Search results for: O. Papazafeiropoulou

Authors: O. Papazafeiropoulou

Abstract:

The first Greek expatriates created centers of culture in Australia from the beginning of the 19th century, in the large urban centers of the cities (Sydney, Melbourne, Brisbane, Adelaide, Perth). They created community theater according to their cultural standards, their socio-spiritual progress and development and their relationship with theatrical creation. At the same time, the Greek immigrants of the small towns and especially of New South Wales (NSW), created their own temples of art, erecting theater buildings (theatres and cinemas) many of which are preserved to this day. Hellenism in Australia operated in the field of entertainment, reflecting the currents of the time and the global spread of mechanical developments. The Australian-born young people of paroikia, as well as pioneering expatriates joined the theater and cinematographic events of Australia. They mobilized beyond the narrow confines of the community, gaining recognition and projecting Hellenism to the Australian establishment. G. Paizis (A. Haggard), Dimitrios Ioannidis, Stelios Saligaros, Angela Parsellis, Sofia Pergamalis, Raoul Cardamatis, Adam Tavlaridis, John Lemonne, Rudy Ricco, Artemis Linos, distinguished themselves by writing their names in the history of Australian theater. They served consequently the theatrical process, elevating the sentiment of the emigrants during the early years of its settlement in the Australian Commonwealth until the first post-war period. In general, research on Greek theater in Australia up to 1950 highlights the historical and cultural importance of the Greek diaspora in the development of Australian theatre. It highlights the contribution of Greek immigrants to the establishment of community theaters and their impact on wider Australian society. The study recognizes the pioneering individuals who played a major role in the development and recognition of Greek theater in Australia, contributing to cultural exchange and mutual respect between Greeks and Australians.

Keywords: Greeks, Community, Australia, amateur theatre, professional theatre, actors, variety shows, cinema.

Authors: O. Papazafeiropoulou

Abstract:

The “Athens Dramatic Company” was one of the longest-running and most widely traveled troupes in the history of modern Greek theatre. The theatre company had been established since 1887 and the following: Euthychios Vonaseras, Eleni Kotopoulis, etc., like the founder of the troupe Theodoros Pofantis, referred to the distribution of the works presented in Patras: The Price of a Crime, The Niece of her Uncle, Agathopoulos, Amphitryon, The Two Sergeants, Lawyer and Actors, The Crusaders, The Daughter of Pantopolos, He Will Kill Himself, Macbeth, The Two Orphans, The Auction, Pistis Hope and Mercy, Love Attempt, The Crusaders, The lady is in Loutra, Markos Votsaris. In 1921 after peregrinations in Cyprus, Constantinople, Romania, Crete, Thessaloniki, Volos, Smyrna, the “Athens Dramatic Company” toured in Africa, where the Greek communities flourished. In 1923, the collaborations of troupe’s members and the repertoire varied several times, such as in Johannesburg, from where they traveled via Cape Town to Australia, where they presented the works: Dikaioma o Eros, Enochos, Psychokori, Kolokotronis. Atimoi, Voskopoula, Golfo, etc., while they impressed with the tragedy Oedipus Tyrannus, which was watched by Australians. Alongside the “Athens Dramatic Company” was also touring with “Vrysoula Pantopoulou Troupe” and most of the members of the two troupes went to America, uniting their formation. In 1927 the old leader of “Athens Dramatic Company” (Theodoros Pofantis) decided to re-establish his troupe, but after unpleasant adventures, he passed away. In the year 1934, the Greek Dramatic Troupe of Athens revived with works including: The Man of the Day, A Dying Heart, A Dream Was and Gone, An Inspection, The Two Sergeants, The Mother, the Father-in-Law and the Non-existent Son-in-law, before finally expiring in 1935, after nearly 40 years of historical passage. The aim of this paper is to demonstrate how, through adverse global conditions, two early professional theater troupes managed to not only survive wandering around the world, but also evolve and shape their theatrical art by adapting to the demands of their audience. At the same time, through the presentation of their repertoire and their movements, the interest of Greek expatriates in Africa, Australia and America for the Greek theater is also indicated.

Keywords: Athens, dramatic plays, Theatre company, universal tour, troupe.

Authors: Papazafeiropoulou Olga

Abstract:

The purpose of this paper focuses on exploring the emergence of Greek tragedy on the American stage until the first half of 20th century through the intellectual processes and contributions of Greek, Italian and Jewish community theatre. Drawing on a wide range of sources, we trace Greek tragedy on the American stage, exploring the intricate processes of community’s theatre identities. The announcement aims to analyze the distinct yet related efforts of first Americans to intersect with Greek tragedy, searching simultaneously for the identities of immigrants. Eventually, the ancient drama became a vehicle for major developments in American theater as individual immigrant communities began their own theatrical endeavors. From 1903 the Greek actor Dionysios Taboularis arrived in America, while in the decade 1907-1917 Nikolaos Matsoukas and Petros Kotopoulis formed their own troupes. In 1930, the actress Marika Kotopoulis also arrived for a tour. Also, members of Vrysoula’s Pantopoulos formed the “Athenian Operetta”, with positive influence on Greek American theatre. The Italian immigrant community was located in the "Little Italies" housing throughout the city, and soon amateur theatrical clubs evolved. The earliest was the “Circolo Filodrammatico Italo-Americano” in 1880. Fausto Malzone’s artistic direction paved the way for the professional Italian immigrant theatre. Immigrant audiences heard the plays of their homeland, representing a major transition for this ethnic theatre. In 1900, the community had produced the major forces that created the professional theatre. By l905, the Italian American theatre had become firmly rooted in its professional phase. Yiddish Theater was both an import and a home-grown phenomenon. Since 1878, works began to be presented by Boris Tomashevsky. Between 1890 and 1940, many Yiddish theater companies appeared in America presenting adaptations of classical plays. American people first encounter with ancient texts was mostly academic. The tracing of tragedy as form and concept that follow the evolutionary course of domestic social, aesthetic and political ferments according to the international trends and currents, draws conclusion about the early Greek, Italian and Jewish immigrant’s theatre in relationship to the American scene until the first half of 20th century. Presumably, community theater acquired identity by intersecting with the spiritual reception of tragedy in America.

Keywords: American, Community, Greek, Italian, identities, intersection, Jewish, theatre, tragedy.