Â˘Î¿‰· / Lefkada - Grimaldi Group

Editorial
º›Ï˜ Î·È º›ÏÔÈ
Ì ڈٷگÈÎfi Ì·˜ ̤ÏËÌ· Ù· - ¿Û˘ ʇÛˆ˜ - Ù·Í›‰È· ÊÈÏÔ‰ÔÍÔ‡ÌÂ, ̤۷ ·fi ÙÔ Ó¤Ô Ù‡¯Ô˜ ÙÔ˘ ÂÚÈÔ‰ÈÎÔ‡ «ªπ¡√∞¡ WAVE», Ó· ‰ÈÂÁ›ÚÔ˘Ì ÙȘ
·ÈÛı‹ÛÂȘ Î·È ÙË Ê·ÓÙ·Û›· Û·˜, Ó· Û·˜ ÌÂٷʤÚÔ˘Ì ÂÈÎfiÓ˜ Î·È Û˘Ó·ÈÛı‹Ì·Ù· ·fi ÌÔÓ·‰ÈÎÔ‡˜ Ù·ÍȉȈÙÈÎÔ‡˜ ÚÔÔÚÈÛÌÔ‡˜ Î·È Ó· οÓÔ˘Ì ÙÔ Ù·Í›‰È
Û·˜ ·ÎfiÌË ÈÔ Â˘¯¿ÚÈÛÙÔ…
ÙÔ ÏÔ‡ÛÈÔ Û ıÂÌ·ÙÔÁÚ·Ê›· Ó¤Ô Ù‡¯Ô˜ ÙÔ˘ «ªπ¡√∞¡ WAVE» Û·˜ ÚÔÙÚ¤Ô˘Ì “Ó· Û˘Ó¯›ÛÂÙ ÙÔ Ù·Í›‰È Û·˜” ¯·Ï·ÚÒÓÔÓÙ·˜, Û ÌÈ· ÂÚÈÏ¿ÓËÛË
ÙÔ˘ Ó‡̷ÙÔ˜ Î·È ÙˆÓ ·ÈÛı‹ÛˆÓ. ∞fi ÙȘ ÌÔÓ·‰ÈΤ˜ ËÏÂÎÙÚÔÓÈΤ˜ ÌÔ˘ÛÈΤ˜ ÙÔ˘ ‚Ú·‚Â˘Ì¤ÓÔ˘ Ì OSCAR Û˘Ì·ÙÚÈÒÙË Ì·˜ µ·ÁÁ¤ÏË ··ı·Ó·Û›Ô˘
̤¯ÚÈ ÙËÓ Â·Ó·ÛÙ·ÙÈ΋ Î·È Û˘Ó·Ú·ÛÙÈ΋ ÔÙÈ΋ ÙÔ˘ ··Ú¿ÌÈÏÏÔ˘ Û ٤¯ÓË ÛÎËÓÔı¤ÙË £Âfi‰ˆÚÔ˘ ∞ÁÁÂÏfiÔ˘ÏÔ˘!
∞fi‰Ú·ÛË Ì ·ÊÔÚÌ‹ ‹… ·ÊÔÚÌ‹ ÁÈ· ÙËÓ ·fi‰Ú·ÛË; ∂ÈÛÎÂÊÙ›Ù ÙË ÁÂÈÙÔÓÈ΋ Ì·˜ πÙ·Ï›· Ì›· ¯ÒÚ· ÌÔ˘ÛÂ›Ô ÁÂÌ¿ÙË ÂÎÏ‹ÍÂȘ - ‚ÚÈÛÎfiÌ·ÛÙ ÌfiÏȘ
Ï›Á˜ ÒÚ˜ Ì·ÎÚÈ¿ - ÍÂÎÈÓ‹ÛÙ Ì ̛· ‚fiÏÙ· Ì ÁfiÓ‰ÔÏ·, ÛÙ· Ì·Á¢ÙÈο ηӿÏÈ· Ù˘ µÂÓÂÙ›·˜ Î·È Û˘Ó¯›ÛÙ ÙËÓ ÂÚÈÏ¿ÓËÛ‹ Û·˜ ÁÓˆÚ›˙ÔÓÙ·˜ ÙËÓ
«∞ÈÒÓÈ· fiÏË», ÙËÓ ·Ó¤ÌÔÚÊË ÈÙ·ÏÈ΋ ÚˆÙÂ‡Ô˘Û· ƒÒÌË, … fiÏÔÈ ÔÈ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó Û ·˘Ù‹Ó! ∫·È ·ÎfiÌË, ÂÈÛÎÂÊÙ›Ù ÙË ºÏˆÚÂÓÙ›·, ÙËÓ fiÏË Ô˘
Á·ÏÔ‡¯ËÛ ÙËÓ ∞Ó·Á¤ÓÓËÛË ‹ ÙË ÁÚ·ÊÈÎfiÙ·ÙË ›˙· - ÂÚÈÛÛfiÙÂÚÔ ÁÓˆÛÙ‹ ÁÈ· ¤Ó· ·fi Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎfiÙÂÚ· ÌÓËÌ›· Ù˘ πÙ·Ï›·˜, ÙÔ ÌÔÓ·‰ÈÎfi ηÈ
·Û›ÁÓˆÛÙÔ ÎÂÎÏÈ̤ÓÔ ‡ÚÁÔ Ù˘. ∞Ó ¿ÏÈ ¤¯ÂÙ ÙËÓ ·Ó¿ÁÎË ÁÈ· … shopping therapy … Û·˜ ÚÔÙ›ÓÔ˘Ì ӷ ÂÍÂÚ¢ӋÛÂÙ ÙÔ˘˜ ÂÌÔÚÈÎÔ‡˜ ‰ÚfiÌÔ˘˜ Ù˘
ÈÔ Â˘Úˆ·˚΋˜ ÚˆÙÂ‡Ô˘Û·˜ ÙÔ˘ ÛÙÈÏ Î·È Ù˘ Ìfi‰·˜, ÙÔ ªÈÏ¿ÓÔ.
ŸÌˆ˜ ÙÔ Ù·Í›‰È Û·˜ ‰ÂÓ ÙÂÏÂÈÒÓÂÈ ÛÙË ÁÂÈÙÔÓÈ΋ Ì·˜ πÙ·Ï›·. ˘Ó‰˘¿˙ÔÓÙ·˜ ÙËÓ ·fi‰Ú·ÛË Ì ÙÔ ·˘ÙÔΛÓËÙfi Û·˜, ÌfiÓÔ˜ ‹ Ì ÙËÓ ·Ú¤· Û·˜, ÌÔÚ›Ù ӷ
ÂÈ‚È‚·ÛÙ›Ù Û ¤Ó· ·fi Ù· ˘ÂÚÛ‡Á¯ÚÔÓ· ÏÔ›· Ù˘ MINOAN LINES Î·È Ó· ÂÍÂÚ¢ӋÛÂÙ ÌÔÓ·‰ÈÎÔ‡˜ ÚÔÔÚÈÛÌÔ‡˜ ÙfiÛÔ ÛÙËÓ ∂ÏÏ¿‰·, fiÛÔ Î·È ÛÂ
οı ÁˆÓÈ¿ Ù˘ ∂˘ÚÒ˘. ˘Ó¯›˙ÔÓÙ·˜ ÏÔÈfiÓ ÙËÓ Ù·ÍȉȈÙÈ΋ Û·˜ ·Ó·˙‹ÙËÛË, ÌÔÚ›Ù ӷ ÂÈÛÎÂÊÙ›Ù ÙË µÈ¤ÓÓË, ÙËÓ ·˘ÛÙÚȷ΋ ÚˆÙÂ‡Ô˘Û·, ÙËÓ
fiÏË ÙÔ˘ Ó‡̷ÙÔ˜ Î·È Ù˘ Ù¤¯Ó˘ Ì ٷ ÛÙÂÓ¿ ÌÂ۷ȈÓÈο ‰ÚÔÌ¿ÎÈ· Î·È ÙË ÌÂÁ·ÏÂÈÒ‰Ë ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙˆÓ ÎÙÈÚ›ˆÓ Ù˘ Î·È Ó· ηٷϋÍÂÙ ÛÙÔ
¿ÏÙÛÌÔ˘ÚÁÎ, ÙË ÁÂÓ¤ÙÂÈÚ· ÙÔ˘ ªfiÙÛ·ÚÙ, Ì›· ·Ó¤ÌÔÚÊË fiÏË ÛÙÔ ‚fiÚÂÈÔ Û‡ÓÔÚÔ ÙˆÓ ÕψÓ. ∫·È ·Ó ¿ÏÈ ı¤ÏÂÙ ӷ ÁÓˆÚ›ÛÂÙ ÙË Á·ÏÏÈ΋ ÊÈÓ¤ÙÛ·
Î·È ÙË ÂÈ‚ÏËÙÈ΋ ÔÌÔÚÊÈ¿ Ù˘ fiÏ˘ ÙÔ˘ ºˆÙfi˜, ÌÔÚ›Ù ӷ ÚÔÁÚ·ÌÌ·Ù›ÛÙ ¤Ó· Ù·Í›‰È ÛÙÔ ·Ú›ÛÈ. ∆Ô ÕÌÛÙÂÚÓÙ·Ì, ÙÔ µÂÚÔÏ›ÓÔ, ÔÈ ¢·ÏÌ·ÙÈΤ˜
∞ÎÙ¤˜ Î·È ÙfiÛÔÈ ¿ÏÏÔÈ ÚÔÔÚÈÛÌÔ› Û·˜ ÂÚÈ̤ÓÔ˘Ó Ó· ÙÔ˘˜ ÂÍÂÚ¢ӋÛÂÙÂ!
∫È ·Ó ¤¯ÂÙ ·ÔÊ·Û›ÛÂÈ Ó· ·Ú·Ì›ÓÂÙ ÛÙËÓ ·Ó¤ÌÔÚÊË ∂ÏÏ¿‰· Ì·˜, ÙfiÙ ÌÔÚ›Ù ¿ÓÙÔÙ ӷ ÂÈÛÎÂÊÙ›Ù ¤Ó· ·fi Ù· Ì·Á¢ÙÈο ÓËÛÈ¿ Ù˘. ÙË ÊÂÙÈ-
Ó‹ Ì·˜ ıÂÌ·ÙÔÏÔÁ›·, Û·˜ ÚÔÙ›ÓÔ˘Ì ÙË ·ÓÙÔÚ›ÓË, ÙÔ ÎfiÛÌËÌ· ÙˆÓ ∫˘ÎÏ¿‰ˆÓ Î·È ÙË §Â˘Î¿‰·, ÙÔ ÛÙÂÚÈ·Ófi ÓËÛ›, ¤Ó· ·fi Ù· ÁÔËÙ¢ÙÈÎfiÙÂÚ· ÙÔ˘
πÔÓ›Ô˘. √È ÂÈÏÔÁ¤˜ Â›Ó·È ·Ó·Ú›ıÌËÙ˜ Î·È ¿ÓÙÔÙ ·ÔÙÂÏÔ‡Ó Ì›· ÚfiÎÏËÛË ÁÈ· οı ٷÍȉÈÒÙË. ∂Í¿ÏÏÔ˘, fiÔ˘ ÎÈ ·Ó ÂÈϤÍÂÙ ӷ Ù·Íȉ¤„ÂÙ ‰ÂÓ Ú¤-
ÂÈ Ó· ͯӿÙ fiÙÈ ÛËÌ·Û›· ¤¯ÂÈ ÙÔ Ù·Í›‰È Î·È fi¯È Ô ÚÔÔÚÈÛÌfi˜, Ë ÌÔÓ·‰È΋ ·›ÛıËÛË Ù˘ ÂÚȤÙÂÈ·˜ Î·È Ù˘ ·fi‰Ú·Û˘.
002
∫·Ïfi Ù·Í›‰È ÏÔÈfiÓ Î·È Î·Ï‹ ·Ó¿ÁÓˆÛË!
MINOAN LINES
∆· Ù·¯‡ÙÂÚ· cruise ferries Ù˘ ∂ÏÏ¿‰·˜!
Dear friends,
As travelling - of any nature - is our main concern, the new issue of the “ªπ¡√∞¡ WAVE” magazine aspires to arouse your senses and imagination, to bring
to you images and impressions from unique travelling destinations and to make your travel even more pleasant…
Through the articles of this issue, we invite you to “continue your journey” and wandering through the land of the senses and culture. From the unique
electronic sounds of the academy award winner Vangelis Papathanasiou to the revolutionary and exciting cinema art of the inimitable director, Theodoros
Aggelopoulos.
Escape with a cause…or a cause for escape? Visit our neighbouring Italy, a museum-country full of surprises - only a few hours away - and begin your trip
with a gondola tour in the enchanting channels of Venice; next, head to the “Eternal City”, the beautiful Italian capital, Rome… all streets lead there! It is
also worth visiting Florence, the city of Renaissance, or the picturesque city of Pisa - which owes its popularity to the leaning tower, one of the most famous
monuments of Italy. If again you feel the need for… shopping therapy… we propose an exploration to the commercial streets of the European capital of style
and fashion, Milan.
However, the journey does not end in our neighbouring Italy. When you plan a trip with your car, alone or with company, consider boarding to one of the
high speed ferries of MINOAN LINES in order to explore unique destinations in Greece or Europe. Starting your trip from the European destinations, you
can visit Vienna, the Austrian capital, the city of spirit and art, characterized by narrow medieval alleys and magnificent architecture, and from there head to
Salzburg, the birthplace of Mozart, a beautiful city in the northern border of the Alps. And if you want to experience the french elegance and the imposing
beauty of the “City of Light”, you can organise a trip to Paris. Amsterdam, Berlin, the Dalmatian Coasts and so many other destinations invite you to explore
them!
And if you decide to stay in our lovely Greece, then you can always choose to visit one of the enchanting Greek islands. In this year's issue, we suggest the
island of Santorini, the jewel of Cyclades, and Lefkada, the mainland island, one of the most enchanting Ionian islands. The choices are endless and constitute
a challenge for every traveller. In the end, no matter where you decide to travel, you should always remember that it is the journey and not the destination
that matters, and the unique feeling of adventure and escape.
Have a nice trip and enjoy your reading!
MINOAN LINES
The fastest cruise ferries in Greece!

E P I E X O M E N A / C O N T E N T S
006.∆∏ ª√Àπ∫∏ ¢∂¡ ∆∏¡ √ƒπ∑√Àª∂, ª∞ √ƒπ∑∂π √ Vaggelis, ¤Ó·˜ ŒÏÏËÓ·˜,
«·˘ıÂÓÙ›· Ù˘ ËÏÂÎÙÚÔÓÈ΋˜ ÌÔ˘ÛÈ΋˜», fiˆ˜ ÙÔÓ ¤¯Ô˘Ó ·ÔηϤÛÂÈ, Ô˘ ¤Î·Ó ÙÔ ÂÏÏËÓÈÎfi Ó‡̷ ÁÓˆ-
ÛÙfi Û fiÏÔÓ ÙÔÓ ÎfiÛÌÔ, Ô˘ ¤ÊÂÚ ÙÔ fiÓÔÌ· Ù˘ ∂ÏÏ¿‰·˜ Û ÙÂÏÂÙ‹ ÙˆÓ ŸÛÎ·Ú Î·È ÔÈ ÌÂψ‰›Â˜ ÙÔ˘ ¤ÊÙ·-
Û·Ó Ó· ·ÎÔ‡ÁÔÓÙ·È Ì¤¯ÚÈ Î·È ÛÙÔÓ… Ï·Ó‹ÙË ÕÚË Ì¤Û· ·fi ÙËÓ ·ÔÛÙÔÏ‹ Ù˘ NASA “2001 √‰‡ÛÛÂÈ·
ÛÙÔÓ ÕÚË”.
∂∫¢√∆∏: MINOAN LINES
¢π∂À£À¡∆∏ À¡∆∞•∏ - ∞ƒÃπÀ¡∆∞∫∆∏:
¡›ÎÔ˜ ∫·Ú¤ÏÏ˘
∞ƒ∞°ø°∏: ∂ΉfiÛÂȘ Magazine
¢∏ªπ√Àƒ°π∫√: Ù·‡ÚÔ˜ ∑ÂÌ›Ï˘
À¡∆∞•∏ – À¡∂ƒ°∞∆∂: °È¿ÓÓ˘ ƒ¿ÁÎÔ˜,
°Ï˘ÎÂÚ›· Ùfi˚Ô˘, ¡›ÎÔ˜ ∆Û·Áηڿ΢, ª·ÚÔ‡Û·
∆Û·¯¿ÎË
ºø∆√°ƒ∞ºπ∞: Ù¿ı˘ ∑·Ï›‰Ë˜, Ù·‡ÚÔ˜ ∑ÂÌ›Ï˘,
¡›ÎÔ˜ ∫·Ú¤ÏÏ˘, ‡ÚÔ˜ ∫·Ùˆfi‰Ë˜, √‰˘ÛÛ¤·˜
¡¿ıÂÓ·˜,
ª∂∆∞ºƒ∞∂π: Ù¤ÏÏ· µ·ÛÈÏ¿ÎË
¢π∞º∏ªπ∏: ∞ÓıԇϷ ∞ÚÙÂÌ¿ÎË, ¿ÙÚ· ∑Â˚̤ÎË,
√‰˘ÛÛ¤·˜ ¡¿ıÂÓ·˜, ª·ÓfiÏ˘ ÂÚ¤ÂÙÛ˘, ¡›ÎÔ˜
ÔÊÔ˘Ï¿Î˘
∂πª∂§∂π∞ À§∏: ∞Á΢ •ÂÓ¿ÎÔ˘
∂∫∆Àø∏ – µπµ§π√¢∂π∞: Scripta A.E
PUBLISHER: MINOAN LINES
EDITOR IN CHIEF: Nikos Karellis
PRE-PRESS: Magazine Editions
LAYOUT: Stavros Zembilis
REDACTION: Giannis Ragkos, Glykeria Stoiou,
Nikos Tsagkarakis, Maroussa Tsachaki
PHOTOGRAPHY: Nikos Karellis, Spiros Katopodis,
Odysseas Nathenas, Stathis Zalides, Stavros Zembilis
TRADUCTION: Stella Vasilaki
ADVERTISING: Anthoula Artemaki, Eleni
Menioudaki, Odysseas Nathenas, Manolis Serepetsis,
Nikos Sofoulakis, Patra Zeibeki
CORRECTIONS: Aggie Xenakou
PRINTING: Scripta S.A.
018.§∂À∫∞¢∞: ∆√ ∆∂ƒπ∞¡√ ¡∏π… ªfiÏȘ Ô ÂÈÛΤÙ˘ ‰È·Û¯›ÛÂÈ ÙÔÓ ÌÈÎÚfi ‰›·˘ÏÔ Ô˘
¯ˆÚ›˙ÂÈ ÙËÓ §Â˘Î¿‰· ·fi ÙË ÙÂÚ¿ ∂ÏÏ¿‰· ı· ÓÈÒÛÂÈ Û¯Â‰fiÓ ·Î·ÚÈ·›· Ó· ηٷÎχ˙ÂÙ·È ·fi ÙËÓ «·‡Ú·»
ÂÓfi˜ ·fi ÁÔËÙ¢ÙÈÎfiÙÂÚ· ÓËÛÈ¿ ÙˆÓ ∂Ù·Ó‹ÛˆÓ Î·È ÙÔ˘ πÔÓ›Ô˘ ÂÏ¿ÁÔ˘˜ Î·È ı· ·Ó·ÏÔÁÈÛÙ› ·˘Ùfi Ô˘
·ÏÈfiÙÂÚ· ›¯Â ÁÚ¿„ÂÈ Ë Û˘ÁÁڷʤ·˜ °·Ï¿ÙÂÈ· ∫·˙·ÓÙ˙¿ÎË: «…¡¿Ù·Ó οı ÓËÛ› Î·È ÌÈ· §Â˘Î¿‰·».
030.ª∂ ∆√ µ§∂ªª∞ ∆ƒ∞ªª∂¡√ ∆√ Ã√¡√ √ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ηÏÏȤÚ-
ÁËÛ ¤Ó· ÚÔÛˆÈÎfi ‰ËÌÈÔ˘ÚÁÈÎfi ‡ÊÔ˜, ÌÔÓ·‰ÈÎfi ÛÙÔÓ ÂÏÏËÓÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ, ··ÈÙËÙÈÎfi, ·ÏÏ¿ ÓÔË-
Ì·ÙÈο ˘ÎÓfi Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈο Û˘Ó·Ú·ÛÙÈÎfi, Ì ÙÔ ÔÔ›Ô Î·Ù¿ÊÂÚ Ӓ ·ÂÈÎÔÓ›ÛÂÈ Ï¢ڤ˜ Ù˘
ÂÏÏËÓÈ΋˜ ÈÛÙÔÚ›·˜ Î·È ÙÔ˘ ·ÓıÚÒÈÓÔ˘ ¯·Ú·ÎÙ‹Ú· Ì ÛÙÔ¯·ÛÙÈÎfiÙËÙ·, ¢ı‡ÙËÙ· Î·È Â˘·ÈÛıËÛ›·,
038.SANTORINI D’OR! À¿Ú¯Ô˘Ó ÔÏÏ¿ Ú¿ÁÌ·Ù· Ô˘ ÌÔÚ›˜ Ó· ÛÎÂÊÙ›˜ ÁÈ· ÙË ·ÓÙÔÚ›ÓË
Î·È Ó· Û οÓÔ˘Ó Ó· ·Ó·ÚÈÁ‹ÛÂȘ ·fi ¢¯·Ú›ÛÙËÛË. ∆ËÓ √›·, Ù· ºËÚ¿, ÙÔ ËÊ·›ÛÙÂÈÔ, ÙË ı¿Ï·ÛÛ·, Ù· ËÏÈÔ-
‚·ÛÈϤ̷ٷ, ÙÔ Ê·ÁËÙfi, ÙȘ ÏÈ·ÛÙ¤˜ ÓÙÔÌ¿Ù˜, ÙË Ê¿‚·… ∞˘Ùfi Ô˘ ¤¯ÂÈ, fï˜, ÎÂÚ‰›ÛÂÈ ÙËÓ Î·Ú‰È¿ Ì·˜
ÔÏfiÙÂÏ·, Â‰Ò Î·È ¯ÚfiÓÈ·, Â›Ó·È ÙÔ ÎÚ·Û› Ù˘.
042.∆Ô πÙ·ÏÈÎfi ı·‡Ì· ·Ú¿ ÙÔÓ «ÛÎÏËÚfi» ·ÓÙ·ÁˆÓÈÛÌfi, Ô ÎÂÎÏÈ̤ÓÔ˜ ‡ÚÁÔ˜ Ù˘ ›˙·˜ ıˆÚ›ٷÈ
ÙÔ ÈÔ ‰È¿ÛËÌÔ ÂıÓÈÎfi ÌÓËÌÂ›Ô Î·È Ë ÈÔ ·ÓÙÈÚÔÛˆÂ˘ÙÈ΋ ÂÈÎfiÓ· Ù˘ πÙ·Ï›·˜ ÁÈ· ÙÔ˘˜ ÙÔ˘Ú›ÛÙ˜
048.∆∞•π¢∂æ∆∂ ∆∏¡ ∂Àƒø∏ ª∂ ∆√ ∞À∆√∫π¡∏∆√ ∞ ∫∞π ∆π
MINOAN LINES ÚÔÙ¿ÛÂȘ ÁÈ· ‰È·‰ÚÔ̤˜ ÛÙËÓ ∂˘ÚÒË Ì ٷ ÌÔÓ·‰Èο ÂΉÚÔÌÈο ·Î¤Ù· Ù˘
Minoan Lines.
062.ƒ√∆∞∂π √§π∆πª√À 2009 ªÈ· ÂÈÏÔÁ‹ ·fi ÙÔ ºÂÛÙÈ‚¿Ï ∞ıËÓÒÓ, ÙËÓ ∂›‰·˘ÚÔ
Î·È ¿ÏϘ ÔÏÈÙÈÛÙÈΤ˜ ÂΉËÏÒÛÂȘ Û fiÏË ÙËÓ ∂ÏÏ¿‰·.
006.IT IS NOT US THAT DEFINE MUSIC, IT IS RATHER MUSIC THAT
DEFINES US An “expert of electronic music”, as he has been called, Vangelis made Greek culture famous
around the world, in the Oscars and even in….the planet Mars, where his music traveled with the “2001
Odyssey in Mars” NASA expedition.
018.LEFKADA: A MAINLAND ISLAND… As soon as the visitor crosses the bridge that
connects Lefkada with mainland Greece he will immediately feel the aura of one of the most picturesque
islands of the Ionian Sea and he will reflect on the words that the writer Galatia Kazantzaki once wrote: “…if
only every island was like Lefkada.”
030.GAZING THROUGH TIME Theodoros Aggelopoulos has developed an innately personal style,
unique in the Greek film industry, demanding and full of meanings, with which he has managed to visualize
sensitive sides of Greek history and of the human character with a unique introspective sentiment.
038.SANTORINI D’ OR The name “Santorini” can bring several pleasant and beautiful things in mind:
Oia, Phera, the volcano, the sea, the sun sets, the sun-dried tomatoes, yellow peas…However, what has
actually won over our hearts for many years now, is Santorini’s wine.
042.AN ITALIAN MIRACLE Despite the stiff competition, the Leaning Tower of Pisa is the most
famous national monument, the one that most strikes tourists as the favourite shorthand image for the idea of
Italy.
062.CULTURAL EVENTS 2009 WAVE magazine proposes cultural events from Athens Festival,
Epidaurus Ancient Theatre and more…

·›˙ÂÈ È¿ÓÔ, Û˘Óı¤ÙÂÈ ÌÔ˘ÛÈ΋, ˙ˆÁÚ·Ê›˙ÂÈ Î·È
ۯ‰ȿ˙ÂÈ ·fi ÙËÓ ËÏÈΛ· ÙˆÓ ÙÂÛÛ¿ÚˆÓ ÂÙÒÓ. √
µ·ÁÁ¤Ï˘ ··ı·Ó·Û›Ô˘ ·Ô‰›‰ÂÈ ÙÔ Ê˘ÛÈÎfi ÙÔ˘
¯¿ÚÈÛÌ· Û ¤Ó· ̤ÚÔ˜ ÙÔ ÔÔ›Ô ·ÔηÏ› Ô ›‰ÈÔ˜
ÌÓ‹ÌË… ¤Ó· ̤ÚÔ˜ ·fi ÙÔ ÔÔ›Ô, fiˆ˜ ÈÛ¯˘Ú›˙Â-
Ù·È, ÌÔÚԇ̠fiÏÔÈ Ó· ·ÓÙÏ‹ÛÔ˘ÌÂ, ·Ó ηٷʤ-
ÚÔ˘Ì ÌÔÓ¿¯· Ó· ı˘ÌfiÌ·ÛÙÂ. ŒÓ·˜ ŒÏÏËÓ·˜,
«·˘ıÂÓÙ›· Ù˘ ËÏÂÎÙÚÔÓÈ΋˜ ÌÔ˘ÛÈ΋˜», fiˆ˜ ÙÔÓ
¤¯Ô˘Ó ·ÔηϤÛÂÈ, Ô˘ ¤Î·Ó ÙÔ ÂÏÏËÓÈÎfi Ó‡̷
ÁÓˆÛÙfi Û fiÏÔÓ ÙÔÓ ÎfiÛÌÔ, Ô˘ ¤ÊÂÚ ÙÔ fiÓÔÌ·
Ù˘ ∂ÏÏ¿‰·˜ Û ÙÂÏÂÙ‹ ÙˆÓ ŸÛÎ·Ú Î·È ÔÈ ÌÂψ-
‰›Â˜ ÙÔ˘ ¤ÊÙ·Û·Ó Ó· ·ÎÔ‡ÁÔÓÙ·È Ì¤¯ÚÈ Î·È ÛÙÔÓ…
Ï·Ó‹ÙË ÕÚË Ì¤Û· ·fi ÙËÓ ·ÔÛÙÔÏ‹ Ù˘ NASA
“2001 √‰‡ÛÛÂÈ· ÛÙÔÓ ÕÚË”.
He plays the piano, he composes music, he
paints since he was 4 years old. Vangelis´
musical gift derives from a place he calls
memory…a place we can all benefit from, if we
just achieve to remember. An “expert of
electronic music”, as he has been called,
Vangelis made Greek culture famous around
the world, in the Oscars and even in….the
planet Mars, where his music traveled with the
“2001 Odyssey in Mars” NASA expedition.
006
∆Ë ÌÔ˘ÛÈ΋ ‰ÂÓ ÙËÓ
ÔÚ›˙Ô˘ÌÂ, Ì·˜ ÔÚ›˙ÂÈ
It is not us that
define music, it is
rather music that
defines us

Vangelis
∞fi ÙË °Ï˘ÎÂÚ›· ÙfiÈÔ˘
ºˆÙÔÁڷʛ˜ Ù¿ı˘ ∑·Ï›‰Ë˜
Written by Glykeria Stoiou
Photos by Stathis Zalides
MINOAN WAVE >

008
EVangelis
Ó·˜ ·fi ÙÔ˘˜ ÂÏ¿¯ÈÛÙÔ˘˜ ŒÏÏËÓ˜ ÌÔ˘-
ÛÈÎÔ‡˜ Ô˘ ¤Î·Ó·Ó ‰ÈÂıÓ‹ ηÚȤڷ ÌÂ
‰È¿ÚÎÂÈ·, ·Ó·ÁÓÒÚÈÛË Î·È ·Ô‰Ô¯‹.
°ÓˆÛÙfi˜ ϤÔÓ ˆ˜ Vangelis, Ì ¿Óˆ
·fi Û·Ú¿ÓÙ· ‰ÈÛÎÔÁÚ·ÊÈο ¤ÚÁ· ÛÂ
΢ÎÏÔÊÔÚ›·, ÌÔ˘ÛÈΤ˜ ÂÂÓ‰‡ÛÂȘ ÛÂ
ÎÈÓËÌ·ÙÔÁÚ·ÊÈΤ˜ Ù·Èӛ˜, ̷Ϥٷ ηÈ
ı·ÙÚÈο ¤ÚÁ·, ‰‡Ô ¯ÔÚˆ‰È·Î¤˜ Û˘Ìʈ-
ӛ˜, ÌÂÁ¿Ï· ÔÙÈÎÔ·ÎÔ˘ÛÙÈο ı¿̷ٷ,
ÔÏ˘¿ÚÈı̘ ÙÈ̤˜, ‚Ú·‚›·, Î·È Ù›ÙÏÔ˘˜
ÛÙÔ ÂÓÂÚÁËÙÈÎfi ÙÔ˘, ¤Ó· ŸÛÎ·Ú Î·È
Û˘ÓÂÚÁ·Û›Â˜ Ì ÙËÓ Montserrat Caballé,
ÙËÓ Kathleen Battle, ÙËÓ Jessye Norman,
ÙÔÓ JÔn Anderson ÙˆÓ Yes, ÙËÓ ∂ÈÚ‹ÓË
·¿ Î·È ÔÏÏÔ‡˜ ¿ÏÏÔ˘˜ ηÏÏÈÙ¤¯Ó˜,
¤¯ÂÈ ·Ó·ÁÓˆÚÈÛÙ› ˆ˜ ¤Ó·˜ ·fi ÙÔ˘˜
ÚˆÙÂÚÁ¿Ù˜ ÙÔ˘ ËÏÂÎÙÚÔÓÈÎÔ‡ ‹¯Ô˘ Ô˘ ÚÔÛ‰ÈÔÚ›ÛÙËÎÂ
·fi ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜ new age, space, progressive ‹
ambient. «∆Ô fiÚ·Ì¿ ÌÔ˘», ı· ÂÈ, «Û fi,ÙÈ ·ÊÔÚ¿ ÙË ÌÔ˘-
ÛÈ΋ Â›Ó·È Ôχ Ù·ÂÈÓfi, ÁÈ’ ·˘Ùfi Î·È ‰Â ı¤Ïˆ Ó· ÛΤÊÙÔ-
Ì·È Ôχ fiÙ·Ó Î¿Óˆ ÌÔ˘ÛÈ΋. ÚÔÛ·ıÒ Ó· Â›Ì·È fiÛÔ ÙÔ
‰˘Ó·ÙfiÓ ÈÔ ‰È·ı¤ÛÈÌÔ˜».
°ÂÓÓ‹ıËΠÛÙÔ µfiÏÔ ÛÙȘ 29 ª·ÚÙ›Ô˘ ÙÔ˘ 1943 Î·È ·fi ÙË
ÓËȷ΋ ËÏÈΛ· ¤‰ÂÈÍ ÙËÓ ·Á¿Ë ÙÔ˘ ÛÙËÓ Ù¤¯ÓË Î·È ÙË
‰ËÌÈÔ˘ÚÁÈ΋ ¤ÎÊÚ·ÛË. ªfiÏȘ ÙÂÛÛ¿ÚˆÓ ÂÙÒÓ ¿Ú¯ÈÛ ӷ
Û˘Óı¤ÙÂÈ ÌÔ˘ÛÈ΋ Ì ÙÔ ÔÈÎÔÁÂÓÂÈ·Îfi È¿ÓÔ Î·È ÛÙ· ¤ÍÈ
ÙÔ˘ ¯ÚfiÓÈ· ¤Î·Ó ÙËÓ ·ÚıÂÓÈ΋ ÙÔ˘ ÂÌÊ¿ÓÈÛË ÛÙÔ ÎÔÈÓfi
Ì ÙȘ ‰ÈΤ˜ ÙÔ˘ Û˘Óı¤ÛÂȘ. ŸÙ·Ó ÂΉfiıËÎ·Ó Ì¿ÏÈÛÙ· ÙÔ
1956 Ù· Ù·ÍȉȈÙÈο ·ÊËÁ‹Ì·Ù· ÙÔ˘ ÙÚ·Ù‹ ª˘ÚÈ‚‹ÏË
«∞fi ÙËÓ ∂ÏÏ¿‰·» (ÂΉ. ∂ÛÙ›·), ¤Ó· ·fi Ù· Ï›Á· ÚfiÛˆ-
· Ô˘ ÂÚÈÁÚ¿ÊÔÓÙ·È Û ¤Ó· ·fi Ù· Ù·Í›‰È· ÙÔ˘, Ï›ÁÔ
ÚÈÓ ÙÔ 1950, ÛÙÔ µfiÏÔ, Â›Ó·È Ô ÌÈÎÚfi˜ Ù·Ï·ÓÙÔ‡¯Ô˜
µ·ÁÁ¤Ï˘: «∞Ó¿ÌÂÛ· ÛÙȘ ¢¯¿ÚÈÛÙ˜ ÂÎÏ‹ÍÂȘ Ô˘ ÌÂ
ÂÚ›ÌÂÓ·Ó ÛÙÔÓ µfiÏÔ, ‹Ù·Ó Î·È ¤Ó· ·È‰¿ÎÈ ¤ÍÈ ‹ ÂÍ›ÌÈÛÈ
¯ÚÔÓÒÓ, Ô˘ ·Ó·Î¿Ï˘„· ÚÔÈÎÈṲ̂ÓÔ Ì ÙÔ ıÂ›Ô ‰ÒÚÔ
ÙÔ˘ ٷϤÓÙÔ˘. √ ÌÈÎÚfi˜ ·˘Ùfi˜ Ì ÙȘ Ô‰›ÙÛ˜ Ù˘ ÚÒ-
Ù˘ ‰ËÌÔÙÈÎÔ‡, Î·È Ì ٷ ÁÎÚ›˙· ÁÂÏ·ÛÙ¿ Ì·Ù¿ÎÈ· ÙÔ˘,
Â›Ó·È ·fi ÙÒÚ· ¤Ó·˜ ·˘ÙÔ‰›‰·ÎÙÔ˜ ÌÈÎÚÔÛÎÔÈÎfi˜ Û˘Óı¤-
Ù˘. ªÔ˘ ¤·ÈÍ ÛÙÔ È¿ÓÔ ‰˘Ô Û˘Óı¤ÛÂȘ ÙÔ˘ Ô˘ ÌÂ
η٤ÏËÍ·Ó. ªÈ· ÙËÓ ¤ÏÂÁ «√È Î·Ì¿Ó˜» Î·È ÙËÓ ¿ÏÏË
«√ ¯ÔÚfi˜». Ú¤ÂÈ Ó· ‰ÂÈ Î·Ó›˜ Ù· ÌÈÎÚÔÛÎÔÈο ‰·¯Ù˘-
Ï¿ÎÈ· ÙÔ˘ Ó· ·ÁˆÓ›˙ÔÓÙ·È Ó· È¿ÛÔ˘Ó ÙȘ ı·˘Ì¿ÛȘ Û˘Á-
¯ÔÚ‰›Â˜ Ô˘ ηÓ›˜ ‰ÂÓ ÙÔ˘ ‰›‰·ÍÂ, Ú¤ÂÈ Ó· ·ÎÔ‡ÛÂÈ
ÙÔ˘˜ ¯ÚˆÌ·ÙÈÛÌÔ‡˜ Î·È Ù· ¯·ÚÈو̤ӷ Â˘Ú‹Ì·Ù¿ ÙÔ˘, ÁÈ·
Ó· ηٷϿ‚ÂÈ ÙÔ ÓfiËÌ· ÙÔ˘ ∂˘·ÁÁÂÏÈÛÙÔ‡ Ô˘ ›Â:
«Ó‡̷ Ô £Âfi˜ Î·È fiÔ˘ ı¤ÏÂÈ ÓÂÈ». °È· Ó· ‰Ô‡Ì ÙÈ
ÂÈÊ˘Ï¿ÛÛÂÈ Ë ÌÔ›Ú· Û ÙÔ‡ÙÔ ÙÔ µÔÏȈٿÎÈ».
Vangelis is a composer that made an international career
and achieved widespread recognition. He boasts over forty
published albums, many film scores, music compositions for
ballets and theatrical plays, two choral symphonies, great
audiovisual spectacles, numerous distinctions, awards, and
honors, one Oscar award and famous collaborations, such
as with Montserrat Caballé, Kathleen Battle, Jessye
Norman, JÔn Anderson, the lead singer of the band Yes,
Irene Papas and many other artists. He has been
distinguished as one of the pioneers of electronic music, and
his style has been characterized as new age, space,
progressive and ambient. “My approach”, he says,
“concerning my music, is very humble and this is why I
leave music to lead when Icompose: I try to be as
‘available’ as possible”.
He was born in Volos on the 29th of March 1943, and
expressed his love for art and creative expression since he
was still a child. He was just 4 years old when he started
composing music on the family piano, and he was 6 years
old when he made his first public appearance presenting his
own music compositions. In 1956, when the travel stories of
Stratis Myrivilis “From Greece” were published, one of the
few personalities described in one of the author’s travels in
Volos, around 1950, was the young talented Vangelis: “one
of the pleasant surprises that awaited for me in Volos was a
little child six or six and a half years old, privileged with the
divine gift of talent. This child, dressed with the school
uniform and with grey smiley eyes, he is now one selftaught
tiny composer. He played two music pieces in the
piano that astounded me. The first was called ‘Bells’ and the
second ‘the Dance’. One must view his tiny fingers trying to
play chords that no one taught him in order to understand
what the Evangelist meant when he said, “God is spirit and
breaths where He pleases”. Let’s see what destiny has
planned for this young boy from Volos”.
The muse of music, Euterpe, blessed this “young boy from
Volos” since his birth and destined him to become one of
Society
teaches
people how
to demand
and not how
to offer.
∏ ªÔ‡Û· Ù˘ ÌÔ˘ÛÈ΋˜ ∂˘Ù¤ÚË Î·È ÙÔ ¿ıÔ˜ ·ÁοÏÈ·-
Û·Ó «ÙÔ‡ÙÔ ÙÔ µÔÏȈٿÎÈ» ۯ‰fiÓ ·fi Ù· ÁÂÓÓÔÊ¿ÛÎÈ·
ÙÔ˘ ÁÈ· Ó· ·ÔÙÂÏ› Û‹ÌÂÚ· ¤Ó· ·fi Ù· ÌÂÁ·Ï‡ÙÂÚ· ÎÂÊ¿-
Ï·È· Ù˘ ·ÁÎfiÛÌÈ·˜ ÌÔ˘ÛÈ΋˜.  ·˘Ù‹ ÙË Ó·ڋ ËÏÈΛ·
¿Ú¯ÈÛ ӷ ·Ó·‰ÂÈÎÓ‡ÂÙ·È Î·È ÙÔ ¤ÌÊ˘ÙÔ Ù·Ï¤ÓÙÔ ÙÔ˘ ÛÙÔ
Û¯¤‰ÈÔ Î·È ÙË ˙ˆÁÚ·ÊÈ΋, ·Ó Î·È ı· ÂÚÓÔ‡Û·Ó ÔÏÏ¿
¯ÚfiÓÈ· ̤¯ÚÈ Ó· ÌÔÚ¤ÛÂÈ Î¿ÔÈÔ˜ ÂÎÙfi˜ ÙÔ˘ ÛÙÂÓÔ‡ ÙÔ˘
ÂÚÈ‚¿ÏÏÔÓÙÔ˜ Ó· ‰ÂÈ ÙÔ ¤ÚÁÔ ÙÔ˘.
ÙËÓ ·Ù›ı·ÛË ‰ÂηÂÙ›· ÙÔ˘ ’60 ‰ËÌÈÔ˘ÚÁ› Ì ʛÏÔ˘˜ ÙÔ˘
·fi ÙÔ ÔÏ˘Ù¯ÓÂ›Ô ÙÔ˘˜ ºÔÚÌÈÁÍ fiÓÔÌ· ·Ṳ́ÓÔ ·fi ÙÔ
·Ú¯·›Ô ÂÏÏËÓÈÎfi ¤Á¯ÔÚ‰Ô. ∆Ô Û˘ÁÎÚfiÙËÌ· Á›ÓÂÙ·È ÙÔ
‰ËÌÔÊÈϤÛÙÂÚÔ ÂÏÏËÓÈÎfi Û˘ÁÎÚfiÙËÌ· ÂΛӢ Ù˘ ÂÔ¯‹˜.
∞ÚÁfiÙÂÚ· ÂÁηٷÛÙ¿ıËΠÛÙË °·ÏÏ›· ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ÌÂ
ÙÔÓ ¡Ù¤ÌË ƒÔ‡ÛÔ Î·È ÙÔÓ §Ô˘Î¿ ȉÂÚ¿ ÙÔ˘˜ Aphrodite's
the greatest artists in the international music scene. His
natural talent in painting was also evident since his early
years, although many years had to pass to have his work be
known outside his family circle.
In the wild decade of the ‘60s, he forms the pop band
“Forminx”, named after the ancient Greek stringed
instrument, together with his friends from the Technical

