Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-skm99 Total loading time: 0 Render date: 2024-04-28T18:55:59.469Z Has data issue: false hasContentIssue false

Re-imagining Independence in Contemporary Greek Theatre and Performance

Published online by Cambridge University Press:  20 December 2023

Philip Hager
Affiliation:
Aristotle University, Thessaloniki

Summary

This Element examines practices that occurred since the beginning of the Greek crisis and revisits the mnemonic canon of the Greek War of Independence. By focusing on the institution of the mnemonic canon of independence, and subsequently on its contemporary re-imaginings, this Element interrogates performance work vis-à-vis Greece's histories of colonial dependencies – histories that are integral to the institution of modern Greece. As such, the examples discussed here rehearse independence against and beyond national(ist) fantasies and, in so doing, attest to an emerging desire for decolonisation.
Get access
Type
Element
Information
Online ISBN: 9781009250597
Publisher: Cambridge University Press
Print publication: 15 February 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

@proedrikifroura. (2021). ‘While marching, Evzones stomp their tsarouchia for the Nation’s Unknown dead to hear. Today, as they were leaving the Monument in absolute silence, the stomping resounded as a Slogan for the new beginning of Hellenism [Οι Εύζωνες κατά τον βηματισμό χτυπούν το τσαρούχι για να ακούνε οι Άγνωστοι νεκροί του Έθνους. Σήμερα κατά την αποχώρησή τους από το μνημείο, η απόλυτη ησυχία που επικρατούσε, το χτύπημα ακουγόταν ως Σύνθημα, για την νέα αρχή του Ελληνισμού]’ Twitter. 25 March. https://bit.ly/3uN37jP [Accessed 11 November 2022].Google Scholar
Ahmed, S. (2000). Strange Encounters: Embodied Others in Post-Coloniality. London: Routledge.Google Scholar
Allard, S. & Côme, F. (2018). Delacroix. New York: The Metropolitan Museum of Art.Google Scholar
Arendt, H. (2006). Between Past and Future: Eight Exercises in Political Thought. New York: Penguin.Google Scholar
Arfara, K. ed. (2016). Scènes en transition: Balkans et Grèce [Scenes in Transition: The Balkans and Greece]. Théâtre/Public, 222, 4115.Google Scholar
Athanassoglou-Kallmyer, N. (1989). French Images from the Greek War of Independence. New Haven: Yale University Press.Google Scholar
Azas, A., Bekas, G. & Pitidis, M. (26 July 2021). The Republic of Baklava [Play]. Athens Festival, Athens. Performers: Katerina Mavrogeorgi, Cem Yigit Üzümoglu, George Katsis and Gary Salomon. Director: Anestis Azas.Google Scholar
Azoulay, A. A. (2019). Potential History: Unlearning Imperialism. London: Verso.Google Scholar
Beaton, R. (2020). Greece: Biography of a Modern Nation. London: Penguin.Google Scholar
Belavilas, N., Saiti, T. & Psarioti, K. (2011). Industrial Heritage in Elefsina and Thriasio Field [Βιομηχανική κληρονομιά στην Ελευσίνα και στο Θριάσιο Πεδίο]. Athens: Cultural Foundation of Pireos Group.Google Scholar
Benjamin, W. (2003). On the Concept of History. Translated by H. Zohn. In Heiland, H. and Jennings, M. W., eds., Walter Benjamin: Selected Writings Volume 4 1938–1940. Cambridge, MA: Belknap Press of Harvard University Press.Google Scholar
Bhabha, H. (1984). Of Mimicry and Man: The Ambivalence of Colonial Discourse. Discipleship: A Special Issue on Psychoanalysis, 28, 125–33.Google Scholar
