Fifth Issue

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The play begins with the assertion of lack, as a person of high status asserts the lack of a skilled person to someone who serves as intermediary. In the next scene, the intermediary informs the trickster of this lack. The trickster deceives the person of high status and claims to be the skilled person. The trickster engages one or more assistants to help him with the skilled service. The trickster performs the skilled service. The trickster’s deceit is exposed and he is punished. The Stage of the Greek Shadow Theater Greek Shadow Theater plays are presented on a large white screen stretched tightly over a rectangular frame made of stone and wood that measures approximately 20 feet wide and 10 feet high. The entire performance occurs behind this cloth screen. Illuminated from behind by nine to twelve shelf lamps, that stand between the player and the screen and are complemented by three overhanging lamps, this screen stands between the audience and the puppeteer, the Karagiozis – player, who stands at some distance behind the screen and presses up the figures against the screen, so that the figures are visible to the audience, sitting in the dark, in front of the brightly lit stage. The audience can only see the figures’ shadows, while the lights focused on the cloth screen make available to the audience all details and colors. Consisting of several pieces, joined at the waist and knees, to enable them to move, walk , dance, gesture, strike one another, and made of heavy cardboard decorated with carved incisions, so as to create sharp dark silhouettes against the bright screen, or of stiff, translucent leather and painted in bright, clearly visible to the audience colors, the puppets are manipulated by the performer, who uses twenty-inch-long sticks attached to the figure’s shoulder and allowing him to flip the puppet from one side to the other, from one direction of the stage to the other. In addition to the figures depicting persons, the player also has figures depicting buildings, animals, pieces of scenery, according to the plot of the play. 23
At the opening of a performance two set pieces appear: to the audience’s left, the ramshackle hut of Karagiozis; to the right, the ornate serai of Pasha, the Turkish ruler, giving shape to the bipolar social context of the performance and creating from the beginning the impression of the pronounced contrast between Karagiozis and the Turk, between the people and the ruler. The interior of the stage comprises one or two shelves behind the player, where he keeps the figures that are going to be used in the performance, one shelf off the floor of the stage behind and below the bottom edge of the screen, used both as walkway for the figures and as a place to set the lamps, a mechanism for screen changes, according to the plot. 24
Page 2 and 3: Ο Κ α ρ α γ κ ι ό ζ η ς
Page 4 and 5: Name : K a r a g i o z i s - Nation
Page 6 and 7: offered a platform of heroic and hi
Page 8 and 9: Between Shadow and Light Between sh
Page 10 and 11: elated to the worship of flat figur
Page 12 and 13: In the 11 th century, due to decree
Page 14 and 15: from the beginning of the 16 th cen
Page 16 and 17: of Islamic society, clearly tended
Page 18 and 19: From Karagoz to Karagiozis - From t
Page 20 and 21: Past and present, individual and gr
Page 22 and 23: dramatic tradition with a cast of c
Page 26 and 27: The characters of the Greek Shadow
Page 28 and 29: His tricks and jokes concerning his
Page 30 and 31: “Elli needs killing with a double
Page 32 and 33: The Karagiozis players “Do you kn
Page 34 and 35: Having the intention to highlight K
Page 36 and 37: to the audience of traditional thea
Page 38 and 39: After World War II, a major change
Page 40 and 41: The Shadow Theatre in China The Sha
Page 42 and 43: unique position in the conception a
Page 44 and 45: Hangzhou and Shanxi province, where
Page 46 and 47: References Loring M. Danforth, “T

Fifth Issue

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