31:
389:
by a more active seven member body and the executive committee's members were reduced and its decisions became merely advisory. It was renamed as the
Artistic Committee. By mid-November 1931, the chairman of the board, theater historian Nicolaos Laskaris, resigned, feeling bypassed by the small, hardcore decision making group of Politis, Gryparis, Bastias and poet Pavlos Nirvanas, a member of the Artistic Committee. Due to his continuous presence in the Athenian press as a journalist and columnist, Bastias replies to most of the attacks in the press against a theater that had yet to be inaugurated. When Petros Pikros, the ex editor-in-chief of the communist daily
561:
takes notice of the methods employed until now, he will surely agree. The impromptu staging of performances, the lack of a stage director able to conceive the ideological essence of the great works, how quickly each play was staged, seldom allowing the actor to withdraw from his self and to enter his role, to get under the skin of the character that he is impersonating. In other words, instead of the character standing out, it is the actor. This is the result of what the leading actors have established. Against this long standing method, this anti-theatrical system, Fotos
Politis is campaigning.
596:(Regiebuch), something that Reinhardt did in great detail. But also meticulous directions to the actors for the sounds of the performance (cries, footsteps, banging), that combined with the music created an acoustic whole, the directions to set designer Kleovoulos Klonis expressing the spirit of the production, something that Klonis, familiar with the European avant-garde, would interpret with his expressionistic, bulky, architectural cubes and his Jessner stairs, and to modern painters like Spyros Papaloukas and
511:, Spyros Melas and Alecos Lydorikis. For Politis, this was his way to uplift an audience by bringing it in contact with the masterpieces of theatrical art from all over the world, from the ancient Greek tragic poets to the contemporary playwrights. Through his stage direction, he assisted his public to approach the essence of every play. The general secretary of the theater, Costis Bastias, who had closely followed Politis' staging methods, observed:
422:
hand, making all the important decisions. Sometimes, a director would be used, but in a secondary capacity. But, Politis reduced the importance of the protagonists, creating harmonic and disciplined ensembles, far from the hastily prepared and improvised productions, having to train the cast in a new acting method. This demanded exhaustive teaching and rehearsals. Costis
Bastias describes for us how demanding Politis was:
1169:
517:
finds the way to bring to the surface the play's deeper meaning, to shed light on the characters, and thus to bring the audience closer to the playwright. This is his purpose, and to achieve it everything turns to putty in his hands: the actor, the set designer, the costumes, the musician, the dancer. Everything is used to serve the poet and his creation.
123:, who was considered the father of Greek folklore studies and cultural traditions, while his younger brother, Linos Politis, also a professor, taught modern Greek literature. In 1906–1908 he attended classes at the Athens Odeum's (conservatoire) drama school and received the second prize in a drama competition with his play
637:
tradition of the
National Theater, enriched it and added their theory that the tragedies of the ancient Greek poets are staged only in the open air theaters of antiquity, for which they were written, and not in the closed Renaissance theaters. This is a view that had not been adopted by Fotos Politis.
