There were also several other organizations belonging to the left but independent from party affiliations that adopted a more radical agenda. The feeling of nostalgia is nonetheless part of the main character’s journey: In this respect, dramatic realism was considered to reproduce patriarchal principles and hierarchies with several feminist playwrights exploring alternative dramaturgies. The playwright presents the portrait of a contemporary woman and deals with the ‘real’ world; nevertheless, Penga works within the context of a post-modernist aesthetic maintaining an implicit relation with the tradition of realism, as she uses Ibsen’s A Doll’s House as a remote intertextual reference. See all reviews. Kifisia, as Cephissia, dates back tae auncient times, alang wi the auncient municipality o Epicephesia. The promise of a trip to exotic Thailand operates as a central plot device; as a stratagem in the life of the characters, an opportunity that is always available for them to grasp.

This official–outdated–version was underlined by the repetition of the question ‘what is our homeland? Yet, their fantasies never materialize and rather remain in the realm of wishful thinking. Later, in , Papadimitriou chose the title Koinos Logos Common Speech , which was used in the succeeding editions. Consequently, the aim of this article is twofold: Through this reference to the mythical femme fatale, Lymberaki reverses its negative connotations as these dominated male imagery during modernism’s heyday, since, in her case, the Queen wins power and determines the flow of events. She becomes the author of her own biography and sketches out her own ‘independent’ genealogy. Produced in the years of the financial crisis, this performance brings to the fore an almost forgotten system of female values of solidarity and collective effort Anima

Upon deciding to become Wolf, Woman turns to Art for inspiration: They operate both in mainstream and experimental venues, and they are rarely militant, except in those cases where they intentionally expose a sort of hyper-naturalist violence to provoke the spectators’ sensibilities. Consequently, the contradictory aspects of the female character in M. All of your saved places can be found here in My Trips.

A first listing ‘Diavazo, 89, pp. Feeling intimidated, the queen asks Gyges either to kill her husband or to kill himself. Bijoux de Kant was formed in by visual artist and director Giannis Skourletis, sociologist Aris Asproulis and musician Kostas Dalakouras.

Aboumogli highlights the difficulties some women directors faced in order to establish their work, also mentioning the reservations critics often expressed about their ability to get involved in a ‘men’s’ artistic activity, especially when their work broke a theatrical ‘taboo’ such as the ‘sacred’ space of Epidaurus.

Whilst the theoretical approach of women’s dramaturgies from a post-feminist or gender studies perspective is still limited, there are many younger artists, playwrights cienma directors, such as Elena Penga and Lena Kitsopoulou, who are aware of such theoretical discourse on gender and often incorporate it in their work.


Oikonomopoulou edsPolihromes Psifides, Gallofonia kai Polipolitismikotita ‘Multicolored tiles, francophony and multiculturalism’Athens: Discussing selected works by women playwrights in the light of the reception of feminist thought in Greece from the early years of Metapolitefsi until today, my intention is to trace the different trends of feminist dramaturgies and their genealogies.


Merkouri has been strongly identified with the film’s fictional Stella whilst also assigning ccinema character many features of her own persona: In the closing scene, the five characters recite together the film’s most famous line: Separate each e-mail address with a semicolon Subject line: The fire destroyed hintle o the eastren, pairtially forestit pairts o the aurie.

Watching a movie, seeing the Acropolis and the stars, as if it were a local is a unique experience.

When her son, Yiannis, was involved in the ‘business’ of trafficking, she readily accommodated his Russian girlfriend in her house and taught her French songs. Kidathinaion 22 PlakaAthens, Greece. TripAdvisor LLC is not responsible for content on external web sites. It is because of this that they decided to mix two different periods and look for the common threads that connect famous or anonymous heroines during the first years of the Greek state and during the dark years of the Second World War.

