The Persians: Emotionally Shattering, Culturally Enriching

Written by Theresa Z.

(2004)

     The Pearl Theater Company has yet again delivered another stunning performance by Joanne Camp, Scott Whitehurst, Robert Hock, and Sean McNall in the Greek tragedy The Persians. Moving, emotionally shattering, and culturally enriching, this play is a combination of many elements that would leave any viewer questioning the true validity of victory. Though but a tight-budget play with a cast of eight characters performed by merely four actors, it delivered a powerful message of painstaking grief and horror that no cast of one thousand actors could have emulated. Aeschylus himself would have been honored with such a magnificent tribute to his work.

     The story begins in Persia during a time of war, with a group of men anxiously awaiting news from the Persian troops. The Queen enters and reveals that she saw a bad omen in her dreams, and she prays desperately for her son King Xerxes who is waging the war against the Greeks. A messenger appears with the painful news of defeat. He cries and writhes in pain as he recounts the death and fear he saw in the war. King Darius is then summoned from the dead, and he curses his son Xerxes for the devastation of Persia. Finally, Xerxes appears and faces the humiliation and shame caused by his hubris.

     I found this play to be quite astounding for many reasons. For one, not one of the actors stepped off stage during the duration of the play. All clothing changes, all character shifts, and all background transformations happened right before the viewers’ very eyes. The transformations were not only evident, but dramatic and exaggerated to satiate the hungry eyes of the audience. The actress Joanne Camp initiated these transformations by discarding her chorus cloak to don a crown, signifying her role as Queen of the Persians. After the first “uncloaking,” I excitedly began to anticipate the next. I learned that each shift was performed in an entirely different manner than the rest. While Darius’ shift was sacrosanct and accompanied by ritual chanting, Xerxes was literally ripped out of his cloak in a belligerent manner. The nature of the transformation symbolizes the heart of the character himself. The Queen’s transformation was graceful and soft, symbolizing the femininity of her character. Xerxes’ transformation was abrupt and full of rage, symbolizing his shame and dishonor.

     The only props to guide the actors were placed in the center of the stage, but for the most part, the actors relied on Aeschylus’ words and the accompanying singing and chanting (performed by the musically endowed actors). The actors kept a steady beat, and did not waver once in the entire play. It was evident that an extraordinary amount of time, practice and effort was put into this play by all the actors. The costumes were also beautifully crafted and extravagant. Jewelry was obviously a defining luxury in ancient Persia for the Queen donned a large number of bracelets and necklaces to demonstrate her high status in society.

     Lastly, Aeschylus’ words were piercing and engaging, deep and philosophical. Although The Persians was written thousands of years ago, his words continue to have a profound effect on viewers today. The Pearl Theater’s production of this masterpiece was an extraordinary success, and thanks to the brilliance of the actors, Aeschylus’ words will resound in my ears for a long time to come.

Warriors, Weapons and Wine Cups: Exploring the World of Alexander the Great

Written by Chrysoula K.

(2005)

     Few people changed the course of world history the way Alexander the Great did. A towering figure of antiquity, it is no surprise that the Onassis Cultural Center recently inaugurated an entire exhibit dedicated to this famous king and the age that followed his death. The exhibition Alexander the Great: Treasures from an Epic Era of Hellenism consists of various artifacts ranging from statues to clever weaponry to everyday wine cups. The display also demonstrates how the Greeks interacted with their art in even the simplest ways.

     Upon entering the room, the first thing one notices are two beautiful marble portraits of Alexander: one found near the Athenian Acropolis and the other in Pella. Although the portrait found in Athens is missing a nose, none of its perfection is missing. Alexander’s hair is in a flowing mass which resembles the mane of a lion. He is youthful looking and has deep-set eyes and an intense expression. Appearing strong and regal, Alexander tilts his head to honor the gods. Created in the fourth century B.C., this exquisite sculpture takes the viewer's breath away.

     A great part of this exhibition is dedicated to Macedonian weaponry. According to the catalogue, “weapons were to men what jewelry was to women. They became symbols of a man’s status in the world and followed him …to the grave.” (catalogue, p.53). Among the weapons and armor displayed (helmets, a shield, greaves, swords and javelins), the sarissa is the most interesting. This fearsome weapon is partially like a spear but much longer. The length of an actual sarissa in ancient times was 5.5 meters. It weighed fifteen pounds. This long weapon was of great use in Alexander’s military formation called the phalanx- a dense formation of soldiers which was meant to intimidate and ultimately kill the enemy. What seems most incredible is how an average soldier was able to hold and maneuver this long and heavy weapon so effectively on the battlefield.