Bhambra, G. K. (2022). A Decolonial Project for Europe. Journal of Common Market Studies, 60(2), 229–44.Google Scholar
Biniaris, A. (3 July 2015). ’21 [Play]. Athens Festival, Athens. Performers: Aris Biniaris, Takis Varellas and Vasilis Giaslakiotis. Director: Aris Biniaris.Google Scholar
Boatcă, M. (2021). Thinking Europe Otherwise: Lessons from the Caribbean. Current Sociology, 69(3), 389414.Google Scholar
Boletsi, M. & Papanikolaou, D. (2022). Greece and the Global South: Gestures of spatial disobedience. Journal of Greek Media and Culture, 8(2), 129–41.CrossRefGoogle Scholar
Boutard (1826). Fine Arts : Second Exhibition in Favour of the Greeks [Beaux-Arts: Seconde Exposition en Faveur de Grecs]. In Journal de Débats, 2 September 1826.Google Scholar
Calder, D. (2018). Street Theatre and the Production of Postindustrial Space: Working Memory. Manchester: Manchester University Press.Google Scholar
Calotychos, V. (2003). Modern Greece: A Cultural Poetics. Oxford: Berg.Google Scholar
Cox, E. (2014). Theatre & Migration. Basingstoke: Palgrave.Google Scholar
Cox, E. & Zaroulia, M. (2016). Mare Nostrum, or On Water Matters. Performance Research: A Journal of the Performing Arts 21(2), In Trubridge, S. (Ed), special issue ‘On Sea/At Sea’, 141–9.Google Scholar
CultureNow. (2021). Pantelis Flatsousis on 2121’s ‘National Fashion-Show’ [Ο Παντελής Φλατσούσης για το «Εθνικό ντεφιλέ» του 2121!]. www.culturenow.gr/o-pantelis-flatsoysis-gia-to-ethniko-ntefile-toy-2121-2/ [Accessed 7 November 2022].Google Scholar
Delacroix, E. (1826). Greece on the Ruins of Missolonghi [Painting]. Bordeaux: Musée des Beaux-Arts.Google Scholar
Derrida, J. (1998). Archive Fever: A Freudian Impression. Translated from French by E. Prenowitz. Chicago: The University of Chicago Press.Google Scholar
Dimadi, I. (2015). ’21, Review. Athinorama. Last updated: 22 October 2015. https://bit.ly/3FSoh6a [Accessed 13 April 2022].Google Scholar
Dimoula, V. (2018). The Nation Between Utopia and Art: Canonising Dionysios Solomos as the ‘National Poet’. In Beaton, R. and Ricks, D., eds., The Making of Modern Greece. London: Routledge, pp. 201–10.Google Scholar
Drakopoulou, E. (2021). Images from the Greek Struggle in European Historical Painting [Εικόνες του Αγώνα των Ελλήνων στην Ιστορική Ζωγραφική της Ευρώπης]. Athens: Institute of Historical Research/ National Hellenic Research Foundation.Google Scholar
ΕλCulture. (2022). The Republic of Baklava: Azas’s Surrealist Comedy returns in Amphi-Theatro [Η Δημοκρατία του Μπακλαβά: η Σουρεαλιστική κωμωδία του Ανέστη Αζά επιστρέφει στο Αμφι-Θέατρο]. https://elculture.gr/i-dimokratia-tou-baklava-i-sourealistiki-komodia-tou-anesti-aza-gia-liges-parastaseis-sto-amfi-theatro/bit.ly/3Wh5yGP [Accessed 7 November 2022].Google Scholar
Eleusis 2023. (2021a). Transition to Eu-phoria. https://bit.ly/3FS8S5T [Accessed 10 February 2022].Google Scholar
Eleusis 2023. (2021b). Mystery 39: The Free Besieged by Dionysios Solomos, Directed by Eleni Efthymiou. https://bit.ly/3hxxHL3 [Accessed 10 February 2022].Google Scholar
European Court of Human Rights. (2022). Safi and Others vs. Greece. https://bit.ly/3Fqxgu9 [Accessed 11 November 2022].Google Scholar