604:
The theatrical tradition that Fotos
Politis created at Greece's National Theater, was continued after his death in 1934 by Costis Bastias and director Dimitris Rondiris. The following year, Bastias became director of repertoire, a new institution for that time, and wrote a 68-page report setting down
196:
and later professor of Modern Greek
Studies at the French university Paris I – Sorbonne Panthéon, and George N. Politis, Politis' elder brother and the magazine's top book reviewer. The circle supported the "demotic" (vernacular) language, Greek cultural traditions, German idealism, closely linked to
636:
in Berlin, had been recalled to Athens by the board of the
National Theater to become assistant director to Fotos Politis. After Politis' death, he succeeded him as prime stage director of the National Theater, and after World War II became its director general. Rondiris, with Bastias, continued the
531:
He struck a blow without mercy against the french "théâtre de boulevard", that equated the theater stage to a nightclub scene. An implacable blow to a star system that turned theater to a low-level track, where personal narcissistic vanities are satisfied. A blow to the playwrights who come to terms
516:
Politis enforced what he called "internal stage direction" to distinguish it from the other one, the "external direction", whose ambition did not surpass a well designed drawing room. But the stage director's work is to translate the work of the poet to the language of the stage. In other words, he
1059:
Arvaniti 2010, p. 144, translated from the Greek. K. Arvaniti's study, with meticulous details, especially in comparing the staging of ancient tragedies by Max
Reinhardt and Fotos Politis, based on the examination of their prompt books (Regiebuch), discloses the influences, but also the differences
427:
During the July and August recess, the actors of the
National Theater took part in three rehearsals per day, including Sundays. One in the morning 10 - 1, one in the afternoon 5 - 8, and one at night 10 - 12½. To these nine hours, if we add the time spend at home to study the plays for their better
388:
After Spyros Melas refused the position of prime stage director and Miltos
Lydorikis was hired and resigned, Minister Papandreou accepted to elevate Fotos Politis to the position of prime stage director in the beginning of 1931. From there on, things started moving. The 15 member Board was replaced
332:
in 1941, the theater was renamed National Theater. After the Liberation in 1944, the building itself was named Royal Theater, but the state theater company appearing continued to be officially called National Theater. The only thing to remember is that the National or Royal Theater founded in 1930,
319:
confiscated the building, tore down the royal insignia and continued to rent it. In 1930, by law, the Greek state founded a National Theater, with the intention of erecting a new building, but due to the depression, it was decided to temporarily use the old Royal Theater. When in 1935, the monarchy
742:
The success of the Greek Royal Theatre, of which last night's performance gave proof, not as an organization only but as an artistic project, is in great measure due to the man, himself a dramatist of high rank, who has long watched over its fortunes and is its Director-General. London, having had
571:
Fotos Politis' contribution to the theater and literary criticism was indeed of significant consequence. He introduced a theatrical standard, when he first entered the world of the theater, much more demanding than what was currently in use. He fought against hastily prepared productions that were
374:
dictatorship. Already in 1923, he had told Fotos Politis that he had decided to go ahead with the creation of a National Theater, while in 1924, he gave an interview to Costis Bastias, where he describes with precision all the problems that had to be met for such an undertaking, like the building,
227:
opened in the old 19th-century neoclassical theater "Olympia" on Academias Street. The performance became a milestone in the revival of ancient tragedy, with the ideas of Max Reinhardt often evident, in the interpretation of the play. Politis was acclaimed as a director, the tickets were sold out,
421:
productions. Upon his return he continuous building the foundations of a new theatrical tradition and adding to the Greek theater, after the playwright and the actor, a new third factor —the director. Till then, leading first ladies like Kyveli or Marika Kotopouli ruled their troupes with an iron
205:
In 1918, Politis participated in the founding of the "Hellenic Theater Co." by the Society of Greek Playwrights. The playwright Miltiades Lidorikis presided over the new company, with the poet Pavlos Nirvanas, the stage director Spyros Melas and Politis on the board. Politis was further appointed
644:
occupied Greece, the tradition, as well as the fame, of the National Theater grew by leaps and bounds, with Bastias becoming director general (1937), and the passing of a new law that gave him the authority to act more or less independently, despite the existence of a dictatorship, and Rondiris,