ŸÛÔ ÁÈ· Ó·
ÁÓˆÚ›ÛÔ˘Ì ÙÔÓ
·˘Ùfi Ì·˜ ‰Â
¯ÚÂÈ¿˙ÔÓÙ·È
¯Ú‹Ì·Ù·, ·ÏÏ¿
οÙÈ ¿ÏÏÔ, ÈÔ
ÔχÙÈÌÔ.
ÃÚÂÈ¿˙ÂÙ·È
ı¿ÚÚÔ˜!
In order to get to
know our selves
better, it is not
material solutions
we need, but rather
something more
valuable. It is
courage!
Child (Û.Û. ÙÔ ·È‰› Ù˘ ∞ÊÚÔ‰›Ù˘), ηٷÎÙÒÓÙ·˜ › 3
¯ÚfiÓÈ· ÙȘ ÚÒÙ˜ ı¤ÛÂȘ ÛÙÔ ÌÔ˘ÛÈÎfi ÛÙÂÚ¤ˆÌ· Ù˘
∂˘ÚÒ˘.. ªÂÙ¿, Ô µ·ÁÁ¤Ï˘ ··ı·Ó·Û›Ô˘ ¿Ú¯ÈÛ ӷ
ÂÍÂÚ¢Ó› ÈÔ ÚÔÛˆÈÎÔ‡˜ ÌÔ˘ÛÈÎÔ‡˜ ‰ÚfiÌÔ˘˜ Î·È ‚Ú¤ıËÎÂ
ÛÙÔ §ÔÓ‰›ÓÔ, fiÔ˘ ‰ËÌÈÔ‡ÚÁËÛ ÙÔ ÚÒÙÔ ÙÔ˘ ÛÙÔ‡-
ÓÙÈÔ/ÂÚÁ·ÛÙ‹ÚÈÔ.
∂Λ ÌfiÚÂÛ ӷ ·Ó·Ù‡ÍÂÈ ÙȘ ÌÔ˘ÛÈΤ˜ ıˆڛ˜ Î·È ÙÔÓ
‹¯Ô ÙÔ˘, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ¤Ó· Û‡ÛÙËÌ· ÌÔ˘ÛÈÎÒÓ ÔÚÁ¿ÓˆÓ
ۯ‰ȷÛÌ¤ÓˆÓ ·fi ÙÔÓ ›‰ÈÔ ÁÈ· Ó· Â͢ËÚÂÙ‹ÛÔ˘Ó ÙË
Û˘Ó¯Ҙ ‰È¢ڢÓfiÌÂÓË Ê·ÓÙ·Û›· ÙÔ˘ Î·È ÙÔ˘˜ ηÈÓÔÙfi-
ÌÔ˘˜ ÂÈÚ·Ì·ÙÈÛÌÔ‡˜ ÙÔ˘. ˘Ó¤Ï·‚ ÙË ÌÔ˘ÛÈ΋ ÙÔ˘
¯ˆÚ›˜ ÙËÓ Â‹ÚÂÈ· Ù˘ ÏÔÁÈ΋˜, ÙËÓ Èı·ÓfiÙËÙ· Ù˘
·ÏÏÔ›ˆÛ˘ ‹ ÙËÓ ‚Ô‹ıÂÈ· ÙÔ˘ ËÏÂÎÙÚÔÓÈÎÔ‡ ˘ÔÏÔÁÈÛÙ‹.
ª›· ̤ıÔ‰Ô˜ Ú·ÁÌ·ÙÈο ÌÔÓ·‰È΋ Ô˘ Û˘Ó¤‰ÂÛ ηٿ
ÙÚfiÔ ·Ó·ӿÏËÙÔ ÙËÓ Ù¯ÓÔÏÔÁ›· Î·È ÙËÓ ËÏÂÎÙÚÔÓÈ-
΋ ÌÔ˘ÛÈ΋ Ì ÙÔÓ ÂÛˆÙÂÚÈÎfi „˘¯ÈÛÌfi ÙÔ˘ ËÁ·›Ô˘ ηÈ
Ê˘ÛÈÎÔ‡ ÙÔ˘ ٷϤÓÙÔ˘.
«∏ ÌÔ˘ÛÈ΋ ‰ÂÓ ·ÏÏ¿˙ÂÈ Î·È ‰Â ı· ·ÏÏ¿ÍÂÈ ÔÙ¤ fiÛÔ
˘¿Ú¯ÂÈ ÙÔ Û‡Ì·Ó. ∞˘Ùfi Ô˘ ·ÏÏ¿˙ÂÈ Â›Ó·È Ë Û¯¤ÛË Ì·˜
Ì ·˘Ù‹. ª¤Û· ÛÙÔ˘˜ ·ÈÒÓ˜ Ô ¿ÓıÚˆÔ˜, ·Ó¿ÏÔÁ· Ì ÙËÓ
ÔÏÈÙÈÛÌÈ΋ ÙÔ˘ ÔÈfiÙËÙ·, ¯ÚËÛÈÌÔÔÈ› ÙË ÌÔ˘ÛÈ΋ ηÈ
University. The band became one of the most popular
Greek bands of this period. He later moved to France and
founded the famous band “Aphrodite's Child” together with
Demis Roussos and Loukas Sideras, which was constantly at
the top of the European charts for 3 continuous years. Next,
Vangelis Papathanasiou started exploring more personal
music routes that led him to London, where he set up his
own studio.
There, he developed his music theories and his personal
sounds and he designed a system of music instruments to fit
his continuously expanding imagination and innovative
experimentations. His music style was conceived without
the help of any computer. His music style combines
technology, electronic music and the psyche of his innate
talent in a unique manner.
“Music does not change and it never will as long as the
universe exists. What changes is our relationship with it.
Throughout the centuries, humans used music for
expressing their feelings according to the state of their
cultural level. Thus, by analyzing and deciphering the music
MINOAN WAVE >

010
Vangelis
M
ÂÎÊÚ¿˙ÂÙ·È. ŒÙÛÈ, ·Ó·Ï‡ÔÓÙ·˜ Î·È ·ÔΈ‰ÈÎÔÔÈÒÓÙ·˜
ÙË ÌÔ˘ÛÈ΋ ¤ÎÊÚ·ÛË Ù˘ ÂοÛÙÔÙ ÂÚÈfi‰Ô˘ Î·È ÙfiÔ˘,
ÌÔÚԇ̠ӷ ηٷÓÔ‹ÛÔ˘Ì ϋڈ˜ ÙÔ ÔÈÔÙÈÎfi ˘fi‚·-
ıÚÔ Î·È ÙË Û˘ÌÂÚÈÊÔÚ¿ ÙˆÓ ·ÓıÚÒˆÓ».
 ÙÔ ¤Ú·ÛÌ· ÙˆÓ ¯ÚfiÓˆÓ,
‰ËÌÈÔ‡ÚÁËÛ ÎÈ ¿ÏÏ· ÂÚÁ·-
ÛÙ‹ÚÈ· ÌÔ˘ÛÈ΋˜ ÛÙÔ ·Ú›ÛÈ,
ÛÙÔ §ÔÓ‰›ÓÔ, ÛÙËÓ ∞ı‹Ó·
Î·È ÛÙË ƒÒÌË, Î·È Û˘ÓÂÚÁ¿-
ÛÙËΠ̠Ôχ ÛËÌ·ÓÙÈÎÔ‡˜
ηÏÏÈÙ¤¯Ó˜, ı·ÙÚÈÎÔ‡˜
Û˘ÁÁÚ·Ê›˜, ÔÈËÙ¤˜, ¯ÔÚÔ-
ÁÚ¿ÊÔ˘˜, ÙÚ·ÁÔ˘‰ÈÛÙ¤˜,
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ¤˜, ÂÚÈ-
‚·ÏÏÔÓÙÔÏfiÁÔ˘˜, ·ıÏËÙ¤˜,
ÁÈ·ÙÚÔ‡˜ Î·È ÂÈÛÙ‹ÌÔÓ˜
·’ fiÏÔ ÙÔÓ ÎfiÛÌÔ. À¿Ú¯ÂÈ
οÔÈÔ Ì˘ÛÙÈÎfi Ô˘ Ó· ÂÍË-
Á› ÙȘ ÙfiÛ˜ ÂÈÙ˘¯›Â˜;
«ÃÚËÛÈ̇ˆ ˆ˜ ηӿÏÈ», ϤÂÈ Ô ›‰ÈÔ˜ ·Ï¿. «ŒÓ· ηӿÏÈ
Ô˘ ÂÈÙÚ¤ÂÈ ÛÙË ÌÔ˘ÛÈ΋ Ó· ·Ó·‰˘ı› ·fi ÙÔ ¯¿Ô˜ ÙÔ˘
ıÔÚ‡‚Ô˘». ∆Ô 1981 οÓÂÈ ÙËÓ ∂ÏÏ¿‰· ÂÚ‹Ê·ÓË, ηıÒ˜
Á›ÓÂÙ·È Ô ‰Â‡ÙÂÚÔ˜ ŒÏÏËÓ·˜ ÌÔ˘ÛÈÎÔÛ˘Óı¤Ù˘, ÌÂÙ¿ ÙÔ
ª¿ÓÔ Ã·Ù˙ȉ¿ÎÈ ÁÈ· ÙÔ ÙÚ·ÁÔ‡‰È ÙÔ˘ «∆· ·È‰È¿ ÙÔ˘
ÂÈÚ·È¿» ÛÙËÓ Ù·ÈÓ›· ÔÙ¤ ÙËÓ ∫˘Úȷ΋ ÙÔ˘ ∑ÈÏ ¡Ù·Û¤Ó,
Ô˘ ÎÂÚ‰›˙ÂÈ ŸÛÎ·Ú ÌÔ˘ÛÈ΋˜ ¤Ӊ˘Û˘ ÁÈ· ÙËÓ Ù·ÈÓ›·
ÙÔ˘ ÃÈÔ˘ ÿÓÙÛÔÓ, ÔÈ ¢ÚfiÌÔÈ Ù˘ ºˆÙÈ¿˜ (Chariots of
Fire) Î·È Ô ÙÚ›ÙÔ˜ ŒÏÏËÓ·˜ Ô˘ ʇÁÂÈ Ì ÙÔ ¯Ú˘Ûfi ·Á·Ï-
Ì·Ù›‰ÈÔ ·fi ÙËÓ ÙÂÏÂÙ‹ - ÚÒÙË ‹Ù·Ó Ë ∫·Ù›Ó· ·ÍÈÓÔ‡
Ô˘ ‹Ú ÙÔ ŸÛÎ·Ú ‚’ Á˘Ó·ÈΛԢ ÚfiÏÔ˘ ÁÈ· ÙË Û˘ÌÌÂÙÔ-
¯‹ Ù˘ ÛÙËÓ Ù·ÈÓ›· °È· ÔÈÔÓ ÃÙ˘¿ Ë ∫·Ì¿Ó· ÙÔ˘ ·Ì
°Ô˘ÓÙ.
¤Ú· ·fi ÙÔ Â›‰Ô˜ Ù˘ ÌÂıfi‰Ô˘ Î·È ÙˆÓ ËÏÂÎÙÚÔÓÈÎÒÓ
‹/Î·È ·Ú·‰ÔÛÈ·ÎÒÓ ÌÔ˘ÛÈÎÒÓ ÔÚÁ¿ÓˆÓ Ô˘ ¯ÚËÛÈÌÔ-
expression of each period and culture, we are able to fully
realize the qualitative background and the behavior of
people.
As years went by, he founded more music studios in Paris,
London, Athens and Rome, and he collaborated with very
prominent artists, theatre writers, poets, choreographers,
singers, cinematographers, environmentalists, athletes,
doctors and scientists from all over the world. Is there a
secret that explains all this success? “I function as a
channel”, he simply says, “a channel that allows music to
emerge from the chaos of noise”.
In 1981, he makes the whole Greece proud, as he becomes
the second Greek music composer who wins the Academy
Award for Best Original Music Score for the film “Chariots
of Fire”, directed by Hugh Hudson, after Manos Hatzidakis
who received the same award for his song “Children of
Piraeus” from the film Never on Sunday, and the third
Greek that won an Academy Award – first was Katina
Paxinou for Best Supporting Actress for her role in the film
“For Whom the Bell Tolls”.
Vangelis will always be known, not only for his unique
music style mixing traditional and electronic musical
instruments, but also for his powerful melodies, innovative
sounds and the emotional depth of his music. This is why his
music from the film “Chariots of Fire” still inspires athletes
from all over the world and has become the epitome of the
Olympic ideal, while his epic music in the film “1492:
Conquest of Paradise”, directed by Ridley Scott, symbolizes
the battle of humans for the conquest of high and difficult
goals, but also for smaller, everyday goals of survival and
happiness.
The film “1492: Conquest of Paradise” was not the first
collaboration of Vangelis with Ridley Scott. Ten years
before, in 1982, he had written the score for his film “Blade
Runner”, one of the most emblematic sci-fi films of the 20th
century, presenting a prophetic image of Los Angeles in
2019. The psychedelic atmosphere, the laconic dialogues,
the subversions, the settings, the lighting and the main
characters of the film are perfectly “dressed” with the
imposing music of Vangelis, who put the last piece in the
puzzle of a cult masterpiece. Ridley Scott has reported that:
“One of my most special experiences as a director is my
collaboration with Vangelis Papathanasiou for the score of
“Blade Runner”, composed in his studio in London. He was
observing still unfinished pieces of film scenes, insisting on
every detail and capturing it with exceptional beauty…the
final result took us further from my initial expectations”.
He has also collaborated with other great directors of the
international film industry, such as Roman Polanski (Bitter
Moon), Costas Gavras (Missing), Oliver Stone (Alexander)
and Giannis Smaragdis (Kavafis and El Greco).
His music during the 90s was mainly inspired from his own
roots (El Greco, Mythodea), while he continued expanding
his electronic music by combining elements of acoustic
symphonic music. Vangelis is known for his love of the
universe and for his deep knowledge of the small place of
humans within it. For this reason, in 1995 the Minor Planet
Center of the International Astronomy Union will honor
him by giving the name “Vangelis” to the asteroid 6354, in
MINOAN WAVE >

Vangelis
012
∏ ÌÔ˘ÛÈ΋ ‰Â
ÁÂÓÓ‹ıËÎÂ
ÔÙ¤. ∂Ì›˜ ηÈ
fiÏÔ ÙÔ Û‡Ì·Ó
ÁÂÓÓËı‹Î·ÌÂ
·fi ÙË
ÌÔ˘ÛÈ΋.
ÔÈ›, Ô µ·ÁÁ¤Ï˘ ··ı·Ó·Û›Ô˘ ı· Â›Ó·È ¿ÓÙ· ÁÓˆÛÙfi˜ ÁÈ·
ÙË ‰‡Ó·ÌË Ù˘ ÌÂψ‰›·˜ ÙÔ˘, ÙÔÓ ÚˆÙÔÔÚÈ·Îfi ‹¯Ô ÙÔ˘ ηÈ
ÙÔ Û˘Ó·ÈÛıËÌ·ÙÈÎfi ÙÔ˘ ‚¿ıÔ˜. °È’ ·˘Ùfi Î·È Ë ÌÔ˘ÛÈ΋ ·fi ÙÔ˘˜
«¢ÚfiÌÔ˘˜ Ù˘ ºˆÙÈ¿˜» (Chariots of Fire) ÂÍ·ÎÔÏÔ˘ı› Ó·
ÂÌÓ¤ÂÈ ·ıÏËÙ¤˜ ·fi fiÏÔ ÙÔÓ ÎfiÛÌÔ Î·È ·ÔÙÂÏ› ÙËÓ ÂÈÙÔÌ‹
ÙÔ˘ ÔÏ˘ÌÈ·ÎÔ‡ ȉÂÒ‰Ô˘˜, Ë ÂÈ΋ ÌÔ˘ÛÈ΋ ·fi ÙËÓ Ù·ÈÓ›·
«1492: ÃÚÈÛÙfiÊÔÚÔ˜ ∫ÔÏfiÌ‚Ô˜» (1492: Conquest of Paradise)
ÙÔ˘ ƒ›ÓÙÏÂ˚ ÎÔÙ Û˘Ì‚ÔÏ›˙ÂÈ ÙÔÓ ·ÁÒÓ· ÙÔ˘ ·ÓıÚÒÔ˘ fi¯È
ÌfiÓÔ ÁÈ· ÙËÓ Î·Ù¿ÎÙËÛË „ËÏÒÓ Î·È ‰˘ÛÚfiÛÈÙˆÓ «ÎÔÚ˘ÊÒÓ»,
·ÏÏ¿ Î·È ÙË ‰ÈÂΉ›ÎËÛË ÌÈÎÚÒÓ, ηıËÌÂÚÈÓÒÓ ÛÙfi¯ˆÓ ÁÈ· ÙËÓ
ÂÈ‚›ˆÛË Î·È ÙËÓ Â˘Ù˘¯›·.
√ ÃÚÈÛÙfiÊÔ˜ ∫ÔÏfiÌ‚Ô˜ fï˜ ‰ÂÓ ‹Ù·Ó Ë ÚÒÙË Û˘ÓÂÚÁ·Û›·
ÙÔ˘ µ·ÁÁ¤ÏË ··ı·Ó·Û›Ô˘ Ì ÙÔ ƒ›ÓÙÏÂ˚ ÎÔÙ. ¢¤Î· ¯ÚfiÓÈ·
ÚÈÓ, ÙÔ 1982, ›¯Â ‚ÁÂÈ ÛÙȘ ·›ıÔ˘Û˜ ÙÔ «Blade Runner», Ô˘
¤ÌÂÏ ӷ ηıÈÂÚˆı› ˆ˜ Ì›· ·fi ÙȘ ÈÔ ‰È¿ÛË̘ Ù·Èӛ˜ ÂÈ-
ÛÙËÌÔÓÈ΋˜ Ê·ÓÙ·Û›·˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· Ì ÙËÓ ÚÔÊËÙÈ΋ ·ÂÈ-
ÎfiÓÈÛË ÙÔ˘ §Ô˜ ÕÓÙ˙ÂϘ ÙÔ 2019. ∏ „˘¯Â‰ÂÏÈ΋ ·ÙÌfiÛÊ·ÈÚ·,
ÔÈ Ï·ÎˆÓÈÎÔ› ‰È¿ÏÔÁÔÈ Î·È ÔÈ ·Ó·ÙÚÔ¤˜ Ù˘ Ù·ÈÓ›·˜, Ù· ÛÎË-
ÓÈο, Ô ÊˆÙÈÛÌfi˜, ÔÈ ¯·Ú·ÎÙ‹Ú˜ «ÓÙ‡ÓÔÓÙ·È» Âȉ¤ÍÈ· ·fi ÙË
˘Ô‚ÏËÙÈ΋ ÌÔ˘ÛÈ΋ ÙÔ˘ µ·ÁÁ¤ÏË ··ı·Ó·Û›Ô˘, Ô˘ ¤‚·ÏÂ
ÙÔ ÙÂÏÂ˘Ù·›Ô ÎÔÌÌ¿ÙÈ ÛÙÔ ·˙Ï ÂÓfi˜ cult ·ÚÈÛÙÔ˘ÚÁ‹Ì·ÙÔ˜. √
ƒ›ÓÙÏÂ˚ ÎÔÙ ¤¯ÂÈ ·Ó·Ê¤ÚÂÈ ¯·Ú·ÎÙËÚÈÛÙÈο: «ªÈ· ·fi ÙȘ ÈÔ
ͯˆÚÈÛÙ¤˜ ÂÌÂÈڛ˜ Ù˘ ηÚȤڷ˜ ÌÔ˘ ˆ˜ ÛÎËÓÔı¤ÙË ‹Ù·Ó Ë
‰Ô˘ÏÂÈ¿ ¿Óˆ ÛÙË ÌÔ˘ÛÈ΋ ÙÔ˘ «Blade Runner» Ì·˙› Ì ÙÔ
µ·ÁÁ¤ÏË ··ı·Ó·Û›Ô˘, ÛÙÔ ÛÙÔ‡ÓÙÈfi ÙÔ˘ ÛÙÔ §ÔÓ‰›ÓÔ.
Œ·È˙ ·Û¯ËÌ¿ÙÈÛÙ· ·ÎfiÌË ÎÔÌÌ¿ÙÈ· ·fi ÛÎËÓ¤˜ ÙÔ˘ ÊÈÏÌ,
ÂÌ̤ÓÔÓÙ·˜ ÛÙËÓ ·Ú·ÌÈÎÚ‹ ÏÂÙÔ̤ÚÂÈ· Î·È ·È¯Ì·ÏˆÙ›˙Ôthe
Smithsonian Astrophysics Planetarium in the
United States.
“Subjectively, the Creator might be many things.
Objectively, he is the one who brings the Universe
within human’s reach”
By using orchestral music exclusively, he has
achieved not only to refurbish his electronic
inspirations, but also to introduce the orchestra in
his music language.
The peak of this maturation process was his music
composition “Mythodea”, a choral symphony
which was used by NASA in the expedition of the
spaceship “Mars Odyssey 2001” in the planet Mars.
In June 2001, a majestic concert was organized in
the sanctuary of the Olympian Zeus, with the
participation of the Greek National Opera and the
London Metropolitan Orchestra, which was named
“Mythodea” and was simultaneously transmitted to
the planet Mars through the spaceship!
Vangelis is in a continuous creative quest, an
innovative artistic personality dedicated to music
and painting since he was a little child. However, it
was in 2003 when his work was exhibited for the
first time, after his permission. Perhaps because, as
he had stated, “often, after I create something, I will
MINOAN WAVE >

014
Vangelis
∂
ÓÙ·˜ ÙËÓ Î¿ı ÛÙÈÁÌ‹ Ì ··Ú¿ÌÈÏÏË ÔÌÔÚÊÈ¿… ∆Ô ÙÂÏÈ-
Îfi ·ÔÙ¤ÏÂÛÌ· Ì¿˜ ‹Á Ôχ ÈÔ ¤Ú· ·fi ÙȘ ÚÔÛ‰Ô-
˘ ÌÔ˘».
Œ¯ÂÈ Û˘ÓÂÚÁ·ÛÙ› Î·È Ì ¿ÏÏÔ˘˜ ÛÔ˘‰·›Ô˘˜
ÛÎËÓÔı¤Ù˜ ÙÔ˘ ·ÁÎfiÛÌÈÔ˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ-
ÎÔ‡ ‚ÂÏËÓÂÎÔ‡˜ fiˆ˜ Ì ÙÔ ƒÔÌ¿Ó ÔÏ¿ÓÛÎÈ
ÛÙ· ª·‡Ú· ºÂÁÁ¿ÚÈ· ÙÔ˘ ŒÚˆÙ·, Ì ÙÔÓ
∫ÒÛÙ· °·‚Ú¿ ÛÙÔÓ ∞ÁÓÔÔ‡ÌÂÓÔ, Ì ÙÔÓ
ŸÏÈ‚ÂÚ ÙfiÔ˘Ó ÛÙËÓ Ù·ÈÓ›· ∞ϤͷӉÚÔ˜, Ì ÙÔ
°È¿ÓÓË Ì·Ú·Á‰‹ ÛÙȘ Ù·Èӛ˜ «∫·‚¿Ê˘» ηÈ
«El Greco».
√È Ë¯ÔÁÚ·Ê‹ÛÂȘ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1990, ı·
·ÔÎÙ‹ÛÔ˘Ó Î˘Ú›ˆ˜ ÂÏÏËÓÈ΋ ıÂÌ·ÙÔÏÔÁ›· (El
Greco, ª˘ıˆ‰›·), ÂÓÒ ÂÍ·ÎÔÏÔ‡ıËÛ ӷ ‰È¢-
Ú‡ÓÂÈ ÙÔ˘˜ ÔÚ›˙ÔÓÙ˜ Ù˘ ËÏÂÎÙÚÔÓÈ΋˜ ÌÔ˘ÛÈ-
΋˜ ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙËÓ ·ÎÔ˘ÛÙÈ΋ Û˘ÌʈÓÈ-
΋ ÌÔ˘ÛÈ΋. °È· ÙËÓ ·Á¿Ë ÙÔ˘ ÛÙÔ Û‡Ì·Ó Î·È
ÙË ‚·ıÈ¿ ÁÓÒÛË Ù˘ ·ÂÈÚÔÂÏ¿¯ÈÛÙ˘ ÛËÌ·Û›·˜
ÙÔ˘ ·ÓıÚÒÔ˘ ̤۷ Û ·˘Ùfi ı· ·Ô‰Ôı› ÙÈÌË-
ÙÈο ÙÔ fiÓÔÌ· Vangelis ÛÙÔÓ ·ÛÙÂÚÔÂȉ‹ «6354» ÙÔ 1995
·fi ÙÔ Minor Planet Center Ù˘ ¢ÈÂıÓÔ‡˜ ∞ÛÙÚÔÓÔÌÈ΋˜
ŒÓˆÛ˘, ÛÙÔ ∞ÛÙÚÔÊ˘ÛÈÎfi ∞ÛÙÂÚÔÛÎÔÂ›Ô Smithsonian
ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ÔÏÈÙÂÈÒÓ.
«ÀÔÎÂÈÌÂÓÈο, Ô ‰ËÌÈÔ˘ÚÁfi˜ ÌÔÚ› Ó· Â›Ó·È ÔÏÏ¿
Ú¿ÁÌ·Ù·. ∞ÓÙÈÎÂÈÌÂÓÈο, Â›Ó·È ·˘Ùfi˜ Ô˘ ÌÂٷʤÚÂÈ
ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ ÙË ÌÔÚÊ‹ ÙÔ˘ ‡Ì·ÓÙÔ˜».
∞fi ÙËÓ ·ÔÎÏÂÈÛÙÈ΋ ¯Ú‹ÛË ÔÚ¯ËÛÙÚÈ΋˜ ÌÔ˘ÛÈ΋˜, fi¯È
ÌfiÓÔ ·Ó·Ó¤ˆÛ ÙȘ ËÏÂÎÙÚÔÓÈΤ˜ ÙÔ˘ ÂÌÓ‡ÛÂȘ, ·ÏÏ¿
ÂÈϤÔÓ ÂÈÛ‹Á·ÁÂ Î·È ÙËÓ ÔÚ¯‹ÛÙÚ· ÛÙÔ ÌÔ˘ÛÈÎfi ÙÔ˘
ÏfiÁÔ. ∞ÔÎÔڇʈ̷ ·˘Ù‹˜ Ù˘ ‰È·‰Èηۛ·˜ ˆÚ›Ì·ÓÛ˘
ÙÔ˘ Û˘Óı¤ÙË ‹Ù·Ó Ë «ª˘ıˆ‰›·» (Mythodea), ÌÈ· ¯ÔÚˆ-
walk away, I will leave it and I will never look back,
sometimes for months, in order to avoid emotional
attachment”.
His first exhibition was realized in Valencia, Spain a
project, which due to its success, led to a series of
exhibitions in some of the top art museums in the world
He was awarded an Honorary Doctorate Degree by the
University of Athens for his outstanding contribution to
the general education of Greeks and for the promotion of
Hellenism internationally. Moreover, on the 22nd of
May, he was awarded an Honorary Doctorate Degree in
the Department of Physics by the University of Patras
and he became an Honorary Citizen of the city of Patras.
Finally, in 1992 he received two of the highest honors of
the French Republic: the title of the “Knight of the Order
of Arts and Letters” and the title of the “Knight of the
Legion of Honor” for his contribution in the European
cultural heritage, and for supporting the preservation of
cultural differences. How is it possible, after receiving so
many distinctions, to protect yourself from arrogance?
The answer of the artist is laconic: “By marching through
the multidimensional path of music” ….
For this great artist, music is holy, primeval power of the
Universe. Its purpose is to elevate, to inspire, to refine
and to “cure” the human. This is also the mission of
Vangelis and his desire: to awaken this place called
memory in all of us.
“… and every time I remember, I discover and reveal
something new…”
‹ÌÂÚ· fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔ ÂÌÈÛÙ¢fiÌ·-
ÛÙ ÙÔ˘˜ ˘ÔÏÔÁÈÛÙ¤˜ ÓÔÌ›˙ÔÓÙ·˜ fiÙÈ ÏÂÈ-
ÙÔ˘ÚÁԇ̠¤ÙÛÈ Ì ÌÂÁ¿Ï˜ Ù·¯‡ÙËÙ˜ ηÈ
fiÙÈ Â›Ó·È Ë Ï‡ÛË ÁÈ· Ù· ¿ÓÙ·. ªÂ Ù¤ÙÔÈ·
ÂÍ¿ÚÙËÛË, Ô˘ fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔ ÌÂÁ·-
ÏÒÓÂÈ, ÂȉÈÎfiÙÂÚ· ÛÙȘ ÓÂfiÙÂÚ˜ ËÏÈ˘,
Ê·ÓÙ·ÛÙ›Ù ÌÈ· ‰È·ÎÔ‹ Ú‡̷ÙÔ˜ ÙÈ
ÓÂ˘Ì·ÙÈ΋ ·Ú¿Ï˘ÛË ‰ËÌÈÔ˘ÚÁ›.

