Oh, little actors have so far managed post-politically – and as far as I can easily remember the Internet archives – to be in his place Greek parliament or hold political positions in public organizations. Among others, the deputies were Eva Kotamanidou, Kostas Kazakos, Emilia Ypsilanti, Anna Fonsu, Eleni Anusaki, Anna Vagena, Nora Katseli, Pemi Zuni, Angela Gerekou, Giannis Vouros, Maria Kanellopoulou, Pavlos Haikalis.

The most famous of all, of course, Melina Mercouri is considered the longest-serving minister of culture, while Anna Sinodinou, extra-parliamentary deputies Lidia Koniordou, Angela Gierekou and Pavlos Haikalis also held ministerial positions – every year and better, or is this the morality of the times?

Actors have an electoral advantage because they are recognizable to voters, so it is easier for them to win the votes of a politically indifferent audience. An audience that is tired of weighing some of the more “complex” criteria, such as the candidate’s political position, his social work and struggle, his ideas, the credibility of his words, and the consistency of his work. That is something different from the fame and charm of the actors. After all, hypocrisy is one thing, and hypocrisy is another, as some slyly and populist mix both.

You may ask, do citizens also evaluate other professional candidates according to these criteria, that is, in addition to their public “television” image or the name they bear? I agree with the point of view of the objection, but actors easily fall into the trap of promoting whatever professional achievement and recognition they have to attract voters. Because politics can also be… a stage, but anyone who thinks that this is a theater is mistaken.

Political actors appear prone to extraverted theatricality, ignoring the value of the work and the meaning of the political act. Political work requires vision, strategy, planning, insight, prudence, serious preparation, but also requires skill in the art of the possible. And this requires realism, as well as the skills of party balances, personnel management, and the implementation of political decisions of the government. The actors have looked good with words so far, but…

Ambition is a bad adviser, and politics is not a role. This is not prose that can be interpreted by pulling theatrical luggage out of the closet. Applause on stage does not mean applause in the political arena. Anyone who treats her this way will either be bad at the “role” or end up being a cheerleader and extras. Worse, he will be brutally exposed, paying for his decision. Thus, he blurs his theatrical footprint without even being able to accuse the director of bad interpretation.