560:
and others were staged Almost one hundred performances, attended with enthusiasm by most of the capital's populace Those that saw the inspiring staging by Fotos Politis, are in a position to appreciate the efforts and the honesty that are to be found in the work of the National Theater. If one
587:
The establishment of a theatrical tradition is not a simple matter, especially one that has to do with the founding of a venerable institution like Greece's "National Theater". Usually, many decades, if not centuries like the Comèdie Française, are required. Politis' persistence for hundreds of
576:
language to prevail, the strict adherence to the texts without unwarranted alterations, the European avant-garde movements in the theater, which he knew quite well, and the stage director's predominance, as the foremost head of the artistic creation, who interprets the playwright, and with his
537:
The National Theater received innumerable attacks in the press because of its hostile attitude against the popular Théâtre de boulevard, its views toward the all-mighty leading actors and its repertorial selections, especially the limited number of contemporary Greek plays. In the beginning of
99:", he developed original teaching methods for aspiring young actors in Athenian drama schools while the rehearsals for the plays that he staged were known for their long duration and exhaustive intensity. Politis felt an obligation to educate not only the actors, corrupted by the French "
645:
perfecting his exhaustive teaching methods and his unique staging inspiration. The National Theater became a huge organization with its actors, directors, set and costume designers, musicians, dancers and a whole operatic company that was added and began its performances in 1940,
526:, who played a major role in the development of the National (Royal) Theater since 1937, as general secretary, director of repertoire and director general in succession, remarked concerning Politis' preferences in the repertoire and staging, that he had certain specific beliefs:
743:
opportunity to enjoy the fruits of his work, may now express gratitude to him as an ambassador of his nation's art, for certainly in no country has the stage owed more to the energy, enthusiasm, and connoisseurship of a single man than the Greek stage owes to M. Costis Bastias.
228:
while the prominent reviewer Marios Ploritis wrote of "The first face to face confrontation with the interpretation of ancient drama". The Greek stage director and historian of the theater Mitsos Lygizos observed about the contribution of the "Hellenic Theater Company" that:
614:
A most important document concerning our theatrical studies, which establishes that the natural stages for ancient tragedy are the open-air theaters of antiquity and further substantiates a theatrical point of view, almost avant-garde, whose influence is only realized
609:, classical theater, contemporary theater and avant-garde theater, with a critical analysis of each. Theater reviewer Costas Georgousopoulos, who also teaches at the Department of Theater Studies at the University of Athens and discovered the report in 1991, wrote:
600:
who worked on the sets, as well as directions for lighting and special effects. All these together create the complicated puzzle, which today gives us the opportunity to better understand the great stage director Fotos Politis' wonderful productions.
572:
then prevalent, the miserable repertoire based on the "french boulevard", and the authoritative ways of the leading actors-managers, who in no way wanted to collaborate with the new and upcoming stage directors. He supported the struggle for the
333:
had no ideological connection, nor was it a continuation of the old Royal Theater of 1900–1908, but represented an entire new ideology expressed by Fotos Politis. The only thing in common were the walls, and that because of lack of money.
649:. The major emphasis of Bastias and Rondiris was the revival of ancient Greek tragedy with performances throughout Greece and abroad. One of the most renowned was the first performance of ancient tragedy since antiquity at the theater of
1019:
Nineteenth and early twentieth century French theater form known for its mediocrity, melodramas, farces and vaudeville stereotype themes, that had overrun the European theater scene and according to French avant-garde stage director
184:(Hellenic Letters). There he joined the closely knit ideological circle of the magazine, consisting of Costis Bastias (publisher), Yannis Apostolakis, Politis' older first cousin, mentor and later professor of literature at the
674:). In 1939, the main company of the National (Royal) Theater traveled abroad for the first time. It began with Alexandria and Cairo in the spring and after returning to Athens left again in June and July to perform Sophocles'
379:
had given his approval. The new law was published on May 5, 1930, and the first immediate appointments were Ioannis Gryparis, as director general, Costis Bastias, as secretary general and Fotos Politis as stage director.
