Century (pre-independence). Processional Puppets, Hellenismos Puppets and the Marvel Puppets (Thauma). Puppet Theatre was mostly used to retell myths or to adapt philosophical analogies. It was an art both adored by nobility and lower class. Shadow Puppetry tradition also came from this time, the hellenic and turkish traditions mixing to form the Astonian tradition of Tylastronian Shadow Puppetry. The themes were similar to early Astonian theatre, myths, comedies and tragedies. This maintained throughout the entirety of the House of Astona period. Puppets were mostly made of pine wood, terracotta or iron normally drawn by strings, ventriloquism techniques or magic. By Late House of Astona, Puppetry performances were used mostly for children stories, adaptations of myths, of some famous theatre plays and educational content. This perspective changed in the First Republic, the myths were replaced by simplified versions of the History of Tylastrona, comedy and variety performances for all ages. The military junta and the single-party kept that ideas, but at the same time added the nationalist almost propaganda narratives. The first puppetry performance done after the 1970 Theocratic Revolution was an adaptation of the Allegory of the Cave played by Kiriakos Condides (1929-2021) in December 1970. Puppetry is overseen by the Tylastronian Association of Puppetry (TAP). Nowadays, Puppetry still is seen as a performative art directed at children with simplified retellings of myths, tylastronian history and comedy/variety narratives. Shadow puppetry is still popular, normally Tylastronian shadow puppetry is often voiceless, only the movement of the puppets accompanied by music is registered. Tylastronian shadow puppetry is mostly performed by Turkish-Tylastronian people. Digital puppetry and Technomancy puppetry are the XXI Century puppetry styles. This also includes Animatronics Theatre, instead of electronic circuits, magical circuits may be used. Magical Puppetry peak was at the 1990s. Foivi Melide (born 1969), uses telekinesis and magical kinesis to control the puppets.
	*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts		*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts
			*'''Pro-wrestling''' - These events came to Tylastrona during the Fourth Republic, through the slow liberation of Tylastronian television. Mainly through japanese sources like All Japan Pro Wrestling broadcast since 1978, New Japan Pro-Wrestling since 1979, the Frontier Martial-Arts Wrestling broadcast since 1989, Pro Wrestling Noah since 2002 and the World Wonder Ring Stardom since 2012. For american companies, Tylastrona broadcaster WCW, WWF and most recently WWE since the 1980s, TNA since 2010 and AEW since 2020. In Tylastrona pro-wrestling is seen as both a sport and as a performing art. TAYS is the organisation that overseens pro-wrestling under the Tlastronian Wrestling Federation (1988). TWF has registered three companies: Tylastronian Wrestling World since 1985, the Tylastrona Total Wrestling since 1993 and the Tylastronian Knockout Punch since 2005.

