{"id":2060,"date":"2020-01-07T10:07:01","date_gmt":"2020-01-07T10:07:01","guid":{"rendered":"http:\/\/theodoregrammatas.com\/?p=2060"},"modified":"2020-01-07T10:07:40","modified_gmt":"2020-01-07T10:07:40","slug":"new-tragic-form-old-tragic-sense-in-contemporary-world-theater","status":"publish","type":"post","link":"https:\/\/theodoregrammatas.com\/?p=2060&lang=en","title":{"rendered":"New tragic form, old tragic sense in Contemporary World Theater"},"content":{"rendered":"

W<\/span>hen Phrynichus first wrote tragedy by composing The Miletus Conquest<\/em>, drawing on recent for his age historical events, he showed the way that the new for this period form of literature and art could follow (dramatic text and stage presentation).\u00a0 However, reminding the Athenian audience of \u201cfamiliar wrongs\u201d and the challenge for immediate acceptance of responsibility for the destruction of Miletus and other Hellenic cities of the Asia Minor coast by the Persians was painful for all.\u00a0 For this reason this new way form of writing was adopted, but its themes were rejected by fifth century Athenian society and writers.\u00a0 As such, mythology (with the exception of very few cases as seen for example in Aeschylus\u2019 The Persians<\/em>) became the popular source that tragedy would draw its subjects from, and since then it was established. The myth\u2019s unhistorical time, its elsewhere and other times tale, the echoes of the cultural past in combination with values and ideas of the ancient Greek thought and civilization (fate, tragic sin, nemesis, hubris, catharsis) compose the canvas on which works of the ancient tragic poets are developed.<\/p>\n

And how about history, the terror of the Peloponnesian war, violence, disease and death, the people\u2019s ambition and the war protagonists\u2019 the\u00a0 personal responsibility for their participation in it are?\u00a0 For these, only indirectly, suggested or allegorically are given in the tragedies, through the heroes\u2019 attitude and behavior that belong to the mythological\/unrealistic level.\u00a0 In this sense, tragedy loses enough from contemporary time, fails to produce events faithfully, to dramatize persons and events of History; manages, however, to gain in terms of meaning and content, in existential and metaphysical level, as, through the myth, catches and expresses the general and the universal.\u00a0 Through the occasional example, it succeeds in expressing the collective and the diachronic, while the partial result will be searched in the source that caused it.<\/p>\n

Characteristically, we can say that the Trojan war gave the tragic poets the themes to create a number of tragedies that belong to same \u201ccycle\u201d (Hecuba, Helen, Trojan Women, Philoctetes, Agamemnon<\/em>) and to speak to mankind about the absurdity and the uselessness of the war, the blindness of violence, the terror of\u00a0 violent death, the uselessness of sacrifice and heroism.<\/p>\n

In world theater history, the same themes are repeated many times over in various genres (dramas, tragedies, melodramas, comedies, parodies) in various aesthetic forms (classicism, romanticism, realism, symbolism), either as ancient Greek mimetic repetitions of the originals (Seneca, Alfieri, Veraren), or as original intertextual creations or in other forms (Hoffmanstall, Anouilh, Giraudoux, O\u2019 Neill).<\/p>\n

However, as indicated since 1957 (?) by George Steiner in his treatise Death of Tragedy<\/em>,\u00a0 tragedy as genre, the way we know it through time, is not possible to exist in modern time.\u00a0 The changes that have occurred ideologically and culturally as well as aesthetically and morphologically are many and of such kind that tragedy cannot surpass them. Here, however, must make a distinction:\u00a0 there is a difference between tragedy as a theatrical or literary piece, and tragedy as a means of conception and expression of reality.\u00a0 There is a difference between the text morphology and its characteristics and its essence and content. \u00a0\u00a0In this respect, it becomes clear that tragedy in Shakespeare or Racine mean different than in ancient times, while the \u201ctragic\u201d element can be traced even in other writers (F. G. Lorca) or theatrical forms (the theater of the absurd) without morphologically reminding tragedy.<\/p>\n