361:, would participate in collaboration with an important stage director like Spyros Melas. He immediately started working with the poet Ioannis Gryparis, who was Secretary of Letters and Arts in the ministry, since the
369:
to abdicate. An ardent supported of a new state National Theater, Gryparis had been in the ministry for the past eight years, but for a short thirteen-month period (June 1925 – July 1926) when he was removed by the
314:
as architect, which began its performances in 1900. Its existence was short lived, since it closed in 1908. The property belonged to King George I and the Royal Family and it was rented out to various troupes. The
577:
baguette conducts the actors, set designers, costume designers, musicians, choreographers, to bring about the desired result. As University of Athens professor of theatrical studies Katerina Arvaniti has written:
1088:
This quote is from a lecture by C. Georgousopoulos, on May 6th, 1991, at the "Hellenic Literary and Historical Archive" (E.L.I.A.). (Translated from the Greek.) Parts were published in Bastias 2005, pp.
404:
It seems to be wrong, but we have come to respect the artists and their talent wherever they blossom, either in the hothouses of the rich, or the huts of the poor. We respect them when they are called
286:
and her troupe, in the all marble Panathenaic Stadium, build in the 1890s for the first Olympic Games of modern times. The stage director Alexis Solomos described the performance, as the most renowned
223:
at the Royal (National) Theater of Greece in 1938 has remained indelibly written in the history of 20th century Greek theater, to appear in the homonymous role. Under the direction of Fotos Politis,
250:
In 1925, when the Greek Actors' Union decided to create the "Professional School of Drama", Politis was appointed professor of repertoire and acting and from 1927 he started staging performances.
306:
There is some confusion as to the actual name of the National or Royal Theater and the various alternating forms this name took, following political changes. At the end of the 19th century, King
552:
How much ink and how much paper have been consumed on polemics both to the idea of a National Theater and its Administration. But when last March arrived and the unforgettable performances of
455:
For the next 32 months, until his premature passing away at daybreak of December 4, 1934, Fotos Politis staged 35 plays by the most prominent playwrights of all time. His repertoire included
814:(a biography), (Costis Bastias — Journalism, Theater, Literature), chapter 17, "The National Theater I — The Fotos Politis Era (1930 - 1934), pp. 183-210. Kastaniotis Editions, Athens 2005.
438:
On Saturday evening, March 19, 1932, the most important cultural event of the interwar period in Greece took place. The inaugural performance of the newly renovated National Theater with
142:
in Vienna, the most important German-language acting school. It was the time when the role of the director began to become as prevalent as that of the playwright and the protagonist.
417:
In August 1931, just prior to the inauguration of the National Theater, Politis travels to Germany and Austria to be informed and brought up to date with the latest developments in
967:
Costis Bastias, "Το Εθνικό Θέατρο και η Ακαδημία. Συνέντευξη με τον ποιητή κ. Γρυπάρη" (The National Theater and the Academy. An interview with the poet Mr. Gryparis), newspaper
130:
At the end of 1908, he left for four years to study law in Germany. During this time and parallel with his law studies, he took courses in philosophy, being deeply influenced by
592:, the rhythm of the performances, the movement and gestures of the ancient chorus and the performers with detailed sketches by Politis of their every stance, as seen in his
452:
was a great success. Every last seat was sold out, as the Athenians flocked to the new theater — the gentlemen in white or black tie and the ladies in long evening gowns.
95:
in the 20th century. A literary and theater reviewer and playwright, who was responsible for the creation of what came to be called "the theatrical tradition of the
697:. Concerning Dimitri Rondiris' stage direction the reviewers wrote that he surpassed the wildest dreams of his teacher Max Reinhardt, while Richard Prentis noted:
582:
Politis was a prominent director with whom ancient tragedy was recognized as a unique theatrical form. He laid the foundations of the National Theater's tradition.
103:" of the time, but also the general public by bringing it in contact with the masterpieces of ancient Greek tragedy, Shakespeare, classical European theater and
689:
The Theater's "Grand Tour", as it came to be called among theatrical circles, was a great success both in the U.K. and in Germany and was rated as equal to the
914:
Marios Ploritis, "Αιμίλιος Βεάκης" (Aimilios Veakis), International Biographical Dictionary, vol. 2, pp.216-217, Ekdotike Athenon Publishing Co., Athens 1984.