	==== Visual Arts ====		==== Visual Arts ====

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T20:52:36Z

Other Performing Arts

← Older revision		Revision as of 20:52, 31 March 2026
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	*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.		*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.
	*'''Ventriloquism''' - Pre-Independence and Early House of Astona Period saw ventriloquism practice ventriloquism as a religious practice. Pixesos and Astona priestesses divination methodology often were inspired by the techniques of Pythia. Nobility respected these practices. The shift from ventriloquism as divination toward ventriloquism as entertainment happened at the Late House of Astona Period, and totally shifted during the secular period of the First Republic. Tylastronian entertainment ventriloquists used dolls, puppets or magical focuses. This type of entertainment was popular among the lower classes, during the military junta and the single-party state, the technique was used by minority voices to be able to express in their language underground. Ayaz Kubilay (1922-2008) and his plushie Zeynep who toured Kannela and Old Towers between 1950-1977 marked Turkish-Tylastronian people from that late single-party generation and early fourth republic people. Ventriloquism is still very popular among Turkish-Tylastronian people. The art is overseen by TACT and by the Tylastronian Association of Puppetry (TAP), also funded by the Ministry of Apollo.. Contemporary ventriloquist Evridiki Chondroli-Cicek (born 1986) is very popular in Tylastrona, she has variety of shows, she often does kids-directed programmes with her dummies: Yannitsa (2011-2014), Toula (2019-2024) and Priestess Leukita (2025-...).		*'''Ventriloquism''' - Pre-Independence and Early House of Astona Period saw ventriloquism practice ventriloquism as a religious practice. Pixesos and Astona priestesses divination methodology often were inspired by the techniques of Pythia. Nobility respected these practices. The shift from ventriloquism as divination toward ventriloquism as entertainment happened at the Late House of Astona Period, and totally shifted during the secular period of the First Republic. Tylastronian entertainment ventriloquists used dolls, puppets or magical focuses. This type of entertainment was popular among the lower classes, during the military junta and the single-party state, the technique was used by minority voices to be able to express in their language underground. Ayaz Kubilay (1922-2008) and his plushie Zeynep who toured Kannela and Old Towers between 1950-1977 marked Turkish-Tylastronian people from that late single-party generation and early fourth republic people. Ventriloquism is still very popular among Turkish-Tylastronian people. The art is overseen by TACT and by the Tylastronian Association of Puppetry (TAP), also funded by the Ministry of Apollo.. Contemporary ventriloquist Evridiki Chondroli-Cicek (born 1986) is very popular in Tylastrona, she has variety of shows, she often does kids-directed programmes with her dummies: Yannitsa (2011-2014), Toula (2019-2024) and Priestess Leukita (2025-...).
			*'''Puppetry''' - Puppetry is registered to be an entertainment art and cultural production of Tylastrona since the late XV Century (pre-independence). Processional Puppets, Hellenismos Puppets and the Marvel Puppets (Thauma). Puppet Theatre was mostly used to retell myths or to adapt philosophical analogies. It was an art both adored by nobility and lower class. Shadow Puppetry tradition also came from this time, the hellenic and turkish traditions mixing to form the Astonian tradition of Tylastronian Shadow Puppetry. The themes were similar to early Astonian theatre, myths, comedies and tragedies. This maintained throughout the entirety of the House of Astona period. Puppets were mostly made of pine wood, terracotta or iron normally drawn by strings, ventriloquism techniques or magic. By Late House of Astona, Puppetry performances were used mostly for children stories, adaptations of myths, of some famous theatre plays and educational content. This perspective changed in the First Republic, the myths were replaced by simplified versions of the History of Tylastrona, comedy and variety performances for all ages. The military junta and the single-party kept that ideas, but at the same time added the nationalist almost propaganda narratives. The first puppetry performance done after the 1970 Theocratic Revolution was an adaptation of the Allegory of the Cave played by Kiriakos Condides (1929-2021) in December 1970. Puppetry is overseen by the Tylastronian Association of Puppetry (TAP). Nowadays, Puppetry still is seen as a performative art directed at children with simplified retellings of myths, tylastronian history and comedy/variety narratives. Shadow puppetry is still popular, normally Tylastronian shadow puppetry is often voiceless, only the movement of the puppets accompanied by music is registered. Tylastronian shadow puppetry is mostly performed by Turkish-Tylastronian people. Digital puppetry and Technomancy puppetry are the XXI Century puppetry styles. This also includes Animatronics Theatre, instead of electronic circuits, magical circuits may be used. Magical Puppetry peak was at the 1990s. Foivi Melide (born 1969), uses telekinesis and magical kinesis to control the puppets.
	*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts		*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T19:04:35Z