Therefore, even though we agree that tragedy as genre is dead, the tragic aspect as a form of human existence still exists, and cannot be different than that, as it is written in human nature itself: desires that surpass any measure and reach excess, selfish tendencies of self-promotion and imposition, illogical demands that violate any moral principle, rejection of ethical rules and\u00a0 principles of social coexistence, are some of the causes that can lead any human being to tragic situations.\u00a0 To these, if we add the facts of contemporary reality, the economic, cultural, religious, ideological and other factors that shape individual consciousness and group behavior, then it becomes clear that tragedy and tragicality never ceased to exist, but they always find ways to develop.\u00a0 What makes the difference is the way, the conventions, and the forms, which, however, do not have to do with the content.<\/p>\n

Violence in contemporary big cities, international terrorism, major social unfairness, huge socio-economic conflicts of the advanced postindustrial societies and the third world masses, repression and human abuse brought forth by man, rejection of the laws of nature that accumulative results in major ecological problems that threaten man\u2019s future, displacement of human values and ideals, fanaticism and racist phenomena, ideological deterioration and its replacement by unprecedented economic, social, and state origin, compose the new reality out of which tragedy can draw its material.<\/p>\n

The rules on which ancient tragedy was based are constant, and the only difference is that we notice is that today it is their content and\/or their form has changed: Hubris<\/em> as man\u2019s inborn tendency to surpass the limits that have been set for him and to impose his ego<\/em> on things and situations is most\u00a0 evident in technology and the infinite applications it offers to man.\u00a0 The contempt for nature\u2019s laws with the progress witnessed in genetics, molecular biology, robotics, and so provocatively promote the image of a \u201cdifferent\u201d human being, bears huge dangers for man\u2019s physiognomy on earth.\u00a0 Therefore, \u201cfate\u201d that\u00a0 was an inescapable reality for the ancient Greek world and for tragedy as well, it may coexist in our days in man\u2019s effort to change things radically and to prevail selfishly on universe.<\/p>\n

Out of this may come \u201cate\u201d and \u201cnemesis\u201d that will destroy the person who commits hubris.\u00a0 Here are some of the possible sources that can cause tragic situations in twenty first century\u2019s man and to be themes for development by modern tragedy.<\/p>\n

But the \u201cuncaused passion\u201d, the \u201csuffering innocence\u201d, the collision of the hero\u2019s individual will with superior powers and the conscious march towards the end, without any bending in his sentiments and ethical values, today all these can find their parallels in a marvelous way in a individual\/personal or collective\/social level, when personal and impersonal powers of economic, national or other interests come to suppress and violate the rights and other values of individuals or peoples, principles that have been gained with pain and struggle through the centuries. This uneven juxtaposition,\u00a0 this condemned struggle of the weak against the strong is so evident in our days on a multiple level that it can be another source of\u00a0 development for future tragic depictions.<\/p>\n

Finally, man\u2019s hemming in transcendental descent principles and mechanisms that surpass the limits of any possible logical interpretation and which work catalytically upon society\u2019s and history\u2019s reality still exists.\u00a0 Their metaphysical descent and their reference, however, to extraterrestrial personal (gods) or impersonal (fate) powers have been totally replaced by other factors of intercosmic and societal descent.\u00a0 It has to do with bureaucratic mechanisms, economic trusts, and any kind of open or secretive organizations, unions, and businesses that surpass nations, societies, and civilizations and have a universal control.\u00a0 It has to do with globalization itself\u00a0 which as a contemporary expression of a dire law dominates human beings in this world and tortures them. These are (or may be) some of the subjects than potentially be used (developed) by modern dramaturgy, which in turn will provide works that will be distinguished for their tragic content and which will express the same ideas, the same situations (comparatively speaking) with ancient Greek tragedy.<\/p>\n

Theater, as the sensitive recipient of similar situations, is the diachronic and edifying system which does not only present events, but also comments on them, judges them, intervenes in them, and shapes the audience\u2019s consciousness, being an excellent pedagogical instrument.\u00a0 This is because of the dynamism of the image, the representation of the stage symbolism, and\u00a0 the directness of the communication between the audience and the scenic (stage) spectacle.<\/p>\n