670:
designed a traveling theater with trucks and buses that could be set up anywhere and covered the whole country. It was named Arma Thespidos (The Chariot of
375:
financing through a tax on gambling and lotteries, the cast and the administration. Much of the ground work was already prepared and prime minister
1190:
120:
868:(A selection of reviews), vol. I & II, Theater reviews, vol. III, Literary reviews. Edited by Nicos Politis, Ikaros Editions, Athens 1983.
324:
returned to Greece, the National Theater was renamed Royal Theater, but was now a state owned theater. In fact, the State indemnified Royal
686:, at Oxford, Cambridge, London, Frankfurt and Berlin carefully balancing the two sides which by the end of that summer would be at war.
702:
The Greek acting of Hamlet the other night came off magnificently. It found not a new world but an old one —the world of Shakespeare.
138:, who staged ancient Greek tragedies, which Politis followed closely, as well as most of the new ideas that disseminated from the
778:
428:
understanding and to memorize their lines, one can realize the labor involved for the director, the actors and the understudies.
399:(The Vanguardists), attacks the theater, Bastias replies with two articles, "The National Theater and Marxist theory", saying:
1229:
834:
605:
both the theoretical principles of a National Theater and the specific plays that should be staged from the ancient theater,
325:
30:
185:
715:
that: "It takes many years in perfecting the difficult technique of the spoken chorus". And W. A. Darlington noted in the
180:
Apart from his columns in the daily press, he collaborated from 1927 with Costis Bastias' newly published literary review
711:
Henry Bean wrote: "Hamlet in modern Greek —a new way of doing Shakespeare to end all new ways" and commented about the
819:
797:
1234:
667:
349:(1928–1932), his dream was to found the National Theater of Greece, where the country's two leading actresses,
100:
1069:
The steps or staircases often found in Klonis' sets owe their origin to German expressionist stage director
1239:
792:(Literary Promenades, Conversations with 38 authors), pp. 134–141, Kastaniotis Editions, Athens 1999.
362:
316:
206:
professor with the company's drama school. He soon starts the translation in modern Greek iambic verse of
666:
At first, the Theater traveled to other Greek cities, like Patras and Thessaloniki. Then Greek architect
606:
157:
After returning from the front, he begins his first reviews with a byline in January 1915, in the daily
633:
405:
193:
96:
91:(Greek: Φώτος Πολίτης), 1890–1934, was one of the most prominent figures in the revival of the ancient
588:
exhaustive rehearsals now becomes clear. The singular teaching of elocution in the manner required by
329:
1033:
Angelos Terzakis, "The theater reviewer", in the Fotos Politis special issue of the literary review
1179:
728:
676:
655:
993:
Costis Bastias, "Η νέα περίοδος του Εθνικού Θεάτρου" (The National Theater's new season), daily
690:
543:
256:
1099:
625:
376:
346:
162:
139:
1224:
1219:
646:
557:
504:
449:
265:
104:
8:
539:
496:
342:
321:
1098:
The Salzburg Festival was founded in 1920 by director Max Reinhardt, poet and dramatist
1186:
694:
307:
1073:(1878-1945), who first used them right after World War I, at the Berlin State Theater.
233:
It was founded to put a stop to the ridiculous parodies, desecrations and clownery of
830:
815:
793:
774:
770:
629:
621:
597:
500:
371:
328:, uncle of King George II, who had inherited the building. With the beginning of the
766:
523:
484:
444:
354:
350:
283:
165:. Until his early death in 1934, he wrote 1103 reviews in various newspapers, like
116:
79:
892:(Fotos Politis and the Greek theater), pp.8-12, University of Athens, Athens 2008.
748:
Post mortem recognition of Fotos Politis, as well as his successors and students.