     The most interesting pieces in this exhibit are the wine cups. Some are everyday cups that were used by the average person while others were used by the wealthy. In every case though, human interaction with this art plays an important role. In one display, for example, there is a cup in which a three dimensional portrait of Alexander is on the bottom, inside the cup. One has to drink the wine in the cup in order to see the portrait and hence “interact with this art.” Sometimes a riddle would appear on the outside of the cup and, in order to see the answer, one would have to drink the wine in the cup also. These were clever inventions indeed!

     After viewing this exhibition, I felt proud to be a Greek. The Onassis Foundation has done an excellent job in enlightening the public about this important ancient military figure and the times in which he lived. A visit to the Onassis Cultural Center is a must for lovers of art and history.

Karagiozis Puppet Brings Hellenes Back to their Roots

Written by George A.

(2005)

     The recent presentation of Karagiozis the Doctor at the Queens Public Library (April 2005) was one that will be remembered for years to come. Master puppeteer, Aris Diakovasilis brought to life the legend that is Karagiozis, bringing Hellenes of all ages back to their roots. The audience, comprised of children, adults, and senior citizens all came to enjoy the clever and comical Karagiozis as he pursued yet another adventure.

     Shadow Theater developed in the Balkan Peninsula during Ottoman rule. Its popularity grew in Greece and flourished from 1915 to 1950. It is called Shadow Theater because the puppeteer sits behind a transparent screen illuminated with bright light and moves the cloth or leather puppets with strings and wires. The Greek interpretation includes music, dancing, acting, and social satire incorporated with traditional folklore.

     The protagonist, Karagiozis, gets his name from Turkish which means “he who has black eyes” since he has dark eyes. Karagiozis is always presented as a poor figure who has no specific trade but nonetheless is willing to get involved with anything. He is most known for his pranks, setting up those around him for his own enjoyment. However, he seems to fail at everything he does and, as a result, gets into trouble. Karagiozis gave hope to the poor, since he was constantly attempting to change his fate and lash out against social injustice.

     In this very humorous presentation, Karagiozis, who is the main character, is believed to be a doctor and is ordered by the pasha (the highest Turkish official) to cure his ailing daughter. His daughter is suffering from a disease in which she is unable to speak. Karagiozis, unaware that he can cure a disease of this magnitude pleads with the pasha to place someone else in charge of this great task. However, the pasha sends his right hand man Veliggekas to beat Karagiozis into submission. After being beaten for quite some time, Karagiozis admits that he is indeed a doctor and he can cure the pasha’s daughter.

     While watching the performance, I was unable to understand why Karagiozis was open to taking the position instead of denying the fact that he isn’t a doctor. It seemed as though he was not bothered by the fact that if he indeed failed at curing the pasha’s daughter that he might face severe punishment. However, it also dawned on him that if he were successful he might have a chance of improving his standard of living. At this point I realized that Karagiozis was a symbol of hope and always tried to improve his social position at any given opportunity.

     It turns out that pasha’s daughter was secretly in love with someone that her father would not allow her to marry. In response to his authority she attempted to defy him by faking a disease which supposedly did not allow her to speak. Karagiozis secretly saw the pasha’s daughter speaking with her lover and crying about their ill-fated situation. After discovering that she can speak, Karagiozis went to the pasha and told him that he indeed found a cure for his daughter’s disease. However, he said, the only way that the cure would work would be if she marries the first man she sees walking down the street once she has uttered her first word. If not, he said, then she would sadly die. The pasha quickly agreed and summoned his daughter at once. Karagiozis kept his word to the pasha and made his daughter speak. He cleverly arranged for the first man to walk down the street to be her lover. This way Karagiozis was able to please everyone- and most of all save himself from being beaten again! As a result of his success, Karagiozis danced in the street on the way to his house.

     This performance was truly enjoyable. Aside from the main story, the presentation included other parts solely for the amusement of the audience. Some of these were conversations between Karagiozis and Hadjiavatis, Karagiozis scolding his children, and the hilarious dancing Karagiozis does to traditional folk music. The master puppeteer did an excellent job in handling all of the puppets and altering his voice in accordance with the different characters. This adaptation of Karagiozis was culturally enhancing and the use of Modern Greek throughout the performance gave the viewers a taste of the Motherland.

Intimate Theater Setting Provides Direct Connection Between Actors and Greek Characters

Written by Christopher S.

(2007)

     The Pearl Theater in Manhattan is not a typical performing arts theater in that because of its size, the artistic director has to contend with small-scale production, fewer actors, and smaller audiences. However, after watching a contemporary production of Euripides’ Hecuba, it becomes apparent that the size of the theater does not impair the actors’ ability to convincingly propel a storyline. The tremendous skills of Joanne Camp who plays Hecuba and Dominic Cudkern who plays Polymestor are not in any way hampered by the intimacy of the setting.