‰È·Î‹ Û˘Ìʈӛ·, Ë ÔÔ›· ¯ÚËÛÈÌÔÔÈ‹ıËΠ·fi ÙË NASA ÛÙËÓ Î·Ì¿ÓÈ· Ù˘ ·ÔÛÙÔÏ‹˜ ÙÔ˘ ‰È·-
ÛÙËÌfiÏÔÈÔ˘ “Mars Odyssey 2001” ÛÙÔÓ ÕÚË. ∆ÔÓ πÔ‡ÓÈÔ Ì¿ÏÈÛÙ· ÙÔ˘ 2001 ¤ÁÈÓ ÌÂÁ·ÏÔÚ‹˜
Û˘Ó·˘Ï›· ÛÙÔ πÂÚfi ÙÔ˘ ÙÔ˘ √Ï˘Ì›Ô˘ ¢Èfi˜, Ì ÙË Û˘ÌÌÂÙÔ¯‹ Ù˘ ∂ıÓÈ΋˜ §˘ÚÈ΋˜ ÎËÓ‹˜ Î·È Ù˘
London Metropolitan Orchestra, ÙËÓ ÔÔ›· ÔÓfiÌ·Û·Ó «ª˘ıˆ‰›·» Î·È ·Ó·ÌÂÙ·‰È‰fiÙ·Ó Ù·˘Ùfi¯ÚÔÓ·
Î·È ÛÙÔÓ ÕÚË Ì¤Ûˆ ÙÔ˘ ‰È·ÛÙËÌfiÏÔÈÔ˘!
√ µ·ÁÁ¤Ï˘ ··ı·Ó·Û›Ô˘ Â›Ó·È ÛÂ Û˘Ó¯‹ ‰ËÌÈÔ˘ÚÁÈ΋ ·Ó·˙‹ÙËÛË, ÌÈ· ÔÏ˘Ì‹¯·ÓË Î·ÏÏÈÙ¯ÓÈ΋
Ê˘ÛÈÔÁӈ̛·, Ô˘ ·fi ÌÈÎÚfi ·È‰› ‰Â›¯ÓÂÈ ·ÊÔÛ›ˆÛË Î·È ÛÙË ÌÔ˘ÛÈ΋ Î·È ÛÙË ˙ˆÁÚ·ÊÈ΋. øÛÙfiÛÔ,
ÌfiÏȘ ÙÔ 2003 ¤‰ˆÛ ÙË Û˘ÁηٿıÂÛ‹ ÙÔ˘ Ó· ÂÎÙÂıÔ‡Ó ÛÙÔ ÎÔÈÓfi ÔÚÈṲ̂ӷ ·fi Ù· ¤ÚÁ· ÙÔ˘. √ ›‰ÈÔ˜
¤¯ÂÈ ·Ó·Ê¤ÚÂÈ: «˘¯Ó¿, ·ÊÔ‡ ‰ËÌÈÔ˘ÚÁ‹Ûˆ οÙÈ, ı· ʇÁˆ, ı· ÙÔ ·Ê‹Ûˆ Î·È ‰Â ı· Á˘Ú›Ûˆ Ó· ÙÔ
Í·Ó·ÎÔÈٿ͈, οÔȘ ÊÔÚ¤˜ ÁÈ· Ì‹Ó˜, ÁÈ· Ó· ·ÔʇÁˆ οıÂ Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÂÌÏÔ΋».
∏ ÚÒÙË ¤ÎıÂÛË Ú·ÁÌ·ÙÔÔÈ‹ıËΠÛÙË µ·Ï¤ÓıÈ· Ù˘ πÛ·Ó›·˜ Î·È ÔÈ ÎÚÈÙÈÎÔ› ˘Ô‰¤¯ÙËÎ·Ó ÙË
˙ˆÁÚ·ÊÈ΋ ÙÔ˘ Ì ÂÎıÂÈ·ÛÙÈο ÏfiÁÈ·: «√ µ·ÁÁ¤Ï˘ ··ı·Û›Ô˘ ¯ÚËÛÈÌÔÔÈ› ÚˆÙÔÔÚȷΤ˜
Ù¯ÓÈΤ˜ Ô˘ ÂÍ¿ÙÔ˘Ó ÙË Ê·ÓÙ·Û›· Î·È ÔÏϤ˜ ÊÔÚ¤˜ Ù· ¯ÚÒÌ·Ù¿ ÙÔ˘ ·Ó·‰ÂÈÎÓ‡ÔÓÙ·È Ì ¤Ó·Ó
ÌÔÓ·‰ÈÎfi ÙÚfiÔ». ∞fi ÙÔ 2003 ̤¯ÚÈ Û‹ÌÂÚ·, ‰¤Î· ÌÂÁ¿Ï˜ ÂÎı¤ÛÂȘ ÙˆÓ ¤ÚÁˆÓ ÙÔ˘ ¤¯Ô˘Ó ÔÚÁ·Óˆı›
Û ÎÔÚ˘Ê·›· ÌÔ˘Û›· Ù¤¯Ó˘ ·Ó¿ ÙÔÓ ÎfiÛÌÔ».
∆Ô ∂ıÓÈÎfi Î·È ∫·Ô‰ÈÛÙÚÈ·Îfi ·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ ÙÔÓ ·Ó·ÁfiÚ¢Û ∂›ÙÈÌÔ ¢È‰¿ÎÙÔÚ· ÁÈ· ÙËÓ
ÂÍ·ÈÚÂÙÈ΋ ÚÔÛÊÔÚ¿ ÙÔ˘ ÛÙËÓ ÁÂÓÈ΋ ·È‰Â›· ÙˆÓ ∂ÏÏ‹ÓˆÓ Î·È ÙËÓ ÚÔ‚ÔÏ‹ ÙÔ˘ ∂ÏÏËÓÈÛÌÔ‡ ‰ÈÂıÓÒ˜.
∆ËÓ 22· ª·˚Ô˘ Ì¿ÏÈÛÙ· ·Ó·ÎËÚ‡¯ÙËΠ∂›ÙÈÌÔ˜ ¢È‰¿ÎÙˆÚ Ù˘ º˘ÛÈ΋˜ ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘
ÙˆÓ ·ÙÚÒÓ Î·È Â›ÙÈÌÔ˜ ¢ËÌfiÙ˘ ·ÙÚ·›ˆÓ. ∂›Û˘, ÙÔ˘ ¤¯Ô˘Ó ·ÔÓÂÌËı› ‰‡Ô ‡„ÈÛÙÔÈ Ù›ÙÏÔÈ
·fi ÙËÓ °·ÏÏÈ΋ ¢ËÌÔÎÚ·Ù›·: Ô Ù›ÙÏÔ˜ ÙÔ˘ πfiÙË ÙÔ˘ ∆¿ÁÌ·ÙÔ˜ ÙˆÓ ∆¯ÓÒÓ Î·È ÙˆÓ °Ú·ÌÌ¿ÙˆÓ
Î·È Ô Ù›ÙÏÔ˜ ÙÔ˘ πfiÙË Ù˘ §ÂÁÂÒÓ·˜ Ù˘ ∆ÈÌ‹˜ ÁÈ· ÙË Û˘ÓÂÈÛÊÔÚ¿ ÙÔ˘ ÛÙÔÓ ∂˘Úˆ·˚Îfi ÔÏÈÙÈÛÌfi
Î·È ÙË ‰È·Ù‹ÚËÛË Ù˘ ‰È·ÊÔÚÂÙÈÎfiÙËÙ·˜ ÙˆÓ ÔÏÈÙÈÛÌÒÓ. Ò˜ ÌÔÚ›˜ ÌÂÙ¿ ·fi ÙfiÛ˜ ‰È·ÎÚ›ÛÂȘ
Ó· ÚÔÊ˘Ï·¯Ù›˜ ·fi ÙËÓ ¤·ÚÛË; ∏ ·¿ÓÙËÛË ÙÔ˘ ηÏÏÈÙ¤¯ÓË Â›Ó·È Ï·ÎˆÓÈ΋: «ŸÙ·Ó ÔÚ‡ÂÛ·È
̤۷ ·fi ÙËÓ ÔÏ˘‰È¿ÛÙ·ÙË È‰ÈfiÙËÙ· Ù˘ ÌÔ˘ÛÈ΋˜»...
Nowadays, we trust
computers more and
more, believing that
in this way we
function faster and
that we can find
solutions to
everything. With
such a dependence,
which only keeps
growing, especially
in the younger ages,
imagine what a mess
will create an electric
black out
°È· ÙÔ ÌÂÁ¿ÏÔ ·˘Ùfi ‰ËÌÈÔ˘ÚÁfi, Ë ÌÔ˘ÛÈ΋ Î·È Ë ˙ˆÁÚ·ÊÈ΋ Â›Ó·È ÈÂÚ¤˜, ‚·ÛÈΤ˜ ‰˘Ó¿ÌÂȘ ÙÔ˘ ۇ̷-
ÓÙÔ˜. ÎÔfi˜ ÙÔ˘˜ Â›Ó·È Ó· ·Ó˘„ÒÓÔ˘Ó, Ó· ÂÌÓ¤Ô˘Ó, Ó· ÂÍ¢ÁÂÓ›˙Ô˘Ó Î·È Ó· «ıÂڷ‡Ԣӻ ÙÔÓ
¿ÓıÚˆÔ. ∞˘Ù‹ Â›Ó·È Ë ·ÔÛÙÔÏ‹ ÙÔ˘ µ·ÁÁ¤ÏË ··ı·Ó·Û›Ô˘, ·˘Ù‹ Î·È Ë ÂÈı˘Ì›· ÙÔ˘: Ó· ͢Ӌ-
ÛÂÈ ›Ûˆ˜ ̤۷ Û fiÏÔ˘˜ Ì·˜ ·˘Ùfi ÙÔ Ì¤ÚÔ˜ Ô˘ ϤÁÂÙ·È ÌÓ‹ÌË.
«… Î·È Î¿ı ÊÔÚ¿ Ô˘ ı˘Ì¿Ì·È, ·Ó·Î·Ï‡Ùˆ Î·È ·Ôηχو οÙÈ ‰È·ÊÔÚÂÙÈÎfi…»
MINOAN WAVE ñ

018
§Â˘Î¿‰· / Lefkada
∆Ô ÛÙÂÚÈ·Ófi ÓËÛ›
The mainland island
∆Ô fiÚÙÔ ∫·ÙÛ›ÎÈ, ¤Ó· ı·‡Ì· Ù˘ ʇÛ˘ Ô˘ Û˘ÁηٷϤÁÂÙ·È ·Ó¿ÌÂÛ· ÛÙȘ ˆÚ·ÈfiÙÂÚ˜ ·Ú·Ï›Â˜ Ù˘ ∂ÏÏ¿‰·˜.
Porto Katsiki, a natural beauty, considered to be one of the most wonderful beaches of Greece.

∂›Ó·È ÙÔ ÓËÛ› Ì ÙËÓ Â˘ÎÔÏfiÙÂÚË ÚfiÛ‚·ÛË ·ã
fiÏ· fiÛ· ‚Ú›ÛÎÔÓÙ·È ÛÙȘ ÂÏÏËÓÈΤ˜ ı¿Ï·ÛÛ˜.
∞ÚΛ ÙÔ ·˘ÙÔΛÓËÙÔ ÁÈ· Ó· ÊÙ¿ÛÂÈ Î¿ÔÈÔ˜ ÂΛ!
∫È ·˘Ùfi, ÂÂȉ‹ ·¤¯ÂÈ ·fi ÙËÓ ·¤Ó·ÓÙÈ ·ÎÙ‹
Ù˘ ÙÂÚ¿˜ ∂ÏÏ¿‰·˜ ÌfiÏȘ 50 ̤ÙÚ· (!) Î·È Û˘Ó-
‰¤ÂÙ·È Ì·˙› Ù˘ ̤ۈ ÎÈÓËÙ‹˜ Á¤Ê˘Ú·˜, ‰›ÓÔÓÙ·˜
ÙËÓ ÂÓÙ‡ˆÛË ˆ˜ ·ÔÙÂÏ› ÌÈ· ·Ï‹ ¯ÂÚÛfiÓËÛÔ.
ªfiÏȘ, ˆÛÙfiÛÔ, Ô ÂÈÛΤÙ˘ ‰È·Û¯›ÛÂÈ ÙÔ ÌÈÎÚfi
‰›·˘ÏÔ ı· ÓÈÒÛÂÈ Û¯Â‰fiÓ ·Î·ÚÈ·›· Ó· ηٷÎχ-
˙ÂÙ·È ·fi ÙËÓ «·‡Ú·» ÂÓfi˜ ·fi Ù· ÁÔËÙ¢ÙÈÎfiÙÂ-
Ú· ÓËÛÈ¿ ÙˆÓ ∂Ù·Ó‹ÛˆÓ Î·È ÙÔ˘ πÔÓ›Ô˘ ÂÏ¿-
ÁÔ˘˜ Î·È ı· ·Ó·ÏÔÁÈÛÙ› ·˘Ùfi Ô˘ ·ÏÈfiÙÂÚ·
›¯Â ÁÚ¿„ÂÈ Ë Û˘ÁÁڷʤ·˜ °·Ï¿ÙÂÈ·
∫·˙·ÓÙ˙¿ÎË:
«… ¡¿Ù·Ó οı ÓËÛ› Î·È ÌÈ· §Â˘Î¿‰·...».
Lefkada is the only island in Greece accessible
by car. It is situated across the west coast of
Central Greece, just 50 meters away from it!
πt is connected to the mainland by a floating
bridge. At first sight, the island looks more
like a peninsula; however, as soon as you cross
the bridge you will immediately feel the aura
of one of the most picturesque islands of the
Ionian Sea and you will reflect on the words
that the writer Galatia Kazantzaki once wrote:
“...if only every island was like Lefkada...”.
ΛÌÂÓÔ °È¿ÓÓ˘ ƒ¿ÁÎÔ˜
ʈÙÔÁڷʛ˜ ‡ÚÔ˜ ∫·Ùˆfi‰Ë˜ (View Photo Agency)
Written by Giannis Ragkos
Photos Spyros Katopodis (View Photo Agency)
MINOAN WAVE >>

020
H§Â˘Î¿‰· / Lefkada
∏ §Â˘Î¿‰· (Ì ¤ÎÙ·ÛË 303 Ù. ¯ÏÌ. ηÈ
·ÎÙÔÁÚ·ÌÌ‹ 117 ¯ÏÌ.) ·ÔÙÂÏÔ‡Û ڿÁ-
Ì·ÙÈ Û˘Ó¤¯ÂÈ· Ù˘ ÛÙÂÚÂÔÂÏÏ·‰›ÙÈ΢
·ÎÙ‹˜ ˆ˜ ÙÔÓ 7Ô ·È. . Ã. fiÙ·Ó Û‡Ìʈӷ
Ì ÙËÓ ·Ú¿‰ÔÛË ∫ÔÚ›ÓıÈÔÈ ¿ÔÈÎÔÈ, Ô˘
ÂÁηٷÛÙ¿ıËÎ·Ó ÂΛ, ¤ÎÔ„·Ó ÙÔÓ ÈÛıÌfi
Î·È ÙËÓ ÌÂÙ¤ÙÚ„·Ó Û ÓËÛ›! ‹ÌÂÚ·, Ë
Á¤Ê˘Ú· Ô‰ËÁ› ÙÔÓ ÂÈÛΤÙË ÛÙËÓ ÔÌÒ-
Ó˘ÌË ÚˆÙÂ‡Ô˘Û· ÙÔ˘ ÓËÛÈÔ‡, ÌÈ· fiÌÔÚ-
ÊË ÂÙ·ÓËÛȷ΋ fiÏË (ÙˆÓ ÂÚ›Ô˘
8.000 ηÙԛΈÓ) Ì ¤ÓÙÔÓË ÁÚ·ÊÈÎfiÙËÙ·
Ô˘ Ù˘ ÚÔÛ‰›‰Ô˘Ó Ù· Ôχ¯ÚˆÌ· Û›-
ÙÈ· Ì ÙȘ ÎÂÚ·Ìȉ¤ÓȘ ÛÙ¤Á˜ Î·È ÙËÓ
ȉÈfiÌÔÚÊË ·Ú¯ÈÙÂÎÙÔÓÈ΋, Ù· ÛÙÂÓ¿
ÛÔοÎÈ·, ÔÈ Â˘Ú‡¯ˆÚ˜ Ï·Ù›˜ ÁÂÌ¿Ù˜
Ì fiÌÔÚÊ· ηʤ Î·È Ù·‚¤ÚÓ˜, Ô ·Ú·ÏÈ·Îfi˜ Â˙fi‰ÚÔÌÔ˜
Ô˘ Ûʇ˙ÂÈ ·fi ˙ˆ‹, Ô ÎÂÓÙÚÈÎfi˜ ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜
(Ô‰fi˜ ªÂÏ¿) Î·È Ô ·ÈˆÓfi‚ÈÔ˜ ÂÏ·ÈÒÓ·˜ Ô˘ ÙËÓ ÂÚÈ‚¿Ï-
ÏÂÈ Î·È ¤¯ÂÈ ÎËÚ˘¯ı› ˆ˜ ÙÔ›Ô È‰È·›ÙÂÚÔ˘ Ê˘ÛÈÎÔ‡ οÏ-
ÏÔ˘˜. ∏ fiÏË ‰È·ı¤ÙÂÈ ÛËÌ·ÓÙÈο ıÚËÛ΢ÙÈο ÌÓËÌ›·
(ÙȘ ÂÎÎÏËۛ˜ ÙÔ˘ ∞Á›Ô˘ ªËÓ¿, ÙÔ˘ ∞Á›Ô˘ ¡ÈÎÔÏ¿Ô˘, ÙÔ˘
ÃÚÈÛÙÔ‡ ·ÓÙÔÎÚ¿ÙÔÚ· Î.¿, fiϘ ÙÔ˘ 16Ô˘ Î·È 17Ô˘
·ÈÒÓ·), ¤Ó· ȉȷ›ÙÂÚ· ÂӉȷʤÚÔÓ ∞Ú¯·ÈÔÏÔÁÈÎfi
ªÔ˘ÛÂ›Ô Î·È ÙÔ ªÔ˘ÛÂ›Ô ºˆÓÔÁڿʈÓ-·ÏÈÒÓ
∂Óı˘ÌËÌ¿ÙˆÓ, Ô˘ ÊÈÏÔÍÂÓ› ʈÓÔÁÚ¿ÊÔ˘˜-·ÓٛΘ, ‰È·-
ÎÔÛÌËÙÈο ·ÓÙÈΛÌÂÓ·, ·ÏÈ¿ ¯·ÚÙÔÓÔÌ›ÛÌ·Ù· Î.¿.
ŸÌˆ˜, ÙÔ ÛËÌ·ÓÙÈÎfiÙÂÚÔ ÌÓËÌÂ›Ô Ù˘ Â›Ó·È ÙÔ Î¿ÛÙÚÔ Ù˘
∞Á›·˜ ª·‡Ú·˜, Ô˘ ÎÙ›ÛÙËΠÙÔ 1300 ·fi ÙÔÓ ÈÎÂÏfi ∆˙.
√ÚÛ›ÓÈ Û ÓËÛ›‰· ̤۷ ÛÙË ÏÈÌÓÔı¿Ï·ÛÛ· (Ô˘ ·ÔÙÂÏ›
ÛËÌ·ÓÙÈÎfi ˘ÁÚÔ‚ÈfiÙÔÔ) Î·È ‰¤¯ÙËΠÌÂÙ·ÁÂÓ¤ÛÙÂÚ˜
ÚÔÛı‹Î˜ ·fi ÙÔ˘˜ ∆Ô‡ÚÎÔ˘˜ Î·È ÙÔ˘˜ ∂ÓÂÙÔ‡˜. ∫ÔÓÙ¿
ÛÙËÓ fiÏË ‚Ú›ÛÎÂÙ·È Ë ªÔÓ‹ Ù˘ ·Ó·Á›·˜ º·ÓÂڈ̤Ó˘
(1634), Ô ÛÔ˘‰·ÈfiÙÂÚÔ˜ ÙfiÔ˜ ÚÔÛÎ˘Ó‹Ì·ÙÔ˜ ÙÔ˘ ÓËÛÈ-
Ô‡, Ë ªÔÓ‹ Ù˘ £ÂÔÙfiÎÔ˘ √‰ËÁ‹ÙÚÈ·˜ (1450) Ô˘ Â›Ó·È Ë
·ÏÈfiÙÂÚË ÙÔ˘ ÓËÛÈÔ‡ Î·È Ë ÂÎÎÏËÛ›· ÙÔ˘ ÕË °È¿ÓÓË
∞ÓÙ˙Ô‡ÛË, fiÔ˘ Û‡Ìʈӷ Ì ÙËÓ ·Ú¿‰ÔÛË Î‹Ú˘Í ÙÔÓ
¯ÚÈÛÙÈ·ÓÈÛÌfi Ô ∞fiÛÙÔÏÔ˜ ·‡ÏÔ˜. °È· ÎÔχÌÈ ÂӉ›-
ÎÓ˘ÓÙ·È ÔÈ ÂÍ·ÈÚÂÙÈΤ˜ ·Ú·Ï›Â˜ Ù˘ °‡Ú·˜ Î·È ÙÔ˘ ∞Á›Ô˘
‡η Î·È ÂÏȤ˜ “·ÁÁ›˙Ô˘Ó” ÙËÓ ·Ï̇ڷ Ù˘ ı¿Ï·ÛÛ·˜ Û ÔÏÏ¿ ÛËÌ›· Ù˘ §Â˘Î¿‰·˜.
Pines and olive trees “touch” the sea in many parts of Lefkada.

√ ÎfiÏÔ˜ ÙÔ˘ µÏ˘¯Ô‡ ÌÂ
ÙÔ ÎÔÛÌÔÔÏ›ÙÈÎÔ ¡˘‰Ú›
ÛÙËÓ «Â›ÛÔ‰fi» ÙÔ˘. ∞fi
Ù· ÔÌÔÚÊfiÙÂÚ· «Î·ÚÙ-
ÔÛÙ¿Ï» ÙÔ˘ πÔÓ›Ô˘ ÂÏ¿-
ÁÔ˘˜.
The bay of Vlychos and
the cosmopolitan Nydri in
its “entrance”. One of the
most beautiful “cardpostal”
images of the
Ionian Sea.
πˆ¿ÓÓË, ÂÓÒ fiÛÔÈ ‰È·ı¤ÙÔ˘Ó ÛοÊÔ˜ ÌÔÚÔ‡Ó Ó· «‰¤ÛÔ˘Ó» ÛÙËÓ Ì·Ú›Ó· Ù˘ fiÏ˘, Ì›·
·fi ÙȘ ϤÔÓ Û‡Á¯ÚÔÓ˜ Ù˘ ªÂÛÔÁ›Ԣ Ì 500 ı¤ÛÂȘ ÂÏÏÈÌÂÓÈÛÌÔ‡.
·›ÚÓÔÓÙ·˜ ÙÔÓ ‰ÚfiÌÔ Ô˘ Ô‰ËÁ› ·fi ÙËÓ fiÏË, ÚÔ˜ ÙȘ ·Ó·ÙÔÏÈΤ˜ Î·È ÓfiÙȘ ·ÎÙ¤˜
ÙÔ˘ ÓËÛÈÔ‡, Ô ÂÈÛΤÙ˘ ÂÚÓ¿ ·fi ÙÔ ¯ˆÚÈfi ∫·ÏÏÈÁfiÓÈ, ÎÔÓÙ¿ ÛÙÔ ÔÔ›Ô ·Ó·Ûο-
ÊËÎ·Ó Ù· ÂÚ›ȷ Ù˘ ·Ú¯·›·˜ ¡ËÚ›ÎÔ˘ ‹ §Â˘Î¿‰·˜ (2Ë ¯ÈÏÈÂÙ›· . Ã.), ·fi ÙȘ ÌÂÁ·-
χÙÂÚ˜ Û ÂÈÊ¿ÓÂÈ· fiÏÂȘ Ù˘ ·Ú¯·›·˜ ∂ÏÏ¿‰·˜, ÙË §˘ÁÈ¿, ÛÔ˘‰·›Ô ·ÏÈ¢ÙÈÎfi
ΤÓÙÚÔ ÙÔ˘ ÓËÛÈÔ‡, ÙË ¡ÈÎÈ¿Ó·, ‰ËÌÔÊÈÏ‹ ÙfiÔ ‰È·ÎÔÒÓ Î·È ÙÔÓ ·Ú·ı·Ï¿ÛÛÈÔ ÔÈÎÈ-
ÛÌfi ÂÚÈÁÈ¿ÏÏÈ, ˆ˜ ÙÔ ¡˘‰Ú›, ÔÏ˘Û‡¯Ó·ÛÙÔ ı¤ÚÂÙÚÔ Ù˘ §Â˘Î¿‰·˜ ÛÙËÓ «Â›ÛÔ‰Ô» ÙÔ˘
·Ó¤ÌÔÚÊÔ˘ ÎfiÏÔ˘ ÙÔ˘ µÏ˘¯Ô‡. ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ·fi Ù· ÈÔ ·ÓÂÙ˘Á̤ӷ ÙÔ˘ÚÈ-
ÛÙÈÎÒ˜ ¯ˆÚÈ¿ ÙÔ˘ ÓËÛÈÔ‡, Ì ˘¤ÚÔ¯Ë ı¿Ï·ÛÛ· Î·È ı·˘Ì¿ÛÈ· ı¤· ÛÙ· ÌÈÎÚ¿ ÓËÛÈ¿
(ÚÈÁÎËÔÓ‹ÛÈ·) Ô˘ ‚Ú›ÛÎÔÓÙ·È ·¤Ó·ÓÙÈ: ÙË ¿ÚÙË, ÙÔ ÎÔÚ›‰È, ÙË ª·‰Ô˘Ú‹, ÌÂ
ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘ ÔÈËÙ‹ ∞Ú. µ·Ï·ˆÚ›ÙË, Î·È ÙÔ ıÚ˘ÏÈÎfi ÎÔÚÈfi, ÙÔ È‰ÈˆÙÈÎfi ÓËÛ›
ÙÔ˘ ∞ÚÈÛÙÔÙ¤ÏË øÓ¿ÛË. ‡Ìʈӷ Ì ÙÔÓ °ÂÚÌ·Ófi ·Ú¯·ÈÔÏfiÁÔ W. Dorpfeld, Ë ÂÚÈÔ¯‹
Ù·˘Ù›˙ÂÙ·È Ì ÙËÓ ÔÌËÚÈ΋ πı¿ÎË, ηıÒ˜ Â‰Ò ¤¯Ô˘Ó ÂÓÙÔÈÛÙ› Ï›„·Ó· ÚÔ˚ÛÙÔÚÈ΋˜
fiÏ˘.
ÙÔ ¡˘‰Ú› ‰ÈÔÚÁ·ÓÒÓÔÓÙ·È ·ÁÒÓ˜ ÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÚˆÙ·ıÏ‹Ì·ÙÔ˜ Ù·¯‡ÏÔˆÓ Ûη-
ÊÒÓ (formula jetski) Î·È ÍÂÎÈÓÔ‡Ó ı·Ï¿ÛÛȘ ‰È·‰ÚÔ̤˜ ÁÈ· Ù· ÚÈÁÎËÔÓ‹ÛÈ·, ÙËÓ
πı¿ÎË, ÙËÓ ∫ÂÊ·ÏÔÓÈ¿, ÙË ÙÂÚ¿ ∂ÏÏ¿‰· Î·È ÙÔ ÁÂÈÙÔÓÈÎfi ªÂÁ·Ó‹ÛÈ, fiÌÔÚÊÔ ÓËÛ›
Ô˘ ÚÔÛʤÚÂÙ·È ÁÈ· Á·Ï‹ÓȘ ‰È·ÎÔ¤˜. ∫ÔÓÙ¿ ÛÙÔ ¡˘‰Ú›, ›Û˘, Î·È ÛÙÔ ‰ÚfiÌÔ Ô˘
LLefkada (covering an
area of 303 kmÇ with
a 117 km long
coastline) was
actually attached to
the mainland of
Greece until the 7th
century B.C, when,
according to
tradition, the
Corinthian settlers
that weve established
there dug a trench on
its isthmus.
Nowadays, the bridge leads visitors to the homonym capital
of the island, a beautiful Ionian city (with about 8.000
residents) characterised by its colorful houses, a unique
architecture style, narrow streets, squares filled with
picturesque cafeterias and taverns, the vibrant coastal
promenade, the central Melas street, and the centuries old
MINOAN WAVE >

§Â˘Î¿‰· / Lefkada
022
∆Ô ·ÎÚˆÙ‹ÚÈÔ Ù˘ §Â˘Î¿Ù·˜, ·fi Ù· ÂÓÙ˘ˆÛÈ·ÎfiÙÂÚ· ÙÔ›· ÙÔ˘ ÓËÛÈÔ‡. ∏ ÙÂÏÂ˘Ù·›· ı¤· Ô˘ ·ÓÙ›ÎÚ˘ÛÂ Ë ÔÈ‹ÙÚÈ· ·ÊÒ,
ÚÈÓ ·˘ÙÔÎÙÔÓ‹ÛÂÈ ¤ÊÙÔÓÙ·˜ ·fi ÙÔ˘˜ ¿ÁÚÈÔ˘˜ ‚Ú¿¯Ô˘˜ ÛÙË ı¿Ï·ÛÛ·…
The cape of Lefkata, one of the most impressive landscapes of the island. According to mythology, the ancient poetress
Sappho threw herself into the sea from these wild rocks...
«·ÓËÊÔÚ›˙ÂÈ» ÛÙÔÓ ÔÚÂÈÓfi fiÁÎÔ ÙÔ˘ οÚÔ˘ Ì ٷ ˘Â-
ڷȈÓfi‚È· ‰¤ÓÙÚ·, ‚Ú›ÛÎÂÙ·È Î·È ÙÔ Í¯ˆÚÈÛÙ‹˜ ÔÌÔÚ-
ÊÈ¿˜ Ê·Ú¿ÁÁÈ ¢ËÌÔÛ·Ú›Ô˘, Ì ÙÚ¯ԇÌÂÓ· ÓÂÚ¿, ηٷÚ-
Ú¿ÎÙ˜ Î·È ÌÈÎÚ¤˜ Ï›ÌÓ˜. ÙÔÓ Ì˘¯fi ÙÔ˘ ÎfiÏÔ˘, Ô ‰Úfi-
ÌÔ˜ Û˘Ó·ÓÙ¿ ÙÔ ÁÚ·ÊÈÎfi ¯ˆÚÈfi µÏ˘¯fi, ÂÓÒ ÛÙȘ ·¤Ó·ÓÙÈ
·ÎÙ¤˜ ·Ó·Ù‡ÛÛÂÙ·È Ô ·Ú·ıÂÚÈÛÙÈÎfi˜ ÔÈÎÈÛÌfi˜ °¤ÓÈ.
¡ÔÙÈfiÙÂÚ·, ‚Ú›ÛÎÂÙ·È Ô fiÚÔ˜, ¯·Ú·ÎÙËÚÈÛÙÈÎfi Ï¢η‰›-
ÙÈÎÔ ¯ˆÚÈfi, ÎÙÈṲ̂ÓÔ ·ÌÊÈı·ÙÚÈο Û ÂÚÈÔ¯‹ Ì ÏÔ‡-
ÛÈ· ‚Ï¿ÛÙËÛË, Ô ÁÂÈÙÔÓÈÎfi˜ ªÈÎÚfi˜ °È·Ïfi˜, ı·˘Ì¿ÛÈ·
·Ú·Ï›· Ì ·ÛÙÚ·ÊÙÂÚfi ‚fiÙÛ·ÏÔ Î·È Ù· ‡‚ÔÙ·, ÛÙÔ
‚¿ıÔ˜ ·Ó¤ÌÔÚÊÔ˘ ÊÈfiÚ‰. ˘Ó¯›˙ÔÓÙ·˜ ‰˘ÙÈο, Ë ‰È·-
‰ÚÔÌ‹ ÂÚÓ¿ ·fi ÙÔ ª·Ú·ÓÙÔ¯ÒÚÈ, ·’ fiÔ˘ ‰Â˘ÙÂÚ‡Ô-
ÓÙ˜ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó ÛÙȘ ·ÌÌÒ‰ÂȘ ·Ú·Ï›Â˜ ÙÔ˘ ÓfiÙÈÔ˘
ÙÌ‹Ì·ÙÔ˜ ÙÔ˘ ÓËÛÈÔ‡ (∞ÊÙ¤ÏÈ, ∞ÌÌÔ‡Û· Î.¿.) Î·È ÙË
ÛËÌ·ÓÙÈ΋ ·fi ·Ú¯·ÈÔÏÔÁÈ΋˜ ¿Ô„˘ ÃÔÈÚÔÛËÏÈ¿ ηÈ
ηٷϋÁÂÈ ÛÙË µ·ÛÈÏÈ΋, ηٷڿÛÈÓÔ ÎÂÊ·ÏÔ¯ÒÚÈ ÌÂ
ȉȷ›ÙÂÚË ÙÔ˘ÚÈÛÙÈ΋ ·Ó¿Ù˘ÍË Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· ηÈ
ÂÍ·ÈÚÂÙÈ΋ ·ÌÌÔ˘‰È¿, Ô˘ ÂÈϤÔÓ Â›Ó·È ÙÔ ÚÔÛÊÈϤ˜
ÛËÌÂ›Ô Û˘Ó¿ÓÙËÛ˘ ÁÈ· ÙÔ˘˜ Ï¿ÙÚÂȘ ÙÔ˘ windsurfing.
º¤ÚÈÌÔÙ Û˘Ó‰¤Ô˘Ó ÙË µ·ÛÈÏÈ΋ Ì ÙËÓ ∫ÂÊ·ÏÔÓÈ¿ ηÈ
ÙËÓ πı¿ÎË, ÂÓÒ ÂΉÚÔÌÈο ÛοÊË Û·˜ ÌÂٷʤÚÔ˘Ó ÛÙÔ
·ÎÚˆÙ‹ÚÈÔ Ù˘ §Â˘Î¿Ù·˜.
olive grove that surrounds it and has been declared
monument of unique natural beauty.
The city features important religious monuments (such as the
churches of Aghios Minas, Aghios Nikolaos, Christos
Pantokratoras, etc, all built during the 16th and 17th century),
a fascinating Archeological Museum and the Museum of
Phonographs - Old Remembrances with a rich collection of
romantic Lefkada souvenirs, such as antique phonographs,
decorative items, old coins, ect. The most famous monument
of Lefkada, however, is the Castle of Aghia Mavra, built in
1300 by the Sicilian G. Orsini on the islet of the lagoon (which
is also an important wetland) and was later modified by the
Venetian and Turkish settlers. Near the city lie the Monastery
of Panaghia Faneromeni (1634), which is also the most
famous pilgrimage site of the island, the Monastery of
Theotokos Odigitria (1450), which is the oldest monastery on
the island, and the church of Ai Yiannis Atzousis, where,
according to tradition, Apostle Paul preached Christianity.
The best beaches to swim in Lefkada are the ones of Gira and
Aghios Ioannis. The island also has one of the most modern
marinas in the Mediterranean, featuring 500 berths for those
who have a boat.

