In an environment mostly shaped by the expanding tactics of globalization and aggressive business transactions, there are many who have not yet resolved to what extend these most recent developments are a step “post” colonialism and nationalism or merely a development which may be discussing co-existence through tolerance of difference, yet deep down it actually defends the dominant financial and political status quo? Whatever the answer may be, one thing is certain: theatre, as an inseparable part of the social and financial reality, cannot help but be influenced by such developments both in terms of ideology as well as aesthetics.

Given the all embracing mechanisms of late capitalism, can there be room for a theatre of otherness and deviation to grow and survive? What can, or indeed must, the art of Dionysus do (or the art of theatre criticism, for that matter) in a seemingly homogeneous, yet underneath uneven social and economic reality, such as the one we experience in our postmodern Europe of different nations, languages, religions and dogmas? How can the barriers of non-correspondence between the various cultural centers and the marginalized peripheries be lifted? In the long run, how can theatre in its entirety help towards an even better democratization of nations and further reinforcement of people’s defenses against racism and inequality?

Professor Savas Patsalidis, Aristotle University of Thessaloniki

Greek Theatre and Music Critics Association