     Upon entering the theater, it becomes apparent that this will be an unorthodox production. The stage is small and unelevated, the seating space is minimal and the lighting equipment is crammed in the ceiling. When compared to other performing arts shows, this setting appears to be impaired – as if the actors will need more to work with to put on their best performance. Yet, once the show gets underway, physical space is no longer a factor to the play’s delivery. In fact, the intimate setting provides a direct connection with the audience. The actors are able to focus on their roles and the viewers are not distracted by lavish scenery. The ceiling, littered with what looks like an avant-garde metallurgy latticework, houses hundreds of stage lights and speakers that change with every nuance in the play.

     Conventional needs of the play are covered well, including spectacular acting, costume design, vocals, and music. Most noticeable to the very observant viewers are the subtle changes throughout the play. When Hecuba and her accomplices blind Polymestor and murder his children, the involved actors return to the stage with red rags streamed along their clothes and wrapped around their hands, replacing the immaculate white ones. When Polymestor appears on stage blinded, red streamers of the same color are strewn from the eyes in his mask. The effect is a haunting image of a crippled man that is done very effectively with a small modification. Small changes like these demonstrate that the director took many minute details into consideration, thus rendering a clear and strikingly effective production.

      In short, Hecuba is a great play that is skillfully packaged. Watching this play is an intense experience that leaves the viewer with much to think about. Here, small size makes a big difference - a good one!

Use of the Greek Language Perfectly Conveys the Pain and Suffering Caused by War

Written by Sheaba D.

(2006)

             The Greek Cultural Center in Astoria has done an amazing job in presenting Euripides’ The Trojan Women – a tragedy whose themes still apply today. Presented under the auspices of the Consulate General of the Republic of Cyprus, the actors skillfully convey the heartbreak and pain of war through powerful dialogue and facial expressions. At the end of the play, the audience walks away grasping a message which is so relevant at the present moment: war is a costly affair.

            Written in 415 B.C., the four characters in this play are those who appear in the last chapter of The Iliad. The play opens with the Greek gods Poseidon and Athena planning ways to punish the Greek army for the rape of Cassandra in the temple. The rest of the play is about the suffering and grieving of the Trojan women. Talthybius arrives to tell Hecabe, the Queen of Troy, that Odysseus will take her, and that her daughter Cassandra will become the concubine of Agamemnon. Hecabe’s daughter-in-law Andromache arrives and Hecabe learns from her that her youngest daughter, Polyxena, has been killed as a sacrifice at the tomb of the Greek warrior Achilles. Andromache is chosen to be a concubine of Achilles’ son, but the worst news is when she is told that her son Astyanax will be killed. The play ends with the dramatic scene of the walls of Troy being set aflame, and Hecabe preparing to board the ship that will take her into slavery.

            This play astounds the audience for many reasons. The scenery never changes and very few props are used on set. The sound and lighting effects are quite realistic and haunting. For example, at the end, when the walls of Troy are set on fire, the shadows flickering and the sounds of walls crumbling bring the scene to life. The costumes as well as the movements across the stage and the facial expressions also add a powerful dimension to this play. Above all, the use of the Greek language gives the play an authentic feeling – as if Greek is the only language that can fit with the dialogue that Euripides so skillfully crafted thousands of years ago.

            This poignant production is told entirely from the women’s point of view. The strongest character is Hecabe, the noble queen who ultimately loses her husband, her children, and her country. Her degradation is most painful to watch, and Hecabe’s lamentations pierce the viewers’ hearts. Cassandra evokes feelings of injustice and sympathy in her audience as her descent into madness is portrayed in front of her mother’s eyes.
            Euripides’ The Trojan Woman is one of the greatest anti-war plays. It is a play about the causes and costs of war and the tragic instability of life. Even though it was written centuries ago, its portrayal of war as a devastating catastrophe where there are no true winners is extremely pertinent today.

U.N. Art Show Highlights the Significance of the Olive in Hellenic Culture

Written by Neena M.

(2006)

            Every few months, the United Nations hosts an exhibition that is unique to a specific culture or region. This past October (2006), the United Nations was home to a special art show entitled  In Praise of the Olive. First presented in Athens in honor of the 2004 Olympics, the exhibit demonstrated the value, symbolism and importance of the olive in Hellenic culture over many centuries.