Today we live in the spectacle society with image and speech imaging playing a most important role with the help of informatics and every kind of artistic manifestation. \u00a0Theater, being under pressure, adjusts its basic characteristic form, its word and dialogue, and enriches them with elements of supervision (educative elements?).\u00a0 This way, the \u201cword\u2019s image\u201d that had\u00a0 traditionally existed since the ancient Greek drama period, is substituted by the \u201cimage\u2019s word\u201d, and theater changes into a modern form of a complex spectacle.<\/p>\n

Similar changes also occur in text, that is the dramatic form of the theatrical work.\u00a0 Intertextuality and dramatization, metatheater and performance are the modern forms of theatrical expression, absolutely set in the postmodern, multicultural time\u2019s framework and expectations.\u00a0\u00a0 As such, the spectator, who is the only and final judge of the stage spectacle, is no longer the individual of a homogenous ethnic, educational, socio-cultural group.\u00a0 The immediacy and viability that once existed between stage and audience does not occur anymore.\u00a0 In a multiethnic environment, in a globalized social reality, a single theatrical world cannot exist.\u00a0 This is a reason why dramaturgy must adjust to and embrace elements equally heterogeneous as well as interpersonal, including the spectators\u2019 expectations and hopes.<\/p>\n

Modern day writers should use the text, not simply as a \u201cmeaningful vehicle\u201d which is comprised by different as well as heterogeneous sub-elements.\u00a0 The original canvas may be interpreted as a \u201csource text\u201d which, because of its importance and its multisemeiological capabilities, can be exploited in positive and various ways.<\/p>\n

In a similar way can be considered\u00a0 (or usually can be) an ancient classical text (tragedy)or the work of a later author with a great repute as well (Shakespeare).\u00a0 To this text come other ones of\u00a0 less importance from various cultural traditions, with different semeiotic and connotative elements, and are fastened and connected to it, in a functional manner, enriching thus the original.\u00a0 The new, altered \u201ctarget text\u201d is nothing else but an intertextual creation, a noteworthy dialogue between the new, modern writer with the original\u00a0 \u201csource text\u201d and with all the other ones that follow with the same or similar themes and issues.\u00a0 In this manner, a complex creation results which is the combination of several artistic forms, aesthetic tendencies, cultural traditions, a unified composition with the original text and dominating theme being the common factor and the unifying element.\u00a0 This is the case of many well known works such as\u00a0 Steven Berkoff\u2019s Greek<\/em>, \u00a0\u00a0Lee Broher\u2019s Oedipus,<\/em>\u00a0 Heine Muller\u2019s Medea\u2019s\u00a0 Stuff, <\/em>Caryl Churchill\u2019s \u00a0<\/em>\u00a0Number (??? ), <\/em>Tom Stoppard\u2019s Rosencrantz and Guildersten Are Dead, <\/em>Arianne Mnouschkine\u2019s Atreides, <\/em>Boto Stauss\u2019 Caldeway Farce, <\/em>et.c..<\/p>\n

In these plays, the modern writer does not only converse and communicate with the one and only work he uses as an archetype (e.g. Oedipus Rex, Medea, The Oresteia, Hamlet<\/em>, et.c.), but he does it with the entire cultural heritage which since antiquity reached the modern world by the use of theater.\u00a0 Thus, tragedy as a genre still exists and functions in a new form, quite different, however, from the one inherited from classical\u00a0 antiquity.<\/p>\n

Thus,\u00a0 the \u201ctragic aspect\u201d as a signifier is depicted with new semeiological meanings, and expresses the expectations and interests, the hopes and dreams of modern world.\u00a0\u00a0 As a result, tragedy did not cease to exist, but once again depicted its diachronic and universal significance, as it succeeds in unifying and identifying its internally written values in a historical set framework (antiquity, mythology) with the external objective expectations of modern society to which is addressed, being in this manner human mind\u2019s chief means of expression.<\/p>\n