Flatsousis, P. (26 June 2021). The National Fashion-Show [Play]. Athens Festival, Athens. Performers: Hossain Amiri, Yilmaz Housmen, George Kritharas, Deborah Odong, Fotini Papachristopoulou, Themis Theocharoglou and Enias Tsamatis. Director: Pantelis Flatsousis.Google Scholar
Foucault, M. (1991). Discipline and Punish: The Birth of the Prison. London: Penguin.Google Scholar
Fragkou, M. (2018). Strange Homelands: Encountering the Migrant on the Contemporary Greek Stage. Modern Drama, 61 (3), 301–27.Google Scholar
France, Gazette de (1826). Fine Arts : Painting Exhibition for the Benefit of the Greek [Beaux-Arts: Exposition des Tablaeux aux Profit des Grecs]. In Gazette de France, 24 June 1826.Google Scholar
Georgiopoulos, G. (2018). Greece’s Varoufakis Promises to End Debt Bondage with New Party [Online]. Reuters. Last updated: 26 March 2018. https://reut.rs/3Ypx0UY [Accessed 30 November 2022].Google Scholar
Gourgouris, S. (2021). Dream Nation: Enlightenment, Colonization, and the Institution of Modern Greece, 2nd ed., Stanford, CA: Stanford University Press.Google Scholar
Habermas, J. (2012). The Crisis of the European Union. Cambridge: Polity.Google Scholar
Hager, P. (2021). Unstable Histories: Repertoires of Memory and the Making of Public Spheres in Contemporary Greece. Critical Stages/Scènes Critiques, 23, Argyropoulou, G. and Sachsenmaier, S., eds., special topic ‘Unstable Grounds: Reconfigurations of Performance and Politics’. https://bit.ly/3BwXBoX [Accessed 1 September 2022].Google Scholar
Harvey, D. (2004). The ‘New’ Imperialism: Accumulation by Dispossession. Socialist Register 2004: The New Imperial Challenge, 40, 6387.Google Scholar
Hatzipantazis, T. (2014). Outline of a History of Modern Greek Theatre [Διάγραμμα Ιστορίας του Νεοελληνικού Θεάτρου]. Heraklion: Crete University Press.Google Scholar
Hager, P. (2017). Trajectories of Transition: Economies and Geographies of Theatre in Contemporary Athens. Journal of Greek Media and Culture 3 (2), In Hager, P. and Fragkou, M., eds., special issue ‘Dramaturgies of Change: Greek Theatre Now’, 139144.Google Scholar
Republic, Hellenic – Prime Minister. (2021). The PM’s Speech at the Opening of the National Gallery [Χαιρετισμός του Πρωθυπουργού Κυριάκου Μητσοτάκη στην εκδήλωση στην Εθνική Πινακοθήκη] [Video]. https://bit.ly/3HyBtP2 [Accessed 30 May 2022].Google Scholar
Herzfeld, M. (2002). The Absence Presence: Discourses of Crypto-Colonialism. The South Atlantic Quarterly, 101(4), 899926.Google Scholar
Herzfeld, M. (2016). Cultural Intimacy: Social Poetics and the Real Life of States, Societies, and Institutions. London: Routledge.Google Scholar
Hobsbawm, E. (1977). The Age of Revolution 1789–1848. London: Abacus.Google Scholar
Humboldt, Wilhelm von (1963). Humanist without Portfolio: an Anthology. Ed. and trans. Cowan, Marianne. Detroit: Wayne State Universtiy Press.Google Scholar
Ioannidou, E. (2011). Toward a National Heterotopia: Ancient Theatres and the Cultural Politics of Performing Ancient Drama in Greece, Modern. Comparative Drama, 44(4), 385403.Google Scholar
Jenkins, R. (1940). Dionysios Solomos. Cambridge: Cambridge University Press.Google Scholar
Jestrovic, S. (2008). Performing like an Asylum Seeker: Paradoxes of Hyper-Authenticity. Research in Drama Education, 13(2), 159–70.Google Scholar
Kairi, E. (2021 [1826]). Nikiratos [Νηκίρατος]. Athens: Thouli.Google Scholar