            In ancient Greek culture, the olive served several different purposes. It was a precious commodity and Homer referred to olive oil as “liquid gold." The olive tree also symbolized abundance. Similarly, olive branches continue to symbolize benediction and purification. In the Olympics, athletes would often rub olive oil over their bodies before competitions because its “mystical glow illuminated history.” Olive tree branches would then be used to crown the victors. Olive oil was also used to heal any wounds or cuts experienced in competition.

            Among the many artifacts both ancient and modern, most impressive were a variety of contemporary paintings that illustrated the beauty and significance of the olive. An outstanding piece was Dance by Chryssa Vergi. The artist painted a forest with several olive trees blowing in the distance.The brush strokes and paint that she used created an effect of “dancing trees.” Because the painting was simple, it allowed the natural beauty of the trees to shine through, making it instantly eye catching. This painting truly supported the statement “less is more.”

            Another striking work was The Tree of the Wishes by Tassos Manteavinci. Painted in an assortment of vibrant colors and designs, the tree depicted all of the functions of the olive tree. The painting was effective because it clearly showed the importance of the olive tree in simple illustrations. This piece was easy to understand and very pleasing to the eye.

            In Praise of the Olive was absolutely beautiful and very educational. The organizers did an excellent job in enlightening the public about this unique aspect of Greek culture. The United Nations also served as a most appropriate setting since the olive is considered to be the symbol of peace. Finally, this exhibition was a testament to the power of Hellenic culture.

           

Art of Late Antiquity Captivates Viewers

Written by Mihalis A.

(2012)

          I found the current exhibition Transition to Christianity: Art of Late Antiquity, 3rd -7^th Century A.D. at the Onassis Cultural Center in Manhattan to be quite interesting, as the art was magnificent. It was a unique opportunity to see the advanced techniques used by artists who lived so many years ago. The detail in the golden medallion was so minute in size, yet so precise and elegant. The realistic deep cuts in the beard and hair of the bust of a man gave such a feeling of life. The idea of two Christs in a plate with an image depicting the Last Supper is intensely thought provoking. Overall, the featured artifacts are truly remarkable.

         What I liked most in the exhibition however, was not the artifacts themselves, but the ideas they symbolized and the hidden meanings that spoke more about ancient society. Our tour guide, an art historian from Columbia University, was so gracious enough as to explain the artifacts and their significance. Through his expertise, I was able to understand how Christianity and paganism coexisted as Christianity rose and became dominant. To think that pagan statuettes of gods such as Roma and Dionysius were found in a Corinthian house during this time is peculiar for the time period and very interesting. In addition, artifacts found near the Acropolis of a jar with a knife covered in pig remains and then sealed for preservation are an exciting find. This reveals how pagan sacrifice was still occurring while it was illegal and was most likely done at this specific place for a reason. It emits an air of secrecy, dissent and a strong urge to keep past beliefs alive.

            This exhibit not only showed me art in transition, but also how people reacted to this change as well. Some embraced it completely, forgetting their old ways. Others incorporated it into their lifestyles while holding onto ideas with which they had always identified. Some, however, fought against Christian influence and clung onto those ideas which they held dear and to themselves.  

Aegean Artist's Work Adorns Bronx Science Halls

Written by Preenu V.

(2005)

     The Bronx High School of Science is a school that prides itself on its rigorous academic curriculum, excellent faculty, impeccable reputation, and …its wall displays? Perhaps, I exaggerated on the wall displays. All kidding aside, however, our hallway displays and showcases are an excellent reflection of the all-encompassing and unique interests of Sciencites. Every floor has its share of eye-catching displays: from the tessellation display in the math wing to the weather station on the third floor. I am proud to say that this year our Greek program has also joined the ranks of contributing one-of-a-kind displays with a photo and sculpture exhibition that pays tribute to the famed late Greek artist, Nikos Ikaris and his large body of work.

     Just a couple of feet away from the Foreign Language Department office, the display includes pictures of several examples of Mr. Ikaris’ collection of masterpieces to the hundreds of curious Sciencites and visitors who pass through the hallways each and every day. Even through pictures, the images look absolutely breathtaking. One image that particularly caught my attention was that of the bronze bust of Alexander the Great. The sculpture is unique in that Mr. Ikaris sculpted the legendary man with his hair seemingly billowing in the wind. Mr. Ikaris effectively captured Alexander the Great at the prime of his career, and also captured Alexander’s sense of determination that is perhaps unrivaled until this day.

     One of Mr. Ikaris’ greatest strengths was his versatility: he did not stick to one genre of sculptures. He did religious, mythological, and historical pieces seamlessly and even did different styles of sculpting. The sculpture of Antigone with her brother Polyneices is a particularly striking piece. Mr. Ikaris went above and beyond in portraying the shame and anguish Antigone felt for not being able to give Polyneices a proper burial. Mr. Ikaris’ portrayal of the downward spiral of Icaros is also quite stunning in that he captured the essence of the story by making it more abstract than his other pieces, and leaving it more to the viewer to fill in the blanks.