÷ڷÎÙËÚÈÛÙÈÎfi
ÛÙÈÁÌÈfiÙ˘Ô ·fi
ÙÔ ¢ÈÂıÓ¤˜
ºÔÏÎÏÔÚÈÎfi
ºÂÛÙÈ‚¿Ï Ù˘
§Â˘Î¿‰·˜, Ô˘
οı ¯ÚfiÓÔ ÚÔ-
ÛÂÏ·ÂÈ ¯ÈÏÈ¿‰Â˜
ÂÈÛΤÙ˜.
Snapshot from
the International
Folklore Festival
of Lefkada,
attracting many
visitors every
year
∆Ô ÕÏ·ÙÚÔ Â›Ó·È
¤Ó· ÌÈÎÚfi ¯ˆÚÈfi
ÎÔÓÙ¿ ÛÙÔÓ ‡‚ÚÔ,
Ì ÂÏ¿¯ÈÛÙÔ˘˜
Û‹ÌÂÚ· ηÙÔ›ÎÔ˘˜.
ª›· ËÏÈÎȈ̤ÓË
Á˘Ó·›Î· ÙÔ˘
¯ˆÚÈÔ‡, ÛÙË Û¿Ï·
ÙÔ˘ ÛÈÙÈÔ‡ Ù˘,
ÌÔÚÊ‹
‚Á·Ï̤ÓË Ï˜ ·fi
ÙË ‚˘˙·ÓÙÈÓ‹
ÂÈÎÔÓÔÁÚ·Ê›·.
Alatro, a small
village near Syvros
that is now almost
deserted. The last
inhabitant of the
village, in her living
room, resembling a
figure of a
Byzantine icon.
∏ §Â˘Î¿‰·
Â›Ó·È ¤Ó·˜
ÙfiÔ˜ ÌÂ
ÏÔ‡ÛÈ· ηÈ
·Ófiı¢ÙË
Ï·˚΋ ·Ú¿‰Ô-
ÛË. ∂‰Ò, ÌÈ·
Á˘Ó·›Î· ÛÙÔÓ
·Ú·‰ÔÛÈ·Îfi
·ÚÁ·ÏÂÈfi ÔÏÔ-
ÎÏËÚÒÓÂÈ ¤Ó·
˘Ê·ÓÙfi.
Lefkada is a
place with a
rich and
unadulterated
folk tradition.
In this photo
you see a
woman
weaving with a
loom.
Starting in the city, you can take the road that leads to
the eastern and southern coast of the island. On the
way you will cross the village of Kalligoni, where the
ruins of the ancient Nirikos or Lefkada were found
(2nd millennium B.C), one of the largest in size
ancient Greek cities. Next, you will encounter
Nikiana, a popular holiday destination, the coastal
settlement of Perigialli and finally Nydri, a busy
summer resort situated in the “entrance” of the lovely
bay of Vlychos. Nydri is one of the most developed
villages on the island, in terms of tourism, with
wonderful beaches and a marvellous view to the small
islands (“Prigkiponisia”- Prince Islands) that lie across
it: Sparta, Skorpidi, Madouri, where the villa of the
poet Aristotelis Valaoritis is located and the private
island of Aristotelis Onasis, the legendary Skorpios.
According to the German archeologist W. Dorpfeld,
who performed excavations in the region, it is
possible that here was Homeric Ithaca, as the remains
of a prehistoric city have been found in Nydri.
International Jet Ski competitions are organized
every year in Nydri and there are ferries to the Prince
MINOAN WAVE >

§Â˘Î¿‰· / Lefkada
∞ÓÙ›ıÂÙ· ·fi ÙȘ ·Ó·ÙÔÏÈΤ˜ ·ÎÙ¤˜ Ô˘ ηٷϋÁÔ˘Ó
ÔÌ·Ï¿ ÛÙË ı¿Ï·ÛÛ· Î·È Â›Ó·È ˘‹ÓÂ̘, Ù· ‰˘ÙÈο ·Ú¿-
ÏÈ·, Ù· ÔÔ›· ‚Ú›ÛÎÔÓÙ·È «·ÓÙ›ÎÚ˘» ÛÙÔ ·ÓÔÈÎÙfi ¤Ï·-
ÁÔ˜, Â›Ó·È ·fiÙÔÌ· Î·È «ÎÔÊÙ¿», Û¯ËÌ·Ù›˙ÔÓÙ·˜ ÂÓÙ˘ˆ-
ÛÈ·ÎÔ‡˜ ÎfiÏÔ˘˜ Î·È ÂÎÙÂٷ̤Ó˜ ·Ú·Ï›Â˜. •ÂÎÈÓÒÓÙ·˜
·fi ÙËÓ fiÏË, Û˘Ó·ÓÙ¿ÌÂ ÙÔ ºÚ‡ÓÈ (ÎÔÓÙ¿ ÛÙË ªÔÓ‹
∏ ª·‰Ô˘Ú‹, ÙÔ ÌÈÎÚfi ÓËÛ¿ÎÈ ·¤Ó·ÓÙÈ ·fi ÙÔ ¡˘‰Ú›, fiÔ˘ ‚Ú›ÛÎÂÙ·È
ÙÔ ÓÂÔÎÏ·ÛÈÎfi ·Ú¯ÔÓÙÈÎfi ÙÔ˘ ∞Ú. µ·Ï·ˆÚ›ÙË.
Madouri, the small island across Nydri, where the neoclassic villa of Aristotelis
Valaoritis is located.
Islands, Ithaca, Kefalonia, Central Greece and Meganisi,
a beautiful island ideal for restful holidays. Moreover,
near Nydri, on the uphill road that leads to the mountain
of Skaros, there is the exceptionally beautiful gorge of
Dimosari with running waters, water falls and small
lakes. At the heart of the bay, the road meets the
picturesque village of Vlychos, while in the opposite
shores extends the summer resort of Geni.
A bit further to the south there is Poros, a characteristic
village of Lefkada, built amphitheatrically in a region
with abundant vegetation, and Mikros Yalos, a
marvellous pebble beach, and finally Syvota, a
picturesque harbour. To the west, the road leads to
Marantochori, from where side roads lead to the sandy
beaches of the southern part of the island (Afteli,
Ammousa, ect) and to ‘Chirospilia’, a cave of great
archeological interest. The road ends in Vassiliki, a
charming village and popular summer resort, featuring a
fantastic beach, ideal for windsurfing. From Vassiliki
there are ferries to Kefalonia and Ithaca, as well as boats
to the cape of Lefkata.
Across the eastern leeward shores that gently spill into
the sea, there is the western coast, characterised by steep
slopes, impressive bays and long beaches.
Starting from the city, you will encounter Fryni (near
the Monastery of Faneromeni) and the picturesque small
024
§fiÁˆ ÙˆÓ ÙÂÎÙÔÓÈÎÒÓ ÚËÁÌ¿ÙˆÓ ÙÔ˘ πÔÓ›Ô˘ ÂÏ¿ÁÔ˘˜, ÔÈ ·ÎÙ¤˜ Ù˘
§Â˘Î¿‰·˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó “˘ÎÓfi” ·Ó¿ÁÏ˘ÊÔ Ì ÂÎÙÂÙ·Ì̤Ó˜ ·Ú·-
ϛ˜, ÌÈÎÚÔ‡˜ ÎfiÏÔ˘˜ Î·È ı·Ï¿ÛÛÈ· Û‹Ï·È·, Û¯ËÌ·Ù›˙ÔÓÙ·˜ ÙÔ›·
ÌÔÓ·‰È΋˜ ÔÌÔÚÊÈ¿˜.
Due to the tectonic faults of the Ionian Sea, the coast of Lefkada is
characterised by dramatic bays and a “dense” anaglyph, forming
landscapes of unique natural beauty.

º·ÓÂڈ̤Ó˘) Î·È ÙÔ˘˜ ÁÚ·ÊÈÎÔ‡˜ ∆ÛÔ˘Î·Ï¿‰Â˜ ÁÈ· Ó·
Ô‰ËÁËıԇ̠ÛÙÔÓ ÕÁÈÔ ¡È΋ٷ, ·Ú·‰ÔÛÈ·Îfi „·ÚÔ¯ÒÚÈ
Ô˘ ¤¯ÂÈ ÂÍÂÏȯı› Û ÎÔÛÌÔÔÏ›ÙÈÎÔ ı¤ÚÂÙÚÔ Ì ·ÚÎÂÙ¿
ÍÂÓԉԯ›·, „·ÚÔÙ·‚¤ÚÓ˜ Î·È ÙȘ ÎÔÓÙÈÓ¤˜ ·Ú·Ï›Â˜
¢ÎÔ‡ÏÈ· Î·È ∫¿ıÈÛÌ·, ·fi ÙȘ ˆÚ·ÈfiÙÂÚ˜ Î·È ÈÔ ÚÔ-
ÛÊÈÏ›˜ ÙÔ˘ ÓËÛÈÔ‡. √ ‰ÚfiÌÔ˜ Û˘Ó¯›˙ÂÈ ÁÈ· ÙÔ ∫·Ï·Ì›ÙÛÈ
Ì ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÙÈÎÔ‡˜ ·ÓÂÌfiÌ˘ÏÔ˘˜, ÂÓÒ ÌÂÙ¿ ÙÔ ¯ˆÚÈfi
∫·Ì‹ÏÈ ‰È·ÎÏ·‰›˙ÂÙ·È: ÙÔ ·Ó·ÙÔÏÈÎfi ÛΤÏÔ˜ ÙÔ˘ Ô‰ËÁ› ÛÙÔ
·Ú·‰ÔÛÈ·Îfi ¯ˆÚÈfi ÕÁÈÔ˜ ¤ÙÚÔ˜, ·’ fiÔ˘ ¤¯ÂÙ ·ÓÔÚ·-
ÌÈ΋ ı¤· ÛÙËÓ Â˘Ú‡ÙÂÚË ÂÚÈÔ¯‹, Î·È ÙË µ·ÛÈÏÈ΋, ÂÓÒ ÙÔ
‰˘ÙÈÎfi ÂÚÓ¿ ·fi ÙÔ ÔÚÂÈÓfi ¯ˆÚÈfi ∞ı¿ÓÈ, Ô˘ ‰È·ı¤ÙÂÈ
·ÍÈfiÏÔÁË ·Ú·‰ÔÛȷ΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋ Î·È ·Ú¿ÁÂÈ ı·˘Ì¿-
ÛÈÔ Ì˘Úˆ‰¿ÙÔ Ì¤ÏÈ, Î·È ÙȘ ·Ú·Ï›Â˜ ∂ÁÎÚÂÌÓÔ› Î·È fiÚÙÔ
∫·ÙÛ›ÎÈ, ÔÈ Ôԛ˜ ıˆÚÔ‡ÓÙ·È ·fi ÙȘ ÎÔÚ˘Ê·›Â˜ Û ÔÏfi-
ÎÏËÚË ÙËÓ ∂ÏÏ¿‰·. ŸÌˆ˜, ·Ó ·ÔÊ·Û›ÛÂÙ ӷ Û˘Ó¯›ÛÂÙÂ
·ÎfiÌ· ÓÔÙÈfiÙÂÚ· Î·È Ó· ÊÙ¿ÛÂÙ ˆ˜ ÙÔ ·ÎÚˆÙ‹ÚÈÔ Ù˘
§Â˘Î¿Ù·˜ ‹ ο‚Ô Ù˘ ¡‹Ú·˜, ı· ‚ÚÂı›Ù ÌÚÔÛÙ¿ Û’ ¤Ó·
Û˘Ó·Ú·ÛÙÈÎfi ÙÔ›Ô, Ô˘ Îfi‚ÂÈ ÙËÓ ·Ó¿Û· Ì ÙËÓ «¤ÓÙ·ÛË»
ÙˆÓ Ï¢ÎÒÓ ‚Ú¿¯ˆÓ Î·È ÙËÓ ·ÓÂÌfi‰ÈÛÙË ı¤· ÛÙÔ ¤Ï·ÁÔ˜,
ȉȷ›ÙÂÚ· ·fi ÙÔÓ ¤ÙÚÈÓÔ Ê¿ÚÔ. ∫·Ù¿ ÙËÓ ·Ú¯·ÈfiÙËÙ·,
ÛÙËÓ ÂÚÈÔ¯‹ Ï·ÙÚ¢fiÙ·Ó Ô §Â˘Î¿Ù·˜ ∞fiÏψӷ˜ Ì ÛËÌ·-
ÓÙÈÎfi ÈÂÚfi Î·È Ó·fi, ÛÙË ı¤ÛË ÙÔ˘ ÔÔ›Ô˘ ‚Ú›ÛÎÂÙ·È Ë ÂÎÎÏË-
Û›· ÙÔ˘ ∞Á›Ô˘ ¡ÈÎÔÏ¿Ô˘ (17Ô˘ ·ÈÒÓ·). ∞ÎfiÌ·, Ë ÂÚÈÔ¯‹
Û˘Ó‰¤ÂÙ·È Ì ÙËÓ ÔÈ‹ÙÚÈ· Ù˘ ·Ú¯·ÈfiÙËÙ·˜ ·ÊÒ, Ô˘
Û‡Ìʈӷ Ì ÙÔÓ Ì‡ıÔ ·˘ÙÔÎÙfiÓËÛ ¤ÊÙÔÓÙ·˜ ·fi Ù· ‚Ú¿-
¯È·, ·ÂÏÈṲ̂ÓË ÁÈ· ÙÔÓ ¿Ù˘¯Ô ¤ÚˆÙ¿ Ù˘ Ì ÙÔÓ º¿ˆÓ·.
ÕÔ„Ë ÙÔ˘ ÎÔÚÈÔ‡, ÙÔ˘ ȉÈfiÎÙËÙÔ˘ ÓËÛÈÔ‡ Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜ øÓ¿ÛË.
Viewpoint of Skorpios, the private island of the Onasis family.
MINOAN WAVE >

§Â˘Î¿‰· / Lefkada
026
°˘Ó·›Î˜ fiÏˆÓ ÙˆÓ
ÁÂÓÂÒÓ ÎÂÓÙÔ‡Ó Ù·
·Ú·‰ÔÛȷο «Î·ÚÛ¿-
ÓÈη ÎÂÓÙ‹Ì·Ù·», Ô˘
Â›Ó·È ·ÁÎÔÛÌ›ˆ˜ ÁÓˆ-
ÛÙ¿ ÁÈ· ÙË ÌÔÓ·‰È΋
Ù¤¯ÓË ÙÔ˘˜.
Women of all ages
embroider the
traditional needlework
of Karya, which are
famous around the
world for their ornate
designs.
∫·ıÒ˜ Ë §Â˘Î¿‰· Â›Ó·È ÙÔ ÔÚÂÈÓfiÙÂÚÔ ·fi Ù· ÓËÛÈ¿ ÙÔ˘
πÔ˘Ó›Ô˘ (ÌfiÏȘ ÙÔ 27% Ù˘ ¤ÎÙ·Û‹˜ Ù˘ ηχÙÂÙ·È ·fi
‰ÈÓ¤˜ Î·È ËÌÈÔÚÂÈÓ¤˜ ÂÎÙ¿ÛÂȘ), ÁÈ· ÔÏÏÔ‡˜ ÙÔ ÈÔ
ÂӉȷʤÚÔÓ ÙÌ‹Ì· ÙÔ˘ Â›Ó·È Ë ÏÈÁfiÙÂÚÔ ÂÈÛΤ„ÈÌË ÔÚÂÈ-
Ó‹ ÂÓ‰Ô¯ÒÚ·, Ô˘ ‰È·ÙËÚ› ·Î¤Ú·È· ÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋
·Ú¿‰ÔÛË Î·È Ù· ¤ıÈÌ· ÙÔ˘ ÓËÛÈÔ‡ Î·È Û˘Ó·Ú¿˙ÂÈ Ì ÙËÓ
ÂÈ‚ÏËÙÈÎfiÙËÙ· ÙÔ˘ Ê˘ÛÈÎÔ‡ ÙÔ›Ô˘. ¢Âη٤ÛÛÂÚ· ¯ÏÌ.
ÓfiÙÈ· Ù˘ fiÏ˘, ‚Ú›ÛÎÂÙ·È Ë ∫·Ú˘¿, ÂÓÙ˘ˆÛÈ·Îfi ÎÂÊ·-
ÏÔ¯ÒÚÈ ÎÙÈṲ̂ÓÔ ÛÂ Î·Ù¿Ê˘ÙË ÂÚÈÔ¯‹ Û ˘„fiÌÂÙÚÔ 500Ì.
∆Ô ¯ˆÚÈfi ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi Ù· Ôχ ÂӉȷʤÚÔÓÙ·
ÙÔÈο ¤ıÈÌ· Î·È ÙË ÛÔ˘‰·›· ·Ú¿‰ÔÛË ÛÙËÓ ÎÂÓÙËÙÈ΋
- Â›Ó·È ÔÓÔÌ·ÛÙ¿ Ù· «Î·ÚÛ¿ÓÈη» ÎÂÓÙ‹Ì·Ù· - ÂÓÒ Ôχ
Û˘¯Ó¿ Ô ÂÈÛΤÙ˘ ¤¯ÂÈ ÙËÓ Â˘Î·ÈÚ›· Ó· Û˘Ó·ÓÙ‹ÛÂÈ
Á˘Ó·›Î˜ ÙÔ˘ ¯ˆÚÈÔ‡ Ì ÙÔÈΤ˜ ÊÔÚÂÛȤ˜ Ó· ÌÂٷʤÚÔ˘Ó
ÙÂÓÙ˙ÂÚ¤‰Â˜ Ì ÓÂÚfi ÛÙÔ ÎÂÊ¿ÏÈ ÙÔ˘˜.
¡ÔÙÈfiÙÂÚ·, ‚Ú›ÛÎÂÙ·È Ë ∂ÁÎÏÔ˘‚‹, ÙÔ ÔÚÂÈÓfiÙÂÚÔ ¯ˆÚÈfi
ÙÔ˘ ÓËÛÈÔ‡ (˘„fiÌÂÙÚÔ 730 Ì.) Ô˘ ÊËÌ›˙ÂÙ·È ÁÈ· ÙËÓ
·Ú·ÁˆÁ‹ ÂÍ·ÈÚÂÙÈ΋˜ ÔÈfiÙËÙ·˜ ʷ΋˜, Ë ·Ú·‰ÔÛȷ΋
µ·˘ÎÂÚ‹, ÎÔÓÙ¿ ÛÙËÓ ÔÔ›· ÛÒ˙ÂÙ·È ÙÔ Î·ıÔÏÈÎfi Ù˘
ÈÛÙÔÚÈ΋˜, ·ÏÏ¿ ÂÚÂȈ̤Ó˘ Û‹ÌÂÚ· ∫fiÎÎÈÓ˘
∂ÎÎÏËÛ›·˜ (ªÔÓ‹ ∂˘·ÁÁÂÏÈÛÌÔ‡, 1478) Î·È Ô ‡‚ÚÔ˜ ÌÂ
ÙÔ ·ÈÛıËÙÈÎfi ‰¿ÛÔ˜ Ù˘ ¢¿ÊÓ˘, ÙÔÔıÂÛ›· Ì ϷٿÓÈ·
Î·È ÙÚ¯ԇÌÂÓ· ÓÂÚ¿.
∂ÓÙÔ‡ÙÔȘ, ¤Ó· ·fi Ù· ϤÔÓ ¯·Ú·ÎÙËÚÈÛÙÈο ÛÙÔȯ›·
Ù˘ §Â˘Î¿‰·˜ Â›Ó·È Ë Ûʇ˙Ô˘Û· ÔÏÈÙÈÛÙÈ΋ Ù˘ ·Ú¿‰Ô-
ÛË. ¢ÂÓ Â›Ó·È Ù˘¯·›Ô, ¿ÏψÛÙÂ, fiÙÈ ·fi ÙÔ ÓËÛ› ηٿÁÔ-
ÓÙ·È ÛÔ˘‰·›Â˜ ÚÔÛˆÈÎfiÙËÙ˜ ÙˆÓ ÁÚ·ÌÌ¿ÙˆÓ Î·È ÙˆÓ
village of Tsoukalades. The route ends in Aghios Nikitas,
a traditional fishing village that has developed to a
cosmopolitan resort, filled with hotels and fish taverns. Two
of the most beautiful beaches of the island are also located
here, the beach of Pefkoulia and Kathisma. The road
continues to Kalamitsi with the characteristic windmills,
while after the village of Kamili the road forks: to the east,
it leads to the traditional village of Aghios Petros, where
you can enjoy a panoramic view of the wider area, and to
the village of Vassiliki; to the west, the road crosses the
mountainous village of Athani, known for its traditional
architecture and for its fabulous honey production, and then
leads to the amazing beaches of Egremnoi and Porto
Katsiki, which are considered to be among the best beaches
of Greece. However, if you decide to go further south
towards the cape of Lefkata or Cavo Nira, you will arrive
to a fascinating landscape that will take your breath away
with the imposing white rocks and the open view of the sea,
especially from the stone-built lighthouse. In antiquity,
there was a sanctuary and temple of god Apollo of Lefkata
in this region, on the same location where the 17th century
church of Aghios Nikolaos stands today. Furthermore,
according to mythology, the ancient Greek poet Sappho
leapt to her death from these high cliffs, driven to suicide by
her unfortunate love for Phaon.
Lefkada is also the most mountainous island of the Ionian
Sea (only 27% of its total area is covered by lowlands and
MINOAN WAVE >

·È¯Ó›‰È· ÛÙ· ÓÂÚ¿ ÙˆÓ Î·Ù·ÚÚ·-
ÎÙÒÓ Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘ Ê·Ú·ÁÁÈÔ‡
¢ËÌÔÛ·Ú›Ô˘, ·fi Ù· Ì·Á¢ÙÈÎfiÙÂ-
Ú· ÛËÌ›· Ù˘ «¿ÁÓˆÛÙ˘» ÔÚÂÈ-
Ó‹˜ §Â˘Î¿‰·˜.
Playing in the waters of the lake
and the waterfalls in the gorge of
Dimosari, one of the most charming
locations of the “unknown”
mountainous Lefkada.

§Â˘Î¿‰· / Lefkada
028
Ù¯ÓÒÓ, fiˆ˜ Ô ÏfiÁÈÔ˜ §Â˘Î¿‰ÈÔ˜ Hearn
(Ô˘ ·ÚÁfiÙÂÚ· ÂÁηٷÛÙ¿ıËΠÛÙËÓ
π·ˆÓ›· Î·È ¤ÁÈÓÂ Ô ÂıÓÈÎfi˜ ÔÈËÙ‹˜ Ù˘ ÌÂ
ÙÔ fiÓÔÌ· °. ∫Ô˚˙Ô‡ÌÈ), ÔÈ ÔÈËÙ¤˜
∞ÚÈÛÙÔÙ¤Ï˘ µ·Ï·ˆÚ›Ù˘ Î·È ÕÁÁÂÏÔ˜
ÈÎÂÏÈ·Ófi˜, Ô ËıÔÔÈfi˜ ∆Û·‚·Ï¿˜
∫·ÚÔ‡ÛÔ˜, Ë ‰ÈÂıÓÔ‡˜ ·ÎÙÈÓÔ‚ÔÏ›·˜ ÌÂÛfi-
ʈÓÔ˜ ∞ÁÓ‹ ª¿ÏÙÛ·, Ô ÈÛÙÔÚÈÎfi˜ ¡›ÎÔ˜
‚ÔÚÒÓÔ˜ Î.¿., ÚÔÙÔ̤˜ ÔÏÏÒÓ ·fi
ÙÔ˘˜ ÔÔ›Ô˘˜ ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ¿ÚÎÔ
semi-mountainous regions) and for many
visitors the mountainous hinterland of the
island is also its most interesting part, as the
local architecture is still preserved in the
mountainous villages, as well as the local
mores and customs, and there are also
numerous imposing natural landscapes.
14km south of the city the village of Karya
is located, a fascinating village, built in a
wooded region in an altitude of 500 meters.
The village is known for
its unique local customs
and long tradition in
embroidery,while
visitors often have the
chance to see the village
women dressed with the
local costumes, carrying
water jugs on their
head.
Further to the south,
there is the village of
Eglouvi, the highest
mountain village (730
m. altitude), known for
its excellent quality
lentil production, the
traditional village of
Vafkeri, near which
stands the preserved
temple of the historical
Red Church (Monastery
of Evaggelismos, 1478),
which is today deserted,
and finally the village of
Syvros, surrounded by
the lovely forest of
Dafne, characterised by
plane trees and running
waters.
Nevertheless, one of the
most noteworthy
characteristic of
Lefkada is her vibrant
cultural life and
traditions. It is not a
coincidence that several
prominent intellectuals
and artists come from
this island, such as the
scholar Lefcadio Hearn
(who later moved to
Japan and became the
national poet of the
country, known by the
name Koizumi
Yakumo), the poets
Aristotelis Valaoritis
and Aggelos Sikelianos,

·ÓÔÚ·ÌÈ΋ ı¤· Ù˘ ∂ÁÎÏÔ˘‚‹˜, ÙÔ ÈÔ
ÔÚÂÈÓfi ¯ˆÚÈfi Ù˘ §Â˘Î¿‰·˜.
Panoramic view of Eglouvi, the highest
mountain village of Lefkada.
ªÔÛΤÙÔ (fiÏË §Â˘Î¿‰·˜). ∏ §Â˘Î¿‰·
‰È·ı¤ÙÂÈ ·ÍÈfiÏÔÁË ºÈÏ·ÚÌÔÓÈ΋
√Ú¯‹ÛÙÚ· (¤¯ÂÈ È‰Ú˘ı› ÙÔ 1850) ηÈ
ÃÔÚˆ‰›·, ÂÓÒ ÛÙËÓ fiÏË ·fi ÙÔ 1955
‰ÈÔÚÁ·ÓÒÓÔÓÙ·È Î¿ı ∞‡ÁÔ˘ÛÙÔ ÔÈ
«°ÈÔÚÙ¤˜ §fiÁÔ˘ Î·È ∆¤¯Ó˘», Ô˘ ÂÚÈ-
Ï·Ì‚¿ÓÔ˘Ó ÔÌÈϛ˜, Û˘ÌfiÛÈ·, Û˘Ó·˘-
ϛ˜, ı·ÙÚÈΤ˜ ·Ú·ÛÙ¿ÛÂȘ Î·È ÂÎı¤-
ÛÂȘ ˙ˆÁÚ·ÊÈ΋˜ Î·È ÛÙȘ Ôԛ˜ ¤¯Ô˘Ó
Û˘ÌÌÂÙ¿Û¯ÂÈ, ηٿ ηÈÚÔ‡˜, ÎÔÚ˘Ê·›ÔÈ
ÂÈÛÙ‹ÌÔÓ˜ Î·È Î·ÏÏÈÙ¤¯Ó˜, Ì ¯·Ú·-
ÎÙËÚÈÛÙÈÎfiÙÂÚË ›Ûˆ˜ ÂÚ›ÙˆÛË ÙËÓ
ÂÌÊ¿ÓÈÛË Ù˘ ª·Ú›·˜ ∫¿ÏÏ·˜, ÙÔÓ
∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1964. ÙÔ Ï·›ÛÈÔ ÙˆÓ
«°ÈÔÚÙÒÓ» ‰ÈÂÍ¿ÁÂÙ·È, ›Û˘, Î·È ÙÔ
·ÁÎfiÛÌÈ·˜ Ê‹Ì˘ «¢ÈÂıÓ¤˜
ºÔÏÎÏÔÚÈÎfi ºÂÛÙÈ‚¿Ï» Ì ·Ú·ÛÙ¿ÛÂȘ
ÎÔÚ˘Ê·›ˆÓ ÂÏÏËÓÈÎÒÓ Î·È Í¤ÓˆÓ ÊÔÏ-
ÎÏÔÚÈÎÒÓ Û˘ÁÎÚÔÙËÌ¿ÙˆÓ, Ô˘ ·ÚÂ-
Ï·‡ÓÔ˘Ó ·ÓËÁ˘ÚÈο ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ Ù˘
fiÏ˘ ÎÚ·ÙÒÓÙ·˜ Ù· Ï¿‚·Ú¿ ÙÔ˘˜.
∂Í¿ÏÏÔ˘, Ô ªÔ˘ÛÈÎÔÊÈÏÔÏÔÁÈÎfi˜
ŸÌÈÏÔ˜ «∞fiÏψӻ ∫·Ú˘¿˜ ‰ÈÔÚÁ·ÓÒ-
ÓÂÈ ÛÙÔ ¯ˆÚÈfi ÙËÓ ·Ó··Ú¿ÛÙ·ÛË ·Ú·-
‰ÔÛÈ·ÎÔ‡ Ï¢η‰›ÙÈÎÔ˘ Á¿ÌÔ˘ (ÛÙȘ 11
∞˘ÁÔ‡ÛÙÔ˘), ÂÓÒ Î˘Ú›ˆ˜ ÙÔ˘˜ ηÏÔηÈ-
ÚÈÓÔ‡˜ Ì‹Ó˜ Û ÔÏÏ¿ ¯ˆÚÈ¿ ÙÔ˘ ÓËÛÈÔ‡
Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È ÔÏÈÙÈÛÙÈΤ˜ ÂΉË-
ÏÒÛÂȘ Î·È ·Ó·‚ÈÒÓÔ˘Ó ÁÓ‹ÛÈ· ÙÔÈο
·ÓËÁ‡ÚÈ·, Ô˘ ‰ÂÓ Ú¤ÂÈ Ó· ¯¿ÛÂÙÂ…
the actor Tsavalas Karousos, the
internationally acclaimed opera mezzo -
soprano Agnes Baltsa, the historian
Nikos Svoronos and many others. The
busts of many of these notable persons
are placed in the park of Boschetto, in
the city of Lefkada. Lefkada also has an
acclaimed Philharmonic Orchestra,
(founded in 1850) and choir, while the
“Festival of Literature and Art” takes
place annually in August since 1955, with
many conferences, speeches, concerts,
theatrical plays and art exhibitions with
the participation of prominent scientists
and artists. A memorable appearance in
the festival was the one of Maria Callas,
in August 1964. The famous
“International Folklore Festival” of
Lefkada attracts many visitors every
year, with the performances of Greek
and foreign folklore groups that parade
in the streets of the city. Moreover, the
Music and Philology Association
“Apollon” of Karya performs the reenactment
of the traditional wedding of
Lefkada (on August 11), while during the
summer months many other cultural
events are organized in many villages of
the island, including traditional feasts you
should not miss…
MINOAN WAVE >ñ
ÙÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ οÛÙÚÔ˘ Ù˘ ∞Á›·˜ ª·‡Ú·˜
ÛÒ˙ÂÙ·È Ô ÔÌÒÓ˘ÌÔ˜ Ó·fi˜ (13Ô˘ ·ÈÒÓ·), Ô˘ ÔÏ-
ÏÔ› οÙÔÈÎÔÈ ÙÔ˘ ÓËÛÈÔ‡ ÂÈÛΤÙÔÓÙ·È Î¿ı ¯ÚfiÓÔ
ÛÙȘ 3 ª·›Ô˘, Ë̤ڷ ηٿ ÙËÓ ÔÔ›· ÁÈÔÚÙ¿˙ÂÈ Ë
ÂÎÎÏËÛ›·.
Many inhabitants of Lefkada visit, every 3rd of May,
the church of Saint Maura, built into a castle and
dating from the 13rd century.

£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜
Theodoros Aggelopoulos
ªÂ ÙÔ ‚ϤÌÌ·
ÛÙÚ·Ì̤ÓÔ
ÛÙÔ ¯ÚfiÓÔ
030
Gazing
through Time
√ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ Â›Ó·È ›Ûˆ˜ Ë ÈÔ È‰ÈfiÌÔÚÊË ÂÚ›ÙˆÛË ÛÎËÓÔı¤ÙË ÛÙÔÓ ÂÏÏËÓÈÎfi
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ. ªÂ ηٷÁˆÁ‹ ·fi ÙÔ °·‚·ÏÔ¯ÒÚÈ Ã·Ó›ˆÓ, ÁÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· ÙÔÓ
∞Ú›ÏË ÙÔ˘ 1935, ÛÔ‡‰·Û ÓÔÌÈο ÛÙÔ ·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ Î·È ÙÔ ·Ú›ÛÈ, ·Ú·ÎÔÏÔ‡ıË-
Û ̷ı‹Ì·Ù· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙË ÔÚ‚fiÓË Î·È ÙËÓ IDHEC, ÛÙÔ ·Ú›ÛÈ. ∞fi ÙÔ 1964 ˆ˜ ÙÔ
1967, ÂÚÁ¿ÛıËΠˆ˜ ÎÚÈÙÈÎfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙËÓ ∞ı‹Ó·, ÂÓÒ ·Ú¿ÏÏËÏ· ¿Ú¯ÈÛ ӷ οÓÂÈ
ÙȘ ÚÒÙ˜ ÙÔ˘ Ù·Èӛ˜, ÚÒÙ· Ì ÙÔ ËÌÈÙÂϤ˜ «Forminx story», ÙÔ 1965, ÎÈ ¤ÂÈÙ· Ì ÙË
ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ «∂ÎÔÌ‹», ÙÔ 1968. ∏ ÚÒÙË ÙÔ˘ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ ·fiÂÈÚ· ‹Ù·Ó Ë
«∞Ó··Ú¿ÛÙ·ÛË» ÙÔ˘ 1970, ÌÈ· Ù·ÈÓ›· Ô˘ Ê·ÈÓÔÌÂÓÈο ·ÔÙÂÏ› ÈÛÙÔÚ›· ÂÁÎÏ‹Ì·ÙÔ˜, ·ÏÏ¿
Ô˘ÛÈ·ÛÙÈο ÌÂٷʤÚÂÈ Ì ˙ÔÊÂÚ‹ ÌÂÏ·Á¯ÔÏ›· ÙËÓ ÂÁηٿÏÂÈ„Ë Ù˘ ÂÏÏËÓÈ΋˜ ˘·›ıÚÔ˘ ηÈ
ÙËÓ Âڋ̈ÛË Ô˘ ¤¯Ô˘Ó ÂÈʤÚÂÈ Ù· ÌÂÙ·Ó·ÛÙ¢ÙÈο Ú‡̷ٷ Ù˘ ÂÔ¯‹˜ ÚÔ˜ ÙÔ Â͈ÙÂÚÈÎfi.
Ÿˆ˜ ÎÈ Ô ›‰ÈÔ˜ ·Ó¤ÊÂÚÂ: «Ë «∞Ó··Ú¿ÛÙ·ÛË» Â›Ó·È ÌÈ· Ù·ÈÓ›· Ô˘ Á˘Ú›ÛÙËΠÛÙËÓ ◊ÂÈÚÔ
Î·È ÎÔ˘‚·Ï¿ÂÈ, ÂÚÈÛÛfiÙÂÚÔ ·fi ÙȘ «ª¤Ú˜ ÙÔ˘ ’36», fiÏ· Ù· ¯·Ú·ÎÙËÚÈÛÙÈο ÙˆÓ Ù·ÈÓÈÒÓ
ÌÔ˘: ÙË ‚ÚÔ¯‹, ÙËÓ ÔÌ›¯ÏË, ÙÔ ÌÂÙ·›¯ÌÈÔ, Î·È Â›Ó·È Ì›· Ù·ÈÓ›· Ô˘ Û·ÊÒ˜ Ì ÛËÌ¿‰Â„ ¿Ú·
Ôχ. ¢ÂÓ ı· ÙËÓ ¤ÏÂÁ· ·Á·Ë̤ÓË, ı· ÙËÓ ¤ÏÂÁ· ·˘Ù‹ Ë Ù·ÈÓ›·, Ë ÔÔ›· Â›Ó·È ÙÔ ÛËÌÂ›Ô ·Ó·-
ÊÔÚ¿˜ ÌÔ˘, ÁÈ·Ù› Â›Ó·È ÙÔ ÚÒÙÔ ‚ϤÌÌ·”.