Kaltaki, M. (2021). National Fashion-Show: Greek History and the Development of the National Dress [Εθνικό Ντεφιλέ: Η ελληνική ιστορία μέσα από την εξέλιξη του εθνικού ενδύματος]. Lifo. Last updated: 4 July 2015. https://bit.ly/3ByhBYE [Accessed 30 April 2022].Google Scholar
Kapsomenos, E. (1992b). Solomos’s Text as a Signifying Poetics [Το σωλομικό κείμενο ως σημαίνουσα ποιητική]. In O Politis 120, 4852.Google Scholar
Karaoglou, T. (2022). The Republic of Baklava, Review [Η Δημοκρατία του Μπακλαβά, Κριτική]. Athinorama. Last updated: 8 February 2022. https://bit.ly/3uPhRyr [Accessed 7 November 2022].Google Scholar
Kasimati, M. Z. (2000). Athens: Munich: Art and Culture in Modern Greece [Αθήνα – Μόναχο: Τέχνη και Πολιτισμός στη νέα Ελλάδα]. Athens: National Gallery, Museum of Alexadros Soutzos.Google Scholar
Katsikis, I. N. & Tsagkarakis, K. A. (2010). Industries as Urban Cultural Heritage: In Search for a New Use [Η Βιομηχανία ως Αστική Πολιτιστική Κληρονομιά: Σε Αναζήτηση της Νέας Χρήσης]. Conference Proceedings of the 5th Pan-Hellenic Scientific Meeting TICCIH ‘The End of the Giants: Industrial Heritage and Urban Transformations [Το τέλος των γιγάντων: Βιομηχανική κληρονομιά και μετασχηματισμοί των πόλεων]. 22–25 November 2007. Volos.Google Scholar
Kitromilides, P. M. (2021). Introduction: In an Age of Revolution. In Kitromilides, P. M. and Tsoukalas, C., eds., The Greek Revolution: A Critical Dictionary. Cambridge, MA: Belknap Press of Harvard University Press, pp. 115.Google Scholar
Koltsidopoulou, A. (2015). Liberating Pandemonium [Απελευθερωτικό πανδαιμόνιο]. Kathimerini. Last updated: 12 July 2015. https://bit.ly/3PrYLrE [Accessed 13 April 2022].Google Scholar
Korais, A. (1814 [2010]). The Type and Means of Education [Το Είδος και τα Μέσα της Παιδείας]. In Complete Works I [Άπαντα Ι]. Athens: Vlassis brothers.Google Scholar
Kotides, A. (1995). Greek Art: Nineteenth Century Painting. Athens: Ekdotiki Athinon.Google Scholar
Koulouri, C. (2020). Fustanellas and Togas: Historical Memory and National Identity 1821–1930 [Φουστανέλες και Χλαμύδες: Ιστορική Μνήμη και Εθνική Ταυτότητα 1821–1930]. Athens: Alexandria.Google Scholar
Koumanoudis, I. A. (1845). Where Does the Art of the Greeks Tread Today [Που σπεύδει η τέχνη των Ελλήνων σήμερα;]. Belgrade: The Press of the Government.Google Scholar
Laskaris, N. I. (1938–9). History of Modern Greek Theatre [Ιστορία του Νεοελληνικού Θεάτρου]. Athens: Vasileiou.Google Scholar
Lazzarato, M. (2012). The Making of the Indebted Man: An Essay on the Neoliberal Condition. Translated from French by J. D. Jordan. Los Angeles: Semiotext(e).Google Scholar
Mazower, M. (2021). The Greek Revolution: 1821 and the Making of Modern Europe. London: Allen Lane.Google Scholar
Mertiri, A. (1993). Romanticism and Its Impact on the Visual Reality during the Making of the Greek State [Ο Ρομαντισμός και οι διαστάσεις του στην εικαστική πραγματικότητα κατά την διαμόρφωση του νέου ελληνικού κράτους], Doctoral Thesis. Athens: Department of Political Sciences and International Relations, Panteion University.Google Scholar
Mpalanos, D. S. (1930). Calendar of Grand Greece [Ημερολόγιον της Μεγάλης Ελλάδος]. Ioannina.Google Scholar
