Τραγικοί ήρωες μόνοι επί σκηνής, στην αρχαία και σύγχρονη ελληνική δραματουργία : η αυτονόμηση της μονολογικότητας
Part of : Παράβασις : επιστημονικό περιοδικό Τμήματος Θεατρικών Σπουδών Πανεπιστημίου Αθηνών ; Vol.10, No.1, 2010, pages 55-84
Issue:
Pages:
55-84
Parallel Title:
Ancient and modern Greek heroes talking alone on stage : towards the autonomy of monologicity
Section Title:
Μελέτες και άρθρα
Author:
Abstract:
In a different way from the soliloquies or monologues of ancient drama, the predominant dialogical form of which is mainly assured by the collective figure of the Chorus, in modern Greek theatre there is a growing tendency towards writing ancient-themed highly mono- logical and/or single-character plays, beginning with Yiannis Ritsos’ poetic -“drama-like” - monologues (Philoctetes, Persephone, Chrysothemis, Agamemnon, Helen and Orestes, among others) -that were written mainly during the ’60s and ’70s and have since been continuously reedited and performed during the last two decades in Greece and abroad - and continuing up until 2009 with: Iakovos Cambanellis: Letter to Orestes; Akis Dimou: Andromache or View of a woman at the height of the night; Avrà Sidiropoulou: Klytemnestra ’s tears; Marios Pontikas: The Murderer of Laios and the crows and Cassandra addresses the dead; the ancient- themed monologues included in Konstantinos Bouras: Under Hecate’s Constellation and Cold Fire; Andreas Flourakis: KASSI; Yannis Kondrafouris: Medea and locaste; Andreas Dimitri- ades: Cassandra’s Annunciation.The present paper attempts to describe this “phenomenon” of modern Greek ancient- themed play-writing, looking for the reasons of its appearance in an emitter-production level (financial-technical reasons, cultural-political reasons, dramaturgic reasons), commenting upon its function on a message-text level (panoramic and nuanced view of the mythic character, abolition of the “ego” and projection of its multiple versions, intersection of different myth-versions), finally, approaching the perceptive response of the audience in relation to it, an audience that seems accustomed to human and scenic loneliness, willing to participate in the “destruction” of the dialogue and listen close to the inner complexe and higly intertextual speech of (mythical) dramatic characters.
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