ÙÔ˘ ¡›ÎÔ˘ ∆Û·ÁηڿÎË
Written by Nikos Tsagkarakis
Theodoros Aggelopoulos is perhaps the most “anti-conformist” film director in the
Greek film industry. His origins are from the village Gavalochori of Chania but he was
born in Athens in April 1935. He studied law in the University of Athens and in Paris and
attended cinema classes in Sorbonne and in IDHEC in Paris. From 1964 to 1967, he was
employed as a film critic in Athens, while at the same time he started making his first
films. In 1965 he directed the film “Forminx story”, which was never completed,
followed by his first short film “Broadcast” in 1968. In 1970 he made his first full-length
feature film “Reconstruction”, a film that seemingly narrates the chronicle of a crime
but in essence illustrates the unbearable melancholy of the twilight of rural Greece, the
abandonment of villages brought during the migration of populations abroad during this
period. Talking about his films, Aggelopoulos once said: “‘Reconstruction’ is set in
Epirus and bears all the motifs of my films: the rain, the mist, the border and the
transition; it is a film that greatly marked my life. I wouldn’t say it is my favorite,
however, I would say it is a point of reference in my career, because it is the first gaze”.
MINOAN WAVE >>

032
∞£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ / Theodoros Aggelopoulos
∞fi ÙËÓ ÚÒÙË ÙÔ˘ ÎÈfiÏ·˜ Ù·ÈÓ›·, Ô
£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜, ηٿÊÂÚ fi¯È
·ÏÒ˜ Ó· ÙÚ·‚‹ÍÂÈ Ù· ‚ϤÌÌ·Ù· ÛÙÔ
ÊÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔӛ΢, ·ÏÏ¿ Ó· ÎÂÚ‰›-
ÛÂÈ Ù¤ÛÛÂÚ· ·fi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ‚Ú·-
‚›·: ∫·Ï‡ÙÂÚ˘ ∆·ÈÓ›·˜, ÎËÓÔıÂÛ›·˜,
ºˆÙÔÁÚ·Ê›·˜ Î·È ∞’ °˘Ó·ÈΛԢ ƒfiÏÔ˘.
◊Ù·Ó Ë ÚÒÙË Î·È ÌÔÓ·‰È΋ ·ÛÚfiÌ·˘-
ÚË ÚÔÛı‹ÎË ÛÙË ÊÈÏÌÔÁÚ·Ê›· ÙÔ˘ ÛÎË-
ÓÔı¤ÙË Ì¤¯ÚÈ Û‹ÌÂÚ·, ηıÒ˜ ·fi ÙȘ
«ª¤Ú˜ ÙÔ˘ ‘36», Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó ÙÔ
1972, ÂÚÓ¿ÂÈ ÛÙÔ ¯ÚÒÌ· Î·È ÛÙ·‰È·Î¿
·Ú¯›˙ÂÈ Ó’ ·ÔÎÙ¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο
Ô˘ ·Ó·ÁÓˆÚ›˙ÔÓÙ·È Ï¤ÔÓ ˆ˜ «·ÁÁÂÏÔ-
Ô˘ÏÈο» ·Ó¿ÌÂÛ· Û ÎÔÈÓfi Î·È ÎÚÈÙÈ-
ÎÔ‡˜, fiˆ˜ Ù· ÌÂÁ¿Ï˘ ‰È¿ÚÎÂÈ·˜ ÌÔÓÔ-
Ï¿Ó·, Ë ·Ê·ÈÚÂÙÈ΋ ‰Ú¿ÛË, Ë ÌÈÓÈÌ·ÏÈÛÙÈ΋ ÏÔ΋, ÔÈ
ÂÏ¿¯ÈÛÙÔÈ ‰È¿ÏÔÁÔÈ, Ë Î˘Ú›·Ú¯Ë ÂÈηÛÙÈÎfiÙËÙ·, Ë ·fiÛÙ·-
ÛË ·fi Ù· ÁÂÁÔÓfiÙ·, Ô˘ ‰Â ÛËÌ·›ÓÂÈ ·Ó·ÁηÛÙÈο ηÈ
·ÔÛÙ·ÛÈÔÔ›ËÛË.
∏ ÈÛÙÔÚÈÎÔ-ÔÏÈÙÈ΋ ıÂÌ·ÙÔÏÔÁ›· ·›˙ÂÈ Ï¤ÔÓ ÚˆÙ‡Ô-
ÓÙ· ÚfiÏÔ, Ì ٷ ÛÂÓ¿ÚÈ¿ ÙÔ˘ Ó’ ·Ó·Ê¤ÚÔÓÙ·È ÏÈÁfiÙÂÚÔ ‹
ÂÚÈÛÛfiÙÂÚÔ ¿ÌÂÛ· ÛÂ Û˘ÁÎÂÎÚÈ̤Ó˜ ÈÛÙÔÚÈΤ˜ ÂÚÈfi-
‰Ô˘˜, ÙȘ Ôԛ˜ ÂÍÂÙ¿˙ÂÈ Ì¤Û· ·fi ÚÔÛˆÈΤ˜ ‹ ÔÌ·‰È-
Τ˜ Ô‰‡ÛÛÂȘ. ∏ ÂÚÈÏ¿ÓËÛË, ˆ˜ ÎÂÓÙÚÈÎfi ıÂÌ·ÙÈÎfi
ÌÔÙ›‚Ô, ı· ÂÈÛ¤ÏıÂÈ ÛÙÔÓ ÎfiÛÌÔ ÙÔ˘ ∞ÁÁÂÏfiÔ˘ÏÔ˘ ÛÙËÓ
ÙÚ›ÙË Ù·ÈÓ›· ÙÔ˘, ÙÔ «£›·ÛÔ», Ô˘ Â›Ó·È ›Ûˆ˜ Ë ÈÔ ÈÛ¯˘-
Ú‹ ÛÙË ÌÓ‹ÌË ÙˆÓ ÂÚÈÛÛÔÙ¤ÚˆÓ, ÙfiÛÔ ÙˆÓ Ê·Ó·ÙÈÎÒÓ
Ô·‰ÒÓ ÙÔ˘, fiÛÔ ÎÈ ÂÎÂ›ÓˆÓ Ô˘ ÙÔÓ ·Ó·ÁÓˆÚ›˙Ô˘Ó, ·ÏÏ¿
ÛÙËÓ ÔÚ›· ÙÔÓ ÂÁη٤ÏÂÈ„·Ó. ∂›Ó·È Ë Ù·ÈÓ›· Ì ÙËÓ
ÔÔ›· ·Ú¯›˙ÂÈ È· Ó· οÓÂÈ Ù’ fiÓÔÌ¿ ÙÔ˘ ÁÓˆÛÙfi ÛÙȘ ÈÔ
·ÔÌ·ÎÚ˘Ṳ̂Ó˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈΤ˜ ·›ıÔ˘Û˜ ÙÔ˘ Ï·Ó‹-
ÙË Î·È Ì ÙËÓ ÔÔ›· ı· ηٷÎÙ‹ÛÂÈ Â¿ÍÈ· ÌÈ· ı¤ÛË ÛÙË
‰ÈÂıÓ‹ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÈÛÙÔÚÈÔÁÚ·Ê›·. Ÿˆ˜ Ô ›‰ÈÔ˜
ϤÂÈ: “√˘ÛÈ·ÛÙÈο Ô «£›·ÛÔ˜» ‰ÂÓ Î¿ÓÂÈ Ù›ÔÙ· ¿ÏÏÔ ·fi
ÙÔ Ó· ηٷÁÚ¿ÊÂÈ Ù· ¯ÚfiÓÈ· Ù˘ ˙ˆ‹˜ ÌÔ˘. ’ ·˘Ù¿ Ù·
¯ÚfiÓÈ· Ô˘ ÂÁÒ ˙ˆ ÙÈ ¤ÁÈÓÂ, Î·È ›Ûˆ˜ Û ̷ÎÚÈÓfiÙÂÚ˜
ÂÚÈfi‰Ô˘˜, fiˆ˜ Â›Ó·È ·˜ Ô‡ÌÂ Ë Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ’22, ÌÂ
ÙÔÓ ÂÚ›ÊËÌÔ ÌÔÓfiÏÔÁÔ ÙÔ˘ ÙÚ¿ÙÔ˘ ·¯‹».
ŒÎÙÔÙÂ, ¤¯ÂÈ Á˘Ú›ÛÂÈ ·ÎfiÌË ‰¤Î· Ù·Èӛ˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜,
Already from his first feature film, Theodoros
Aggelopoulos managed to impress the audience in the
Thessaloniki Film Festival, winning four of the most
important awards: Best Feature Film, Direction,
Photography and Actress on a Leading Role. It is the first
and only black-and-white feature in his Filmography until
∆Ô ÌÂÙ¤ˆÚÔ ‚‹Ì· ÙÔ˘ ÂÏ·ÚÁÔ‡
The Suspended Step of the Stork
today, as since his following film “Days of ‘36” in 1972 and
on, he makes color films and starts to develop his unique
thematic and stylistic constants, known as “aggelopoulian”
amongst film critics and the audience; such characteristics
include the long takes, the symbolic action, the minimalist
plot, the few dialogues, the memorable artistic images and
the distance from the events, without suggesting alienation.
Historical and political themes play a leading role in his
films, as the scenarios focus directly or indirectly to specific
time periods, through which he narrates his personal
odysseys. The wandering, as a central thematic motif, will
enter the world of Aggelopoulos in his third film, “The
Travelling Players”, which is probably his most memorable
film for most people, including his fans. It is the film that
made Aggelopoulos famous internationally and rightly gave
him a place in the international cinematographic history.
Aggelopoulos stated that “essentially, the film ‘The
Traveling Players’ does nothing more than recording the
years of my life. It records the events of my lifetime, and
perhaps even of older periods, such as, for example, the
disasters of 1922 with the famous monologue of Stratos
Pachis”.
√ ªÂÁ·Ï¤Í·ÓÙÚÔ˜ / Alexander the Great
‰‡Ô ÓÙÔÎÈÌ·ÓÙ¤Ú, ÂÓÒ Û˘ÌÌÂÙ›¯Â ›Û˘ Û ‰˘Ô ÛÔÓ‰˘-
ψٿ ÊÈÏÌ, ‰È·ÙËÚÒÓÙ·˜ ÙË ı¤ÛË ÙÔ˘ ˆ˜ ¤Ó·˜ ·fi ÙÔ˘˜
ÈÔ Û‚·ÛÙÔ‡˜ Î·È ‰È·ÎÂÎÚÈ̤ÓÔ˘˜ Â˘Úˆ·›Ô˘˜ ÛÎËÓÔı¤-
Ù˜, Ì ·Ó·ÁÓÒÚÈÛË ÎÚÈÙÈ΋˜, Û˘Ó·‰¤ÏÊˆÓ Î·È ÎÔÈÓÔ‡.
˘ÓÂÚÁ¿ÛÙËΠ̠Ôχ ÛËÌ·ÓÙÈÎÔ‡˜ ËıÔÔÈÔ‡˜, fiˆ˜ Ô
µ·ÁÁ¤Ï˘ ∫·˙¿Ó, Ô ª¿ÓÔ˜ ∫·ÙÚ¿Î˘, Ô ª·ÚÙÛ¤ÏÔ
Since then, Aggelopoulos has made ten more feature films,
two documentaries, while he also participated in two
anthology films, establishing himself as one of the most
respectable and highly acclaimed European directors. He
has worked with very important actors and actresses, such
as Vaggelis Kazan, Manos Katrakis, Marcello Mastroianni,
Jeanne Moreau, Harvey Keitel, Erland Josephson,
Thanassis Veggos, Maia Morgenstern; while he has kept the

ª·ÛÙÚÔÁÈ¿ÓÓÈ, Ë Jeanne Moreau, Ô Harvey Keitel, Ô
Erland Josephson, Ô £·Ó¿Û˘ µ¤ÁÁÔ˜, Ë Maia
Morgenstern, ÂÓÒ ‰È·Ù‹ÚËÛ ÁÈ· ÔÏÏ¿ ¯ÚfiÓÈ· ·Ó¤·ÊË
ÌÈ· ‰ËÌÈÔ˘ÚÁÈ΋ ÔÌ¿‰· ·ÔÙÂÏÔ‡ÌÂÓË ·fi ÙÔÓ ¤ÙÚÔ
ª¿ÚηÚË Î·È ÙÔÓ Tonino Guerra ÛÙÔ ÛÂÓ¿ÚÈÔ, ÙÔÓ °ÈÒÚÁÔ
same production team for many years, which is comprised
by Petros Markaris and Tonino Guerra in the script,
Giorgos Arvanitis and more recently Antreas Sinanos in
photography direction, Loukianos Kilaidonis and for the
past twenty five years Eleni Karaindrou in music score
composition. In 1998 he won the Palme d’Or award in the
Cannes Festival with his film “Eternity and a Day”, starring
German actor Bruno Ganz, who also appears in his last
feature “the Dust of Time”, Willem Dafoe, Irène Jacob and
Michel Piccoli. This achievement represents the peak of the
director’s film career.
Despite the fact that Theodoros Aggelopoulos has been
highly acclaimed in many countries, such as in Japan, he
remains a controversial personality in Greece; the cause for
that may be that he is much more famous than any other
director that lives and works in Greece.
√ ı›·ÛÔ˜ / The Travelling Players
∞Ú‚·Ó›ÙË Î·È ÈÔ ÚfiÛÊ·Ù· ÙÔÓ ∞ÓÙÚ¤· ÈÓ¿ÓÔ ÛÙË ‰È‡-
ı˘ÓÛË ÊˆÙÔÁÚ·Ê›·˜, ÙÔÓ §Ô˘ÎÈ·Ófi ∫ËϷˉfiÓË Î·È Ù·
ÙÂÏÂ˘Ù·›· ›ÎÔÛÈ ¤ÓÙ ¯ÚfiÓÈ· ÙËÓ ∂ϤÓË ∫·Ú·˝Ó‰ÚÔ˘
ÛÙË ÌÔ˘ÛÈ΋. ∫ÔڇʈÛË Ù˘ ̤¯ÚÈ ÙÒÚ· ÔÚ›·˜ ÙÔ˘
Theodoros Aggelopoulos belongs to a generation of
directors that many believe are “too attached to the past”,
persistent to maintain their established cinematographic
identity, avoiding any kind of deviation and
experimentation. The younger audience finds the work of
Aggelopoulos extremely abstract, overburdened with
symbolisms and historical remarks that are hard to
decipher. They view the stoicism of the camera as an
unjustified leisure and feel that they identify better with the
cinema of new directors who use a direct – but not
necessarily simple - language and easy to understand
narrative structures. The issue lies then, on the creative
deadlock of the director, or on the inability of the public to
interact with a type of cinema that refuses to compromise
to the established “visual codes” of our times?
As always, the truth lies somewhere in the middle and that
MINOAN WAVE >>

£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ / Theodoros Aggelopoulos
˘‹ÚÍÂ Ë ‚Ú¿‚Â˘Û‹ ÙÔ˘ Ì ÙÔÓ ÃÚ˘Ûfi ºÔ›ÓÈη ÛÙÔ ÊÂÛÙÈ-
‚¿Ï ∫·ÓÓÒÓ ÙÔ 1998, ÁÈ· ÙÔ «ªÈ· ·ÈˆÓÈfiÙËÙ· Î·È ÌÈ·
̤ڷ», Ì ڈٷÁˆÓÈÛÙ‹ ÙÔÓ ÁÂÚÌ·Ófi Bruno Ganz, Ô˘
Û˘ÌÌÂÙ¤¯ÂÈ Â›Û˘ ÛÙÔ ÙÂÏÂ˘Ù·›Ô ÙÔ˘ ÂÁ¯Â›ÚËÌ·, «∏ ÛÎfiÓË
ÙÔ˘ ¯ÚfiÓÔ˘», Ì·˙› Ì ÙÔÓ Willem Dafoe, ÙËÓ Irène Jacob
Î·È ÙÔÓ Michel Piccoli.
might explain the director’s international popularity as well
as the domestic skepticism. Aggelopoulos once stated:
“Within a long take there is a recording of time, not only as
an abstract definition, not only as a passage, but also as
duration; with commas and not with full stops. There is a
musicality in the long take, which is appreciated in a
·ÚfiÙÈ ¯ÒÚ˜, fiˆ˜ Ë π·ˆÓ›·, ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È Û’ ÂΛ-
Ó˜ Ì ÙÔ˘˜ ÈÔ Ê·Ó·ÙÈÎÔ‡˜ ı·˘Ì·ÛÙ¤˜ ÙÔ˘, ÛÙËÓ ∂ÏÏ¿‰·
Ô £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ·Ú·Ì¤ÓÂÈ fiÏ· ·˘Ù¿ Ù· ¯ÚfiÓÈ·
ÌÈ· ·ÌÊÈÏÂÁfiÌÂÓË ÚÔÛˆÈÎfiÙËÙ·, ›Ûˆ˜ ÂÂȉ‹ ›ӷÈ
ÙfiÛÔ ÂÈÙ˘¯Ë̤ÓÔ˜, ÂÚÈÛÛfiÙÂÚÔ ·fi ÔÔÈÔÓ‰‹ÔÙÂ
¿ÏÏÔÓ Û˘Ó¿‰ÂÏÊfi ÙÔ˘ Ô˘ ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È ÛÙË ¯ÒÚ·
Ì·˜. √È ·ÏÈfiÙÂÚÔÈ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ÂÚÙÈÌË̤ÓÔ, ÔÈ ÓÂfiÙÂ-
ÚÔÈ ÙÔÓ Î·ÙËÁÔÚÔ‡Ó ÁÈ· Û˘ÁÎÂÓÙÚˆÙÈÛÌfi, ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ
ı·٤˜ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ÂÍÂ˙ËÙË̤ÓÔ Î·È ÁÂÓÈÎÒ˜ fiÏÔÈ ¤¯Ô˘Ó
Ó· ÚÔ‚¿ÏÔ˘Ó ÙË ‰È΋ ÙÔ˘˜ ¤ÓÛÙ·ÛË.
√ ÌÂÏÈÛÛÔÎfiÌÔ˜ / The Beekeeper
034
∆Ô ÏÈ‚¿‰È Ô˘ ‰·ÎÚ‡˙ÂÈ / The Weeping Meadow
√ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ·Ó‹ÎÂÈ Û ÌÈ· ÁÂÓÈ¿ ÛÎËÓÔıÂ-
ÙÒÓ Ô˘ ¤Ú¯ÔÓÙ·È ·fi ÙÔ ·ÚÂÏıfiÓ Î·È Ô˘, ÔÏÏÔ›
ÈÛÙÂ‡Ô˘Ó fiÙÈ ·Ú·Ì¤ÓÔ˘Ó ÚÔÛÎÔÏÏË̤ÓÔÈ ÛÙÔ ·ÚÂÏıfiÓ,
ÂÈ̤ÓÔÓÙ·˜ ÛÙËÓ È‰ÈfiÙ˘Ë ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÙÔ˘˜
Ù·˘ÙfiÙËÙ·, ·ÔʇÁÔÓÙ·˜ ·ÔÎÏ›ÛÂȘ Î·È ÂÈÚ·Ì·ÙÈ-
ÛÌÔ‡˜. £Â·Ù¤˜ ÙˆÓ ÓÂfiÙÂÚˆÓ ÁÂÓÂÒÓ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ÂÚ-
‚ÔÏÈο ·Ê·ÈÚÂÙÈÎfi, ÊÔÚو̤ÓÔ Û˘Ì‚ÔÏÈÛÌÔ‡˜ Î·È ÈÛÙÔÚÈ-
Τ˜ ·Ó·ÊÔÚ¤˜ Ô˘ Â›Ó·È ‰‡ÛÎÔÏÔ Ó· ·ÔΈ‰ÈÎÔÔÈËıÔ‡Ó,
‚Ï¤Ô˘Ó ÙË ÛÙˆÈÎfiÙËÙ· Ù˘ οÌÂÚ·˜ ˆ˜ ·‰ÈηÈÔÏfiÁËÙË
Óˆ¯ÂÏÈÎfiÙËÙ· Î·È Ù¤ÏÔ˜ ¿ÓÙˆÓ ÓÈÒıÔ˘Ó fiÙÈ ÂÈÎÔÈÓˆ-
ÓÔ‡Ó Â˘ÎÔÏfiÙÂÚ· Ì ÙÔ ÛÈÓÂÌ¿ ÓÂfiÙÂÚˆÓ ‰ËÌÈÔ˘ÚÁÒÓ, Ô˘
¯ÚËÛÈÌÔÔÈÔ‡Ó ·ÌÂÛfiÙÂÚË - ·Ó Î·È fi¯È ·Ó·ÁηÛÙÈο ÈÔ
‡ÎÔÏË - ÁÏÒÛÛ·. ÚfiÎÂÈÙ·È, fï˜, ÁÈ· ‰ËÌÈÔ˘ÚÁÈÎfi
Ù¤ÏÌ· ÙÔ˘ ÛÎËÓÔı¤ÙË ‹ ÁÈ· ·‰˘Ó·Ì›· ÙˆÓ ı·ÙÒÓ Ó· ÂÈ-
ÎÔÈÓˆÓ‹ÛÔ˘Ó Ì’ ¤Ó·Ó ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Ô˘ ·ÚÓÂ›Ù·È Ó·
Û˘ÌÌÔÚʈı› Ì ÙÔ˘˜ ηıÈÂڈ̤ÓÔ˘˜ ÔÙÈÎÔ‡˜ ÎÒ‰ÈΘ
Ù˘ ÛËÌÂÚÈÓ‹˜ ÂÔ¯‹˜;
∏ ·Ï‹ıÂÈ·, fiˆ˜ ¿ÓÙ·, ›Ûˆ˜ ‚Ú›ÛÎÂÙ·È Î¿Ô˘ ÛÙË Ì¤ÛË
Î·È ›Ûˆ˜ ÂÍËÁ› ÙfiÛÔ ÙË ‰ÈÂıÓ‹ ÙÔ˘ ·‹¯ËÛË fiÛÔ Î·È ÙÔÓ
ÂÁ¯ÒÚÈÔ ÛÎÂÙÈÎÈÛÌfi. √ ›‰ÈÔ˜ ÂÈÛËÌ·›ÓÂÈ fiÙÈ “̤۷ ÛÂ
¤Ó· ÌÔÓÔÏ¿ÓÔ ˘¿Ú¯ÂÈ ÌÈ· ÂÁÁÚ·Ê‹ ÙÔ˘ ¯ÚfiÓÔ˘, fi¯È
ÌfiÓÔ ˆ˜ ·ÊËÚË̤ÓË ¤ÓÓÔÈ·, ˆ˜ ¤Ú·ÛÌ·, ·ÏÏ¿ Î·È ˆ˜
‰È¿ÚÎÂÈ·. ªÂ ÎfiÌÌ·Ù· Î·È fi¯È Ì ÙÂÏ›˜. À¿Ú¯ÂÈ ÌÈ·
ÌÔ˘ÛÈÎfiÙËÙ· ÛÙÔ ÌÔÓÔÏ¿ÓÔ, Ë ÔÔ›· ÎÂÚ‰›˙ÂÙ·È ‰È·ÊÔ-
ÚÂÙÈο. ∑ԇ̠ÌÈ· ÂÔ¯‹, fi¯È ÌfiÓÔ ÙÒÚ·, ·ÏÏ¿ ·fi ¿Ú·
ÔÏÏ¿ ¯ÚfiÓÈ·, fiÔ˘ Î·È Ë ÌÔ˘ÛÈ΋ ¤¯ÂÈ Á›ÓÂÈ È· ÂÚÈÛ-
ÛfiÙÂÚÔ ÎÔÊÙ‹, ÔÈ ÌÂÁ¿Ï˜ ÌÔ˘ÛÈΤ˜ ÊÚ¿ÛÂȘ ¤¯Ô˘Ó ηٷÚ-
ÁËı›, ·ÏÏ¿ Î·È ÛÙË ÏÔÁÔÙ¯ӛ· Ù· Ú¿ÁÌ·Ù· Á›ÓÔÓÙ·È ÈÔ
Û˘ÓÙÔÌÂ˘Ì¤Ó·. ¢ÂÓ ˘¿Ú¯Ô˘Ó È· ÔÈ ÚÔ˘ÛÙ Ô‡Ù ÔÈ
ºÒÎÓÂÚ. fï˜, ·Ó Ô ‰ËÌÈÔ˘ÚÁfi˜ ÂÈ fiÙÈ ÌÈ· Î·È ÙÔ Ú‡̷
different way. We live in a time, for many years now, where
even music has become shorter and the long music
“phrases” have been abolished; even in literature, things
become shorter and shorter. There is no more Proust or
Faulkner. However, if the artist decides to follow the flow
no matter where it takes him, he has already denied his
personal route, which is crucial not just for his work, but
above all to himself. When he tries to change it and change
does not occur due to a personal necessity, this is a kind of
betrayal, also visible to the spectator”.
The denial of Theodoros Aggelopoulos to compromise with
the widely used conventional methods of cinema narrative
is a legitimate choice of his; and even though this choice
makes him “inaccessible” to a large number of viewers that
feel more comfortable with conventional narratives, it still
allows him to exhibit a quite special and exciting personal
point of view. This does not mean that all his movies are of
the same value just because of his recurrent cinematic style,
but this is true for every film director, no matter their style,
status or filmography. The debate over the cinematic style
of Aggelopoulos is ongoing, and issues around his recurrent
motifs, such as the beautiful image composition, the
functionality of rhythms, the disruptive plots, the lucidity of
time, the weight of his historical commentary, the artistic
shots, the persistence on the detail and the poetic dialogues
will continue to be raised.
Despite the various opinions on his art, it is still certain that
Theodoros Aggelopoulos has developed an innately
personal style, unique in the Greek film industry,
MINOAN WAVE >>

£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ / Theodoros Aggelopoulos
demanding and full of meanings, with which he has
managed to visualize sensitive sides of Greek
history and of the human character with a unique
introspective sentiment. The films of Aggelopoulos
are a melancholic gaze in the history of Greece,
capturing the mourning of people over their lost
opportunities and dreams, the failure of the utopia,
the disharmony of human nature. Theodoros
Aggelopoulos is a director who did not stop on the
simple representation of history, but also attempted
to reflect on it in a poetic manner. In this respect he
has succeeded, charming generations of cinema
lovers with his films that brought him into the front
stage of international festivals, film tributes and
discussions. In this way, the films of Theodoros
Aggelopoulos have become an indelible part of the
Greek cinema heritage.
036
∆·Í›‰È ÛÙ· ∫‡ıËÚ· / Voyage to Cythera
¿ÂÈ ÚÔ˜ Ù· ÂΛ ÂÁÒ ·ÎÔÏÔ˘ıÒ, ¤¯ÂÈ ‹‰Ë ηٷÚÁ‹ÛÂÈ ÙËÓ ÂÛˆÙÂÚÈ΋ ÙÔ˘ ‰È·-
‰ÚÔÌ‹, Ë ÔÔ›· Â›Ó·È ÙfiÛÔ ‰Â̤ÓË fi¯È ÌfiÓÔ Ì ÙÔ ¤ÚÁÔ ÙÔ˘, ·ÏÏ¿ Î·È Ì ÙÔÓ
›‰ÈÔ. ŸÙ·Ó ÚÔÛ·ı‹ÛÂÈ Ó· ÙËÓ ·ÏÏ¿ÍÂÈ Î·È Ë ·ÏÏ·Á‹ ‰ÂÓ ÚÔ·„ÂÈ ·fi ÌÈ·
ÂÛˆÙÂÚÈ΋ ·Ó¿ÁÎË, ÙfiÙ ˘¿Ú¯ÂÈ ¤Ó· ›‰Ô˜ ÚÔ‰ÔÛ›·˜, Ë ÔÔ›· ÛËÌ·‰Â‡ÂÙ·È
ÎÈ ·’ ÙÔÓ ı·ً».
∏ ¿ÚÓËÛË ÙÔ˘ £fi‰ˆÚÔ˘ ∞ÁÁÂÏfiÔ˘ÏÔ˘ Ó· Û˘Ì‚È‚·ÛÙ› Ì ÙȘ Û¯ÂÙÈο ÁÓˆ-
ÛÙ¤˜ Î·È Û˘Ì‚·ÙÈΤ˜ ÌÂıfi‰Ô˘˜ ·ÊËÁËÌ·ÙÈ΋˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛ˘, Â›Ó·È ÌÈ·
·Ôχو˜ ıÂÌÈÙ‹, ÏÂÈÙÔ˘ÚÁÈ΋ ÂÈÏÔÁ‹ Ô˘, ·ÊÂÓfi˜ οÓÂÈ ÙËÓ ÔÙÈ΋ ÙÔ˘ ȉÈ-
·›ÙÂÚË Î·È Û˘Ó·Ú·ÛÙÈ΋, ·ÊÂÙ¤ÚÔ˘ ÙÔÓ ¤¯ÂÈ ·ÔÍÂÓÒÛÂÈ ·fi ÌÈ· ÌÂÁ¿ÏË
ÌÂÚ›‰· ÙÔ˘ ÎÔÈÓÔ‡, Ô˘ ÌÂÁ¿ÏˆÛ Ì Ôχ ÈÔ ÚÔÛÈÙ¿ ›‰Ë ÂÍÈÛÙfiÚËÛ˘,
fiˆ˜ ÙËÓ ÎˆÌˆ‰›· Î·È ÙÔ ‰Ú¿Ì·, Î·È Û˘Ó¯›˙ÂÈ Ó· ·Ó·˙ËÙ¿ ·ÔÎÏÂÈÛÙÈο
·˘Ù¿. ∞˘Ùfi ‰Â ÛËÌ·›ÓÂÈ, ‚¤‚·È·, fiÙÈ fiϘ ÔÈ Ù·Èӛ˜ ÙÔ˘ £fi‰ˆÚÔ˘
∞ÁÁÂÏfiÔ˘ÏÔ˘ Â›Ó·È ÙÔ ›‰ÈÔ ·ÍÈfiÏÔÁ˜ ·Ï¿ Î·È ÌfiÓÔ ÂÍ·ÈÙ›·˜ Ù˘ ȉÈÔÌÔÚ-
Ê›·˜ ÙÔ˘ ‡ÊÔ˘˜ ÙÔ˘, ·ÏÏ¿ ·˘Ùfi ¿ÏÈ ÈÛ¯‡ÂÈ ÁÈ· οı ÛÎËÓÔı¤Ù˘ ·ÓÂÍ¿ÚÙËÙ·
·fi ÙÔ ‡ÊÔ˜, ÙÔ Î‡ÚÔ˜ ‹ ÙËÓ ¤ÎÙ·ÛË Ù˘ ÊÈÏÌÔÁÚ·Ê›·˜ ÙÔ˘.
∆Ô ·Ó Î·È fiÛÔ Û˘¯Ó¿ ·ӷϷ̂¿ÓÂÙ·È ıÂÌ·ÙÔÏÔÁÈο Ë ÔÌÔÚÊÈ¿ ÙˆÓ Û˘Óı¤ÛˆÓ,
Ë ÏÂÈÙÔ˘ÚÁÈÎfiÙËÙ· ÙˆÓ Ú˘ıÌÒÓ, Ë ‰˘Û·Ó·ÏÔÁ›· ÂÈηÛÙÈÎfiÙËÙ·˜ ηÈ
ÏÔ΋˜, Ë ¯ÚÔÓÈfiÙËÙ· Î·È Ë ÈÛÙÔÚÈÎfiÙËÙ· ÙˆÓ ·ÊËÁ‹ÛˆÓ, Ë ‰ÂÍÈÔÙ¯ӛ· ÙˆÓ
Ï¿ÓˆÓ, ÏÂÙÔ̤ÚÂȘ, fiˆ˜ ÙÔ ÓÙÔ˘ÌÏ¿ÚÈÛÌ·, Ë ·ÊËÁËÌ·ÙÈ΋ ˘ÎÓfiÙËÙ·,
Ë Â˘ÛÙÔ¯›· ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ Û¯ÔÏÈ·ÛÌÔ‡, Ë ÂÚÈÛÙ·Ûȷ΋ ·ÛÙÔ¯›· ÙˆÓ ‰È·Ïfi-
ÁˆÓ, Â›Ó·È ÌfiÓÔ ÌÂÚÈο ·fi Ù· ˙ËÙ‹Ì·Ù· Ô˘ ı· ÌÔÚÔ‡Û ӷ ı›ÍÂÈ Î·Ó›˜,
ÂȉÔÎÈÌ¿˙ÔÓÙ·˜ ‹ ·Ô‰ÔÎÈÌ¿˙ÔÓÙ·˜ ÙËÓ ·Ó·ÌÊÈÛ‚‹ÙËÙË Ù¯ÓÈ΋ ÂȉÂÍÈfiÙË-
Ù· ÌÂ ÙËÓ ÔÔ›· ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È.
∞ÓÂÍ¿ÚÙËÙ· ·fi ÙȘ ··ÓÙ‹ÛÂȘ Ô˘ ı· ¤‰ÈÓ ηÓ›˜ ÛÙ· ·Ú·¿Óˆ ˙ËÙ‹Ì·-
Ù·, ·Ú·Ì¤ÓÂÈ ÁÂÁÔÓfi˜ fiÙÈ Ô £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ηÏÏȤÚÁËÛ ¤Ó· ÚÔ-
ÛˆÈÎfi ‰ËÌÈÔ˘ÚÁÈÎfi ‡ÊÔ˜, ÌÔÓ·‰ÈÎfi ÛÙÔÓ ÂÏÏËÓÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ, ··ÈÙË-
ÙÈÎfi, ·ÏÏ¿ ÓÔËÌ·ÙÈο ˘ÎÓfi Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈο Û˘Ó·Ú·ÛÙÈÎfi, Ì ÙÔ
ÔÔ›Ô Î·Ù¿ÊÂÚ Ӓ ·ÂÈÎÔÓ›ÛÂÈ Ï¢ڤ˜ Ù˘ ÂÏÏËÓÈ΋˜ ÈÛÙÔÚ›·˜ Î·È ÙÔ˘
·ÓıÚÒÈÓÔ˘ ¯·Ú·ÎÙ‹Ú· Ì ÛÙÔ¯·ÛÙÈÎfiÙËÙ·, ¢ı‡ÙËÙ· Î·È Â˘·ÈÛıËÛ›·, ‰È·ÙË-
ÚÒÓÙ·˜ ÙËÓ Î·ÏÏÈÙ¯ÓÈ΋ ÙÔ˘ ·ÎÂÚ·ÈfiÙËÙ·. ªÈ· ÌÂÏ·Á¯ÔÏÈ΋ ÂÓ·Ù¤ÓÈÛË ÛÙËÓ
∂ÏÏ¿‰· Î·È ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ù˘ Ô˘ ıÚËÓ› ÙËÓ ·ÒÏÂÈ· ¯·Ì¤ÓˆÓ ¢ηÈ-
ÚÈÒÓ, ÙËÓ ·ÔÙ˘¯›· Ù˘ Ô˘ÙÔ›·˜, ÙËÓ ÂÁÁÂÓ‹ ‰˘Û·ÚÌÔÓ›· ÙÔ˘ ·ÓıÚÒÈÓÔ˘
¯·Ú·ÎÙ‹Ú·. ŒÓ·˜ ÛÎËÓÔı¤Ù˘ Ô˘ ‰ÂÓ ·ÚΤÛÙËΠӒ ·ÂÈÎÔÓ›ÛÂÈ ÙËÓ ÈÛÙÔÚ›·,
·ÏÏ¿ ·ÔÂÈÚ¿ıËΠӷ ÊÈÏÔÛÔÊ‹ÛÂÈ ÁÈ’ ·˘Ù‹, fi¯È ‰ÔÎÈÌȷο, ·ÏÏ¿ ÔÈËÙÈο.
∆· ηٿÊÂÚ ÁÔËÙ‡ÔÓÙ·˜ ÁÂÓȤ˜ ÎÈÓËÌ·ÙÔÁÚ·ÊfiÊÈÏˆÓ Ì ٷÈӛ˜ Ô˘ ·Ú·-
̤ÓÔ˘Ó ÛÙÔ Â›ÎÂÓÙÚÔ ·ÊÈÂÚˆÌ¿ÙˆÓ Î·È Û˘˙ËÙ‹ÛÂˆÓ ·Ó¿ ÙÔÓ ÎfiÛÌÔ, ÌÂٷʤ-
ÚÔÓÙ·˜ ¤ÙÛÈ ¤Ó· ·fi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ÎÂÊ¿Ï·È· Ù˘ ÂÏÏËÓÈ΋˜ ÎÈÓËÌ·ÙÔ-
ÁÚ·ÊÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜.
ºπ§ª√°ƒ∞ºπ∞
«∂ÎÔÌ‹» (ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜, 1968)
«∞Ó··Ú¿ÛÙ·ÛË» (1970)
«ª¤Ú˜ ÙÔ˘ ’36» (1972)
«√ ı›·ÛÔ˜» (1975)
«√È Î˘ÓËÁÔ›» (1977)
«√ ªÂÁ·Ï¤Í·ÓÙÚÔ˜» (1980)
«∆·Í›‰È ÛÙ· ∫‡ıËÚ·» (1984)
«√ ÌÂÏÈÛÛÔÎfiÌÔ˜» (1986)
«∆Ô›Ô ÛÙËÓ ÔÌ›¯ÏË» (1988)
«∆Ô ÌÂÙ¤ˆÚÔ ‚‹Ì· ÙÔ˘ ÂÏ·ÚÁÔ‡» (1991)
«∆Ô ‚ϤÌÌ· ÙÔ˘ √‰˘ÛÛ¤·» (1995)
«Lumière et compagnie» (ÛÔÓ‰˘ÏˆÙfi, 1995)
«ªÈ· ·ÈˆÓÈfiÙËÙ· Î·È ÌÈ· ̤ڷ» (ÃÚ˘Ûfi˜
ºÔ›ÓÈη˜ ÛÙÔ ÊÂÛÙÈ‚¿Ï ∫·ÓÒÓ, 1998)
«∆ÚÈÏÔÁ›·: ∆Ô ÏÈ‚¿‰È Ô˘ ‰·ÎÚ‡˙ÂÈ» (2004)
«Chacun son cinéma ou Ce petit coup au coeur
quand la lumière s'éteint et que le film
commence» (ÛÔÓ‰˘ÏˆÙfi, 2007)
«∏ ÛÎfiÓË ÙÔ˘ ¯ÚfiÓÔ˘» (2008)
Filmography
“Broadcast” (short film, 1968)
“Reconstruction” (1970)
“Days of 36” (1972)
“The Travelling Players” (1975)
“The Hunters” (1977)
“Alexander the Great (“Megalexandros”) (1980)
“Voyage to Cythera” (1984)
“The Beekeeper” (1986)
“Landscape in the Mist” (1988)
“The Suspended Step of the Stork” (1991)
“Ulysses’ Gaze” (1995)
“Lumière et compagnie” (anthology, 1995)
“Eternity and a day” (awarded with the Palme
d’Or in the Cannes, 1998)
“Trilogy: The Weeping Meadow” (2004)
«Chacun son cinéma ou Ce petit coup au coeur
quand la lumière s'éteint et que le film
commence» (anthology, 2007)
“Dust of Time” (2008
MINOAN WAVE ñ

∂ÈÛÎÂÊÙ›Ù ÙÔ
ÂÚÁ·ÛÙ‹ÚÈÔ Á˘·ÏÈÔ‡ ÛÙ·
∞ÓÒÁÂÈ· ª˘ÏÔÔÙ¿ÌÔ˘
Î·È ÁÓˆÚ›ÛÙ ·fi ÎÔÓÙ¿
ÙËÓ Ì·Á›· ÙÔ˘ Ê˘ÛËÙÔ‡
Á˘·ÏÈÔ‡. ∂Λ ÔÈ
ηÏÏÈÙ¤¯Ó˜ ª¿ÚÈÔ˜
÷ÏÎÈ·‰¿Î˘ ηÈ
¡·Ù¿ÛÛ·
··‰ÔÁ·Ì‚Ú¿ÎË ı·
Û·˜ Ì˘‹ÛÔ˘Ó ÛÙ·
Ì˘ÛÙÈο Ù˘ ·Ú¯·›·˜
·˘Ù‹˜ Ù¯ÓÈ΋˜ Î·È ı·
‰Â›Ù ÙËÓ Î·˘Ù‹ Ì¿˙·
ÙÔ˘ Á˘·ÏÈÔ‡ Ó· ·›ÚÓÂÈ
¯ÚÒÌ· Î·È Û¯‹Ì· Î·È Ó·
ÌÂÙ·ÌÔÚÊÒÓÂÙ·È ÛÂ
¤ÚÁÔ Ù¤¯Ó˘.
Once in Crete, visit
the Glass Workshop at
the mountainous village
of Anoghia
(Mylopotamos) and
discover the magic of
blown glass. Artists
Marios Chalkiadakis
and Natassa
Papadogamvraki will
initiate you into the
secrets of this ancient
technique, showing
how the hotglass
takes shape and color
and is transformed
into an art object.
∆Ô ÂÚÁ·ÛÙ‹ÚÈÔ ÏÂÈÙÔ˘ÚÁ›
·fi ¢Â˘Ù¤Ú· ¤ˆ˜ ·Ú·Û΢‹ 11.00 - 15.00
The Glass Workshop is open
from Monday to Friday 11.00 - 15.00.

