As the audience leaves the cinemas, the cinemas fill up. And in these days of mobilization for the abolition of the scandalous Decree of the President, which, as the artists complain, equates the diploma of theatrical universities with the diploma of the university, there are more and more people in theaters. A sign of support for what the site has been doing since 2009. Because, of course, all governments, before and after, knew what was happening in the theater.

So the audience is back, the average age has gone down, the older ones are still afraid of the many outings, and the new generation is picking shows that speak for them from the new generation of artists too.

Notably, there has been an increased interest in Greek drama this season. Filled, among other theaters, “Ilisia” with “170 square” by Giorgis Tsouris, as well as with “Matia four” by Yiannis Tsiros, “Mikros Horn” with “Shaved chins”, while many performances are constantly expanding, such as Vasilis Katsikonuri “Jihat”. Youth running in “Kolokiro” by Antonis Tsiotsiopulos in “Karezi” and in “I want to hold your hand” by Thasos Iordanidis in “Alpha”, “Football” by Thanassis Triaridis returned to gender reading, in “Faust”, “Marriage” performed by Marios Pontikas, in “Epi Colono”, “Kala, you were killed early” by Chronis Missios, in Theater 104, etc. The list is long.

Plays, extended drama texts that often include other texts or poetry, improvisations, self-referential performances, directorial scripts. But there are also works – compasses of famous authors, such as Iakovos Campanellis, Loula Anagnostaki, Giorgos Dialegmenos, Dimitris Kehaidis, Dimitris Dimitriadis, Giorgos Sevastikoglu, Giorgos Heimonas, Mitsos Efthymiadis, Rea Galanakis and others.

In the conditions of the financial crisis, many directors and actors were pushed to write. “It was a need that arose out of poverty and made us turn more to our own dramaturgy, sometimes with good results and often with mediocre results,” Irini Mutraki told us last December in a Sunday paper. Today Greek works baptize even incomplete texts. “While there are ideas, there is a disregard for the deepening of the theatrical action,” notes Nikos Diamantis, and emphasizes that the writing was influenced by the abbreviated language of social networks.

When Dimitris Tarlow opened a drama school with authors Vangelis Hatzigiannidis and Thanasis Triaridis, he emphasized that the goal was to teach students the concept of an idea and its development in a theatrical text. Specimens have been seen in Leek. For the Art Theater, the big question is how we rewrite stories or how we retell them through the eyes of our time. That is what he wants to achieve with the Drama Now and Second Call programs.

On Thursday, the Hellenic Screenwriters Association and the Michalis Kakoyannis Foundation announced the 7th Panhellenic Drama Competition.

Yes, domestic dramas are growing fast, but is that enough? What is important is the new, authentic dramaturgy and its appearance. Yes, one more thing YPPOA needs to see.