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Theatre of the CondemnedClassical Tragedy on Greek Prison Islands$
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Gonda Van Steen

Print publication date: 2010

Print ISBN-13: 9780199572885

Published to Oxford Scholarship Online: January 2011

DOI: 10.1093/acprof:oso/9780199572885.001.0001

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Female Prisoners Learning (in) Defiance: What's Playing on Trikeri?

Female Prisoners Learning (in) Defiance: What's Playing on Trikeri?

Chapter:
(p.106) 3 Female Prisoners Learning (in) Defiance: What's Playing on Trikeri?
Source:
Theatre of the Condemned
Author(s):

Gonda Van Steen

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199572885.003.0004

Chapter 3 features what is clearly a more national but also an increasingly international dialogue and exchange of ideas on tragic heroes like Prometheus, despite the remoteness of the prison islands. Chapter 3 focuses on the productions—or attempts at productions—of the female exiles of Trikeri and also on their alternative educational and cultural expressions, which tended to bring gender into the equation. The women's theater on Trikeri contained both licensed and illicit stage activity. It presents an Antigone that was distinctly different from the one staged—and privileged—on Makronisos: it traced liberal and democratic ideals back to antiquity. This chapter also makes tangible, through the Prometheus myth and play, how the Right handled the tool of the notorious “declaration of repentance,” which it tried to wrest from the Left.

Keywords:   Greece, modern, female political prisoners, ancient drama, Greek Civil War, Cold War, Trikeri, Makronisos, Sophocles, Antigone, Aeschylus, Prometheus Bound, women's education

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