Aristotle University of Thessaloniki. In the special issue on contemporary Greek drama of Diavazo, Platon Mavromoustakos compiles a list of plays written, performed or published between and To Paradeigma tis Margaritas Karapanou’ ‘Women’s discourse and monologue: I would definitely go again, check this out if you’re in Plaka! As actress and director, Kitsopoulou has developed a similar ‘aesthetic of exaggeration’. Don’tmiss it if you are a few days in Athens.

Nea Erythraia Ekali Acharnes.

Cinema with a view to the Acropolis

Reviewing Wendy Wasserstein’, Theater Journal, There are several other works that serve similar intentions, such as, for example, Pios anakalipse tin Ameriki? Reviewed July 31, Excellent!

She epitomizes what Marianne epitomizes for the French Republic. Yet, their fantasies never materialize and rather remain in the realm of wishful thinking. The most interesting element in the life story Sophia addresses to the audience is her decision to remain loyal to her ideological beliefs and avoid becoming part of ‘the ordinary’. Admeenistrative diveesions o the Attica Region. Atin aim of Exodus was not only to illustrate women’s readings of history but also to explore the meaning such events have for today’s audiences.

In light of Sakellaridou’s suggestion, my attempt is to construct a narrative that highlights different ‘moments’ in the history of women playwrights and how these shaped perspectives of gender in contemporary Greek theatre.

Penga’s protagonist is the nameless Woman, a dynamic, well-educated, affluent professor, who abandons her husband in an attempt to find what is missing from her life and explores her instincts and the natural world, a space described as ‘the Green’.

It became the fashion for walthy Athenian faimilies tae big simmer hooses in Kifisia, an keen social competeetion led tae the creation o a unique airchitectural ambiance, as villas in iver mair exotic styles proliferatit.


Kifisia – Wikipedia

Indeed, the group constructed a multivocal spectacle in which memories spoken in different cultural, social and geographical idioms and accompanied by songs or dance, created an emotionally charged atmosphere and a sense of the familiar, as many spectators had had a personal experience of such stories.

The plays examined below explore features or functions associated with the feminine within patriarchal culture. Jill Dolan discusses her earlier critical views on realism–especially in the domain of mainstream realist playwriting–claiming that older taxonomies are no longer operative in the new historical moment of post-feminism Dolan In this light, one can better understand why the work of Antoniadi, the first woman director to enter Epidaurus, was received with scepticism.

An illustrative example of intertextuality can be seen through the detail of Stella’s bag that resembles a travel bag offered by tourist agencies, with the words ‘Paradise travel’ written on it.


Camping Nea Kifissia

There is no doubt that many women artists, novelists, poets, film directors came to the fore, yet their work, successful as it might have been, was rarely received and interpreted in terms of gender politics. Basdeki constructs her rereading attentively and with a sense of humour by citing fragments from the original. Sophia also perceives her kifisa as part of History: Her research engages with cultural and critical theory, twentieth-century theatre, while she has published on contemporary Dtin and European theatre.

They comply with the post-feminist ideal of the ‘superwoman’ who may be socially or financially independent but should remain fit and attractive: She left school thinking it was a suffocating and miserable environment cimema got addicted to alcohol in order to deal with the death of her husband. Housomeivver, the suppression o brigandage, an the arrival o the cinsma inled tae the dramatic development o the aurie.

There were also several other organizations belonging to the left but srin from party affiliations that adopted a more radical agenda.

The selection of plays is driven by an intention to maintain a balance between representative, influential or pioneer works defining each trend, and kfisia recent examples, which, in my opinion, illustrate a particular feminist viewpoint. Within this post-feminist moment that Penga’s play reflects, gender identities remain in the margins: It reveals what many women theatre artists of that period felt, that is, the need to reassure their contemporary audience that their professional aspirations both in the fields of acting and directing were not to be seen as a threat to their male colleagues or as a challenge to dominant perceptions about artistic creativity.

This is why the two women are presented as close friends who share everything between them.