Fifth Issue

perceived the needs and the aim of the new theater genre: a micro-cosmos that would
present in its rather stylized way and with its carnivalistic spirit the interaction of two
highly differentiated worlds – both in terms of national origins and of social status.
During the performance, which may last several hours, the player has one or more
assistants to hold or move secondary characters who appear on stage, make simple sound
or visual effects (e.g. clapping hands, hitting a piece of tin or slapping together two pieces
of wood, using confetti to give the impression of snow), set and change scenes. The
player’s imagination can exploit the simplest means, so as to create the illusion of sunset,
of the moon light, or of the wind blowing.
Most Karagiozis players began their careers and learned plays by working as
assistants to older, established players. In this way, they became part of the oral
transmission of Greek Shadow Theater tradition from one generation to the next.
Giannis Roulias, who was famous for his performing style, was Mimaros assistant.
In 1897, he introduced the figure of Barba Giorgos.
One of the most famous puppeteers and composers of plays was Antonis Mollas.
He introduced the figure of Morfonios, and he was the first one to present on stage cars
and airplanes. He was famous for establishing direct rapport with the audience.
Sotiris Spatharis composed plays usually inspired by
contemporary issues. He was also famous for his talent in
heroic plays. His son, Evgenios Spatharis, became one of
the most renowned players of 20 th century, and his
contribution to the genre was crucial in a period, in which
Karagiozis started being replaced by new forms of
entertainment, as the films.
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