The immaterial presence of women in contemporary Greek theatre

Since the beginning of the 1970s the women’s/feminist theatre has gained a dominant position on the European and the American stage. Women have stormed the postmodern stage either as solo dramatists and artists or as collaborative teams, forging a new female theatre language and training audiences to new ways of theatre reception. The publication of Lizbeth Goodman’s Contemporary Feminist Theatres: To Each Her Own (Routledge, 1993), one in a long series of recent studies on women’s theatre, already heralded an advanced epoch of a polyvocal feminist theatre embracing a multiplicity of female differences along the paradigms of gender, race, sexuality and ethnicity. Within the dynamic spectrum of development and inter-cultural exchange that ensued in the field of women’s theatre the Greek women’s contribution is faceless and anaemic. The situation is both distressing and calling for systematic research, especially since the scanty sociological studies concerning the position of women in contemporary Greece are inadequate in throwing full light on such a complicated problem. In 1992 Savas Patsalidis made the first serious attempt to analyse the foetal state of women’s theatre in Greece in his article ‘Greek Female (Feminist?) Theatre: A Preliminary Approach’, published in the Greek journal Utopia (4, Nov.-Dec. 1992, 105-38). My own interest in the issue in my capacity as a feminist and drama critic springs from my long-standing research in British women’s theatre and my understandable comparative inquiry, as a Greek national, into the causes that might have led to the striking absence of an analogous phenomenon in my native country. I have deliberately used the word immaterial in the title of this paper in order to suggest, on the one hand, the relative lack of a distinct theatre discourse of women as speaking subjects and moving bodies on stage, inscribing female experience and female desire, and, on the other hand, the unimportance, in terms of power, of women theatre practitioners as still very few of them hold key positions in theatre institutions and the theatre industry

Aesthetics · Art · Literature · Contemporary and Historical Greek Studies · History · Irish and British Studies · Theatre and Performance Studies

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• Contemporary Feminist Theatres

  Sue Smith, Lizbeth Goodman•Feminist Review•1994

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