     Michelangelo once said, “I saw the angel in marble and carved until I set him free.” It seems that Mr. Ikaris too has the same depth of perception when it comes to seeing the full potential of a slab of marble, whereas the rest of us would see…well, a slab of marble. Mr. Ikaris’ legacy lives through his masterpieces found all over the world, and his pieces will continue to evoke a myriad of emotions in those who view them.

Greek Film Portrays Food As A Metaphor For Life

Written by Katherine J.

(2006)

     A Touch of Spice (Politiki Kouzina in Greek) is an excellent portrayal of the struggle of a Greek family living in Turkey during a time of political confusion. The film is based on the life story of the director, Tassos Boulmetis, whose family was deported from Constantinople in 1964 after many generations of life and immersion in Turkish culture. The real-life conditions mesh perfectly with a more personal, fictional story to create fine drama and a refreshingly different film.

     Fanis Iakovidis, played by George Corraface, is a professor of astronomy at a Greek university. When his family was deported from Turkey, his first love Saime and his grandfather Vasilis were left behind. His grandfather, who is the owner of a spice shop “teaches young Fanis about cooking and about the wonders of space, with the powerful ingredients integral to life itself: salt as earth, pepper as sun, and cinnamon as Venus.” Fanis learns at a young age that “food and life require “a touch of spice” to give it flavor.” (brochure)

     Having settled in Greece, the Iakovidis family is seen as foreigners, so Fanis applies his grandfather’s culinary philosophy and uses the preparation of food in order to connect with people. After thirty-five years, the protagonist leaves Athens and travels back to his birthplace to reunite with his grandfather and his first love, “only to realize that he forgot to put some spice in his own life.” (brochure)

     Tassos Boulmetis demonstrates great talent as a director of this film. He skillfully tells the story of Fanis in three parts as a meal – the appetizer, where we follow the lead’s boyhood in Turkey, the main course, where he is an adolescent in Greece, and the dessert, where he meets his grandfather and childhood sweetheart again. By creating a “double movie” based on Fanis’ childhood and adulthood, he brings his audience closer to the protagonist and he creates a better understanding of the shaping his character.

     This beautiful and touching story is also well acted. George Corraface shows a wide range of emotion and depth of character – from his relationship with his grandfather to his fixation on Saime his childhood friend. His love of cooking connects all different aspects of his life in a beautiful and interesting way. Saime, played by Basak Koklukaya, is a wonderfully unique character. Her mysterious personality is alluring and captivating. Boulmetis portrays her from Fanis’ point of view so that the audience can identify with his love for her and understand it. It was great how the ending of the Fanis and Saime storyline managed to not be the cliché “happy ending” but at the same time be a positive one. It was a very uncommon approach to ending a romantic story and it worked out beautifully.

     Billed as one of Greece’s most popular films of all time, the story is filled with nostalgia and is an emotional journey that also touches sensitively on Greco-Turkish relations. It is a sincere tale that contains all the ingredients of life – politics, humor, drama, and romance. A Touch of Spice deserves to be embraced by lovers of world cinema.

Byzantine Treasures Leave Museum Visitors in Awe

Written by Christos Z.

(2003)

     Of all the wonderful cultural events that I have attended this year, the exhibition Byzantium: Faith and Power at the Metropolitan Museum of Art surpasses all of them. This powerful and moving exhibition explores the artistic and intellectual development of the late Byzantine period, 1261-1557 A.D. The display contains a collection of three hundred fifty beautiful icons, mosaics, sculptures, relics, and textiles from thirty different countries.

     As I walked through the exhibition, a solemn mood overtook me and I felt as if I were in an ancient Byzantine Church. Among the many magnificent pieces, the one that stands out is The Man of Sorrows. The viewer is thoroughly moved by this rare icon – a mosaic of the crucified Christ with His hands crossed and His head bowed. Created in the late thirteenth century, this icon is enclosed in a wooden case that contains the relics of saints wrapped in silk and stored in separate compartments. On the reverse side of the icon is an image of Saint Katherine.

     Another exquisite miniature mosaic is that of St. George Slaying the Dragon. It was created in the early fourteenth century and it is mounted on a wood panel. Delicate  and superbly composed, St. George is seen thrusting his lance down the dragon’s throat. This mosaic icon is a fine representation of the talented craftsmanship of the Byzantine period.