Mparas, P. (2022). The Republic of Baklava: Azas’s Surrealist Comedy’s Continued Excitement in Amphi-Theatro [Η Δημοκρατία του Μπακλαβά: η Σουρεαλιστική κωμωδία του Ανέστη Αζά συνεχίζει να ενθουσιάζει στο Αμφι-Θέατρο]. Popaganda. Last updated: 11 February 2022. https://bit.ly/3WhBVoT [Accessed 7 November 2022].Google Scholar
Mykoniatis, I. (1995). Nineteenth-Century Greek Painting [Η ελληνική Ζωγραφική του 19ου αιώνα]. Archaeology and the Arts [Αρχαιολογία και Τέχνες], 57, 616.Google Scholar
Gallery, National. (2022). The Exodus from Missolonghi. https://bit.ly/3UWKQLy [Accessed 20 February 2022].Google Scholar
(Coupin), P. A. (1826). Fine Arts : Painting Exhibition for the Benefit of the Greek [Beaux-Arts: Exposition des Tablaeux aux Profit des Grecs]. In Revue Encyclopédique 30, 89.Google Scholar
Pagoulatos, G. (2018). Greece after the Bailouts: Assessment of a Qualified Failure (GreeSe Papers, 130). London: Hellenic Observatory Discussion Papers on Greece and Southeast Europe, LSE.Google Scholar
Papanikolaou, D. (2017). Archive Trouble, 2017. In Botanova, K., Chryssopoulos, C., Cooiman, J., eds., Culturescapes: Archaeology of the Future. Basel: Cristoph Merian Verlag, pp. 3851.Google Scholar
Pewny, K. & Vannieuwenhuyze, T. (2018). Introduction II: A Laboratory of Diversity. Modern Drama, 61 (3), 262–71.Google Scholar
Plantzos, D. (2016). The Recent Future: Classical Antiquity as a Biopolitical Instrument. Athens: Nefeli.Google Scholar
Presidency of the Hellenic Republic. 2017. The Presidential Guard: History and Duties. https://bit.ly/3uP1qSH [Accessed 5 May 2022].Google Scholar
Prideaux, T. (1966). The World of Delacroix 1798–1863. New York: Time-Life Books.Google Scholar
Puchner, W. (2020). 1821 and the Theatre [Το 1821 και το Θέατρο]. Athens: ΟΤΑΝ.Google Scholar
Reinelt, J. (2009). The Promise of the Documentary. In Megson, C. and Forsyth, A., eds., Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave, pp. 623.Google Scholar
Rosi, L. (2021). From History’s Archive to the Stage: Contemporary Performances of 1821 [Από το αρχείο της Ιστορίας στη σκηνή του θεάτρου: σύγχρονες παραστάσεις με αφορμή το 1821]. Hartis [Χάρτης], 35, Delveroudi, E. A. ed., special issue ‘1821 in Theatre and Cinema: representations of the Greek Revolution in Theatre and Cinema [Το 1821 στο θέατρο & στον κινηματογράφο: Αναπαραστάσεις της ελληνικής Επανάστασης στο θέατρο & στον κινηματογράφο]’. https://bit.ly/3PzEYqw [Accessed 30 November 2022].Google Scholar
Rublack, U. (2010). Dressing up: Cultural Identity in Renaissance Europe. Oxford: Oxford University Press.Google Scholar
Said, E. (2003). Orientalism. London: Penguin.Google Scholar
Sampatakakis, G. (2021a). Arming the Nation from Behind, National Fashion-Show at the Athens Festival [Αρματώνοντας το έθνος από πίσω, Εθνικό Ντεφιλέ στο Φεστιβάλ Αθηνών]. Antikritika. Last update: 4 July 2021. https://bit.ly/3BB3H7Y [Accessed 30 April 2022].Google Scholar
Sampatakakis, G. (2021b). From National Panegyrics to Stage Scandal: Athanasios Diakos in History. Journal of Greek Media and Culture, 7(2), 281–99.Google Scholar
Sampatakakis, G. (2022). Banal Pedagogy: The Republic of Baklava in Amphi-Theatro [Μπανάλ παιδαγωγία – Η Δημοκρατία του Μπακλαβά στο ΑΜΦΙ-ΘΕΑΤΡΟ]. Antikritika. Last update: 11 June 2022. https://bit.ly/3FtshZB [Accessed 30 October 2022].Google Scholar