Santorini
À¿Ú¯Ô˘Ó ÔÏÏ¿ Ú¿ÁÌ·Ù· Ô˘ ÌÔÚ›˜ Ó· ÛÎÂÊÙ›˜ ÁÈ· ÙË ·ÓÙÔÚ›ÓË Î·È Ó· ÛÂ
οÓÔ˘Ó Ó· ·Ó·ÚÈÁ‹ÛÂȘ ·fi ¢¯·Ú›ÛÙËÛË. ∆ËÓ √›·, Ù· ºËÚ¿, ÙÔ ËÊ·›ÛÙÂÈÔ, ÙË ı¿Ï·ÛÛ·,
Ù· ËÏÈÔ‚·ÛÈϤ̷ٷ, ÙÔ Ê·ÁËÙfi, ÙȘ ÏÈ·ÛÙ¤˜ ÓÙÔÌ¿Ù˜, ÙË Ê¿‚·… ∞˘Ùfi Ô˘ ¤¯ÂÈ, fï˜,
ÎÂÚ‰›ÛÂÈ ÙËÓ Î·Ú‰È¿ Ì·˜ ÔÏfiÙÂÏ·, Â‰Ò Î·È ¯ÚfiÓÈ·, Â›Ó·È ÙÔ ÎÚ·Û› Ù˘.
ªÂ ¤Ó·Ó ·fi ÙÔ˘˜ ÌÈÎÚfiÙÂÚÔ˘˜ ·ÌÂÏÒÓ˜ √ÓÔÌ·Û›·˜ ÚÔ¤Ï¢Û˘ ÛÙËÓ ∂ÏÏ¿‰·, Ë
·ÓÙÔÚ›ÓË ¤¯ÂÈ Î·Ù·Ê¤ÚÂÈ Ó· ÎÂÚ‰›ÛÂÈ ÙȘ ÂÓÙ˘ÒÛÂȘ, Î·È Ì·˙› Ì’ ·˘Ù¤˜ Î·È ÔÏÏ¿ ‚Ú·-
‚›· Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·. ÙÔÓ ÚfiÛÊ·ÙÔ ‰È·ÁˆÓÈÛÌfi Ô›ÓÔ˘, ÙÔÓ 9Ô ¢ÈÂıÓ‹ ¢È·ÁˆÓÈÛÌfi
√›ÓÔ˘ £ÂÛÛ·ÏÔӛ΢, Ù· ÎÚ·ÛÈ¿ Ù˘ ·¤Û·Û·Ó ÙÔ ÌÔÓ·‰ÈÎfi ªÂÁ¿ÏÔ ÃÚ˘Ûfi ‚Ú·‚›Ô,
6 ÃÚ˘Û¿ Î·È 8 ∞ÚÁ˘Ú¿. ∫·ıfiÏÔ˘ ¿Û¯ËÌ· ÁÈ· ¤Ó· ÙfiÛÔ ÌÈÎÚfi ·ÌÂÏÒÓ·!
038
The name “Santorini” can bring several pleasant and beautiful things in mind: Oia, Phera,
the volcano, the sea, the sun sets, the sun-dried tomatoes, yellow peas… However, what
has actually won over our hearts for many years now, is Santorini’s wine.
Santorini has managed to win several awards during the last few years, despite having one
of the smallest Protected Designation of Origin (PDO) vineyards of Greece. During the
recent international wine competition of Thessaloniki, Santorini’s wines were awarded the
only Great golden award, 6 gold and 8 silver medals. Not bad at all for such a small
vineyard.
Ù˘ ÔÈÓÔÏfiÁÔ˘ ¢ÚÔ˜ ª·ÚÔ‡Û·˜ ∆Û·¯¿ÎË
by oenologist Dr Maroussa Tsachaki
H
·ÓÙÔÚ›ÓË ‚Ú›ÛÎÂÙ·È ÛÙȘ
∫˘ÎÏ¿‰Â˜, ÛÙÔ ÓfiÙÈÔ ∞ÈÁ·›Ô.
¢ËÌÈÔ˘ÚÁ‹ıËÎÂ, fiˆ˜ ÙËÓ Í¤ÚÔ˘-
Ì ۋÌÂÚ·, ·fi ÙËÓ ¤ÎÚËÍË ÙÔ˘
ËÊ·ÈÛÙ›Ԣ, Á‡Úˆ ÛÙ· 1600 .Ã.,
ÌÈ· ¤ÎÚËÍË Ô˘ η٤ÛÙÚ„ ÙÔ
ªÈÓˆÈÎfi ÔÏÈÙÈÛÌfi Ù˘ £‹Ú·˜
(·ÓÙÔÚ›Ó˘) Î·È Èı·Ófiٷٷ ηÈ
Ù˘ ÎÔÓÙÈÓ‹˜ ∫Ú‹Ù˘. ∆Ô ·Ì¤ÏÈ
ηÏÏÈÂÚÁÔ‡Ù·Ó ÂΛ, fiˆ˜ Ì·ÚÙ˘-
ÚÔ‡Ó Ù· Â˘Ú‹Ì·Ù· ÙˆÓ ·Ó·Ûη-
ÊÒÓ ÛÙÔ ∞ÎÚˆÙ‹ÚÈ, ·fi ÙÔÓ 17Ô
·ÈÒÓ· .Ã.
Santorini is located in the Cyclades, in the southern Aegean
Sea. The island took its shape after the violent eruption of its
volcano, circa 1600 B.C. This eruption was what destroyed
the Minoan Civilization of Thera (Santorini) and probably
also the Civilization in Crete. The excavations in the
Akrotiri area have shown that vineyards existed in the island
at least since the 17th century B.C.
Vineyards were amongst the very few plants that could
survive and actually flourish, in the harsh environment of the
island. This is why, when it was occupied by the Ottomans,
sometime during the 16th century A.D., vineyard cultivation
was not banned, as it was the only source of income for the
occupiers.
∞Ó¿ ÙÔ˘˜ ·ÈÒÓ˜ ÙÔ ·Ì¤ÏÈ ‹Ù·Ó
·fi ÙȘ ÌÔÓ·‰ÈΤ˜ ηÏÏȤÚÁÂȘ
Ô˘ ¢‰ÔÎÈÌÔ‡Û·Ó ÛÙÔ ÓËÛ›. ∞˘Ùfi˜ ‹Ù·Ó Î·È ¤Ó·˜ ·fi ÙÔ˘˜ ÏfiÁÔ˘˜
ÁÈ· ÙÔ˘˜ ÔÔ›Ô˘˜, fiÙ·Ó ÙÔ ÓËÛ› ÂÚÈ‹Ïı ÛÙËÓ √ıˆÌ·ÓÈ΋
∞˘ÙÔÎÚ·ÙÔÚ›·, Á‡Úˆ ÛÙÔÓ 16Ô ·ÈÒÓ· Ì.Ã., Ë Î·ÏÏȤÚÁÂÈ· Ù˘ ·Ì¤-
The volcanic soil and the harsh Cycladic climate with the
infamous Cycladic gales and the scorching sun, did not
prevent the island from producing some of the best wines in
Greece. The vineyards of Santorini are native and have not
been uprooted or replanted for centuries. Indeed, these
MINOAN WAVE >>

d’Or!

040
Santorini d’Or!
ÏÔ˘ ‰ÂÓ ··ÁÔÚ‡ÙËÎÂ, ·ÊÔ‡ ‹Ù·Ó Ë ÌÔÓ·‰È΋ ËÁ‹ ÂÛfi‰ˆÓ ÙÔ˘
ÓËÛÈÔ‡ ÁÈ· ÙÔ˘˜ ∆Ô‡ÚÎÔ˘˜.
∆Ô ËÊ·ÈÛÙÂÈÔÁÂÓ¤˜ ¤‰·ÊÔ˜ Î·È ÙÔ «ÙÚ·¯‡» ∫˘ÎÏ·‰›ÙÈÎÔ Îϛ̷,
Ì ÙÔ˘˜ ÁÓˆÛÙÔ‡˜ ‰˘Ó·ÙÔ‡˜ ∫˘ÎÏ·‰›ÙÈÎÔ˘˜ ·Ó¤ÌÔ˘˜ Î·È ÙËÓ
¤ÓÙÔÓË ËÏÈÔÊ¿-
ÓÂÈ·, ‰ÂÓ ·¤ÙÚÂ-
„·Ó ÙÔ ·Ì¤ÏÈ Ó·
·Ú¿ÁÂÈ Î¿ÔÈ·
·fi Ù· ηχÙÂÚ·
ÎÚ·ÛÈ¿ Ù˘
∂ÏÏ¿‰·˜. ÿÛ·-
›Û·, Â›Ó·È ·˘Ù¿
·ÎÚÈ‚Ò˜ Ô˘ ‰È·-
ÙËÚÔ‡Ó ¤Ó·Ó ·fi
ÙÔ˘˜ ÂÏ¿¯ÈÛÙÔ˘˜
·ÌÂÏÒÓ˜
·ÁÎÔÛÌ›ˆ˜ ÌÂ
·˘ÙfiÚÈ˙· ÎÏ‹Ì·-
Ù· Î·È ÎÚ·ÛÈ¿ ÌÂ
ÙfiÛÔ È‰È·›ÙÂÚÔ
¯·Ú·ÎÙ‹Ú·.
§fiÁˆ Ù˘ Û‡ÛÙ·-
Û˘ ÙÔ˘ ‰¿ÊÔ˘˜,
Ë Ê˘ÏÏÔÍ‹Ú·, ÙÔ
·Ú¿ÛÈÙÔ Ù˘
·Ì¤ÏÔ˘ Ô˘ η٤ÛÙÚ„ ۯ‰fiÓ fiÏÔ˘˜ ÙÔ˘˜ ·ÌÂÏÒÓ˜
·ÁÎÔÛÌ›ˆ˜ ÙÔ˘˜ ÙÂÏÂ˘Ù·›Ô˘˜ ‰‡Ô ·ÈÒÓ˜, ‰Â ÌfiÚÂÛ ӷ ÂÈ-
‚ÈÒÛÂÈ ÛÙË ·ÓÙÔÚ›ÓË Î·È Ó· ηٷÛÙÚ¤„ÂÈ Ù· ·Ì¤ÏÈ· Ù˘. °È’
·˘Ùfi Î·È Ô ·ÓÙÔÚÈÓÈfi˜ ·ÌÂÏÒÓ·˜ ·ÔÙÂÏÂ›Ù·È ·fi ·˘ÙfiÚÈ˙·
ÎÏ‹Ì·Ù·, ÂÓ ·ÓÙÈı¤ÛÂÈ Ì ÙÔ˘˜ ÂÚÈÛÛfiÙÂÚÔ˘˜ ·ÌÂÏÒÓ˜
·ÁÎÔÛÌ›ˆ˜ Ô˘ ÁÈ· Ó· ÂÈ‚ÈÒÛÔ˘Ó ¯ÚËÛÈÌÔÔÈÔ‡Ó ·ÌÂÚÈηÓÈ-
ο ˘ÔΛÌÂÓ·. (ËÌ. ∂Ì‚ÔÏÈ¿˙ÂÙ·È ‰ËÏ·‰‹ Ë ÔÈÎÈÏ›· Ù˘
ÂÚÈÔ¯‹˜ ¿Óˆ Û ·ÌÂÚÈηÓÈÎfi ÎÏ‹Ì· Î·È ¯ÚËÛÈÌÔÔÈ›ٷÈ
¤ÙÛÈ ÙÔ ÚÈ˙ÈÎfi Û‡ÛÙËÌ· ÙÔ˘ ·ÌÂÚÈηÓÈÎÔ‡ ˘ÔÎÂÈ̤ÓÔ˘ Ô˘
Â›Ó·È ·ÓıÂÎÙÈÎfi ÛÙË Ê˘ÏÏÔÍ‹Ú·)
∏ ÔÈÓÈ΋ «ÁÏÒÛÛ·» ÙÔ˘ ÓËÛÈÔ‡ Â›Ó·È ÂËÚ·Ṳ̂ÓË ·fi ÙË Î·ÙÔunique
characteristics are what give the Santorini wines
their distinctive character. Due to the soil composition,
phylloxera, the insect that destroyed a huge part of the
vineyards around the world during the past two centuries,
was not able to survive in Santorini and thus destroy its
vineyards. That is why the local vineyards are indigenous
and have not been substituted by American varieties, like
most vineyards in the world have, in order to survive
phylloxera.
(note: Elsewhere, the local varieties have been grafted on
American varieties as the roots of the latter are resistant to
√È ‰˘Ó·ÙÔ› ¿ÓÂÌÔÈ Î·È Ô ¤ÓÙÔÓÔ˜ ‹ÏÈÔ˜ ‰ËÌÈÔ‡ÚÁËÛ·Ó Î·È ¤Ó·
ȉȷ›ÙÂÚÔ ÙÚfiÔ ÎÏ·‰¤Ì·ÙÔ˜ ÛÙË ·ÓÙÔÚ›ÓË. ∞˘ÙfiÓ Ù˘ ÎÔ˘-
ÏÔ‡Ú·˜, Ù˘ "Á˘ÚÈÛÙ‹˜". ∆· ·Ì¤ÏÈ· ÌÔÈ¿˙Ô˘Ó Û·Ó ¤Ó· ηϿıÈ
‹ ÎÔÊ›ÓÈ ÌÏÂÁ̤ÓÔ ·fi ·ÌÂÏfi‚ÂÚÁ˜. ª'·˘ÙfiÓ ÙÔÓ ÙÚfiÔ ÔÈ
Ó·ÚÔ› ‚Ï·ÛÙÔ› Î·È Ù· ÛٷʇÏÈ· ·Ó·Ù‡ÛÛÔÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈ-
Îfi ÙÔ˘ "ÎÔÊÈÓÈÔ‡" Î·È ÚÔÛٷهÔÓÙ·È ·fi ÙÔ ‰˘Ó·Ùfi ·¤Ú· ηÈ
ÙËÓ ¿ÌÌÔ Ô˘ Û˘Ì·Ú·Û‡ÚÂÈ. √È ·ÌÂÏÒÓ˜ ÙÔ˘ ÓËÛÈÔ‡ ›ӷÈ
ÍËÚÈÎÔ› (‰ËÏ·‰‹ ‰ÂÓ ÔÙ›˙ÔÓÙ·È), ·›ÚÓÔ˘Ó fï˜ ÓÂÚfi ·fi ÙËÓ
˘ÁÚ·Û›· Ô˘ Ì·˙‡ÂÈ ÙÔ ËÊ·ÈÛÙÂÈÔÁÂÓ¤˜ ¤‰·ÊÔ˜ ηٿ ÙË ‰È¿Ú-
ÎÂÈ· Ù˘ Ó‡¯Ù·˜.
’ ·˘Ùfi ÙÔ ÌÔÓ·‰ÈÎfi ÔÈÎÔÛ‡ÛÙËÌ· Î·È Ì ÙÔ ∞Û‡ÚÙÈÎÔ, ÙÔ
∞ı‹ÚÈ Î·È ÙÔ ∞ˉ¿ÓÈ, ÙȘ ÙÚÂȘ Ï¢Τ˜ ÔÈÎÈϛ˜ ÙÔ˘ ÓËÛÈÔ‡, Ô
ıËÚ·˚Îfi˜ ·ÌÂÏÒÓ·˜ ·Ú¿ÁÂÈ ÏÂ˘Î¿ ÎÚ·ÛÈ¿ Û ‰È¿ÊÔÚ˜ ÂΉÔ-
¯¤˜, ÊÚ¤Ûη, ·Ï·ÈˆÌ¤Ó· Î·È ÁÏ˘Î¿. ·Ú¿ÁÂÈ Â›Û˘ Î·È ÂÚ˘ıÚ¿,
Û ÌÈÎÚfiÙÂÚË ÔÛfiÙËÙ·, ·fi ÙȘ ÔÈÎÈϛ˜ ª·Ó‰ËÏ·ÚÈ¿
Î·È ª·˘ÚÔÙÚ¿Á·ÓÔ. ºËÌ›˙ÂÙ·È Î˘Ú›ˆ˜ ÁÈ· ÙÔÓ ·ÓÙÔÚ›ÓË
√∞ (√ÓÔÌ·Û›· ÚÔ¤Ï¢Û˘ ∞ÓˆÙ¤Ú·˜ ÔÈfiÙËÙ·˜) ·fi ÙȘ
ÙÚÂȘ Ï¢Τ˜ ÔÈÎÈϛ˜ (Û˘¯Ó¿ ÙÔÓ Û˘Ó·ÓÙԇ̠ÌfiÓÔ ·fi
∞Û‡ÚÙÈÎÔ), ¤Ó· ÍËÚfi Ï¢Îfi Ô›ÓÔ Ì ·ÚÒÌ·Ù· ÂÛÂÚȉÔÂȉÒÓ,
Ôχ ηϋ Ô͇ÙËÙ· Î·È ÌÂÙ·ÏÏÈÎfiÙËÙ·. ∞fi Ù· ·Á·Ë̤ӷ ÙÔ˘
·ÓÙÔÚÈÓÈÔ‡ ·ÌÂÏÒÓ· Â›Ó·È Â›Û˘ ÙÔ ÁÏ˘Îfi Vinsanto, ·fi
ÏÈ·ÛÙ¿ ÏÂ˘Î¿ ÛٷʇÏÈ·, Ô˘ ·Ï·ÈÒÓÂÈ Û ‰Ú‡ÈÓ· ‚·Ú¤ÏÈ· ηÈ
¤¯ÂÈ ÙÂÚ¿ÛÙÈ· ‰˘Ó·ÙfiÙËÙ· ·Ú·ÌÔÓ‹˜ ÛÙË ÊÈ¿ÏË.
the phylloxera insect)
The strong winds and the scorching sun have obliged the
locals to come up with a very particular way of pruning.
The locals call it kouloura or gyristi (coil or turn). They
prune the vineyards so that they resemble a large basket
made of branches. In this way, the newly developed scions
develop in the interior of the “basket” and are protected by
the strong winds and the sand that the wind carries with it.
The island’s vineyards are xeric (anhydrous); that is, they
are not being watered, but absorb the humidity that is
collected in the volcanic soil of the island during the night.
In this unique ecosystem, the Santorini vineyards that
consist of the Asyrtiko, Atheri and Aedani varieties,
produce several white wines with an impressive assortment
of different characteristics. Santorini also produces red
wines, from the Mandelaria and Mavrotragano varieties,
but in smaller quantities. Probably the most famous
Designation of Origin of Superior Quality wine of Santorini
is made of the Asyrtiko variety; it is a dry white wine, with
citrus aromas, of good acidity and brassiness. Another very
popular and famous Santorini wine is the sweet Vinsanto,

¯‹ ÙÔ˘ ÓËÛÈÔ‡ ·fi ÙÔ˘˜ µÂÓÂÙÔ‡˜ ηٿ ÙÔÓ 13Ô ·ÈÒÓ· Ì.Ã. ·ÏÏ¿ Î·È ÙËÓ
ÂÈÚÚÔ‹ Ô˘ ·˘ÙÔ› ›¯·Ó ηٿ ÙÔÓ 14Ô Î·È 15Ô ·ÈÒÓ· Ì.Ã., fiÙ·Ó ÙÔ ÓËÛ›
·Ó‹Î ÛÙÔ ‰Ô˘Î¿ÙÔ Ù˘ ¡¿ÍÔ˘. ŒÙÛÈ ÙÔ ÏÈ·ÛÙfi ÎÚ·Û› Ù˘ ·ÓÙÔÚ›Ó˘ ÔÓÔ-
Ì¿ÛÙËΠVinsanto (Vino Santo, ÏfiÁˆ Ù˘ ÔÓÔÌ·Û›·˜ ÙÔ˘ ÓËÛÈÔ‡ Santo Erini).
∫¿Ó·‚· ϤÁÂÙ·È ÙÔ ÔÈÓÔÔÈ›Ô, vedemma ı· ÂÈ ÙÚ‡ÁÔ˜, mezzo ÙÔ ÁÏ˘Îfi
ÎÚ·Û› Ô˘ Â›Ó·È Ï›ÁÔ ÈÔ ‰˘Ó·Ùfi Û ·ÏÎÔfiÏË ·fi ÙÔ Vinsanto ·ÏÏ¿ Ì ÏÈÁfi-
ÙÂÚ· ۿί·Ú·, Î·È Û›ÁÔ˘Ú· ˘¿Ú¯Ô˘Ó ÔÏϤ˜ ¿ÏϘ ϤÍÂȘ Ô˘ ÔÈ ÓÙfiÈÔÈ
ÔÈÓÔ·Ú·ÁˆÁÔ› ÁÓˆÚ›˙Ô˘Ó Î·È ¯ÚËÛÈÌÔÔÈÔ‡Ó.
ÃÚ˘Û¤˜ √ÈÓÈΤ˜ πÛÙÔڛ˜ ∂ÈÙ˘¯›·˜
∆· ÎÚ·ÛÈ¿ ÙÔ˘ ıËÚ·˚ÎÔ‡ ·ÌÂÏÒÓ·, ·fi fiÏ· ۯ‰fiÓ Ù· ÔÈÓÔÔÈ›· ÙÔ˘
ÓËÛÈÔ‡, ÎÂÚ‰›˙Ô˘Ó Î¿ı ¯ÚfiÓÔ ÔÏÏ¿ ‚Ú·‚›· Û ‰ÈÂıÓ›˜ ‰È·ÁˆÓÈÛÌÔ‡˜. ∏
ȉȷÈÙÂÚfiÙËÙ· Î·È Ë ÔÈfiÙËÙ· ÙÔ˘ Vinsanto ‰ÈηÈÒÓÂÙ·È Û˘¯Ó¿ ÎÂÚ‰›˙ÔÓÙ·˜
ÙÔ ªÂÁ¿ÏÔ ÃÚ˘Ûfi ÛÙÔ ‰È·ÁˆÓÈÛÌfi Ô›ÓÔ˘ £ÂÛÛ·ÏÔӛ΢ ·ÏÏ¿ Î·È ÔÏÏ¿
¿ÏÏ· ‚Ú·‚›· Û ‰È·ÁˆÓÈÛÌÔ‡˜ ÂÓÙfi˜ Î·È ÂÎÙfi˜ ∂ÏÏ¿‰·˜. ∞ÓÙ›ÛÙÔȯ· Î·È Ô
ÍËÚfi˜ Ï¢Îfi˜ ·ÓÙÔÚ›ÓË √∞ Â›Ó·È ¿ÓÙ· ̤۷ ÛÙ· ÃÚ˘Û¿ ‚Ú·‚›· ÂÏÏË-
ÓÈÎÒÓ Î·È ‰ÈÂıÓÒÓ ‰È·ÁˆÓÈÛÌÒÓ, ‰›ÓÔÓÙ·˜ ¿ÓÙ· ¤Ó· ˯ËÚfi ·ÚfiÓ ÙÔ˘
΢ÎÏ·‰›ÙÈÎÔ˘ ·˘ÙÔ‡ ·ÌÂÏÒÓ·.
∂›Ó·È ·ÍÈÔÛËÌ›ˆÙÔ fiÙÈ ÙÔ ÎÚ·Û› Ù˘ ·ÓÙÔÚ›Ó˘ Â›Ó·È ¤Ó· ·fi Ù· ÈÔ ·Ó·-
ÁÓˆÚ›ÛÈÌ·, ‰ÈÂıÓÒ˜, ÂÏÏËÓÈο ÎÚ·ÛÈ¿, ·Ú’ fiÏÔ Ô˘ ÚÔ¤Ú¯ÂÙ·È ·fi ¤Ó·
ÌÈÎÚÔÛÎÔÈÎfi ·ÌÂÏÒÓ· ÙˆÓ 1400 ÂÎÙ·Ú›ˆÓ ÂÚ›Ô˘ Î·È ÙËÓ ·Ú·ÁˆÁ‹
ÌfiÓÔ ¤ÓÙÂη ÔÈÓÔÔÈ›ˆÓ (ÂÏ›˙Ô˘Ì ˆ˜ ‰ÂÓ ¤¯ÂÈ Í¯·Ûı› ηӤӷ ÛÙÔ
̤ÙÚËÌ·).
ŸÏ· Ù· ÔÈÓÔÔÈ›· Ù˘ ·ÓÙÔÚ›Ó˘ Â›Ó·È ÂÈÛΤ„ÈÌ· (οÔÈ· fï˜ ÌfiÓÔ
ηÙfiÈÓ Ú·ÓÙ‚ԇ, ÁÈ’ ·˘Ùfi Â›Ó·È ÚÔÙÈÌfiÙÂÚÔ Ó· ÙËÏÂʈӋÛÂÙ ÚÈÓ ÙËÓ
›Û΄‹ Û·˜) ÁÈ· Ó· ‰ÔÎÈÌ¿ÛÂÙ ٷ ÎÚ·ÛÈ¿ ÙÔ˘˜, Ó· ÍÂÓ·ÁËı›Ù ÛÙÔ˘˜
¯ÒÚÔ˘˜ ÙÔ˘˜ Î·È Ó· Ì¿ıÂÙ ÏÂÙÔ̤ÚÂȘ ÁÈ· ÙËÓ ·Ú·ÁˆÁÈ΋ ‰È·‰Èηۛ·,
ÙÔÓ ·ÌÂÏÒÓ· ÙÔ˘ ÓËÛÈÔ‡ Î·È Ù· «¯Ú˘Û¿» ÎÚ·ÛÈ¿ ÙÔ˘.
made from sun-dried white grapes, aged in oak barrels, that can be
preserved in bottles for a very long time.
The “wine terminology” used in the island is heavily influenced by the
Venetians that had their island under their occupation from the 13th
until the 15th century (as part of the Dukedom of Naxos). That is how
this wine took its Venetian name “Vinsanto” (Vino (wine) and Santo
(because of the name of the island, Santo Erini)). Amongst the many
Venetian words that winemakers use are the following: the winery is
called “kanava”, the vine harvest “veddema”, the sweet wine (albeit,
less sweet than the Vinsanto) that is a bit stronger in alcohol content,
is called “mezzo”.
Golden wine stories of success
The wines of Thera, from all the wineries of the island, perform
consistently well whenever they participate in international wine
competitions. The reputation and the high quality of the Vinsanto
variety is often vindicated by winning the Great Golden medal in the
wine competition in Thessaloniki, but also in many other
international competitions all over the world. In the same time, the
white dry Designation of Origin of Superior Quality wine of
Santorini is always amongst the winning wines in Greek and
international competitions.
It is worth noting that the Santorini wines are amongst the most
famous Greek wines in the international stage, despite the fact that
they are produced in a tiny vineyard of a mere 1400 hectares, divided
amongst only 11 wineries.
All the Santorini wineries are open to the public (some of them only
after telephone reservations) where one can perform wine tasting,
tour the vineyards and learn about the wine production of the island
with its “golden” wines.
MINOAN WAVE ñ

∆Ô πÙ·ÏÈÎfi ı·‡Ì·
The Italian miracle
042
·Ú¿ ÙÔÓ «ÛÎÏËÚfi» ·ÓÙ·ÁˆÓÈÛÌfi, Ô ÎÂÎÏÈ̤ÓÔ˜ ‡ÚÁÔ˜ Ù˘ ›˙·˜
ıˆÚÂ›Ù·È ÙÔ ÈÔ ‰È¿ÛËÌÔ ÂıÓÈÎfi ÌÓËÌÂ›Ô Î·È Ë ÈÔ ·ÓÙÈÚÔÛˆÂ˘ÙÈ΋
ÂÈÎfiÓ· Ù˘ πÙ·Ï›·˜ ÁÈ· ÙÔ˘˜ ÙÔ˘Ú›ÛÙ˜. √ ‡ÚÁÔ˜ ÌÔÈ¿˙ÂÈ Ó· ÓÈοÂÈ ÙÔ˘˜
ÓfiÌÔ˘˜ Ù˘ Ê˘ÛÈ΋˜, ηıÒ˜ Ï·ÓÈ¤Ù·È ÛÙÔÓ ·¤Ú· - ‰›Ï· ·fi ÙÔ
«Duomo» (¤Ó·˜ ÙÂÚ¿ÛÙÈÔ˜ ÌÂ۷ȈÓÈÎfi˜ ηı‰ÚÈÎfi˜ Ó·fi˜), ÙÔ
B·ÙÈÛÙ‹ÚÈÔ Î·È ÙÔ KÔÈÌËÙ‹ÚÈÔ (Camposanto) - ¿Óˆ ·fi ÙËÓ Ì·Á¢ÙÈ΋
«Piazza dei Miracoli» (Ï·Ù›· ÙˆÓ £·˘Ì¿ÙˆÓ). ∏ ηٷÛ΢‹
ÙÔ˘ ηı‰ÚÈÎÔ‡, ¤Ó· ı·‡Ì· ·Èı¤ÚÈ·˜ ÔÌÔÚÊÈ¿˜ ¯ÈÏ›ˆÓ ÂÙÒÓ
¯ÙÈṲ̂ÓÔ Ì ̿ÚÌ·ÚÔ Ù˘ ∫·Ú¿Ú·, ¿Ú¯ÈÛ ÙÔ 1063, ¤Ó·
ÂÚ›Ô˘ ·ÈÒÓ· ÚÈÓ ·fi ÙÔÓ ‡ÚÁÔ. ∏ «Piazza dei Miracoli»
Î·È ÔÈ ıËÛ·˘ÚÔ› Ô˘ Ê˘Ï¿ÛÛÔÓÙ·È Ì¤Û· ÛÙ· ÔÏÏ¿ ÌÓËÌ›·
Ù˘ ·ÔÙÂÏÔ‡Ó ¤Ó· ÂÍ·ÈÚÂÙÈÎfi ‰Â›ÁÌ· ÌÂ۷ȈÓÈ΋˜ Ù¤¯Ó˘ ηÈ
·Ú¯ÈÙÂÎÙÔÓÈ΋˜, fi¯È ÌfiÓÔ ÁÈ· ÙËÓ ›˙·
·ÏÏ¿ Î·È ÁÈ· ÔÏfiÎÏËÚË ÙËÓ πÙ·Ï›·.
√ ∫ÂÎÏÈ̤ÓÔ˜ ‡ÚÁÔ˜
¢Âη٤ÛÛÂÚȘ ¯ÈÏÈ¿‰Â˜ ÙfiÓÔÈ
Ï¢ÎÔ‡ Ì·ÚÌ¿ÚÔ˘, 294
ÛηÏÔ¿ÙÈ·, 56 ̤ÙÚ· ‡„Ô˜
Î·È ÌÈ· ÎÏ›ÛË 5°20’, ‹ 9.6%,
Despite the stiff competition, the Leaning Tower of Pisa is the most famous
national monument. The one that most strikes tourists as the favourite
shorthand image for the idea of Italy. The Torre appears to defy the laws of
physics and float magically - next to the duomo, baptistery and Camposanto
- on the meadowy masterpiece that is Piazza dei Miracoli. A miracle of
ethereal beauty built with the solidity of Carrara marble, nearly 1000 years
old: the cathedral was in fact begun in 1063, about a century
before the tower. Piazza dei Miracoli and the art
treasures contained within its various monuments constitute
a prime example of Romanesque art and architecture,
and not only Pisa, but Italy as whole, wouldn't
be the same without it.
The Leaning Tower
14,000 tonnes of white marble, 294 steps, 56 metres in
height and a tilt of 5°20’, or 9.6%, which means it is
about 2.3 metres out of plumb. Impressive statistics, but
they can't convey the excitement of reaching the top
after climbing the six colonnades of the Leaning Tower:
work began on the bell tower of the duomo in August
1173 and continued for around 200 years. Designed to
be straight, the tower started to lean before it was finished
when the soil subsided. A series of architects and engineers have struggled
to haul it back into the vertical. The most recent measures were adopted
in the 1990s and the tilt has been reduced to the same level as a couple
of centuries ago. The experts say it's safe, meanwhile the tower continues
to lean and to attract millions of tourists.
The Cathedral and its treasures
ln the middle of the Miracoli ensemble is the cathedral of
Santa Maria Assunta and its treasures, situated between
the austere baptistery of St John the Baptist and the
Leaning Tower. The Camposanto completes an unrivalled
quartet of medieval masterpieces, partly con-