     Finally, the immense chandelier-like lighting fixture called a choros drew a tremendous crowd. The term “choros” refers to the circular space below the dome of an Orthodox Church. This huge circular lighting device called choros was hung from the cornice of the dome. It is made up of thousands of pieces including crosses and disks and it holds hundreds of candles. The visitors were awed by the magnificence of this object.

     The Met has done an outstanding job in presenting this period in medieval Hellenism to the public. It is the first time ever that many of these beautiful objects are part of a  major museum exhibition. All New Yorkers should see this extraordinary show.

Shedding Light on the Life and Time of Alexander the Great

Written by Evangelos K.

(2005)



     Alexander the Great. Today this name is synonymous with power, fame, and military genius. From Greece to India, people around the world recognize him as the most famous figure of antiquity. While his historical impact is unquestioned, much of “his personality and unparalleled achievements have been shrouded in myth.”(catalogue, p.7). In an effort to present the historical truth on Alexander and the age that followed, the Alexander S. Onassis Public Benefit Foundation (USA) is currently presenting a fascinating exhibition entitled Alexander the Great: Treasures from an Epic Era of Hellenism.

     Featuring relics from around the world during Alexander’s time, the exhibit transports the viewer into the Hellenistic Age. One can view Macedonian weaponry and marvel at the sarissa, the most fearsome weapon of Alexander’s army. There are also examples of intricate cups and bowls used during symposium parties, as well as examples of fine jewelry of that era. However, the pieces that are most interesting and stunning are the sculptures of Alexander himself.

     The exhibit features two marble sculptures of Alexander, of which only the heads remain. Both sculptures capture the likeness of the great king in all his glory, showing his facial characteristics such as the deep-set eyes and leonine hair. The sculptures seem almost real, for they capture Alexander’s expression and details in a natural way. Both incorporate the famous tilt of Alexander’s head, which was believed to mean that Alexander is facing Zeus and paying homage to the gods. Most interesting about the statues in this exhibition is that for the first time a Greek king portrayed himself as a hero – a powerful figure with a head of long hair and a hairless naked body. Other kings in the past such as Alexander’s father Phillip were portrayed as powerful statesmen with clothing and beard. Such a contrast in style reveals what Alexander thought of himself and his accomplishments: that he was a legendary hero on a par with Achilles and Hercules.

     While over two thousand years have passed since the death of Alexander the Great, people remain intrigued by this ancient military leader. Stories of his vast military campaigns and his personal life are brought to life in movie theaters and television screens around he world.  Historical figures such as Julius Caesar and Napoleon Bonaparte all paid homage to Alexander – a man whose life transcended myth and legend. In this definitive exhibition, the Onassis Cultural Center successfully highlights how the world was during Alexander’s time while allowing the American public to learn more about his amazing life and vision.

Agamemnon: Ancient Play, Contemporary Twist

Written by Maimona A.

(2004)



     The Aquila Theatre Company’s presentation of Aeschylus’ Agamemnon is a hugely satisfying array of scenes of ancient Greek tragedy mixed with contemporary twists. Widely acclaimed for its cast, it includes Academy Award winner Olympia Dukakis, a seemingly adoring Queen Clytemnestra who possesses the secret desire to gain bloodthirsty revenge on her husband. The part was played with zeal, as were the other parts in the play, all living up to the honor of the characters they played. The acting was nothing short of superb.

     However, the real surprise comes when the members of the chorus, the wise old men enter the stage dressed as it seems for a mafia get-together. They adorned long coats and hats reminiscent of the 1920’s in America than of Ancient Greece. This element of surprise continues when later in the play the king’s chariot is none other than an army jeep driven onto the stage. This contemporary twist, which would probably be shunned by classical Greek production companies, served to create similarities in current world events to those of ancient Greece.

     The special effects are also very creative and effective. During the murder scene, the red glow and the blood curdling screams were enough to send shivers down the audience’s spine. It was sheer genius when Thyestes, having learned of the horror which his children had been subjected to, threw around the surrounding furniture in utmost despair. Without the loud noise of actual chairs being thrown, the chair was swung around in a slow and graceful movement. This scene, which would seem so easy to accomplish on a television sitcom, was perfectly executed by the actors.

     Overall, the Aquila Theatre’s production of Agamemnon is a sure eye opener for audiences who enjoy classical Greek tragedy. With plans of presenting the next two plays of the Oresteia trilogy, this production of Agamemnon is a successful first part to a highly anticipated three part series.

Hellenic Creative Spirit is Embodied in Museum Art Collection

Written by Peter M.