Other Performing Arts

← Older revision		Revision as of 19:04, 31 March 2026
Line 2,240:		Line 2,240:
	*'''Dance''' - As a sport it is overseen by TAYS under the Tylastronian Body and Artistic Movement Federation. As an art is overseen by TACT. Artistic dance movements accompanied Tylastrona throughout its history. Concert dance styles like Ballet and Contemporary dance are still very popular nowadays. Street dance is seen as a product of youth culture and normally inspiring the spirituality of the younger generations. Traditional dances from the Turkish and Japanese people were banned during the military junta and the single-party state. After the Theocratic Revolution, dance was emancipated, Tylastronian Ballet regained popularity, with pieces from previous composers like Eleftherios Rondellis (1802-1865) and Demetrios Andreas (1830-1908) being redone, and with the return of experimental Ballet by Panayiotis Gabrallis (born 1948), Zoe Demide (born 1961) and Alexios Romaneas-Onder (born 1972). Cnidios sea shanties are also often accompanied by dance. Popular types of artistic dance: japanese (Kagura, Para Para, Sōran Bushi); japanese inspired (Hellenic Kagura, Cnidios Sōran Bushi, Tylastronian Yosakoi); turkish (Bar, Halay, Zeybek, Belly dance); greek (Carpaea, Choreia, Dionysiakos, Hyporchema, Pyrrhichios, Syrtos, Hellenismos ritual dance, festive dance, etc, face-to-face, Ballos) ; tylastronian and creole (Hellenismos Sacred dance, Tylastronian whirling, Kinectic dance, Creole street, Creole fusion, Gamelia Partner dance, Tylastroniancore Jumpstyle, Ice dance (as a sport as well), Ski dance).		*'''Dance''' - As a sport it is overseen by TAYS under the Tylastronian Body and Artistic Movement Federation. As an art is overseen by TACT. Artistic dance movements accompanied Tylastrona throughout its history. Concert dance styles like Ballet and Contemporary dance are still very popular nowadays. Street dance is seen as a product of youth culture and normally inspiring the spirituality of the younger generations. Traditional dances from the Turkish and Japanese people were banned during the military junta and the single-party state. After the Theocratic Revolution, dance was emancipated, Tylastronian Ballet regained popularity, with pieces from previous composers like Eleftherios Rondellis (1802-1865) and Demetrios Andreas (1830-1908) being redone, and with the return of experimental Ballet by Panayiotis Gabrallis (born 1948), Zoe Demide (born 1961) and Alexios Romaneas-Onder (born 1972). Cnidios sea shanties are also often accompanied by dance. Popular types of artistic dance: japanese (Kagura, Para Para, Sōran Bushi); japanese inspired (Hellenic Kagura, Cnidios Sōran Bushi, Tylastronian Yosakoi); turkish (Bar, Halay, Zeybek, Belly dance); greek (Carpaea, Choreia, Dionysiakos, Hyporchema, Pyrrhichios, Syrtos, Hellenismos ritual dance, festive dance, etc, face-to-face, Ballos) ; tylastronian and creole (Hellenismos Sacred dance, Tylastronian whirling, Kinectic dance, Creole street, Creole fusion, Gamelia Partner dance, Tylastroniancore Jumpstyle, Ice dance (as a sport as well), Ski dance).
	*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.		*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.
	*'''Ventriloquism''' - Pre-Independence and Early House of Astona Period saw ventriloquism practice ventriloquism as a religious practice. Pixesos and Astona priestesses divination methodology often were inspired by the techniques of Pythia. Nobility respected these practices. The shift from ventriloquism as divination toward ventriloquism as entertainment happened at the Late House of Astona Period, and totally shifted during the secular period of the First Republic. Tylastronian entertainment ventriloquists used dolls, puppets or magical focuses. This type of entertainment was popular among the lower classes, during the military junta and the single-party state, the technique was used by minority voices to be able to express in their language underground. Ayaz Kubilay (1922-2008) and his plushie Zeynep who toured Kannela and Old Towers between 1950-1977 marked Turkish-Tylastronian people from that late single-party generation and early fourth republic people. Ventriloquism is still very popular among Turkish-Tylastronian people. The art is overseen by TACT and by the Tylastronian Association of Puppetry (TAP), also funded by the Ministry of Apollo.. Contemporary ventriloquist Evridiki Chondroli-~~Dilek~~ Cicek (born 1986) is very popular in Tylastrona, she has variety of shows, she often does kids-directed programmes with her dummies: Yannitsa (2011-2014), Toula (2019-2024) and Priestess Leukita (2025-...).		*'''Ventriloquism''' - Pre-Independence and Early House of Astona Period saw ventriloquism practice ventriloquism as a religious practice. Pixesos and Astona priestesses divination methodology often were inspired by the techniques of Pythia. Nobility respected these practices. The shift from ventriloquism as divination toward ventriloquism as entertainment happened at the Late House of Astona Period, and totally shifted during the secular period of the First Republic. Tylastronian entertainment ventriloquists used dolls, puppets or magical focuses. This type of entertainment was popular among the lower classes, during the military junta and the single-party state, the technique was used by minority voices to be able to express in their language underground. Ayaz Kubilay (1922-2008) and his plushie Zeynep who toured Kannela and Old Towers between 1950-1977 marked Turkish-Tylastronian people from that late single-party generation and early fourth republic people. Ventriloquism is still very popular among Turkish-Tylastronian people. The art is overseen by TACT and by the Tylastronian Association of Puppetry (TAP), also funded by the Ministry of Apollo.. Contemporary ventriloquist Evridiki Chondroli-Cicek (born 1986) is very popular in Tylastrona, she has variety of shows, she often does kids-directed programmes with her dummies: Yannitsa (2011-2014), Toula (2019-2024) and Priestess Leukita (2025-...).
	*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts		*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts

