Aristophanes' The Clouds is the first performance of a comedy in modern Greece. The driving force behind it was the satirical poet Georgios Souris, who was responsible for both the translation and direction of the play. The play is staged at the Municipal Theatre of Athens and the Municipal Theatre of Piraeus. Women were banned from the performance.

The group of Georgios Souris Athens, 1896. Hellenic Literary and Historical Archive (E.L.I.A. – M.I.E.T.) Photographic Archive

The performance of the Oresteia by Aeschylus at the Royal Theatre is an important theatrical event. The director of the performance was Thomas Economou. He and Christomanos are considered the first 'professional' directors of the new Greek theatre. The play was translated into demotic Greek from a German version of the original text. This choice became a source of conflict between two opposing camps: those who supported the use of kathareuousa, a form of the modern Greek language conceived as a compromise between Ancient Greek and the Demotic Greek, and those who supported the demotic form. This linguistic disagreement is also known as the Glossiko Zetema (The Greek Language Question). Philology students and supporters of kathareuousa, led by the university professor, Georgios Mistriotis, reacted violently. Incidents and clashes broke out, resulting in one death!

The programme of the performance Oresteia by Aeschylus, 1903. Archive of the Theatre Museum of Athens

On the initiative of Angelos Sikelianos and his wife, Eva Palmer-Sikelianos, the first Delphic Festival is organised in 1927. It includes a performance of Prometheus Bound by Aeschylus, traditional dance competitions and a folk art exhibition. This is the first performance in modern times held in the ancient theatre. In 1930, the event is repeated with the addition of The Suppliant Women by Aeschylus. Eva Palmer undertook the direction of both productions. For the movements of the chorus, she was inspired by ancient pottery painting and traditional Geek dances. She herself designed and loom-wove the costumes with patterns from Greek art. The music was based on a Byzantine melody.

Prometheus Bound by Aeschylus, Delphic Festival, 1930. Photographic Archive of the Benakis Museum (Photographer: Nelly’s).

Prometheus Bound by Aeschylus, Delphic Festival, 1930. Photographic Archive of the Benakis Museum (Photographer: Nelly’s).

Eva Palmer
Delfic Festivals, 1930
Hellenic Literary and Historical Archive (E.L.I.A. – M.I.E.T.) Photographic Archive

Karolos Koun's “Laike Skene” (People’s Stage) puts on Alcestis by Euripides. The scenery and costumes are by the artist Diamantis Diamantopoulos. The performance includes elements inspired by ancient and Byzantine art co-existing with folk tradition, for example Karagiozis shadow puppets. The Alcestis project was a characteristic example of the creative references to the past that were common during the inter-war period from the so-called 'generation of the 30's'.
Karolos Koun in his young age. Photographic Archive of the Greek Art Theater Karolos Koun (Theatro Technis Karolos Koun )

Even during the years of WWII the performances of ancient drama do not stop. 1940 sees the performance of Antigone by Sophocles in a translation by Ioannis Gryparis. According to a publication of the time, 'it was a triumph of demotic Greek'. The lead was played by Eleni Papadaki. As a key member of the National Theatre of Greece, she gave unique performances in other roles from ancient drama, such as Clytemnestra, Iphigeneia and Hecuba. She was murdered in 1944 during the civil war.

Antigone by Sophocles, National Theatre of Greece. Odeon of Herod Atticus, 1940 Hellenic Literary and Historical Archive (E.L.I.A. – M.I.E.T.) Leontas Frantzis’ Archive

In 1954 Hippolytus by Euripides is staged at Epidaurus, under Dimitris Rontiris' direction. The same performance is part of the festival officially begun the following year under the new director of the National Theatre of Greece, Emilios Chourmouzios. The scenery is by Kleovoulos Klonis and the costumes are by Antonis Fokas. The National Theatre of Greece established the use of a classical aesthetic in the revival of ancient drama, which was well received throughout the world. The performances of well-known actors of the time, such as Katina Paxinou and Alexis Minotis, left their mark on the success of the plays performed at Epidaurus. From 1957, the comedies of Aristophanes were also included in the festival at Epidaurus. The director, Alexis Solomos and the painter-scenographer Giorgos Vakalo give colour and energy to these performances

Katina Paxinou, Ecuba by Euripides, National Theatre of Greece. Epidaurus, 1955.
Photographic Archive of the National Theatre of Greece

Hippolytus by Euripides, National Theatre of Greece, Epidaurus, 1954. Photographic Archive of the Benakis Museum (Photographer: Dimitris Charisiades)

Hippolytus by Euripides, National Theatre of Greece Epidaurus, 1954. Photographic Archive of the Benakis Museum (Photographer: Dimitris Charisiades)

Lysistrata by Aristophanes National Theatre of Greece. Epidaurus 1957. Photographic Archive of the Benakis Museum (Photographer: Dimitris Charisiades

Alexis Minotis Oedipus Rex by Sophocles, National Theatre of Greece. Epidaurus 1955. Photographic Archive of the National Theatre of Greece

The performance of Electra by Sophocles, directed by Dimitris Rontiris and first performed in 1958, travels the world, promoting ancient Greek tragedy. The lead role is played by Aspasia Papanathasiou, who wins the first prize in the Theatre Festival of Nations in Paris

Electra by Sophocles, Theater of Piraeus. Los Angeles, 1961. Hellenic Literary and Historical Archive (E.L.I.A. – M.I.E.T.) Aspasia Papathanassiou Archive

After the fall of the Greek military junta in 1974 and the return to democracy, the festival at Epidaurus no longer includes just National Theatre of Greece performances. New directors and companies present ancient theatre, bringing a freshness to the festival. In 1975, the National Theatre of Northern Greece performed Electra by Sophocles at Epidaurus. The following year, Medea by Euripides met with great success both in Greece and abroad. The leading role in the American performances was played by Irene Pappa, and in Greece by Melina Mercouri. The director of both performances was Minos Volanakis. He was also responsible for translating both plays with theatricality and sensitivity. He immersed himself in ancient drama and performed the work of the dramatic poets with a new approach.

The members of the performance Medea by Euripides during the rehearsal, 1976. Archive of the National Theatre of Northern Greece (Photographer: Socrates Iordanides)

The programme of the performance Electra by Sophocles, National Theatre of Northern Greece, 1975. Archive of the National Theatre of Northern Greece (Photographer: Socrates Iordanides)
Melina Mercouri, Medea by Euripides, National Theatre of Northern Greece. Epidaurus, 1976. Archive of the National Theatre of Northern Greece (Photographer: Socrates Iordanides)

The production of the Bacchae by Euripides, directed by Theodoros Terzopoulos, adds another dimension to the revival of ancient drama in Greece. The director and founder of the Attis theatre freed ancient tragedy from the traditional style of performance. He placed emphasis on acting with intense physical expression. In his productions he created powerful images on stage, with strong ritualistic elements.

Bacchae by Euripides, Attis theatre, directed by Theodoros Terzopoulos. Berlin, Berliner Ensemble, 1987 (Photographer: Pierre Guillaume)
Bacchae by Euripides, Attis theatre, directed by Theodoros Terzopoulos Fribourg, Ihnenhof Alte Uni, 1987