Fifth Issue

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Having the intention to highlight Karagiozis as a traditional form of entertainment and as a unique art form, Evgenios Spatharis performed his plays in Greece and abroad, making the hero widely known. Besides, Evgenios Spatharis taught the skills of Shadow Theater, designed the stage for performances and films, and illustrated books of Karagiozis plays. One of the most important aspects of a Karagiozis performance was music. Apart from creating a climate of joy and fun, music, song and dancing serve as constituent element of the hero’s identity. When a puppeteer did not sing himself, he chose a good singer, who would sing accompanied by an instrument or even an orchestra. 33
The audience “I think the audience themselves take the performance to heart and play Karagiozis. He lives, he lives in each one of them” Giorgos Haridimos Karagiozis performance is a collective experience, where there are no distinctions between players and spectators. All are participants in an exaggerated, playful carnival festivity, which turns the logic of the world inside out, makes a parody of everyday extra- carnival life and affirms joy of living. By the end of 19 th century and at the beginning of the 20 th century, Karagiozis can be considered as the unique panhellenic theater genre, which gathered and amused both in rural and urban areas many more spectators than the other theater genres of this period, such as political satire, opera, tragedy, or even revue. As the audience is the second major factor of a performance, Karagiozis offers the chance to examine the stance and the reactions of a particular audience, which in contrast 34
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 24 and 25: The play begins with the assertion
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 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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