1103:
1070:
884:
For an excellent account of Fotos Politis' four-year stay in German universities
358:
216:
131:
188:, Alexandros Delmouzos, prominent educator and proponent for the instruction of
1024:, had turned the theater into a state of repose between dinner and the bedroom.
538:
October 1932, the Theater inaugurated its new season, its second season, with
273:(1929), etc. He also tried his first open air performance of ancient tragedy,
1213:
589:
573:
508:
418:
366:
278:
189:
135:
92:
492:
345:
became minister of Education (1930–1932), in the cabinet of prime minister
311:
1021:
641:
593:
468:
409:
391:
251:
238:
211:
197:
the Enlightenment and was critical of rampant nationalism and communism.
146:
829:(Dictionary of Modern Greek Literature), Patakis Editions, Athens 2007.
433:
192:
in the school system, K. Th. Demaras, Greece's foremost scholar on the
1037:, Athens December 1st, 1954, pp.1680-1681, translated from the Greek.
566:
472:
134:. He was also influenced by the ideas of the Austrian-Jewish director
733:
660:
650:
553:
464:
460:
456:
439:
274:
234:
220:
207:
532:
by buying and selling the lower instincts and tastes of the public.
480:
1046:
Costis Bastias, "The National Theater's winter season", the daily
844:(Modern Greek theater next to world theater), vol. B, Athens 1980.
200:
115:
Born in Athens in an academic environment, Politis was the son of
671:
476:
1168:
984:, March 29th & April 5th, 1931, translated from the Greek.
723:
that I have seen". But in the end, after the performance of the
503:, as well as modern Greek playwrights like Demetrios Byzantios,
682:
48:
44:
936:(Theatrical Dictionary), p. 117, Kedros Editions, Athens 1989.
547:. Bastias again wrote about Fotos Politis and the new season:
1008:
Royal Theater, 5th Theatrical Period, October 1935 - May 1936
784:
Bastias, Costis, "Φώτος Πολίτης" (Fotos Politis), periodical
488:
383:
261:
242:
1006:
Costis Bastias, "Ο Φώτος Πολίτης" (Fotos Politis), playbill
301:
1010:, issue Νο. 4, December 1935, translated from the Greek.
761:(Ancient Greek Tragedy at the National Theater), vol. I,
152:
395:(The Radical) and managing editor of the Marxist review
825:
Gouli, Eleni, "Πολίτης Φώτος" (Politis, Fotos), in the
803:
Bastias, Costis, "Fotos Politis dies yesterday", daily
628:
and had worked as an assistant to Max Reinhardt at the
336:
293:
1193:
to it so that it can be listed with similar articles.
861:"Karagiozis the Great" (satirical play), Athens 1924.
434:
Politis first stage director of the National Theater
812:Κωστής Μπαστιάς — Δημοσιογραφία, Θέατρο, Λογοτεχνία
763:Θωμάς Οικονόμου - Φώτος Πολίτης - Δημήτρης Ροντήρης
567:
An epilogue to Fotos Politis' life and contribution
145:In early 1913, Politis was drafted, because of the
71:
stage director, reviewer, playwright and translator
997:, September 20th, 1934, translated from the Greek.
161:(New Greece), which was supporting Prime Minister
1211:
269:(1928), the 17th century Cretan religious drama
1050:, October 4th, 1932, translated from the Greek.
923:Lygizos 1980, p.423, translated from the Greek.
858:(New Life), Alexandria, Egypt, pp. 49–109.
788:, June 20, 1931. Reprinted in: Costis Bastias,
201:Stage director, theatrical educator, translator
1114:Richard Prentis, "Sophocles in Modern Greek",
365:of republican officers, that had forced King
215:and chooses one of Greece's greatest actors,
759:Η αρχαία ελληνική τραγωδία στο Εθνικό Θέατρο
412:. It is sufficient for us that it's present.
245:by various theatrical companies of the time.