(2003)



     Upon entering the Greek Art Galleries of the Metropolitan Museum of Art, one is greeted by an impressive array of sculptures which embody the tremendous creative and innovative spirit of the ancient Hellenes. These beautiful masterpieces, many of which were sculpted in the fifth century B.C., “set the standard to which all of western art has aspired.” (museum brochure)

     The Weiner Gallery contains an exemplary collection of marble grave stelai or funerary monuments which were created in the fifth and fourth centuries B.C. The natural light which illuminates the room creates a feeling that you are in ancient Attica. All of the sculptures are in excellent condition. Interestingly, the subjects of these works are not famous philosophers or mathematicians, but ordinary people – children, young women, and their families. According to the museum, “funerary monuments and the epitaphs ensured that the deceased would be remembered and would achieve a kind of immortality.” Like all ancient marble sculpture, funerary statues and grave stelai were partially painted.

     An outstanding piece in this collection is a fragment of a grave relief created in 400 B.C. The incomplete figure of an unknown woman sits in a throne like chair. The drapery is very elegant and her expression is very serene. Her body texture and position make her appear very lifelike. The details of this sculpture demonstrate how skillful the Greeks were at representing human form and spirit.

     The elements of harmony, balance, beauty and expression are also demonstrated in the relief of a little girl holding two doves. One is perched on the left hand while the other presses his beak against her mouth. In this very serene and elegant monument, the young girl wears a peplos and her hair is carved in a stylized manner. Since children had animals as pets, one can assume that “the family probably wanted to remember their child this way.” (museum)

     The marble statue of a lion which was found in Rome was created on the Cycladic Islands in 400 B.C.– a place where marble was plentiful. According to the museum, lions, often the subjects of tomb monuments were placed at both ends of a large tomb façade. This particular sculpture was taken to Rome during the imperial period. It is enormous, impressive, extremely lifelike and well preserved.

     Further evidence of earliest Greek art forms comes from the Cycladic period 4500-2200 B.C. A fine example of this art is the Cycladic Harp Player. This small and simple marble sculpture depicts a musician seated in a chair playing a harp-like instrument. It is so contemporary and could easily be included in any museum of modern art. Its abstract beauty further proves how advanced the Greeks were in the field of sculpture.

     A visit to the Greek Art Collection at the Met is a valuable learning experience. The display is magnificent, beautifully arranged, and source of great inspiration. A moving and real testament to the artistic genius of the Greeks, this exhibition clearly demonstrates the respect and love that these ancient people held for their departed loved ones.

Homeric Epics Revived in French Painting

Written by Talia S.

(2005)



     Many wonderful literary and artistic works have been produced since the beginning of time, but few works have had the widespread influence and timeless admiration as those composed by Homer, one of the greatest poets of all ages. His poetry has been the subject of every piece of art imaginable and one would be hard pressed to find a culture that did not recognize the grandeur of his works.

     French artists were especially enamored by the famous epic poems The Iliad and  The Odyssey. Translations of the Homeric epics into French began in the early sixteenth century and continued into the early twentieth century. Heroes such as Achilles, Odysseus, Hector, and Paris also became the subjects of famous paintings and sculptures created by French artists such as David, Carpeaux, Regnault, Poussin, and Daumier.

     In an attempt to enlighten the American public about the French fascination with Homer’s famous works, the Dahesh Museum of Art in New York is currently featuring an exhibition entitled The Legacy of Homer: Four Centuries of Art from the Ecole Nationale Superieure des Beaux-Arts, Paris. The stories behind these astonishing works are magnified by the organization of this exhibit - one that Homer himself would have enthusiastically approved.

     The fine collection of neoclassical painting and sculpture in this exhibition was created by students of the Ecole des Beaux-Arts in Paris – the premier art academy of Europe from the seventeenth through the nineteenth centuries. This school provided rigorous artistic training in the Greek classical model and prepared artists for the famed Prix de Rome- a competition which provided the winner with three years of study at the Academie de France a Rome. The most popular subjects of the competition were the history and myths of ancient Greece and Rome, including the works of Homer.

     Perhaps the most well known of all the works currently on display at the Dahesh Museum is Andromache Mourning Hector, a painting depicting a scene from The Iliad in which the wife of Troy’s most respected warrior mourns his death. Painted by Jacques-Louis David in 1783, the painting captures the pure sadness of Andromache as she looks up to the gods, almost ignoring her young son Astyanax who tries to get her attention. Hector lies on his bed in a shocking calm with his chest slightly elevated. A single stab mark glistens on his chest and his body lacks the legendary wounds inflicted by being dragged behind Achilles’ chariot. Inscribed on his bed are the images of his life: on the right, his goodbye to his wife and child before the Trojan War, and on the left, the image of his death: Achilles posed over him with his sword drawn. The excruciating detail of this painting allows the reader to feel a connection with Andromache, the story of Hector’s life, and with Homer as well.

