It sounds strange in a discussion about #Me too in greek theatre, one of the first “conditions” that is set is that it is good “to avoid nomenclature”. Despite the fact that when this is the most, much later, during the discussion, someone from the audience commented on this, received a perfectly reasonable response from Renia Louisidou, how it is done, “so that we do not talk only about Lignadis”.

And indeed, much more was said on Monday afternoon (10.03) in Chiller Building of the National Theatre, in a conversation that had two beginnings: she was the one who opened up to him discussion round this year National Theatre, but, most importantly, the first official #MeToo debate hosted by the National as #MeToo exposed the ugly truth in Greece as well, first in the field of sports and then in the field of theater.

Panel, moderated by playwright Sofia Eftichiadu and joined from a separate position o Art Director National Theater John Moschos, it had an adequate representation of people of different ages, characteristics, positions, and ultimately differences from the main narrative.

Nearly two years after the Greek #MeToo first complained, but where is the Greek theater in terms of offensive behavior? For director Io Voulgarakis it is too early to draw conclusions, because “We’re still in it.” For his part, the director Dimitris Karantsas he raised his own reflection on whether all this really constitutes a progressive course or just brackets, in a space that, like all of society, still operates with the stereotypes of centuries.

However, not only stereotypes lead to offensive behavior, but also those that in some cases lead and carry the entire career of a person. OUR Indra Kane she has made no secret of the fact that her skin color has helped her in her music career, as it seems that “black people are very talented” in this part, however, this is also the reason why she is approached for stereotypical roles, like a maid. Respectively, Fenya to the Apostle she commented that she was not chosen for a role, such as a lawyer or a doctor, but as a transgender.

We should not underestimate the importance of all this stereotyped thinking, as it is a chain of behaviors that perpetuates a problematic or abusive state. There have been many discussions about how to achieve a fairer representation of all genders and identities. The statistics speak for themselves: from 1955 to the present, in Epidaurus they put on a show only 13 women as reported by Io Vulgaraki. It seems that the only step that can lead to significant changes over time and that has already been implemented abroad is equal representation, what was highlighted George Kapoucidis, to quote Geena Davis: “Do the roles and assign 20 men and 20 women.”

In a hierarchical space, such as a theater or any other space, boundaries can often blur. Even within the commission itself, there was disagreement about what pressure on rehearsals meant. Can Fenya Apostolou consider as part of the process the need to say one line 40 times and o Spyros Bibilas to enjoy the fact that the “main” director serves his vision, however Akillas Karasisis vertical: The theater is first and foremost a group.

The actor and director, with his delightful and smooth speech, traces the beginning of the problem back to first casting future actor for admission to the theater school. It is simply insulting to him for a rookie to stand in front of a committee of heavyweights who are a little bored and have to prove their worth as if they were passing a sacred test. In 2022, assessment methods should also turn the page.

Strength. This is the “magic” word that starts everything for Giorgos Kapucidis, and it ultimately transcends gender. Power is given somewhere, but from now on, can each person manage it (and not abuse it)? From people who had an artistic background but didn’t know how to delicately manage their position, we ended up talking (and) about the global wave of #MeToo.

#MeToo in Greek theater is “war”. And, as Renia Louisidou adds, besides the perpetrators and the victims, there is a whole intermediate part that has been silent for decades and now must take a position: either with them or with others, there is nothing in between. Once upon a time, if you spoke, you automatically became “artistically inaccessible,” as the actress puts it. Nonetheless, “#MeToo and beyond, we can’t stay away.”

And this is the biggest victory of this movement so far. Even if the steps are small and slow and this path contains errors and exaggerations, even if, unfortunately, it is not always possible to speak (if you are present in abusive behavior, how to make it public without the consent of the victim?), even if one day these changes come to individual microcosms, and not to society as a whole.

But the road that was open must be traversed. Even if it doesn’t happen “through a field of poppies”.