1140:W. A. Darlington, "Greek Actors' Triumph",
958:(50 years theater), Athens 1959, pp. 28-29.
719:: "The most impressive performance of the
384:Fotos Politis gains control of the Theater
29:
1127:Henry Bean, "They Play in Modern Greek",
901:Bastias 2005, chapter 11, "The magazine
842:Το νεοελληνικό πλάι στο παγκόσμιο θέατρο
302:Naming the National Theater (background)
522:The novelist, playwright and columnist
149:and had to return to Greece to enlist.
1212:
1060:between these two prominent directors.
890:Ο Φώτος Πολίτης και το ελληνικό θέατρο
153:Reviewer and critic in the 20s and 30s
905:(1927-1930)" (in Greek), pp. 117-132.
640:From 1935 until April 1941, when the
632:, when Reinhardt was director of the
282:(1927), with Greece's famous actress
87:German educated Greek stage director
1162:
1142:The Daily Telegraph and Morning Post
337:The founding of the National Theater
294:At the National Theater (1930-1934)
13:
1178:needs additional or more specific
888:Eleni D. Goulis' doctoral thesis,
14:
1251:
219:, whose memorable performance as
1167:
854:"Tsimiskis" (a tragedy), review
310:founded the Royal Theater, with
1147:
1134:
1121:
1108:
1092:
1082:
1063:
1053:
1040:
1027:
1013:
1000:
987:
827:Λεξικό Νεοελληνικής Λογοτεχνίας
751:
974:
961:
948:
939:
926:
917:
908:
895:
878:
353:, to whom he was married, and
110:
1:
872:
1230:Greek expatriates in Germany
1153:"Electra at His Majesty's",
647:The National Opera of Greece
59:1934 (aged 43–44)
7:
357:, along with leading actor
10:
1256:
1157:(London), June 20th, 1939.
1144:(London), June 20th, 1939.
1131:(London), June 14th, 1939.
1118:(London), June 30th, 1939.
1078:Lygizos 1980, pp. 447-448.
945:Bastias 2005, pp. 183-210.
317:1922 republican revolution
186:University of Thessaloniki
97:National Theater of Greece
624:, who had studied at the
75:
67:
55:
37:
28:
21:
848:
448:and a one-act comedy by
408:or when they are called
320:was reinstated and King
290:of the interwar period.
1235:Greek theatre directors
866:Επιλογή κριτικών άρθρων
1116:John O'London's Weekly
746:
705:
618:
585:
564:
544:The Merchant of Venice
535:
520:
431:
415:
341:When in January 1930,
257:The Merchant of Venice
248:
16:Greek theatre director
1100:Hugo von Hofmannsthal
956:Πενήντα χρόνια θέατρο
790:Φιλολογικοί Περίπατοι
739:
729:His Majesty's Theatre
699:
611:
579:
549:
528:
513:
424:
401:
377:Eleftherios Venizelos
347:Eleftherios Venizelos
230:
163:Eleftherios Venizelos
140:Max Reinhardt Seminar
119:, a professor at the
954:Christoforos Nezer,
757:Arvaniti, Katerina,
668:Constantine Doxiadis
505:Gregorios Xenopoulos
450:Gregorios Xenopoulos
266:John Gabriel Borkman
121:University of Athens
101:Théâtre de boulevard
1240:Writers from Athens
807:, December 4, 1934.
620:On the other hand,
607:Elizabethan theater
271:Abraham's sacrifice
194:Greek Enlightenment
173:(Free Tribune) and
105:avant-garde theater
810:Bastias, John C.,
769:– Fotos Politis –
695:Moscow Art Theater
680:and Shakespeare's
308:George I of Greece
1208:
1207:
1191:adding categories
971:, May 22nd, 1924.