ÙÔ ÔÔ›Ô ÛËÌ·›ÓÂÈ fiÙÈ Ô ‡ÚÁÔ˜ Â›Ó·È ÎÂÎÏÈ̤ÓÔ˜ 2.3 ̤ÙÚ·. √È ·ÚÈıÌÔ›
Â›Ó·È ÂÓÙ˘ˆÛÈ·ÎÔ›, ·ÏÏ¿ ‰Â ÛËÌ·›ÓÔ˘Ó Ù›ÔÙÂ Û˘ÁÎÚÈÓfiÌÂÓÔÈ Ì ÙËÓ
ÂÌÂÈÚ›· Ù˘ ·Ó¿‚·Û˘ ˆ˜ ÙËÓ ÎÔÚ˘Ê‹. √È ÂÚÁ·Û›Â˜ ÁÈ· ÙËÓ ·Ó¤ÁÂÚÛË ÙÔ˘
η̷ӷÚÈÔ‡ ÙÔ˘ ηı‰ÚÈÎÔ‡ Ó·Ô‡ ÍÂΛÓËÛ·Ó ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1173
Î·È Û˘Ó¯›ÛÙËÎ·Ó ÁÈ· 200 ¯ÚfiÓÈ·. ∞Ú¯Èο ۯ‰ȷṲ̂ÓÔ˜ ÁÈ· Ó· ¯ÙÈÛÙ›
οıÂÙÔ˜, Ô ‡ÚÁÔ˜ ¿Ú¯ÈÛ ӷ Á¤ÚÓÂÈ ÚÈÓ ÔÏÔÎÏËÚˆı› Ë Î·Ù·Û΢‹ ÙÔ˘
fiÙ·Ó ÙÔ ¤‰·ÊÔ˜ ˘Ô¯ÒÚËÛÂ. ª›· ÛÂÈÚ¿ ·fi ·Ú¯ÈÙ¤ÎÙÔÓ˜ Î·È Ì˯·ÓÈÎÔ‡˜
ÚÔÛ¿ıËÛ·Ó Ó· ÙÔ Â·Ó·Ê¤ÚÔ˘Ó ÛÙË Î¿ıÂÙË ı¤ÛË ÙÔ˘. ∏ ÈÔ ÚfiÛÊ·ÙË
ÚÔÛ¿ıÂÈ· ¤ÁÈÓ ÙË ‰ÂηÂÙ›· ÙÔ˘ ’90, fiÙ·Ó Ë ÎÏ›ÛË ÂÚÈÔÚ›ÛÙËΠÛÙÔ
›‰ÈÔ ÛËÌÂ›Ô Ô˘ ‚ÚÈÛÎfiÙ·Ó ÚÈÓ ·fi ÌÂÚÈÎÔ‡˜ ·ÈÒÓ˜. √È ÂȉÈÎÔ›
ÂÈ̤ÓÔ˘Ó fiÙÈ Â›Ó·È ·ÛÊ·Ï‹˜, ÂÓÒ Ô ‡ÚÁÔ˜ Û˘Ó¯›˙ÂÈ Ó· Á¤ÚÓÂÈ Î·È Ó·
ÚÔÛÂÏ·ÂÈ ÂηÙÔÌ̇ÚÈ· ÙÔ˘Ú›ÛÙ˜ οı ¯ÚfiÓÔ.
√ ∫·ı‰ÚÈÎfi˜ Î·È ÔÈ £ËÛ·˘ÚÔ› ÙÔ˘
√ ηı‰ÚÈÎfi˜ Ó·fi˜ Ù˘ «Santa Maria Assunta» Î·È ÔÈ
ıËÛ·˘ÚÔ› Ù˘ ‚Ú›ÛÎÂÙ·È ·Ó¿ÌÂÛ· ÛÙÔ
µ·ÙÈÛÙ‹ÚÈÔ ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘
µ·ÙÈÛÙ‹ Î·È ÛÙÔÓ ‡ÚÁÔ Ù˘
›˙·˜. ∆Ô ÎÔÈÌËÙ‹ÚÈÔ
Û˘ÌÏËÚÒÓÂÈ ÙËÓ
ÌÔÓ·‰È΋
structed with the profits from Pisa's Golden Age, when the city was one of
the maritime powers of the Mediterranean. The archetype of the Pisan
Romanesque style, the cathedral was begun in 1063, with a tithe from the
Balearic Island booty, and consecrated in 1118.
The duomo is art and atmosphere, with its multicoloured marble and variegated
styles and blend of Lombard-Emilia, Byzantine and Islamic cultures.
The impact of the sight
of the tower is unique,
while the baptistery will
be appreciated by the
discerning visitor.
The inside of the cathedral,
shown here, is an
interplay of crisp
black and white
marble and the
mighty granite
Corinthian
columns are
from the mosque
in Palermo, plundered after a Pisan victory in 1063.
Among the many highlights is the apse mosaic of Christ in Majesty,
flanked by the Virgin and St John the Evangelist, completed by
Cimabue in 1302. Behind the high altar are 27 paintings by the
greatest 16th and 17th century Tuscan
artists. Then there is the pulpit, pictured
in the foreground, which is a
masterpiece of 14th century
Gothic sculpture by
Giovanni Pisano, with
episodes from the life of
Christ depicted in the relief
panels. Also worth a look,
among the 17th century decoration
is the bronze crucifix on the
high altar, and the angel candelabras
on the altar of the Chapel of the
Holy Sacrament. The church houses
the relics of San Ranieri, the patron
saint of Pisa, and the tomb of the
Holy Roman Emperor Henry VII of
Luxembourg.
Il Palazzo dei Cavalieri
This was the Palazzo degli Anziani del Popolo
della Pisa Repubblicana, i.e. the town hall in the
Middle Ages, and is called the Palazzo della
Carovana dei Cavalieri (pictured), its façade
entirely covered in 16th century graffiti;
today it is the seat of the Scuola Normale
Superiore, a university founded by
Napoleon and based on the model of the
Ecole Normale Supérieure in Paris. Former
students include the poet Giosuè Carducci
and the physicist Enrico Fermi.
Piazza dei Cavalieri may have been the site
of the Roman forum and was the central civic
square of Republican Pisa. It
was converted by Cosimo I de'
Medici - there's a statue of
him dressed as the Grand
Master of the Order of the
Knights in front of the palazzo
- into the headquarters of the
new military order of the
Knights of St Stephen. The
piazza was remodelled by the
MINOAN WAVE >

∆Ô πÙ·ÏÈÎfi ı·‡Ì·
The Italian miracle

ÙÂÙÚ¿‰· ÙˆÓ ÌÂ۷ȈÓÈÎÒÓ ·ÚÈÛÙÔ˘ÚÁËÌ¿ÙˆÓ, ÂÓ
̤ÚÂÈ ÎÙÈṲ̂ÓÔ Ì ٷ ÏÔ‡ÙË Ù˘ ÃÚ˘Û‹˜ ∂Ô¯‹˜
Ù˘ ›˙·˜, fiÙ·Ó Ë fiÏË ‹Ù·Ó Ì›· ·fi ÙȘ
Ó·˘ÙÈÏȷΤ˜ ‰˘Ó¿ÌÂȘ Ù˘ ªÂÛÔÁ›Ԣ. ∆Ô
·Ú¯¤Ù˘Ô ÙÔ˘ ηı‰ÚÈÎÔ‡ Ó·Ô‡, ¯·Ú·ÎÙËÚÈÛÙÈÎfi
Ù˘ ªÂ۷ȈÓÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Ù˘ ›˙·˜,
¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ 1063 Ì ÙÔÓ ÊfiÚÔ
Ù˘ ‰ÂοÙ˘ ·fi ÙȘ µ·Ï·ڛ‰Â˜ Ó‹ÛÔ˘˜, ηÈ
ηı·ÁÈ¿ÛÙËΠÙÔ 1118.
√ ηı‰ÚÈÎfi˜ Â›Ó·È ¤Ó· ·ÚÈÛÙÔ‡ÚÁËÌ· Ù˘
Ù¤¯Ó˘, Ì ٷ Ôχ¯ÚˆÌ· Ì¿ÚÌ·Ú· ÙÔ˘ Î·È ÙȘ
ÔÏϷϤ˜ ÂÈÚÚÔ¤˜ ·fi ÙË §ÔÌ‚·Ú‰È΋ -
∂ÌÈÏÈ·Ó‹, µ˘˙·ÓÙÈÓ‹ Î·È πÛÏ·ÌÈ΋ Ù¤¯ÓË. ∆Ô
ı¤·Ì· ÙÔ˘ ‡ÚÁÔ˘ Â›Ó·È ÌÔÓ·‰ÈÎfi, ÂÓÒ ÙÔ
µ·ÙÈÛÙ‹ÚÈÔ ı· ÂÎÙÈÌËı› Î·È ·fi ÙÔÓ ÈÔ
··ÈÙËÙÈÎfi ÂÈÛΤÙË.
∆Ô ÂÛˆÙÂÚÈÎfi ÙÔ˘ ηı‰ÚÈÎÔ‡, fiˆ˜ Ê·›ÓÂÙ·È
‰Ò, ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi ÙËÓ ÂÓ·ÏÏ·Á‹ Ì·‡ÚÔ˘
Î·È Ï¢ÎÔ‡ Ì·ÚÌ¿ÚÔ˘, Î·È ÔÈ ÎÔÚÈÓıÈ·ÎÔ‡
Ú˘ıÌÔ‡ ÎÔÏÒÓ˜ ·fi ÁÚ·Ó›ÙË ÚÔ¤Ú¯ÔÓÙ·È ·fi
ÙÔ Ù¤ÌÂÓÔ˜ ÙÔ˘ ·Ï¤ÚÌÔ, ÎÂÈÌ‹ÏÈ· ÔϤÌÔ˘ ·fi
ÙË Ó›ÎË ÙÔ˘ 1063.
ª›· ·fi ÙȘ ·ÍÈfiÏÔÁ˜ ÏÂÙÔ̤ÚÂȘ ÙÔ˘
ÂÛˆÙÂÚÈÎÔ‡ Â›Ó·È ÙÔ ÌˆÛ·˚Îfi Ù˘ ·„›‰·˜ Ì ÙËÓ
ÂÈÎfiÓ· Ù˘ ·Ó·Á›·˜ Î·È ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘ ∂˘·ÁÁÂÏÈÛÙ‹, ¤ÚÁÔ Ô˘ ÔÏÔÎÏËÚÒıËΠÙÔ 1302
·fi ÙÔÓ πÙ·Ïfi ˙ˆÁÚ¿ÊÔ Cimabue. ›Ûˆ ·fi ÙËÓ ·Á›· ÙÚ¿Â˙· ‚Ú›ÛÎÔÓÙ·È 27 ˙ˆÁÚ·ÊȤ˜ ·fi
ÙÔ˘˜ ηχÙÂÚÔ˘˜ ˙ˆÁÚ¿ÊÔ˘˜ Ù˘ ∆ÔÛοÓ˘ ÙÔ˘ 16Ô˘ Î·È 17Ô˘ ·ÈÒÓ·. ªÂÙ¿ ı· ‰Â›Ù ÙÔÓ
¿Ì‚ˆÓ·, ¤Ó· ·ÚÈÛÙÔ‡ÚÁËÌ· ÁÔÙıÈ΋˜ ÁÏ˘ÙÈ΋˜ ÙÔ˘ 14Ô˘ ·ÈÒÓ·, ¤ÚÁÔ ÙÔ˘ Giovanni Pisano, Ô˘
·Ó··ÚÈÛÙ¿ ÛÎËÓ¤˜ ·fi ÙË ˙ˆ‹ ÙÔ˘ πËÛÔ‡. ÕÏϘ ·ÍÈfiÏÔÁ˜ ÏÂÙÔ̤ÚÂȘ ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ›ӷÈ
Ô ÌÚÔ‡Ù˙ÈÓÔ˜ ∂ÛÙ·˘ÚˆÌ¤ÓÔ˜ Î·È Ù· ÎËÚÔ‹ÁÈ· Ù˘ ·Á›·˜ ÙÚ¿Â˙·˜ ÛÙÔ ·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘
ª˘ÛÙËÚ›Ô˘. ∏ ÂÎÎÏËÛ›· ÛÙÂÁ¿˙ÂÈ Ù· ÎÂÈÌ‹ÏÈ· ÙÔ˘ San Ranieri, ÙÔÓ ÚÔÛÙ¿ÙË ¿ÁÈÔ Ù˘ ›˙·˜, ηÈ
ÙÔÓ Ù¿ÊÔ ÙÔ˘ ¿ÁÈÔ˘ ڈ̷›Ô˘ ·˘ÙÔÎÚ¿ÙÔÚ·, Henry VII ÙÔ˘ §Ô˘ÍÂÌ‚Ô‡ÚÁÔ˘.
∆Ô ·Ï¿ÙÈ ÙˆÓ πÔÙÒÓ (Il Palazzo dei Cavalieri)
∞˘Ùfi ‹Ù·Ó ÙÔ ‰ÈÔÈÎËÙÈÎfi ΤÓÙÚÔ Ù˘ ÌÂ۷ȈÓÈ΋˜ ÂÚÈfi‰Ô˘ Î·È ÔÓÔÌ¿˙ÂÙ·È «Palazzo della
Carovana dei Cavalieri» Î·È Ë ÚfiÛÔ„Ë ÙÔ˘ ηχÙÂÙ·È ÂÍ’ ÔÏÔÎÏ‹ÚÔ˘ ·fi ÙÔȯÔÁڷʛ˜ ÙÔ˘
16Ô˘ ·ÈÒÓ·. ‹ÌÂÚ· Â›Ó·È Ë ¤‰Ú· ÙÔ˘ «Scuola Normale Superiore», ¤Ó· ·ÓÂÈÛÙ‹ÌÈÔ Ô˘
ȉڇıËΠ·fi ÙÔÓ ¡·ÔϤÔÓÙ·. ªÂÚÈÎÔ› ‰È¿ÛËÌÔÈ ·fiÊÔÈÙÔÈ ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ Â›Ó·È Ô ÔÈËÙ‹˜
Giosuè Carducci Î·È Ô Ê˘ÛÈÎfi˜ Enrico Fermi.
∏ «Piazza dei Cavalieri» (Ï·Ù›· ÙˆÓ ÈÔÙÒÓ) Èı·ÓÒ˜ ‹Ù·Ó Î·È Ô ¯ÒÚÔ˜ Ù˘ ڈ̷˚΋˜
·ÁÔÚ¿˜ Î·È ‹Ù·Ó Ë ÎÂÓÙÚÈ΋ ‰ËÌÔÙÈ΋ Ï·Ù›· Ù˘ ¢ËÌÔÎÚ·ÙÈ΋˜ ›˙·˜. ¢È·ÌÔÚÊÒıËΠ·fi ÙÔÓ
Cosimo I de' Medici – ÙÔ˘ ÔÔ›Ô˘ ÙÔ ¿Á·ÏÌ· ‚Ú›ÛÎÂÙ·È ÌÚÔÛÙ¿ ·fi ÙÔ ·Ï¿ÙÈ - ÁÈ· Ó· ÛÙÂÁ¿ÛÂÈ
ÙËÓ ¤‰Ú· Ù˘ ÛÙÚ·ÙȈÙÈ΋˜ ‰ÈÔ›ÎËÛ˘ ÙˆÓ ÈÔÙÒÓ ÙÔ˘ ∞Á›Ô˘ ÙÂÊ¿ÓÔ˘. ∏ Ï·Ù›·
·Ó·Ï¿ÛÙËΠ·ÚÁfiÙÂÚ· ·fi ÙÔÓ ºÏˆÚÂÓÙ›ÓÔ ·Ú¯ÈÙ¤ÎÙÔÓ· Giorgio Vasari Î·È ÔÈ ÂÚÁ·Û›Â˜
¿Ú¯ÈÛ·Ó ÙÔ 1562.
√È ·Ú·ÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÙÔ˘ ÔÙ·ÌÔ‡ Arno (Lungarni):
∆¤¯ÓË Î·È æ˘¯·ÁˆÁ›·
√È ·Ú·ÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÙÔ˘ ÔÙ·ÌÔ‡ Arno (Lungarni) ¿ÓÙ· ‹Ù·Ó ÔÈ
΢ÚÈfiÙÂÚ˜ Ô‰ÈΤ˜ ·ÚÙËڛ˜ ÚÔ˜ ÙËÓ fiÏË. ∂‰Ò, ÙÔ ·ÚÂÏıfiÓ Û˘Ó·ÓÙ¿ÂÈ
ÙÔ Ì¤ÏÏÔÓ, ηıÒ˜ ÂÛÙÈ·ÙfiÚÈ·, ÌÔÓÙ¤ÚÓ˜ pubs Î·È ·ÁˆÙ·Ù˙›‰Èη
·ÚÂÏ·‡ÓÔ˘Ó ‰›Ï· ÛÙ· ÈÛÙÔÚÈο ÎÙ›ÚÈ·, ÛÙ· ÌÔ˘Û›· Î·È ÛÙȘ ÂÎÎÏËۛ˜.
√ ÔÙ·Ìfi˜ Arno, Ô˘ ¯ˆÚ›˙ÂÈ ÙËÓ ›˙· ÛÙ· ‰‡Ô, Î·È ÔÈ ·Ú·ÔÙ¿ÌÈÔÈ
‰ÚfiÌÔÈ ÙÔ˘, Â›Ó·È ·fi ÙÔ˘˜ ·Ï·ÈfiÙÂÚÔ˘˜ Ì¿ÚÙ˘Ú˜ Ù˘ ÈÛÙÔÚ›·˜ Ù˘
fiÏ˘. √ ÈÔ ‰È¿ÛËÌÔ˜ ·Ú·ÔÙ¿ÌÈÔ˜ ‰ÚfiÌÔ˜ Â›Ó·È Ô «Lungarno Mediceo»
- ·Ó¿ÌÂÛ· ÛÙÔ «Ponte di Mezzo» (ÂÈÎfiÓ·) Î·È ÙÔ «Ponte della Fortezza» –
Ô˘ ‹Ú ÙÔ fiÓÔÌ· ÙÔ˘ ·fi ÙÔ «Palazzo dè Medici», ÙËÓ Î·ÙÔÈΛ· Ù˘
ºÏˆÚÂÓÙÈ·Ó‹˜ ÔÈÎÔÁ¤ÓÂÈ·˜ Ô˘ ÙÒÚ· ÛÙÂÁ¿˙ÂÈ ÙËÓ ¡ÔÌ·Ú¯›·. ¢›Ï·
·ÎÚÈ‚Ò˜ ‚Ú›ÛÎÂÙ·È Ë ÂÎÎÏËÛ›· ÙÔ˘ ∞Á›Ô˘ ª·Ùı·›Ô˘ (San Matteo) Ô˘
ηٷÛ΢¿ÛÙËΠÙÔÓ 11Ô ·ÈÒÓ· Î·È ÙÔ ∂ıÓÈÎfi ªÔ˘ÛÂ›Ô ÙÔ˘ ∞Á›Ô˘
ª·Ùı·›Ô˘ (Museo Nazionale di San Matteo) ÌÂ ¤ÚÁ· ÙÔ˘ 14Ô˘ ·ÈÒÓ· ·fi
‰È¿ÛËÌÔ˘˜ ηÏÏÈÙ¤¯Ó˜, fiˆ˜ ÙÔ˘ Donatello, Masaccio, Beato Angelico ηÈ
ÙÔ˘ Gentile da Fabriano. ÙȘ 16 πÔ˘Ó›Ô˘, ÙË Ì¤Ú· Ô˘ ÁÈÔÚÙ¿˙ÂÙ·È Ô
ÚÔÛÙ¿Ù˘ ¿ÁÈÔ˜ Ù˘ fiÏ˘, ÔÈ ·Ú·ÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÊˆÙ›˙ÔÓÙ·È ÌÂ
·Ó·Ì̤ÓÔ˘˜ ˘ÚÛÔ‡˜ ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï «Luminara di San Ranieri», Ì›· ÂÓÙ˘ˆÛȷ΋ ÁÈÔÚÙ‹ ÛÙÔ
ÈÛÙÔÚÈÎfi ÔÙ¿ÌÈ Ù˘ fiÏ˘.
Florentine architect Giorgio Vasari; rebuilding
began in 1562.
Lungarni, Art and Entertainment
The Lungarni have always been major thoroughfares
for the city. Here, the contamination between
past and present is readily apparent with ancient
palazzi, museums and churches rubbing shoulders
with pubs, restaurants and ice cream shops. The
Arno, which splits Pisa in two, and the Lungarni
streets facing each other on opposite banks of the
river, bear witness to the city's history.
The most well-known is Lungarno Mediceo -
between the Ponte di Mezzo (pictured) and the
Ponte della Fortezza - named after Palazzo dè
Medici, the Pisan residence of the Florentine family
which now houses the Prefecture; next to it is the
11th century church of San Matteo in Soarta and the
Museo Nazionale di San Matteo with 14th century
works by - among others - Donatello, Masaccio,
Beato Angelico and Gentile da Fabriano. On 16
June, the local patron saint's day, the Lungarni are
lit up by blazing torches for the Luminara di San
Ranieri, a celebration like no other.
MINOAN WAVE ñ

∏ ˘Á›· ÛÙ· ¿ÎÚ·
∆· fi‰È· Ì·˜ ٷϷȈÚÔ‡ÓÙ·È Û˘¯Ó¿ ·fi ‰È¿ÊÔÚ˜ ·ı‹ÛÂȘ, Ô˘ Ó·È ÌÂÓ
‰ÂÓ ¤¯Ô˘Ó ÙÚ·ÁÈΤ˜ ÂÈÙÒÛÂȘ, Â›Ó·È fï˜ ÂÍ·ÈÚÂÙÈο ÂÓÔ¯ÏËÙÈΤ˜ ÛÙȘ
ηıËÌÂÚÈÓ¤˜ Ì·˜ ‰Ú·ÛÙËÚÈfiÙËÙ˜. ›ÁÔ˘Ú· ¤¯ÂÈ Ù‡¯ÂÈ Û fiÏÔ˘˜ Ì·˜ Ó·
·Ú·ÔÓÂıԇ̠ÁÈ· ¤ÓÙÔÓÔ fiÓÔ ÛÙ· ¤ÏÌ·Ù·, Ù· ÁfiÓ·Ù· ‹ ÙË Ì¤ÛË, ÌÂÙ¿
·fi Ì›· Ó˘¯ÙÂÚÈÓ‹ ¤ÍÔ‰Ô, Ì›· ÌÂÁ¿ÏË ‚fiÏÙ· ÛÙËÓ ·ÁÔÚ¿ ‹ ÌÂÙ¿ ·fi
ÔχˆÚË ÔÚıÔÛÙ·Û›· ÏfiÁˆ ·ÁÁÂÏÌ·ÙÈÎÒÓ ˘Ô¯ÚÂÒÛˆÓ. fiÛÔÈ ·fi
ÂÌ¿˜ fï˜ ¤¯Ô˘Ì ·ÓÙÈÌÂÙˆ›ÛÂÈ ‰Ú·ÛÙÈο Ù¤ÙÔÈÔ˘ ›‰Ô˘˜ ‰˘Û¿ÚÂÛÙ˜
ÂÓԯϋÛÂȘ; ∆o ηÏfi Ó¤Ô Â›Ó·È ˆ˜ ÙÔ Ó· ÚÔÊ˘Ï·¯ıԇ̠‹ Ó·
··ÏÏ·Áԇ̠·fi ¤Ó·Ó ›ÌÔÓÔ fiÓÔ ÛÙÔ ÌÂٷٿÚÛÈÔ ‹ ÛÙÔ ÎfiÙÛÈ Â›Ó·È
Ôχ ‡ÎÔÏÔ, ·ÚΛ Ó· ͤÚÔ˘Ì Ԣ Ó·
·Â˘ı˘ÓıÔ‡ÌÂ.
À¿Ú¯Ô˘Ó ¿ÓıÚˆÔÈ Ô˘ ÂÚÈÁÚ¿ÊÔ˘Ó ÙËÓ
“ÙÒÛË ÌÂٷٷÚÛ›Ô˘” Û·Ó ÂÚ¿ÙËÌ· ¿Óˆ
Û ‚fiÙÛ·ÏÔ Î·È ¿ÏÏÔÈ Ô˘ ·Ó·Ê¤ÚÔÓÙ·È
ÛÙËÓ “¿Î·Óı· Ù¤ÚÓ·˜” ÌÈÏÒÓÙ·˜ ÁÈ· Ô͇
fiÓÔ ÛÙË Ì¤Û· ÌÂÚÈ¿ Ù˘ Ù¤ÚÓ·˜ ηٿ ÙËÓ
ÚˆÈÓ‹ ¤ÁÂÚÛË ·fi ÙÔ ÎÚ‚¿ÙÈ. ∂›Û˘,
ÔÏϤ˜ Î˘Ú›Â˜ οÓÔ˘Ó ÏfiÁÔ ÁÈ· ÙÔ ÁÓˆÛÙfi
Û fiÏÔ˘˜ “ÎfiÙÛÈ”, ÙfiÛÔ ·fi ÏÂ˘Ú¿˜
·ÈÛıËÙÈ΋˜ fiÛÔ Î·È ÁÈ· ÙÔ Î¿„ÈÌÔ Î·È ÙË
‰˘Ûη̄›· Ô˘ ÚÔηÏ› ÛÙÔ ÌÂÁ¿ÏÔ
‰¿¯Ù˘ÏÔ ÙÔ˘ Ô‰ÈÔ‡ ηٿ ÙË ‚¿‰ÈÛË.
∆¤ÏÔ˜, ÔÏÏÔ› ÂÓ‹ÏÈΘ, ·ÏÏ¿ Î·È ·È‰È¿
ÌÂٷ͇ 5 Î·È 15 ÂÙÒÓ, ·Ú·ÔÓÈÔ‡ÓÙ·È ÁÈ·
fiÓÔ˘˜ Î·È È·Û›Ì·Ù· ÛÙȘ Á¿Ì˜ Î·È ÙË
̤ÛË, ÌÂÙ¿ ·fi ·ıÏËÙÈΤ˜ ‰Ú·ÛÙËÚÈfiÙËÙ˜.
∫·È ÙÔ Èı·ÓfiÙÂÚÔ Â›Ó·È ˆ˜ ‰ÂÓ ÁÓˆÚ›˙Ô˘Ó
fiÙÈ ÌÈ· ·Ï‹ Ï·Ù˘Ô‰›· ‹ ÙÔ ÁÂÁÔÓfi˜ ÙÔ˘
fiÙÈ ÙÔ ¤Ó· ÙÔ˘˜ fi‰È Â›Ó·È ÂÏ¿¯ÈÛÙ· ÈÔ
ÎÔÓÙfi ·fi ÙÔ ¿ÏÏÔ, ÌÔÚ› Ó· ¢ı‡ÓÂÙ·È ÁÈ·
Ù· ·Ú·¿Óˆ Û˘ÌÙÒÌ·Ù·.
 fiÏ· Ù· ·Ú·¿Óˆ, ÛËÌ·ÓÙÈÎfi ÚfiÏÔ ·›˙ÂÈ ÂÎÙfi˜ ·fi ÙËÓ Î·Ù·Û΢‹
ÙÔ˘ Ì˘ÔÛÎÂÏÂÙÈÎÔ‡ Ì·˜ Û˘ÛÙ‹Ì·ÙÔ˜ Î·È Ë ÂÈÏÔÁ‹ ·Ô˘ÙÛÈÔ‡. ∆· Ôχ
„ËÏ¿ Î·È Ì˘ÙÂÚ¿ ·Ô‡ÙÛÈ·, ηıÒ˜ Î·È Ù· ·Ô‡ÙÛÈ· Ì ÛÎÏËÚ‹ ÛfiÏ·,
Ô˘ ‰ÂÓ ÚÔÛʤÚÔ˘Ó ÛˆÛÙ‹ ÔÚıÔ‰È΋ ‚¿ÛË ÁÈ· ÙË ÛÙ‹ÚÈÍË ÙȘ η̿ڷ˜,
·ÏÏ¿˙Ô˘Ó ÙÔÓ ÙÚfiÔ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÛÒÌ·Ùfi˜ Ì·˜. ∞˘Ùfi Û˘Ì‚·›ÓÂÈ, ÁÈ·Ù›
ÙÔ ‚¿ÚÔ˜ ÙÔ˘ ÛÒÌ·ÙÔ˜ ‰ÂÓ Î·Ù·Ó¤ÌÂÙ·È ÛˆÛÙ¿, Ì ·ÔÙ¤ÏÂÛÌ· Ó·
‰ËÌÈÔ˘ÚÁÔ‡ÓÙ·È ÛÎÏËÚ‡ÓÛÂȘ, οÏÔÈ Î·È ¿ÏÏÔÈ ÙÚ·˘Ì·ÙÈÛÌÔ›.
∏ χÛË Û fiÏ· Ù· ·Ú·¿Óˆ ÔÓÔÌ¿˙ÂÙ ԉȷÙÚÈ΋. ª›· Û¯ÂÙÈο Ó¤·
·ÓÂÈÛÙËÌȷ΋ ÂȉÈÎfiÙËÙ· Ô˘ ·Â˘ı‡ÓÂÙ·È Û οı ¿ÓıÚˆÔ,
·ÓÂÍ·Úًو˜ ËÏÈΛ·˜. ªÂٷ͇
¿ÏψÓ, Ë Ô‰È·ÙÚÈ΋ ·ÊÔÚ¿
ÚÔ‚Ï‹Ì·Ù· Î·È ÙÚ·˘Ì·ÙÈÛÌÔ‡˜
ÙÔ˘ ¤ÏÌ·ÙÔ˜ Î·È ÙÔ˘ οو ¿ÎÚÔ˘,
Ô˘ ÂÈ‚·Ú‡ÓÔ˘Ó ÙË ÛˆÛÙ‹
ÏÂÈÙÔ˘ÚÁ›· Ù˘ ÛÔÓ‰˘ÏÈ΋˜
ÛÙ‹Ï˘.
∆Ô ‚·ÛÈÎfi “ÂÚÁ·Ï›Ԕ ÂÓfi˜
Ô‰›·ÙÚÔ˘ ÁÈ· ÙË ‰È¿ÁÓˆÛË fiψÓ
ÙˆÓ ·Ú·¿Óˆ Â›Ó·È Ô
ÂÏÌ·ÙÔÁÚ¿ÊÔ˜.
√
ÂÏÌ·ÙÔÁÚ¿ÊÔ˜ Â›Ó·È Ì›·
Ï·ÙÊfiÚÌ· Ì ¯ÈÏÈ¿‰Â˜
„ËÊÈ·ÎÔ‡˜ ·ÈÛıËÙ‹Ú˜,
Û˘Ó‰Â‰Â̤ÓÔ˜ Ì ¤Ó·Ó ËÏÂÎÙÚÔÓÈÎfi ˘ÔÏÔÁÈÛÙ‹. ªÂ ·˘Ù¿ Ù· ÛÙÔȯ›· Ô
Ô‰›·ÙÚÔ˜ ·Ó·Ï‡ÂÈ ÙËÓ Î·Ù·ÓÔÌ‹ ȤÛÂˆÓ ÛÙ· ¤ÏÌ·Ù·, ÙÔ˘˜ ¿ÍÔÓ˜
·Ó·‚ËÌ·ÙÈÛÌÔ‡, ÙÔ Î¤ÓÙÚÔ ‚¿ÚÔ˘˜ ÙÔ˘ ÛÒÌ·ÙÔ˜ Î·È ÙËÓ ÂÌ‚ÈÔÌ˯·ÓÈ΋
ÏÂÈÙÔ˘ÚÁ›· ÙÔ˘ οو ¿ÎÚÔ˘. ŒÙÛÈ, ÌÔÚÔ‡Ó Ó· ·ÍÈÔÏÔÁËıÔ‡Ó ÚÔ‚Ï‹Ì·Ù·
Ï·Ù˘Ô‰›·˜, ÎÔÈÏÔÔ‰›·˜, ·ÓÈÛÔÛÎÂÏ›·˜ Î·È ÔÏϤ˜ ¿ÏϘ ·Ú¿ÌÂÙÚÔÈ
Ô˘ ¯ÚÂÈ¿˙ÂÙ·È Ó· ÏËÊıÔ‡Ó ˘’ fi„Ë ÁÈ· ÙËÓ ÔÏÔÎÏËڈ̤ÓË ·ÔηٿÛÙ·ÛË
οı ÚÔ‚Ï‹Ì·ÙÔ˜.
ŒÙÛÈ, ηÙfiÈÓ ÂÏÌ·ÙÔÁÚ·Ê‹Ì·ÙÔ˜,
ηٷÛ΢¿˙ÔÓÙ·È ÂȉÈο ÔÚıˆÙÈο ¤ÏÌ·Ù·
ÁÈ· ÙËÓ ÚfiÏË„Ë ‹ ÙË ıÂڷ›· οıÂ
ÂÚÈÛÙ·ÙÈÎÔ‡. ∆· ¤ÏÌ·Ù· ηٷÛ΢¿˙ÔÓÙ·È
Û‡Ìʈӷ Ì ÙȘ ·Ú·¿Óˆ ÌÂÙÚ‹ÛÂȘ ηÈ
Ï·Ì‚¿ÓÔÓÙ·˜ ¿ÓÙ· ˘ fi„Ë ÙËÓ ËÏÈΛ·, ÙÔ
‚¿ÚÔ˜ Î·È ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜ οı ·ÛıÂÓ‹.
ªÂ ¿ÏÏ· ÏfiÁÈ·, ÙÔ ÂȉÈÎfi ˙‡ÁÔ˜ ÔÚıˆÙÈÎÒÓ
ÂÏÌ¿ÙˆÓ Î·Ù·Û΢¿˙ÂÙ·È ÁÈ· ÙÔÓ Î¿ıÂ
·ÛıÂÓ‹ ͯˆÚÈÛÙ¿, ÚÔÎÂÈ̤ÓÔ˘ Ó· ¤¯ÂÈ
¿ÚÈÛÙË ÚÔÛ·ÚÌÔÁ‹ Î·È ·ÔÙ¤ÏÂÛÌ·. ∆Ô Â›‰Ô˜ ÙÔ˘ ÔÚıˆÙÈÎÔ‡ ‰È·Ê¤ÚÂÈ
·Ó¿ÏÔÁ· Ì ÙÔ ÛÙ¿‰ÈÔ ·ÔηٿÛÙ·Û˘ ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜. ˘¯Ó¿
¯ÚËÛÈÌÔÔÈÂ›Ù·È Û˘Ó‰˘·ÛÌfi˜ Ì·Ï·ÎÒÓ Î·È ·ÔÚÚÔÊËÙÈÎÒÓ ˘ÏÈÎÒÓ ÁÈ· Ó·
ËÚÂÌ‹ÛÂÈ Ë ÊÏÂÁÌÔÓ‹, ÂÓÒ ÛÙË Û˘Ó¤¯ÂÈ· Á›ÓÂÙ·È ÚÔÛı‹ÎË ÛÎÏËÚfiÙÂÚˆÓ
˘ÏÈÎÒÓ, Ì ÛÎÔfi Ó· ıÂڷ¢Ù›, ·ÏÏ¿ Î·È Ó· ÛÙËÚȯÙ› ÔÏfiÎÏËÚÔ ÙÔ
¤ÏÌ· Û ı¤ÛË Ù¤ÙÔÈ· Ô˘ Ó· ‰È·ÛÊ·Ï›˙ÂÙ·È Ë ÛˆÛÙ‹ ÏÂÈÙÔ˘ÚÁ›· fiÏÔ˘ ÙÔ˘
οو ¿ÎÚÔ˘, ·ÏÏ¿ Î·È Ù˘ ÛÔÓ‰˘ÏÈ΋˜ ÛÙ‹Ï˘.
∞˜ ÌËÓ Í¯ӿÌ ˆ˜ ‰ÂÓ ˘¿Ú¯ÂÈ ÙÔ “Ù¤ÏÂÈÔ fi‰È”. Ú¿ÁÌ· Ô˘ ÛËÌ·›ÓÂÈ
fiÙÈ Î¿ı ¤ÏÌ· ¤¯ÂÈ ÙËÓ ‰È΋ ÙÔ˘ ȉÈÔÌÔÚÊ›· Î·È Èı·ÓfiÓ Ó· ¯ÚÂÈ¿˙ÂÙ·È
ÔÚıˆÙÈ΋ ˘ÔÛÙ‹ÚÈÍË. ªËÓ ·ÁÓÔ›ÙÂ, ÏÔÈfiÓ, ÙÔÓ fiÓÔ Î·È ÌË Û˘ÓËı›˙ÂÙÂ
Ó· ˙›Ù Ì ·˘ÙfiÓ. √È ¯ÚfiÓȘ ·ı‹ÛÂȘ ¯ÚÂÈ¿˙ÔÓÙ·È Ôχ ÂÚÈÛÛfiÙÂÚÔ
¯ÚfiÓÔ ıÂڷ›·˜ Î·È Â›Ó·È ÈÔ ‰‡ÛÎÔÏÔ Ó· ·ÓÙÈÌÂÙˆÈÛÙÔ‡Ó. ∫·È ‚¤‚·È·,
·˜ ı˘ÌfiÌ·ÛÙ ¿ÓÙ· ˆ˜ ‰ÂÓ ˘¿Ú¯ÂÈ Î·Ï‡ÙÂÚË ıÂڷ›· ·fi ÙËÓ
ÚfiÏË„Ë.
Our feet usually suffer from different conditions, which on one hand are not
very serious, but on the other hand interfere with our everyday activities. At
some point we have all experienced a sharp pain to the soles of the feet, the
knees or the low back after a late night out, a long shopping day or a very
busy day at work. But, how many of us have actually tried to deal with these
unpleasant complains? The good news is that preventing or relieving the pain
from the metatarsals, the heels or the bunions is simple, providing that we
know who to speak to.
Some people describe "metatarsal prolapse" like walking on pebbles and oth-
∂˘¿ÁÁÂÏÔ˜ ¢‹ÌÔ˘ - ƒÔ˘ÛÔ˘Ï¤ÓÙÛ˘
Evagelos Dimou - Rousoulentsis

