Greek Theatre

The Theatre of Greece has a long and wealthy history. Though hampered at times by conflict or political instability, the Greek film industry dominates the domestic industry and has skilled global success. Characteristics of Greek cinema contain a dynamic plot, solid character progress and sexual themes. Two greek movies, Lacking (1982) and Eternity and a Day (1998), have won the Palme d’Or at the Cannes Film Festival. Five Greek films have obtained nominations for the Academy Prize for Best International Language Film. Though Greek cinema took origin in the first 1900s, the initial mature films weren’t produced before 1920s, after the end of the Greco-Turkish War. Films in this time, such as Astero (1929) by Dimitris Gaziadis and Maria Pentagiotissa (1929) by Ahilleas Madras, consisted of mental melodramas by having an abundance of folkloristic elements. Orestis Laskos’s Daphnis and Chloe (1931), one of the first Greek films to be found abroad, included the initial voyeuristic naked scene in a European film.

During the Axis occupation, the Greek film industry struggled as it was pushed to relocate overseas. After the Greek Civil Conflict, Greek cinema skilled a revival. Inspired by Italian neorealism, administrators such as Grigoris Grigoriou and Stelios Tatasopoulos developed works in this time opportunity on site applying non-professional actors. During the 1950s and 1960s, Greek cinema skilled a golden age, starting with Jordan Cacoyannis’s Stella (1955), which was processed at Cannes. The 1960 film Never on Sunday was selected for five Academy Prizes, and their cause actress, Melina Mercouri, won the Best Actress Prize at Cannes. Cacoyannis’s Zorba the Greek (1964) won three Academy Awards. Different films released in that era, such as The Bogus Money and The Ogre of Athens are nowadays considered a number of the best works of Greek cinema. Censorship plans of the 1967 junta and rising foreign competition generated a decline in Greek cinema. Following the restoration of democracy in the mid-1970s, the Greek film industry again flourished, led by manager Theo Angelopoulos, whose films grabbed global recognition, creating him the absolute most acclaimed Greek manager to date. Different acclaimed administrators of this era contain Nikos Nikolaidis, in addition to Pantelis Voulgaris and Alexis Damianos, the manager of the landmark film Evdokia. But, that move toward art-house cinema in the 1980s generated a decline in audiences. In the 1990s, younger Greek filmmakers started trying out iconographic motifs. Notwithstanding, or because of, funding issues produced by the financial crisis in the late 2000s, unique Greek films such as Yorgos Lanthimos’s Dogtooth (2009), Panos H. Koutras’ Strella (2009) and Athina Rachel Tsangari’s Attenberg (2010) obtained global acclaim, constituting what has been called the “Greek Bizarre Wave” ;.In the spring of 1897, the Greeks of Athens watched the initial cinematic endeavors (short shows in “journal”). In 1906 Greek Theatre came to be once the Manakis friends started taking in Macedonia, and the German filmmaker “Leons” produced the initial “Newscast” from the midi-Olympic activities of Athens (the unofficial Olympic activities of 1906). The initial cine-theater of Athens exposed in regards to a year later and different specific ‘projection rooms’ begun their activity. In 1910-11 the initial short witty shows were made by manager Spiros Dimitrakopoulos (Spyridion), who also starred in nearly all of his movies. In 1911 Kostas Bachatoris presented Golfo (Γκόλφω), a well known traditional enjoy history, considered the initial Greek feature film. In 1912 was established the initial film organization (Athina Film) and in 1916 the Asty Film.

The 1950s and 1960s are believed by many to be the “Fantastic Age” of Greek cinema. Administrators and personalities of this era were recognized as important historic numbers in Greece and some received global acclaim: Mihalis Kakogiannis, Alekos Sakellarios, Melina Mercouri, Nikos Tsiforos, Iakovos Kambanelis, Katina Paxinou, Nikos Koundouros, Ellie Lambeti, and Irene Papas. A lot more than sixty films each year were made, with most having film noir elements. Significant films were The Bogus Money (Η κάλπικη λίρα, 1955 directed by George Tzavellas), Sour Bread (Πικρό Ψωμί, 1951, directed by Grigoris Grigoriou), and The Ogre of Athens (Δράκος, 1956, directed by Nikos Koundouros).Finos Film and manager Alekos Sakellarios collaborated on a few films in the late 1950s, particularly The Hurdy-Gurdy (Φτώχεια και Φιλότιμο, 1955) and their sequel, Laterna, ftoheia kai garyfallo (Λατέρνα, 1958), in addition to Mother from Chicago (Η Θεία από το Σικάγο, 1957) and Maiden’s Cheek (Το ξύλο βγήκε από τον Παράδεισο, 1959).

The 1955 film Stella, directed by Jordan Cacoyannis and written by Iakovos Kambanelis, was processed at Cannes, and presented Greek cinema in to their “golden age.” Melina Mercouri, who starred in the film, achieved National expatriate manager Jules Dassin at Cannes while joining the screening, and both might ultimately marry. Dassin directed the 1960 Greek film, Never on Sunday, which starred Mercouri. The film was selected for a number of Academy Prizes, including Best Actress for Mercouri, and won the Academy Prize for Best Track for composer Manos Hatzidakis’ subject track. The pair also collaborated on the 1967 musical period adaptation, Illya Darling, for which Mercouri obtained a Tony Prize nomination. She went on to celebrity such films as Topkapi and Phaedra, both directed by Dassin, and the 1969 National comedy, Gaily, Gaily.

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