This is similar to the trend seen in public cultural institutions: words such as “diversity” are included in their program, debates about reactions to violent events are organized on their main stages, and groups claiming to be represented in the arts react when they feel limited. them.

An example is the National Theater of the post-Lignada era. “We are all different, we are all the same” – under such a slogan the grand opening of the institution was recently issued, in the program of which we are waiting for performances on the topic “other” and participation in international actions for inclusion. The day before yesterday, the National also hosted a public discussion on a hot topic: “Greek theater in the #MeToo era”.

It was a discussion that artistic director Yiannis Moschos admitted even made him fearful. She was asked what has changed since the Greek #MeToo. And if the positions were not distinguished by optimism, then the proposals made had their significance.

Although director Io Vulgarachi, for example, remarked that it was too early for any changes and that in the 70-year history of Epidaurion only 13 female directors had directed the play, she offered their institutionally guaranteed representation with quotas. The president of the Union of Greek Actors, Spyros Bibilas, found that “some mouths have been opened” in the theatre, but the main thing, he stressed, is that complaints are filed with the competent authorities. Indra Kane has noted that while in music she faces the stereotype that blacks should be “super talented”, in theater she is only asked to play certain roles.

“One of the tips that Geena Davis gave to screenwriters was to write any story they want, add 40 roles to it, and then make 20 women,” said Giorgos Kapoucidis, who later cited important plays, in which hid offensive behavior. Dimitris Karantzas spoke about people who “proclaim themselves as artists, demonstrating their rigor”, while Renia Louizidou recalled that “humbleness before the performance has become part of our personal myth”. Fenya Apostolou asked what would happen professionally with an actress who wants to change her gender identity, Akylas Karazisis spoke about the “secular” institution of audition, and Yiannis Moschos, answering a question about this, stressed that “the conventions of the National Theater are now a condition for the adoption of an ethical code organizations.”

“We have managed to achieve that more than 40% of our authors are women,” says Artistic Director of KTHBE Asterios Peltekis.

Opening of KTHBE

Similar questions apply to the State Theater of Northern Greece, whose program was recently unveiled, with artistic director Asterios Peltekis referring to a new era “open to diversity, to inclusion”. KTHBE’s support in such matters is documented in its collaboration with Potentially, in its director’s desire to reach out to communities such as Thessaloniki Gypsies in his proposal to the Board of Directors. theater for hiring redundant persons or people with disabilities for specific jobs and, of course, in the themes of productions such as Crazy Frogs, Prague and Populenios.

“We also include projects with multiple female roles and therefore multiple actresses, while we invite many creators to direct, costume, set, etc. positions,” emphasizes Mr. Peltekis, and continues: “We have succeeded , more than 40% of our contributors must be women, and we are trying to reach 50%. We do not want exaggerations – exactly 50% of women. Our goal is to include every fingerprint with which we live in harmony and that all voices of both genders are represented, as well as to include writers who embrace the concept of diversity.”

Moreover, according to Asterios Peltekis, the mission of art is to protect human rights. “I think that art should speak out against any civil unrest,” he says, “whether it is war or it is about human relations, gender relations or different people.”

And while all this is happening on two state stages, it became known that she quit her position as a participant in the production of the chamber opera “Strell” by the Alternative Stage of the Greek National Theater on the grounds that the main role is not going. for a trans woman, corresponding to the protagonist’s film of the same name. Finally, following a reaction from the LGBTI community, Alternative Scene announced that while it initially supported the need for a professional baritone to play the central role, “it would expand auditions” to the role “in order to exhaust the effort”. at the Greek and international level” to find a transgender performer.