Madoka Tylastrona: /* Other Performing Arts */

2026-03-31T19:01:04Z

Other Performing Arts

← Older revision		Revision as of 19:01, 31 March 2026
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	*'''Dance''' - As a sport it is overseen by TAYS under the Tylastronian Body and Artistic Movement Federation. As an art is overseen by TACT. Artistic dance movements accompanied Tylastrona throughout its history. Concert dance styles like Ballet and Contemporary dance are still very popular nowadays. Street dance is seen as a product of youth culture and normally inspiring the spirituality of the younger generations. Traditional dances from the Turkish and Japanese people were banned during the military junta and the single-party state. After the Theocratic Revolution, dance was emancipated, Tylastronian Ballet regained popularity, with pieces from previous composers like Eleftherios Rondellis (1802-1865) and Demetrios Andreas (1830-1908) being redone, and with the return of experimental Ballet by Panayiotis Gabrallis (born 1948), Zoe Demide (born 1961) and Alexios Romaneas-Onder (born 1972). Cnidios sea shanties are also often accompanied by dance. Popular types of artistic dance: japanese (Kagura, Para Para, Sōran Bushi); japanese inspired (Hellenic Kagura, Cnidios Sōran Bushi, Tylastronian Yosakoi); turkish (Bar, Halay, Zeybek, Belly dance); greek (Carpaea, Choreia, Dionysiakos, Hyporchema, Pyrrhichios, Syrtos, Hellenismos ritual dance, festive dance, etc, face-to-face, Ballos) ; tylastronian and creole (Hellenismos Sacred dance, Tylastronian whirling, Kinectic dance, Creole street, Creole fusion, Gamelia Partner dance, Tylastroniancore Jumpstyle, Ice dance (as a sport as well), Ski dance).		*'''Dance''' - As a sport it is overseen by TAYS under the Tylastronian Body and Artistic Movement Federation. As an art is overseen by TACT. Artistic dance movements accompanied Tylastrona throughout its history. Concert dance styles like Ballet and Contemporary dance are still very popular nowadays. Street dance is seen as a product of youth culture and normally inspiring the spirituality of the younger generations. Traditional dances from the Turkish and Japanese people were banned during the military junta and the single-party state. After the Theocratic Revolution, dance was emancipated, Tylastronian Ballet regained popularity, with pieces from previous composers like Eleftherios Rondellis (1802-1865) and Demetrios Andreas (1830-1908) being redone, and with the return of experimental Ballet by Panayiotis Gabrallis (born 1948), Zoe Demide (born 1961) and Alexios Romaneas-Onder (born 1972). Cnidios sea shanties are also often accompanied by dance. Popular types of artistic dance: japanese (Kagura, Para Para, Sōran Bushi); japanese inspired (Hellenic Kagura, Cnidios Sōran Bushi, Tylastronian Yosakoi); turkish (Bar, Halay, Zeybek, Belly dance); greek (Carpaea, Choreia, Dionysiakos, Hyporchema, Pyrrhichios, Syrtos, Hellenismos ritual dance, festive dance, etc, face-to-face, Ballos) ; tylastronian and creole (Hellenismos Sacred dance, Tylastronian whirling, Kinectic dance, Creole street, Creole fusion, Gamelia Partner dance, Tylastroniancore Jumpstyle, Ice dance (as a sport as well), Ski dance).
	*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.		*'''Opera''' - Opera only arrived at Tylastrona at the late House of Astona period (1700-1845), and until the fourth republic (1970), was always seen as an art directed at the higher classes. Tylastronian Opera drives from Late Baroque style, with typical tylastronian instruments such as the lyre, kanonaki and the kithara. ''I Káthodos tis Persefónis'' (1730) is one of the first Tylastronian composed operas, it is categorized as an opera seria about the kidnapping of Persephone. Tylastronian Opera would follow the perspective of Tylastronian Theatre, divided between Tragedy/Drama and Comedy. An adaptation of Anfossi's ''La maga Circe'' (1788) released in 1797 was quite the example of a comedy opera being translated