Additionally, we can count the new facts regarding modern stage direction as well as new ways of stage practice, through which the play is created on stage during rehearsal and performance.\u00a0 The actor\u2019s body turns into a text, while movement and stage action become the story of the play which is drawn from personal experiences, sentimental situations, dreams and fantasies, that actors draw from the individual and the collective conscious and unconscious, trying to respond to specific incentives given by the director.<\/p>\n

The coupling of\u00a0 intertextuality and personal-body theater presents the modern edition in terms of meaning and function of tragedy in the modern world.\u00a0 Because theatrical performance (and here lies the director\u2019s defining role in modern theater) is an autonomous artistic creation, in the development of which the writer\u2019s written text poses as a parameter, not necessarily the most essential.\u00a0 To this, can be added the actors\u2019 interpretation, other artistic framing, including music and other audio-visual codes that compose the aesthetic result.\u00a0 Above all, however, stands the director\u2019s personality that comes to mediate the communication between the modern spectator and the ancient dramatic text.\u00a0 The director\u2019s psycho-intellectual world, his own artistic experiences, will act upon the play with the proper way, so that the stage spectacle will satisfy all the audience\u2019s expectations and reactions in the theater hall.<\/p>\n

In this manner, it becomes evident that the reaction of interest and the reception of the stage message from the spectators should always be kept in mind along with the new facts as shaped by the postindustrial society\u2019s conditions.\u00a0 In any case, the form of the \u201ctragic\u201d as well as the stage presentation of \u201ctragedy\u201d, no matter what its content is, ought to adjust to today\u2019s spectator\u2019s interests and needs. That is why the shaping of tragedy necessarily follows different directions than those it did in the past; and that is why postmodern tragedy differs so much from the \u201cmodern\u201d conception and expression of tragedy.<\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0\u00a0<\/em><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