Santos, B. S. (2020). A New Vision of Europe: Learning from the Global South. In Santos, B. S. and Mendes, J. M., eds., Demodiversity: Toward Post-Abyssal Democracies. New York: Routledge, pp. 3153.Google Scholar
Skaribas, Y. (1995). 1821 and the Truth [Το 1821 και η Αλήθεια]. Athens: Kaktos.Google Scholar
Solomos, D. (25 June 2021). Mystery 39 The Free Besieged [Play]. 2023 Eleusis European Cultural Capital. Performers: Myrto Goni, Dimitris Drosos, Ioannis Mastrogiannis, Theodosia Savvaki, Giannis Varvaresos, Maria Antoniou, Maria Axypolitou, Grigoris Asimakopoulos, Thanos Verdis, Angeliki Vlachopanagou, Giannos Gavalas, Athins Gavriilaki, Nikos Galanos, Katerina Gkika, Vanessa Glava, Marina Daskalou, Christos Dedeilias, Anastasia Dracopoulou, Nikolaos Drakoulas, Evangelis Zorzou, Vangelis Kakoseos, Panagiota Kakoseou, Thalia Kallianta, Kyriakos Kabourars, Stavroula Kanaki, Froso Karakitsou, Maria Karelou, Vanassia Katsanebaki, Sotiris Katsanos, Kateirna Koliofoti, Giorgos Kordis, Theodoros Korras, Sophia Linardou, Maria Lioura, Stavros Lourdis, Giannis Marinakis, Natassa Meni, Giorgos Mouroufas, Konstantina Bargiota, Konstantinos Prokopas, Nota Plesti, Paraskevi Papadopoulou, Manolis Papoutsoglou, Natalia Routsolia, Marilena Sabani, Katerina Sarentziotou, Kostas Sidiropoulos, Sotiris Sidiropoulos, Zoi Seitani, Evangelis Totsika, Anastasia Tsoli, Maria Tsoukala, Areti Tsoumani, Pavlina Fourkioti, Maria Chavarioti, Stavros Chanas, Maria Charalambopoulou, Evi Chasioti and Maria Christopoulou. Director: Eleni Efthymiou.Google Scholar
Soutsos, A. (1827). Article in Friend of the Law [Ο Φίλος του Νόμου] 266, 7 February.Google Scholar
Stivanaki, E. (2000). Evanthia Kairi’s Patriotic Play Nikiratos [Ο πατριωτικός Νικήρατος της Ευανθίας Καΐρη]. Paravasis [Παράβασις], 3, 257–71.Google Scholar
Tabaki, A. (1993). Modern Greek Playwriting and its Western Influences (18th–19th Centuries): A Comparative Approach [H Nεοελληνική Δραματουργία και οι δυτικές της επιδράσεις (18ος -19ος αι.): Mια συγκριτική προσέγγιση]. Athens: Tolidis.Google Scholar
Tabaki, A. (1997). Enlightenment and Romanticism in Modern Greek theatre [Ο Διαφωτισμός και ο Ρομαντισμός στο Νεοελληνικό Θέατρο]. In Modern Greek Theatre 17th–20th Century: Scholarly Educative Talks [Νεοελληνικό Θέατρο 17ος – 20ος Αιώνας: Επιστημονικές Επιμορφωτικές Διαλέξεις]. Athens: EIE, pp. 3758.Google Scholar
Tabaki, A. (2021a). The 1821 Revolution in the Theatre: The Case of Ioannis Zambelios [Η Επανάσταση του 1821 στο θέατρο. Η περίπτωση του Ιωάννη Ζαμπέλιου]. Proceedings of the 10th International Conference for the 200 Years from the Greek Revolution, ‘The Impact of 1821 in Literature and the Arts. 2728 November 2020, Athens. Athens: Archontariki.Google Scholar
Tabaki, A. (2021b). Introduction. In Nikiratos … the Path to Freedom: Based on the play Nikiratos by Evanthia Kairi [Νικήρατος … ο δρόμος για την Ελευθερία, βασισμένο στο θεατρικό έργο «Νικήρατος» της Ευανθίας Καΐρη]. Athens: Dromon, pp. 2940.Google Scholar
Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar
TheaterMag. (2021). Enias Tsamatis. As Kapodistrias, as Kolettis in the ‘National Fashion-Show’ [Αινείας Τσαμάτης. Ως Καποδίστριας, ως Κωλέττης στο «Εθνικό Ντεφιλέ»]. Last update: 24 June 2021. www.theatermag.gr/2021/06/24/aineias-tsamatis-os-kapodistrias-os-kolletis-sto-ethniko-defile/.Google Scholar