     Homer’s works are also viewed in a comical light, showcased wonderfully in a series of lithographs by Honore Daumier. In Ulysses and Penelope, Daumier lightheartedly portrays a scene from Homer’s Odyssey: Odysseus’ first night home after his ten-year journey back to Ithaca. Odysseus and Penelope lie in bed, his shield hanging above them. Penelope eagerly eyes Odysseus after years of separation while Odysseus lies fast asleep, oblivious to his surroundings. In another humorous portrayal of a Homeric scene, Daumier illustrates the kidnapping of Helen from Greece, the event which launched the Trojan War. Helen, not as nearly as beautiful as she was thought to be, struggles under the weight of Paris, who nonchalantly smokes a cigarette as he is carried back to Troy over Helen’s shoulder. Depictions of these emotionally intense moments show the timeless quality of Homer’s works. By incorporating humor, the artist allows everyone to relate to the epics and to enjoy them.

     The Legacy of Homer: Four Centuries of Art from the Ecole Nationale Superieure des Beaux-Arts, Paris is a wonderful exhibit that spans decades of fine art inspired by the epic poetry of Greece’s most famous bard. From the intricate and serious paintings to the humorous and lighthearted lithographs, this exhibition (presented in the United States for the first time) beautifully highlights the widespread influence of Homer and reinforces his status as one of the greatest poets of all time.

Microsculpture Exhibit Proves that in the World of Art, Size Does Not Matter

Written by James V.

(2001)



     The Alexander S. Onassis Public Benefit Foundation (USA) has organized yet another brilliant exhibition. Microsculptures: Idols of the Stone Age to the Helix of Contemporary Genetics is a splendid display of the works of Greece’s master goldsmith and jeweler Ilias Lalaounis. Although the exhibit is small in size, it possesses great value and significance. The dazzling microsculptures displayed are, in the words of the Foundation’s President Mr.Stelio Papadimitriou, “beauty in its purest, but by no means, simplest form.”

     Ilias Lalaounis, renowned jeweler and goldsmith, has been producing jewelry and microsculptures since the 1940’s. His innovative designs and creations, famous for their inspiration, craftsmanship and elegance have won him international acclaim and honors- most notably his membership to the Institut de France, Academie des Beaux Arts in 1990, when he became the only jeweler ever elected as a member. Lalaounis’ groundbreaking designs are based on the achievements of modern technology, astronomy, nature, and medicine.

     The exhibition was divided into several parts. One of my favorite was the collection of owls. Lalaounis meticulously designed these miniature owls with enthusiasm, sophistication, and humor. Most were made of silver or gold with semi-precious stones including rose quartz, sodalite, obsidian, aventurine, rock crystal and amethyst. These crystals were used to display the iridescent plumage of these wise birds. One piece in particular caught my attention: Getting More and More Curious. This was a depiction of a branch of owls, one peering out by the side of the other. Each owl was slightly higher than the one that preceded it. It reminded me of eyes peering out of a dark forest. The Ionic Owl, a column in the shape of an owl’s eyes, demonstrates Lalaounis’ interest in ancient and classical Greek art. In the center of the column was a sesame-seed shaped silver nose. Cleverly designed, the ionic column itself was embedded in a sodalite base and the head of the column, which was also silver, was manipulated to look like a pair of eyes. Another masterpiece was The Mathematical Owl. Coming from a school which prides itself on its scientific and mathematical accomplishments, I absolutely loved this piece. The rose quartz base contrasted beautifully with the shining silver of the bird’s head and the large circular sodalite stone in the center which represented the owl’s body. The perfectly designed silver eyes stared back with a critical look, as if to say, “Just test me.” Apparently, there were no wrong answers on this owl’s calculus exam!

     The final part of the tour, the DNA collection, transported me to my biology class at school. The helix designs were so specific and detailed that one would think Lalaounis himself discovered the life producing strands we call DNA. One work that was utterly beautiful was the double helix of DNA (as designed by biologists after studying its structure). Created via a fusion of rock crystal, obsidian, and silver, the contrasting black and silver created a very appealing look, quite similar to that of a Movado watch.

     As the tour came to an end, I found myself awe-struck by the magnificence of all the pieces in the exhibit. From the curious stares of the silver owls, to the critical look of the great mathematician owl, to the DNA designs, I was inspired and fascinated. Lalaounis’ work emanates such beauty and elegance that one begins to realize that in the world of art, size does not matter in the least.