to the Hellenic reality of Tylastrona. XIX Century Tylastronian Opera follow the perspectives of the Astonian school until 1850, during the first republic (1845-1889), the secularism of the state let Musical nationalism be the main classical import, western classical music, occasionally mixed with the traditional hellenic instruments, the saz and later, japanese instruments. Military junta and the single-party maintained the idea that opera was for the elites, impressionistic and Post-romanticist styles were incorporated. ''Patrída'' (1902) is perhaps the most important piece of this dark period. Later single-party period opera was mostly Neoclassicistic with frequent use of ostinato. ''I Ilikioméni Gynaíka sto Paráthyro'' (1953) is the prime example. After the 1970 revolution, opera was liberated, free to everyone. Overseen by TACT. Avant-garde performances were more common while respecting the classical Astonian styles and compositions. Turkish, Japanese and Croele languages appeared in opera for the first time in the late 1980s.
			*'''Ventriloquism''' - Pre-Independence and Early House of Astona Period saw ventriloquism practice ventriloquism as a religious practice. Pixesos and Astona priestesses divination methodology often were inspired by the techniques of Pythia. Nobility respected these practices. The shift from ventriloquism as divination toward ventriloquism as entertainment happened at the Late House of Astona Period, and totally shifted during the secular period of the First Republic. Tylastronian entertainment ventriloquists used dolls, puppets or magical focuses. This type of entertainment was popular among the lower classes, during the military junta and the single-party state, the technique was used by minority voices to be able to express in their language underground. Ayaz Kubilay (1922-2008) and his plushie Zeynep who toured Kannela and Old Towers between 1950-1977 marked Turkish-Tylastronian people from that late single-party generation and early fourth republic people. Ventriloquism is still very popular among Turkish-Tylastronian people. The art is overseen by TACT and by the Tylastronian Association of Puppetry (TAP), also funded by the Ministry of Apollo.. Contemporary ventriloquist Evridiki Chondroli-Dilek Cicek (born 1986) is very popular in Tylastrona, she has variety of shows, she often does kids-directed programmes with her dummies: Yannitsa (2011-2014), Toula (2019-2024) and Priestess Leukita (2025-...).
	*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts		*'''Performance Arts''' - Tylastrona does not have an ancient history with this style of performative culture. Despite being underground due to the military junta and the single-party state, the Dada Group was notable for its focus on experimental music and for its contribution to the development of provocative and scandalous artistic events, including theatre and dance. This was the first instance of 'performance art' in Tylastrona. After that, little information is known; the single-party regime made it difficult for artists to perform revolutionary pieces. However, in the late 1960s, some artists were inspired by the Gutai Art Association. The SAI (Semasus Art Institution) was founded underground in 1967 and gained recognition after the 1970 Theocratic Revolution. SAI created visual art pieces that incorporated performance, conceptual, interactive, site-specific, theatrical and installation elements. SAI also founded Magical Art, which is defined as art that uses magic, excluding magical music, sports and cuisine. SAI is the main organisation responsible for overseeing the performance arts, subsized by the Ministry of Apollo. Main Performance Arts genres: Happening, Process Art, Endurance art, Feminist Performance, Environmental Performance, Hellenismos Performance, Minorities Performance, Performance poetry, Confessional Performance (Tylastronian subgenre of performance poetry), New-media performance, Collective revindication, Magical performance arts