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Stage of EmergencyTheater and Public Performance under the Greek Military Dictatorship of 1967–1974$
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Gonda Van Steen

Print publication date: 2014

Print ISBN-13: 9780198718321

Published to Oxford Scholarship Online: January 2015

DOI: 10.1093/acprof:oso/9780198718321.001.0001

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“These bonds of freedom hurt”

“These bonds of freedom hurt”

The Logos and Silence of Censorship and Self-Censorship

Chapter:
(p.91) 2 “These bonds of freedom hurt”
Source:
Stage of Emergency
Author(s):

Gonda Van Steen

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198718321.003.0003

Chapter 2 discusses the history, policies, and practices of the Greek military regime’s censorship (via the book index and preventive and hortatory censorship), but also addresses the reactions of authors and theater practitioners. The chapter covers the “Authors’ Silence” or the silence boycott by authors and playwrights, self-censorship, and the dissident contestation of state censorship. It also focuses on the role of ancient drama and especially on Aeschylus’ Prometheus Bound, identifying the defiant, intellectual tragic hero as a voice of modern resistance. The chapter further discusses the activist contributions of Anna Synodinou and George Seferis, to then turn to transgressive plays representative of the New Greek Theater and of the Greek Performative Turn (associated with the work of stage director Giorgos Michaelides). The chapter also presents a case study of The Trombone, a thought-provoking play written by Marios Pontikas. The final section outlines the role played by the Greek revue

Keywords:   Greek state censorship, Authors’ Silence, self-censorship, Prometheus Bound, Aeschylus, Anna Synodinou, George Seferis, New Greek Theater, Performative Turn, Marios Pontikas, Greek revue

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