840:Lygizos, Mitsos,
835:978-960-16-2237-8
771:Dimitris Rondiris
737:of London wrote:
691:Comédie-Française
634:Deutsches Theater
630:Salzburg Festival
626:Reinhardt Seminar
622:Dimitris Rondiris
372:Theodore Pangalos
343:George Papandreou
330:German occupation
182:Ellinika Grammata
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930:
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903:Hellenic Letters
899:
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779:978 960 211 9174
773:), Athens 2010.
767:Thomas Oikonomou
731:, the venerable
709:News Chronicle's
524:Angelos Terzakis
355:Marika Kotopouli
284:Marika Kotopouli
117:Nicolaos Politis
80:Nikolaos Politis
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934:Θεατρικό Λεξικό
931:
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864:Fotos Politis,
851:
754:
717:Daily Telegraph
598:Fotis Kontoglou
569:
436:
419:Max Reinhardt's
386:
363:1922 revolution
359:Aimilios Veakis
339:
326:Prince Nicholas
304:
296:
217:Aimilios Veakis
203:
171:Eleftheron Vema
155:
132:German idealism
113:
93:Greek tragedies
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820:960-03-3969-4
817:
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805:Ι Kathemerini
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798:960-03-2577-4
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599:
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590:Greek tragedy
584:
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578:
575:
574:Demotic Greek
563:
562:
559:
558:Julius Caesar
555:
548:
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545:
541:
540:Shakespeare's
534:
533:
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509:Pantelis Horn
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367:Constantine I
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190:demotic Greek
187:
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169:(The State),
168:
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143:
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137:
136:Max Reinhardt
133:
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108:
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98:
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89:Fotos Politis
81:
78:
74:
70:
68:Occupation(s)
66:
58:
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50:
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40:
36:
32:
27:
23:Fotos Politis
20:
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865:
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826:
811:
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789:
785:
762:
758:
752:Bibliography
747:
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594:prompt books
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312:Ernst Ziller
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129:
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88:
86:
1225:1934 deaths
1220:1890 births
1022:Gaston Baty
982:Peitharchia
642:Axis Powers
469:Shakespeare
392:Rizospastis
252:Shakespeare
239:Shakespeare
225:Oedipus Rex
212:Oedipus Rex
177:(Morning).
147:Balkan Wars
125:The Vampire
111:Early years
1214:Categories
1180:categories
873:References
440:Aeschylus'
397:Protoporoi
275:Euripides'
208:Sophocles'
159:Nea Hellas
1199:June 2024
1155:The Times
1035:Nea Estia
969:Democracy
734:The Times
663:in 1938.
661:Sophocles
653:with the
651:Epidaurus
554:Agamemnon
485:de Musset
465:Euripides
461:Sophocles
457:Aeschylus
445:Agamemnon
322:George II
235:Sophocles
221:King Lear
1187:help out
1089:236-238.
693:and the
481:Schiller
442:tragedy
298:Source:
260:(1927),
167:Politeia
1185:Please
1048:Ι Proia
980:Weekly
856:Νέα Ζωή
786:Evdomas
725:Electra
721:Electra
713:Electra
677:Electra
672:Thespis
656:Electra
501:O'Neill
477:Goldoni
473:Molière
262:Ibsen's
995:Hestia
833:
818:
796:
777:
683:Hamlet
615:today.
406:Goethe
351:Kyveli
288:Hecuba
279:Hecuba
76:Father
49:Greece
45:Athens
849:Works
493:Zweig
489:Ibsen
410:Gorky
243:Ibsen
175:Proia
831:ISBN
816:ISBN
794:ISBN
775:ISBN
707:The
497:Shaw
241:and
56:Died
41:1890
38:Born
1189:by
1076:See
886:see
727:at
659:of
254:'s
1216::
556:,
507:,
499:,
495:,
491:,
487:,
483:,
479:,
475:,
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467:,
463:,
459:,
237:,
127:.
107:.
47:,
1201:)
1197:(
1183:.
837:.
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800:.
781:.
765:(
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