Tsatsoulis, D. (2015). Liberty Is the Work of the Devil [Έργον Διαβόλου η Ελευθερία]. Imerodromos [Ημερόδρομος]. Last update: 6 July 2015. https://bit.ly/3W1SXrq [Accessed 4 January 2022].Google Scholar
Tsatsoulis, D. (2017). Western Hegemonic Paradigm and Intercultural Theatre [Δυτικό Ηγεμονικό Παράδειγμα και Διαπολιτισμικό Θέατρο]. Athens: Papazisis.Google Scholar
Tsoukalas, C. (2021a). On National Anniversaries: Greece, 1821–2021. Journal of Balkan and Near Eastern Studies, 23(2), 181–98.Google Scholar
Tsoukalas, K. (2021b). Symbolic Commemorations and Cultural Affiliations. In Kitromilides, P. M. and Tsoukalas, C., eds., The Greek Revolution: A Critical Dictionary. Cambridge, MA: Belknap Press of Harvard University Press, pp. 708–24.Google Scholar
Tziovas, D. (1999). The Reception of Solomos: National Poetry and the Question of Lyricism. Byzantine and Modern Greek Studies, 23(1), 164–94.Google Scholar
Tziovas, D. (2003). Greece and the Balkans: Identities, Perceptions and Cultural Encounters since the Enlightenment. London: Routledge.Google Scholar
Tziovas, D. (2014). The Illusive Continuity [H απατηλη συνεχεια]. To Vima [To Bημα]. 16 February 2014, A51.Google Scholar
Tziovas, D. (2021). Greece from Junta to Crisis Modernization, Transition and Diversity. London: I.B Tauris.Google Scholar
Van Steen, G. (2015). Stage of Emergency: Theater and Public Performance under the Greek Military Dictatorship of 1967–1974. Oxford: Oxford University Press.Google Scholar
Van Steen, G. (2021). Anniversaries. In Kitromilides, P. M. and Tsoukalas, C., eds., The Greek Revolution: A Critical Dictionary. Cambridge, MA: Belknap Press of Harvard University Press, pp. 694707.Google Scholar
Varoufakis, Y. (2016). And the Weak Must Suffer What They Must? Europe, Austerity and the Threat to Global Stability. London: Vintage.Google Scholar
Vasilaki, R. & Souvlis, G. eds. (2021). Normalisation of Alt-Right Rhetoric in Greece: Gender, Media, Armed Forces, Church [Η Κανονικοποίηση του Ακροδεξιού Λόγου στην Ελλάδα: Φύλο, ΜΜΕ, Ένοπλες Δυνάμεις, Εκκλησία]. Athens: Rosa Luxemburg Institute – Greek Branch.Google Scholar
von Hess, P. (1852). The Arrival Otto, First King of Greece, in Nafplio on February 6 1833. Lithograph, National Historical Museum, Athens.Google Scholar
Vryzakis, T. (1853). The Exodus from Missolonghi [Painting]. Athens: National Gallery.Google Scholar
Vryzakis, T. (1861). The Reception of Lord Byron at Missolonghi [Painting]. Athens: National Gallery.Google Scholar
Zaroulia, M. & Hager, P. (2014). Europhile or Eurosceptic? Gaps in the Narrative and Performances of Panic. In Tsilimpounidi, M. and Walsh, A., eds., Remapping ‘Crisis’: A Guide to Athens. Winchester, DC: Zero Books, pp. 226–47.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Re-imagining Independence in Contemporary Greek Theatre and Performance
  • Philip Hager, Aristotle University, Thessaloniki
  • Online ISBN: 9781009250597
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Re-imagining Independence in Contemporary Greek Theatre and Performance
  • Philip Hager, Aristotle University, Thessaloniki
  • Online ISBN: 9781009250597
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Re-imagining Independence in Contemporary Greek Theatre and Performance
  • Philip Hager, Aristotle University, Thessaloniki
  • Online ISBN: 9781009250597
Available formats
×