Greece

Abstract

This chapter uses the discursive framework of turns, which has become customary in discussions about reception studies and performance criticism but which has yet to be applied to the modern Greek reception history of ancient theater. Given the sheer frequency of revival productions since the latter half of the twentieth century, it invokes representative examples. The Neohellenic intelligentsia of the newborn Greek nation of the 1830s aimed to graft ancient tragedy onto modern Greece, which had to replicate Classical Hellas. The late 1920s and 1930s brought the belated modernist turn to the Greek reception of ancient drama. In the aftermath of the Greek Civil War, political prisoners deported to barren islands in the Aegean Sea turned to Classical tragedy. Theater on the prison islands ushered in revival tragedy as a genre with considerable potential for sociopolitical criticism and disruption, which, until 1959, remained absent from the outdoor festival productions.

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