hen Phrynichus first wrote tragedy by composing The Miletus Conquest, drawing on recent for his age historical events, he showed the way that the new for this period form of literature and art could follow (dramatic text and stage presentation).\u00a0<\/p>\n","protected":false},"author":2,"featured_media":2062,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[128],"tags":[866,868,524],"class_list":["post-2060","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-global-theatre","tag-contemporary-world-theater","tag-globar-theatre","tag-theatre-history"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/01\/Antigone-Anouih.jpg?fit=1024%2C681&ssl=1","jetpack-related-posts":[{"id":2653,"url":"https:\/\/theodoregrammatas.com\/?p=2653&lang=en","url_meta":{"origin":2060,"position":0},"title":"Drama and Theatre in ancient Greece. A database and a spectators\u2019 school.","author":"Theodore Grammatas","date":"November 1, 2022","format":false,"excerpt":"Abstract Drama always consisted of an invaluable \u201cdatabase\u201d for the culture and education of the ancient Greek spectators, who used to watch it as a performance that derived from the already existing literary types and forms (epic and lyric poetry) on which it was based and which included up to\u2026","rel":"","context":"In "Ancient Drama"","block_context":{"text":"Ancient Drama","link":"https:\/\/theodoregrammatas.com\/?cat=124&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2344,"url":"https:\/\/theodoregrammatas.com\/?p=2344&lang=en","url_meta":{"origin":2060,"position":1},"title":"European Program Horizon 2020","author":"Theodore Grammatas","date":"December 5, 2020","format":false,"excerpt":"Socioeconomic and Cultural Transformations in the Context of The Fourth Industrial Revolution \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Proposal Title : Values Across Space and Time \u00a0Proposal acronym: VAST Consortium NO.Participant organization nameCountry1 (CO)NCSR-D \u2013 NATIONAL CENTER FOR SCIENTIFIC RESEARCH \u201cDemokritos\u201dEL2UMIL \u2013UNIVERSITA DEGLI STUDI DI MILANOIT3UoA \u2013 National and Kapodistrian University of AthensEL4NOVA \u2013 UNIVERSIDADE\u2026","rel":"","context":"In "Ancient Drama"","block_context":{"text":"Ancient Drama","link":"https:\/\/theodoregrammatas.com\/?cat=124&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2660,"url":"https:\/\/theodoregrammatas.com\/?p=2660&lang=en","url_meta":{"origin":2060,"position":2},"title":"The Transmission and Reception of the Values of the Ancient Greek Culture in Theater via “Digital Dialogue”","author":"Theodore Grammatas","date":"December 13, 2022","format":false,"excerpt":"Abstract[1] Our age is characterized by the instantaneous transmission of information and the redefinition of distances and boundaries of human relationships and communication. Theater, as a \"sensitive indicator of reality\", does not remain unaffected, but seeks new ways of expressing the \"timelessness\" and \"universality\" which brings viewer\u2019s consciousness. Dialogue as\u2026","rel":"","context":"In "Theatre for Young Audiences"","block_context":{"text":"Theatre for Young Audiences","link":"https:\/\/theodoregrammatas.com\/?cat=1&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2377,"url":"https:\/\/theodoregrammatas.com\/?p=2377&lang=en","url_meta":{"origin":2060,"position":3},"title":"European Program Horizon 2020","author":"Theodore Grammatas","date":"January 2, 2021","format":false,"excerpt":"Proposal Title : Values Across Space and Time Proposal acronym: VAST National and Kapodistrian University of Athens: CONTRIBUTION TO THE PROGRAMM Scientific Director : Theodore Grammatas, Emeritus Professor PILOT 1: VALUES IN GREEK TRAGEDIES AND THEIR MODERN ADAPTATIONS Theoretical background In the era of postmodernity, the general belief in the\u2026","rel":"","context":"In "News"","block_context":{"text":"News","link":"https:\/\/theodoregrammatas.com\/?cat=116&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/01\/9b916d16e0fcb2fc3b26fa19a7f54004.jpg?fit=1200%2C575&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/01\/9b916d16e0fcb2fc3b26fa19a7f54004.jpg?fit=1200%2C575&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/01\/9b916d16e0fcb2fc3b26fa19a7f54004.jpg?fit=1200%2C575&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/01\/9b916d16e0fcb2fc3b26fa19a7f54004.jpg?fit=1200%2C575&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/01\/9b916d16e0fcb2fc3b26fa19a7f54004.jpg?fit=1200%2C575&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2471,"url":"https:\/\/theodoregrammatas.com\/?p=2471&lang=en","url_meta":{"origin":2060,"position":4},"title":"“Popular” and “Highbrow” in the theatre. Cultural interaction and osmosis between the genres*","author":"Theodore Grammatas","date":"August 5, 2021","format":false,"excerpt":"Popular \/ Folk theatre The term \u201cpopular theatre\u201d denotes a cultural creation the specific features of which remain constant and characteristic of this theatrical category (Grammatas 2006 : 239-241) despite any changes that might have taken place over the times. Its basic source of origin is the \u201critual\u201d, which, though\u2026","rel":"","context":"In "Global Theatre"","block_context":{"text":"Global Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=128&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2459,"url":"https:\/\/theodoregrammatas.com\/?p=2459&lang=en","url_meta":{"origin":2060,"position":5},"title":"Cultural Consciousness and Theatrical Creation in Postwar Modern Greek Theatre: The “Hellenism Syndrom” phase","author":"Theodore Grammatas","date":"May 19, 2021","format":false,"excerpt":"The search for cultural identity is an ever-lasting demand for the Greek dramatology. During the post-war years the presence of this search is intensive, and the variety of its forms and versions depends each time on the specific historical and social conditions. On the basis of this quest for theatrical\u2026","rel":"","context":"In "Modern Greek Theatre"","block_context":{"text":"Modern Greek Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=126&lang=en"},"img":{"alt_text":"Sevastikoglou","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=700%2C400 2x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2060"}],"version-history":[{"count":2,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2060\/revisions"}],"predecessor-version":[{"id":2064,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2060\/revisions\/2064"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/media\/2062"}],"wp:attachment":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}