ანტიკური დრამა თანამედროვე ბერძნულ დრამატურგიაში და იაკოვოს კაბანელისი

Abstract

In terms of the reception of ancient themes, the modern Greek playwright Iakovos Kabanellis is among the most colorful figures. He employs ancient plots in some of his plays: a satirical comedy Odysseus, Return Home, a trilogy (triptych as called by the playwright) A Letter to Orestes, The Supper and The Thebans’ March and the Last Act. An insight into the playwright’s employment of myth will lead us to the following conclusion: Kabanellis is interested not in the mythical story itself but in the follow up. Hence, he starts narration at the moment where the myth ends. Kabanellis focuses on the consequence of a story, which, as a rule, is different from what the characters of ancient tragedy expect. If Aeschylean Orestes seeks justification of his actions, for Kabanelis’ Orestes death is the only way out; if Aeschylus’ Electra is confident in her truth, in Kabanellis’ play she is remorseful of her vengeance and is conscious of her mistakes; if Homeric Odysseus returns to Ithaca as a hero and everyone is waiting for him eagerly, Kabanelis‘ Odysseus is forgotten by all, and the awareness that no one expects him has waned his desire to return home. A typical feature of Kabanellis’ literary works is the alteration of the characters’ initial profile: positive characters appear in a derogative/negative light and vice versa. This tendency is evident almost in all his plays on ancient themes.