Health and the
∆Ô˘ ԉȿÙÚÔ˘ ∂˘¿ÁÁÂÏÔ˘
¢‹ÌÔ˘ - ƒÔ˘ÛÔ˘Ï¤ÓÙÛË
By Evagelos Dimou -
Rousoulentsis, Podiatrist
ers refer to "plantar fasciitis" as an extremely sharp pain in the heel especially
when getting out of bed in the morning. In addition, many women talk
about the "bunions" both from an aesthetic perspective and the burning and
stiffness it causes in the big toe during walking. Finally, adults and children,
between 5 and 15 years of age, often complain for stiffness in the calf muscles
of the legs and the low back pain, especially after exercising or sports.
But they probably do not know that the dropped arches of the feet or the fact
that one leg may be slightly shorter than the other can be responsible for the
above mentioned symptoms.
extremities
Of course our body type as well as the choice of footwear is closely related
to the general picture above. Narrow shoes with high heels and hard insoles
do not provide appropriate arch support and consequently change the way
our body functions. This is because there is not equal distribution of weight
throughout the feet, which in turn causes blisters, calluses, corns and other
injuries.
The solution is Podiatry; a new academic specialty which applies to every
person, despite their age. Amongst others, Podiatry deals with injuries and
musculoskeletal problems of the feet, the lower limb and the correct function
of the spine.
The basic "tool" for the diagnosis of the above mentioned conditions is the
gait analysis platform. This platform is a foot scanner with thousands digital
sensors, which is connected to a computer. The information from the static
and the dynamic examination allow the podiatrist to analyse the distribution
of weight, the pressure points, the centre of gravity of the body and the biomechanical
function of the lower limb. With this method, problems like flat
feet, high arch feet, leg length discrepancies and many others can be identified
and addressed accurately with the use of orthotics.
The next step is the manufacturing of the special made orthotics for the prevention
or the treatment of each case. The orthotics are manufactured
according to the readings from the foot scanning examination and according
to the age, the weight and the activities of each patient. In other words, the
appropriate corrective orthotic for each patient is made to ensure excellent
fit and correction of the problem. The type of orthotics differs according to the
rehabilitation stage. Usually a combination of soft and shock absorbing materials
is used until the inflammation subsides. Later on, the materials may be
substituted with harder ones in order to support the foot in a position that
ensures adequate biomechanical function of the whole lower limb and the
spine.
In conclusion, do not forget that "perfect feet" do not exist.
Hence, every foot is unique and may require special
support. Do not ignore the pain and do not get
used to live with it. Consult your podiatrist
immediately as chronic conditions
require longer treatment and are
more difficult to address. Always
remember that prevention is the
best cure.
MSc DC Chiropractic, BSc (Hons) Podiatry MSh SRCh, DPodM
ÃÂÈÚÔÚ¿ÎÙ˘ - Ô‰ÔÏfiÁÔ˜
∂£ÓÈ΋˜ ∞ÓÙÈÛÙ¿Ûˆ˜ 121 - ∫·ÈÛ·ÚÈ·Ó‹
∆ËÏ: 210-9604260 ÎÈÓ: 6947640462 www.rousoulentsis.gr

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·Ú·ÛÙ·ÙÈο ·ÚÔ˘ÛÈ¿ÛÙËΠÛÙËÓ Ù·ÈÓ›·
∂ÎÙfi˜ ·fi Ù· «¿ÁÈ·» ·ÍÈÔı¤·Ù· Ù˘ fiÏ˘, ÙÔ ·Ú›ÛÈ ÊÈÏÔÍÂÓ› ÔÏÏ¿ ÛËÌ·ÓÙÈο ÔÏÈÙÈÛÙÈο ‹ ·ıÏËÙÈο ÁÂÁÔÓfiÙ·
·ÁÎÔÛÌ›Ô˘ ÂȤ‰Ô˘. °È· ·Ú¿‰ÂÈÁÌ· ÙËÓ ∂‚‰ÔÌ¿‰· ªfi‰·˜, fiÔ˘ ‰È¿ÛËÌÔÈ °¿ÏÏÔÈ ‰ËÌÈÔ˘ÚÁÔ› ÂÓÙ˘ˆÛÈ¿˙Ô˘Ó Ì ÙȘ
ÂÍÂ˙ËÙË̤Ó˜ ÚÔÙ¿ÛÂȘ ÙÔ˘˜ haute couture, ÙÔ ÙÔ˘ÚÓÔ˘¿ Ù¤ÓȘ ÙÔ˘ ƒÔÏ¿Ó °Î·Úfi˜, ÙË «§Â˘Î‹ ¡‡ÎÙ· ÙˆÓ ªÔ˘Û›ˆÓ»,
fiÔ˘ Ù· ÌÔ˘Û›· Ù˘ fiÏ˘ ·ÓÔ›ÁÔ˘Ó ÙȘ fiÚÙ˜ ÙÔ˘˜ ÁÈ· fiÏÔ˘˜ ÙȘ Ó˘ÎÙÂÚÈÓ¤˜ ÒÚ˜, ÙË ªÈÂÓ¿ÏÂ ÙˆÓ ·Ï·ÈÔˆÏÒÓ,
ÙË FIAC (¢ÈÂıÓ‹˜ ∂ÎıÂÛË ‡Á¯ÚÔÓ˘ ∆¤¯Ó˘), ÙȘ ÈÔ‰ÚƠ̂˜ ÛÙÔ Longchamp Ì ÙÔ ÊËÌÈṲ̂ÓÔ ÛÙÔ˘˜ ·ÎÏÔ˘˜ ÙˆÓ
ÊÈÏ›ˆÓ “∆Úfi·ÈÔ Ù˘ ∞„›‰·˜ ÙÔ˘ £ÚÈ¿Ì‚Ô˘”…
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙÔ ·Ú›ÛÈ
ŒÓ·˜ ηٿÏÔÁÔ˜ Ì ٷ ·ÍÈÔı¤·Ù· ÙÔ˘ ·ÚÈÛÈÔ‡ Î·È ÙȘ ÂΉËÏÒÛÂȘ Ô˘ Ï·Ì‚¿ÓÔ˘Ó ¯ÒÚ· ηıËÌÂÚÈÓ¿ ÂΛ ÔÙ¤ ‰ÂÓ ı·
‹Ù·Ó Ï‹Ú˘ Î·È ÌÈ· ›ÛÎÂ„Ë ÛÙËÓ ÚˆÙÂ‡Ô˘Û· Ù˘ °·ÏÏ›·˜ ¿ÓÙ· οÙÈ Î·ÈÓÔ‡ÚÈÔ ¤¯ÂÈ Ó· ‰ÒÛÂÈ… ªÂ Ù· ηÏÔۯ‰ȷ-
Ṳ̂ӷ ·Î¤Ù· Ô˘ ÚÔÙ›ÓÂÈ Ë Minoan Lines ÌÔÚ›Ù ÙÒÚ· Ó· ÊÙ¿ÛÂÙ ÛÙÔ ·Ú›ÛÈ Ì ÙÔ ‰ÈÎfi Û·˜ ·˘ÙÔΛÓËÙÔ Î·È Ó·
ÁÓˆÚ›ÛÂÙ ·fi ÎÔÓÙ¿ ÙËÓ - ÙfiÛÔ È‰È·›ÙÂÚË - ·ÚÈÛÈÓ‹ ÎÔ˘ÏÙÔ‡Ú·.
MINOAN WAVE ñ

∆∏¡ π∆∞§π∞ ª∂ ∆∏ MINOAN LINES
ƒÒÌË
054
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙË ƒÒÌË
ŸÏÔÈ ÔÈ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó ÛÙË ƒÒÌË
∏ƒÒÌË Î·ÙÔÈ΋ıËΠÁÈ· ÚÒÙË ÊÔÚ¿ Á‡Úˆ ÙÔÓ 9Ô ·ÈÒÓ· .Ã. Î·È ÁÈ· ÂÚ›Ô˘ ¯›ÏÈ· ¯ÚfiÓÈ·, ÙËÓ
ÂÔ¯‹ Ù˘ ƒˆÌ·˚΋˜ ∞˘ÙÔÎÚ·ÙÔÚ›·˜, ‹Ù·Ó Ë ÛËÌ·ÓÙÈÎfiÙÂÚË fiÏË ÙÔ˘ ‰˘ÙÈÎÔ‡ ÔÏÈÙÈÛÌÔ‡ Î·È Ë
ÌÂÁ·Ï‡ÙÂÚË fiÏË ÛÙÔÓ
ÙfiÙÂ ÎfiÛÌÔ (Ô ÚÒÙÔ˜
·ÓıÚÒÈÓÔ˜ ÔÈÎÈÛÌfi˜ Ô˘
¤ÊÙ·Û ÙÔ 1.5 ÂηÙÔÌ̇-
ÚÈÔ Î·ÙÔ›ÎÔ˘˜). ªÂ ÙËÓ
¿ÓÔ‰Ô ÙÔ˘ ÃÚÈÛÙÈ·ÓÈÛÌÔ‡
Ë ƒÒÌË ¤ÁÈÓ ÙÔ Î¤ÓÙÚÔ
Ù˘ ƒˆÌ·ÈÔηıÔÏÈ΋˜
ÂÎÎÏËÛ›·˜ Î·È Ë ¤‰Ú· ÙÔ˘ ¿·. ∏ ÙÒÛË Ù˘
ƒˆÌ·˚΋˜ ∞˘ÙÔÎÚ·ÙÔÚ›·˜ Û‹Ì·Ó ÙËÓ ¤Ï¢ÛË ÙÔ˘
ªÂÛ·›ˆÓ·, fï˜ Ë ƒÒÌË ‚Ú¤ıËΠÛÙÔ Â›ÎÂÓÙÚÔ Ù˘
∞Ó·Á¤ÓÓËÛ˘ ÛÙ· ÁÚ¿ÌÌ·Ù· Î·È ÙȘ Ù¤¯Ó˜.
∆Ô ¤Ó‰ÔÍÔ ·ÚÂÏıfiÓ Ù˘ ·ÈÒÓÈ·˜ fiÏ˘ ·ÔÙ˘ÒÓÂ-
Ù·È Û οı ÁˆÓÈ¿, Û οı ‰ÚfiÌÔ: Ô Î·ı‰ÚÈÎfi˜ Ó·fi˜
ÙÔ˘ ∞Á›Ô˘ ¤ÙÚÔ˘, ÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi ÊfiÚÔ˘Ì, ÙÔ
∫·ÈÙÒÏÈÔ, ÛÙÔÓ ÔÌÒÓ˘ÌÔ ÏfiÊÔ, ÙÔ µ·ÙÈηÓfi Ì ٷ
ÂÓÙ˘ˆÛȷο ÌÔ˘Û›· ÙÔ˘, ÙÔ ·Ï·Ù›ÓÔ, ÙÔ
¿ÓıÂÔÓ, Ë µ›Ï· ªÔÚÁΤ˙Â, Ë ∞Á›· ª·Ú›· ÙˆÓ
∞ÁÁ¤ÏˆÓ, ÔÈ Î·Ù·Îfî˜, Ë È¿ÙÛ· ÓÙÈ
¿ÓÈ·, Ë ‡ÏË ÙÔ˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ë È¿ÙÛ· µÂÓ¤ÙÛÈ·, Ù· ÏÔ˘ÙÚ¿ ÙÔ˘ ∫·Ú·Î¿Ï· Î·È ÙfiÛ· ¿ÏÏ· ÌÓËÌ›· Ô˘ ‰ÂÛfi-
˙Ô˘Ó ÛÙÔ ÈÛÙÔÚÈÎfi ΤÓÙÚÔ.
·Ú¿ÏÏËÏ·, ÛÙË ƒÒÌË Â›Ó·È Â‡ÎÔÏÔ Ó· ·ÊÂı›Ù ÛÙË dolce vita, ÈηÓÔÔÈÒÓÙ·˜ ÙȘ ·ÈÛı‹ÛÂȘ Û·˜ Ì ¤Ó· gelato ÌÂ
Á‡ÛË Î¿ÛÙ·ÓÔ ‹ ÌÈ· ̷ηÚÔÓ¿‰· ala romana ‹ ·Ó·ÓÂÒÓÔÓÙ·˜ ÙË ÁηÚÓÙ·ÚfiÌ· Û·˜ ÛÙȘ ·ÁÎÔÛÌ›ˆ˜ ÔÓÔÌ·ÛÙ¤˜
ÌÔ˘Ù›Î Ù˘ Via Condotti Î·È Ù˘ Via Frattina. ∫·È Ê˘ÛÈο Ë Ó˘ÎÙÂÚÈÓ‹ ˙ˆ‹ Ù˘ Â˘Úˆ·˚΋˜ ·˘Ù‹˜ ÌËÙÚfiÔÏ˘ ‰ÂÓ
ı· ·Ê‹ÛÂÈ Î·Ó¤Ó·Ó ‰˘Û·ÚÂÛÙË̤ÓÔ. ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· ·fi ÙȘ Ï›Á˜ fiÏÂȘ Ù˘ Ë›ÚÔ˘ Ì·˜ fiÔ˘ Û˘¯Ó¿ Û˘Ó·ÓÙ¿˜
ÌÔÙÈÏÈ¿ÚÈÛÌ· ÛÙȘ 4 ÙÔ Úˆ› ÎÔÓÙ¿ ÛÙȘ ÂÚÈÔ¯¤˜ Ù˘ ‰È·ÛΤ‰·Û˘!
MINOAN WAVE >

∆∏¡ π∆∞§π∞ ª∂ ∆∏ MINOAN LINES
ªÈÏ¿ÓÔ
056
∏ ÚˆÙÂ‡Ô˘Û· ÙÔ˘ Â˘Úˆ·˚ÎÔ‡ ÛÙÈÏ
∆Ô ªÈÏ¿ÓÔ Â›Ó·È Ë ÔÈÎÔÓÔÌÈ΋ ·ÙÌÔÌ˯·Ó‹ fiÏ˘ Ù˘ πÙ·Ï›·˜, Â‰Ò Â‰Ú‡ÂÈ ÙÔ ÈÙ·ÏÈÎfi ¯ÚËÌ·ÙÈÛÙ‹ÚÈÔ Î·È ÔÈ ÌÂÁ·Ï‡ÙÂÚ˜ ÂÙ·ÈÚ›˜
Ù˘ ¯ÒÚ·˜. ŸÌˆ˜ ‰ÂÓ ÂÚÈÛÙÚ¤ÊÔÓÙ·È Ù· ¿ÓÙ· ÛÙÔ ªÈÏ¿ÓÔ Á‡Úˆ ·fi ÙÔ ¯Ú‹Ì·. ∞˘Ù‹ Ë ÛÙÈÏ¿ÙË fiÏË Â›Ó·È Â›Û˘ Ë ‰ÈÂıÓ‹˜
ÚˆÙÂ‡Ô˘Û· ÙÔ˘ design Î·È ·ÓÙ·ÁˆÓ›˙ÂÙ·È ÙÔ ·Ú›ÛÈ ˆ˜ ·ÁÎfiÛÌÈÔ Î¤ÓÙÚÔ Ù˘ Ìfi‰·˜. ∆Ô shopping Â‰Ò ·ÓÙÈÌÂÙˆ›˙ÂÙ·È Ì ۯÂ-
‰fiÓ ıÚËÛ΢ÙÈ΋ ÛÔ‚·ÚfiÙËÙ·, ·ÂÚÈfiÚÈÛÙË ÔÈÎÈÏ›· ÚÔÛʤÚÂÙ·È ÛÙË Ó˘ÎÙÂÚÈÓ‹ ‰È·ÛΤ‰·ÛË Î·È ÛÙÔ ªÈÏ¿ÓÔ Â‰ÚÂ‡Ô˘Ó ÔÚÈṲ̂-
Ó· ·fi Ù· ηχÙÂÚ· ÂÛÙÈ·ÙfiÚÈ· ÙÔ˘ ÎfiÛÌÔ˘, Ì ÈÔ ÁÓˆÛÙ¿ È¿Ù· Ù·
ÚÈ˙fiÙÔ ·Ï¿ ÌÈÏ·Ó¤˙Â Î·È ÎÔÙÔϤٷ ·Ï¿ ÌÈÏ·Ó¤˙Â, ·ÏÏ¿ Î·È ÙÔ ¯ÚÈÛÙÔ˘-
ÁÂÓÓÈ¿ÙÈÎÔ Î¤ÈÎ panettone. ∫¤ÓÙÚÔ Ù˘ fiÏ˘ ÁÈ· ÙÔÓ ÂÈÛΤÙË Â›Ó·È
Ë Ï·Ù›· Ô˘ ‚Ú›ÛÎÂÙ·È ÌÚÔÛÙ¿ ÛÙÔ Duomo, ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Î·ıÂ-
‰ÚÈÎfi Ó·fi ÁÔÙıÈÎÔ‡ Ú˘ıÌÔ‡ ÛÙÔÓ ÎfiÛÌÔ, Ô˘ ¿Ú¯ÈÛ ӷ ÎÙ›˙ÂÙ·È ÙÔ
1386 Î·È ÙÔ ÎÙ›ÛÈÌfi ÙÔ˘ ÎÚ¿ÙËÛ 500 ¯ÚfiÓÈ·!
∆ÒÚ·, ›ÛÙ ‰ÂÓ Â›ÛÙ ʛÏÔÈ Ù˘ fiÂÚ·˜, ÌÈ· ›ÛÎÂ„Ë ÛÙËÓ ÂÚ›ÊËÌË Î¿Ï· ÙÔ˘ ªÈÏ¿ÓÔ˘
ıˆÚÂ›Ù·È ÂȂ‚ÏË̤ÓË, ·ÎfiÌË Î·È ·Ó ‰ÂÓ ‚Ú›Ù ÂÈÛÈÙ‹ÚÈÔ ÁÈ· οÔÈ· ·Ú¿ÛÙ·ÛË, ÙÔ
ÔÏ˘ÙÂϤ˜ ÂÛˆÙÂÚÈÎfi Ô˘ ¯ˆÚ¿ 2000 ¿ÙÔÌ· ı· Û·˜ ÂÓÙ˘ˆÛÈ¿ÛÂÈ. ∂È‚¿ÏÏÂÙ·È Â›Û˘ Ó·
ÂÈÛÎÂÊı›Ù ÙÔ Ó·fi Santa Maria della Grazie fiÔ˘ ÂÎÙ›ıÂÙ·È Ë ÂÚ›ÊËÌË ÙÔȯÔÁÚ·Ê›· ÙÔ˘
§ÂÔÓ¿ÚÓÙÔ ÓÙ· µ›ÓÙÛÈ «∆Ô ÙÂÏÂ˘Ù·›Ô ‰Â›ÓÔ», Ô˘ ‰È·ÛÒıËΠˆ˜ ÂÎ ı·‡Ì·ÙÔ˜ fiÙ·Ó Ô Ó·fi˜
‚ÔÌ‚·Ú‰›ÛÙËΠÛÙÔÓ µ' ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È Î·Ù¤¯ÂÈ È‰È·›ÙÂÚË ÛËÌ·Û›· ÛÙËÓ ÏÔ΋ ÙÔ˘
ÌÂÛÙ-Û¤ÏÏÂÚ «∫Ò‰Èη˜ ¡Ù· µ›ÓÙÛÈ». ∏ ÛÈÎ Galleria Vittorio Emanuele
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙÔ ªÈÏ¿ÓÔ
II ÂÓÒÓÂÈ ÙÔ Duomo Ì ÙË Î¿Ï· ÙÔ˘ ªÈÏ¿ÓÔ˘. ∂›Ó·È ÌÈ· ÂÓÙ˘ˆÛÈ·-
΋ Á·Ï·Ú›· Ì Á˘¿ÏÈÓË ÔÚÔÊ‹, Ô˘ ÎÙ›ÛÙËΠÙÔ 1867, fiÔ˘ ‚Ú›ÛÎÔÓÙ·È ÔÚÈṲ̂ӷ ·fi Ù· ÔÏ˘ÙÂϤÛÙÂÚ· ηٷÛÙ‹Ì·Ù· Ì·Ú Î·È
ÂÛÙÈ·ÙfiÚÈ· Ù˘ fiÏ˘, ÛÙËÓ Ô˘Û›· ÚfiÎÂÈÙ·È ÁÈ· ÙÔ ·Ï·ÈfiÙÂÚÔ ÂÌÔÚÈÎfi ΤÓÙÚÔ ÙÔ˘ ÎfiÛÌÔ˘. ∂›Û˘ Ôχ ÛÈÎ ıˆÚÂ›Ù·È ÌÈ·
‚fiÏÙ· ÛÙȘ ÌÔ¤ÌÈΘ ÁÂÈÙÔÓȤ˜ Brera Î·È Navigli. §›ÁÔ ·Ú·¤Ú· Ë ÂÚ›ÊËÌË Via Napoleone, fiÔ˘ ¤¯Ô˘Ó ÙËÓ ¤‰Ú· ÙÔ˘˜ ÔÚÈ-
Ṳ̂ÓÔÈ ·fi ÙÔ˘˜ ÁÓˆÛÙfiÙÂÚÔ˘˜ ÈÙ·ÏÔ‡˜ ۯ‰ȷÛÙ¤˜ Ìfi‰·˜, fiˆ˜ ÔÈ Giorgio Armani, Dolce & Gabbana, Prada, Gianni Versace
Î·È ¿ÏÏÔÈ ÙÔ˘ ȉ›Ô˘ ‚ÂÏËÓÂÎÔ‡˜.
∫ÔÓÙ¿ ÛÙÔ ªÈÏ¿ÓÔ, ÁÈ· ÌÈ· ËÌÂÚ‹ÛÈ· ÂΉÚÔÌ‹ Ì ÙÔ ·˘ÙÔΛÓËÙfi Û·˜ ‚Ú›ÛÎÔÓÙ·È ÔÈ ·Ó¤ÌÔÚʘ Ï›ÌÓ˜ ·‚›· ηÈ
ª¤ÚÁηÌÔ.
MINOAN WAVE >

058
µÂÓÂÙ›·
Ù· ηӿÏÈ· Ù˘ µÂÓÂÙ›·˜
ŸÛ˜ ÂÚÈÁڷʤ˜ ÎÈ ·Ó ¤¯ÂȘ ‰È·‚¿ÛÂÈ, fiÛ˜ ʈÙÔÁڷʛ˜ ÎÈ ·Ó ¤¯ÂȘ ‰ÂÈ, fiÛ˜ ÊÔÚ¤˜ ηÈ
Ó· ¤¯ÂȘ ·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙËÓ Ù·ÈÓ›· «£¿Ó·ÙÔ˜ ÛÙË µÂÓÂÙ›·», Ë ÚÒÙË Â›ÛÎÂ„Ë ÛÙËÓ
fiÏË ÙˆÓ ¢fiÁˉˆÓ Â›Ó·È ÌÈ· ÌÔÓ·‰È΋, ·Ó·ӿÏËÙË ÂÌÂÈÚ›·. ∏ Û¿ÓÈ· ÁÔËÙ›· ÌÈ·˜
‚fiÏÙ·˜ ÛÙ· ηӿÏÈ· Ù˘ ψً˜ ÔÏÈÙ›·˜ Û ·È¯Ì·ÏˆÙ›˙ÂÈ ·fi ÙËÓ ÚÒÙË ÛÙÈÁÌ‹. ∏
fiÏË Â›Ó·È ÎÙÈṲ̂ÓË Û ÌÈ· Ú˯‹ ÏÈÌÓÔı¿Ï·ÛÛ·, Ì ¤Ó· ·Ú¯È¤Ï·ÁÔ˜ 118 ÓËÛÈÒÓ, Ô˘
ÂÓÒÓÔÓÙ·È Ì 150 ηӿÏÈ· Î·È ÂÚÈÛÛfiÙÂÚ˜ ·fi 400 Á¤Ê˘Ú˜! ·ÓÙÔ‡ ı· Û˘Ó·ÓÙ‹ÛÂ-
Ù ÙÔ ÊÙÂÚˆÙfi ϤÔÓÙ· ÙÔ˘ ∞Á›Ô˘ ª¿ÚÎÔ˘, ÙÔ Û‡Ì‚ÔÏÔ Ù˘ °·ÏËÓÔÙ¿Ù˘ ¢ËÌÔÎÚ·Ù›·˜,
fiˆ˜ ‹Ù·Ó ÁÓˆÛÙ‹ Ë fiÏË ÙËÓ ÂÔ¯‹ Ù˘
·ÓÙÔ‰˘Ó·Ì›·˜ Ù˘ ÛÙËÓ ·Ó·ÙÔÏÈ΋
ªÂÛfiÁÂÈÔ. Ú¿ÁÌ·ÙÈ, ·fi ÙÔ 12Ô ·ÈÒÓ·
Î·È ÌÂÙ¿ Ë µÂÓÂÙ›· ÂÍÂÏ›¯ÙËΠ۠˘ÂÚ‰‡Ó·ÌË Ù˘ ÂÔ¯‹˜ - ¯¿ÚË ÛÙË
‰‡Ó·ÌË ÙÔ˘ ÛÙfiÏÔ˘ Ù˘ ΢ڛˆ˜ - Î·È Î·Ù¤ÎÙËÛ ÌÂٷ͇ ¿ÏÏˆÓ Ù·
ÂÚÈÛÛfiÙÂÚ· ÓËÛÈ¿ ÙÔ˘ ∞ÈÁ·›Ô˘, ÙËÓ ∫‡ÚÔ Î·È ÙËÓ ∫Ú‹ÙË, ÊÙ¿ÓÔ-
ÓÙ·˜ ̤¯ÚÈ ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË, ÙËÓ ÔÔ›· ÎÚ¿ÙËÛ ˘fi ÙËÓ Î·ÙÔ-
¯‹ Ù˘ ÁÈ· ¿Óˆ ·fi ÂÓ¿ÌÈÛË ·ÈÒÓ·.
°È· ÙÔÓ ÂÈÛΤÙË ·Á·Ë̤ÓÔ˜ ÚÔÔÚÈÛÌfi˜ ÌÈ·˜ ‚fiÏÙ·˜ ÛÙË µÂÓÂÙ›·
Â›Ó·È Û›ÁÔ˘Ú· Ô ÂÈ‚ÏËÙÈÎfi˜ ÕÁÈÔ˜ ª¿ÚÎÔ˜ Î·È Ë ÔÌÒÓ˘ÌË Ï·Ù›·.
∞fi ÂΛ Î·È ¤Ú· Ù· ‚‹Ì·Ù¿ Û·˜ ‹ Ô gondoliere, Ô˘
¤¯ÂÙ ÌÈÛıÒÛÂÈ, ı· Û·˜ Ô‰ËÁ‹ÛÔ˘Ó ÛÙÔ Palazzo
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙË µÂÓÂÙ›·
Ducale (ÙÔ ·Ï¿ÙÈ ÙÔ˘ ¢Ô‡Î·), ÙË Á¤Ê˘Ú· ÙˆÓ ÛÙÂ-
Ó·ÁÌÒÓ, ÙÔ ªÔ˘ÛÂ›Ô Ù˘ ∞η‰ËÌ›·˜, Ì ·ÚÈÛÙÔ˘Ú-
Á‹Ì·Ù· ÙÔ˘ ªÂÏ›ÓÈ Î·È ÙÔ˘ ∆ÈÙÛÈ¿ÓÔ, ÙË Á¤Ê˘Ú·
ƒÈ¿ÏÙÔ ‹ ÙÔ ªÂÁ¿ÏÔ ∞ÚÛÂÓ¿ÏÈ. ªÈ· ÂӉȷʤÚÔ˘Û·
ÎÔÓÙÈÓ‹ ÂΉÚÔÌ‹ ·ÔÙÂÏ› Ë Â›ÛÎÂ„Ë ÛÙ· ÓËÛ¿ÎÈ·
Burano Î·È Murano, fiÔ˘ ı· ÚÔÌËı¢Ù›Ù ٷ
ÔÌÒÓ˘Ì· ÊËÌÈṲ̂ӷ ˘·ÏÈο.
MINOAN WAVE >

Κεντρική ∆ιάθεση: Οδός Κιλκίς-Ωραιοκάστρου
τκ: 570 13, ΤΘ: 74, Θεσσαλονίκη
τ: 2310 532202, 690786-690788, f: 2310 532205
info@verdefashion.gr, sales@verdefashion.gr
www.verdefashion.gr
Εκθετήριο Αθηνών: Περικλέους 30-32
Αθήνα, τ: 210 3226266, f: 210 3226205
athens@verdefashion.gr

∆∏¡ π∆∞§π∞ ª∂ ∆∏ MINOAN LINES
∏ fiÏË
Ù˘ ·Ó·Á¤ÓÓËÛ˘
ºÏˆÚÂÓÙ›·
060
ªÈ· ‚fiÏÙ· Ì ٷ
fi‰È· ÛÙÔ centro
storico, ÙÔ ÈÛÙÔÚÈ-
Îfi ΤÓÙÚÔ Ù˘
ºÏˆÚÂÓÙ›·˜, Ê·ÓÂ-
ÚÒÓÂÈ ·Ì¤Ûˆ˜ ÙË
ÛËÌ·ÓÙÈÎfiÙ·ÙË
ÔÏÈÙÈÛÙÈ΋ ÎÏËÚÔ-
ÓÔÌÈ¿ ÌÈ·˜ ·fi ÙȘ
ˆÚ·ÈfiÙÂÚ˜ fiÏÂȘ
Ù˘ ∂˘ÚÒ˘. ∂‰Ò ¤˙ËÛ·Ó Ô Cimabue Î·È Ô Giotto, ÌÂ
ÙÔ˘˜ ÔÔ›Ô˘˜ Ô˘ÛÈ·ÛÙÈο ÁÂÓÓ‹ıËÎÂ Ë ÈÙ·ÏÈ΋ ˙ˆÁÚ·ÊÈ-
΋, ÔÈ Arnolfo Î·È Andrea Pisano, ·Ó·ÌÔÚʈ٤˜ Ù˘
·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Î·È Ù˘ ÁÏ˘ÙÈ΋˜, Ô ªÚÔ˘ÓÂϤÛÎÈ, Ô
ªÔÙÈÙÛ¤ÏÈ, Ô ¡ÙÔÓ·Ù¤ÏÔ Î·È Ô Masaccio, Ì ÙÔ˘˜ ÔÔ›-
Ô˘˜ ·Ú¯›˙ÂÈ Ë ∞Ó·Á¤ÓÓËÛË. ∂‰Ò ÌÂÁ·ÏÔ‡ÚÁËÛ·Ó ÔÈ
«ÔÈÎÔ˘ÌÂÓÈÎÔ› ¿ÓıÚˆÔÈ» §ÂÔÓ¿ÚÓÙÔ ÓÙ· µ›ÓÙÛÈ Î·È
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ÔÏ˘¿ÚÈıÌ· ÌÔ˘Û›· Ù˘ fiÏ˘, fiˆ˜ ÙÔ Uffizzi Î·È ÙÔ
Palazzo Pitti. ÙË ºÏˆÚÂÓÙ›· ÁÂÓÓ‹ıËÎÂ Ë ÈÙ·ÏÈ΋ ÁÏÒÛ-
Û· ¯¿ÚË ÛÙÔ
¢¿ÓÙË, ·Ó·-
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ÙÔÓ µÔÎοÎÈÔ Î·È ÙÔÓ
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fiÔ˘ Î·È Ó· ÎÔÈÙ¿ÍÂÈ Ô
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ÕÚÓÔ, ÙȘ Ôԛ˜ ÂÓÒÓÂÈ ÙÔ Ponte Vechio, Ë ·Ï·ÈfiÙÂÚË ÛηÛÙ‹
Á¤Ê˘Ú· Ù˘ ∂˘ÚÒ˘. ÙËÓ fiÏË ‰ÂÛfi˙ÂÈ ÙÔ
Duomo, ¤Ó·˜ ÂÈ‚ÏËÙÈÎfi˜ ηı‰ÚÈÎfi˜ Ó·fi˜,
‰›Ï· ÛÙÔÓ ÔÔ›Ô ‚Ú›ÛÎÂÙ·È ÙÔ µ·ÙÈÛÙ‹ÚÈÔ
Ô˘ ÂÚȤ¯ÂÈ ÔÏÏ¿ ·˘ıÂÓÙÈο ÁÏ˘Ù¿ ÙÔ˘
ªÈ¯·‹Ï ∞ÁÁ¤ÏÔ˘, fï˜ ˘¿Ú¯Ô˘Ó Î·È ÔÏϤ˜
¿ÏϘ ÛËÌ·ÓÙÈΤ˜ ‚·ÛÈÏÈΤ˜, fiˆ˜ ÙÔ Santo
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙË ºÏˆÚÂÓÙ›·
Spirito, Ë Santa Maria Novella Î·È ÙÔ San Lorenzo, ÎÔÓÙ¿ ÛÙÔ ÔÔ›Ô
˘¿Ú¯ÂÈ Î·È Ë ÔÌÒÓ˘ÌË Ï·˚΋ ·ÁÔÚ¿ Ì ÔÏÏ¿ «ÂÒÓ˘Ì·» ÛÙÔ˘˜
¿ÁÎÔ˘˜. ŸÌˆ˜ Ë Î·Ú‰È¿ Ù˘ ÂÌÔÚÈ΋˜ ΛÓËÛ˘ ‚Ú›ÛÎÂÙ·È Á‡Úˆ
·fi ÙË Via Roma Î·È ÙËÓ Via Calzaiuolli, fiÔ˘ ÔÈ ·ÁÔÚ¤˜ Û·˜ ı·
Â›Ó·È ÂÒÓ˘Ì˜, ¯ˆÚ›˜ ÂÈÛ·ÁˆÁÈο.
°È· ÍÂÎÔ‡Ú·ÛË ·fi ÙȘ ÂÚÈËÁ‹ÛÂȘ Û·˜ ·Í›˙ÂÈ Ó· οÙÛÂÙ Û οÔÈÔ
·fi Ù· ÈÛÙÔÚÈο ηʤ Ù˘ fiÏ˘, fiˆ˜ ÙÔ Giubbe Rosse, Ô˘ Ë ÈÛÙÔ-
Ú›· ÙÔ˘ ·ÏÒÓÂÙ·È Û ÙÚÂȘ ·ÈÒÓ˜, ÙÔ Rivoire, ÙÔ Gilli Î·È ÙÔ
Paskowski ‹ Ó· ‰ÔÎÈÌ¿ÛÂÙ Û οÔÈÔ ·fi ÂÍ·ÈÚÂÙÈο ÂÛÙÈ·ÙfiÚÈ·
Ù˘ fiÏ˘ ÙËÓ ÂÚ›ÊËÌË ÙÔÛοÓÈÎË ÎÔ˘˙›Ó·, Ì ·ÚÈ· ÛÂÛÈ·ÏÈÙ¤ ÙË
ÌÈÛ٤η ·Ï¿ ÊÈÔÚÂÓÙ›Ó·, ÌÈ· ˙Ô˘ÌÂÚ‹ Î·È ÂÓÙ·ÓfiÛÙÈÌË ÌÚÈ˙fiÏ·
·fi ·ÁÂÏ¿‰Â˜ Û˘ÁÎÂÎÚÈ̤Ó˘ Ú¿ÙÛ·˜, Ô˘ Û˘¯Ó¿ Ì·ÁÂÈÚ‡ÂÙ·È ÌÂ
tartuffo, ÙÔ Û¿ÓÈÔ Î·È ·Ó¿ÎÚÈ‚Ô Ì·ÓÈÙ¿ÚÈ Ô˘ Ê˘ÙÚÒÓÂÈ Î¿Ùˆ ·fi
ÙÔ ¤‰·ÊÔ˜.
∞ÊÔ‡ fï˜ ÂÍÂÚ¢Ó›Ù ÙËÓ ∂˘ÚÒË Ì ÙÔ ·˘ÙÔΛÓËÙfi Û·˜, ¯¿ÚË
ÛÙ· ·Î¤Ù· ‰È·ÎÔÒÓ Ù˘ Minoan Lines, ÌÔÚ›Ù ӷ οÓÂÙ ÌÈ·
‚fiÏÙ· ÛÙËÓ ·Ó¤ÌÔÚÊË ∆ÔÛοÓÈÎË Ê‡ÛË, ÊÙ¿ÓÔÓÙ·˜ ̤¯ÚÈ ÙËÓ ›˙·
Î·È ÙÔÓ ÂÚ›ÊËÌÔ ÎÂÎÏÈ̤ÓÔ ‡ÚÁÔ Ù˘, ‹ ÙË ªÂ۷ȈÓÈ΋ Ȥӷ ‰È·-
Û¯›˙ÔÓÙ·˜ ÙËÓ ÂÚÈÔ¯‹ ÙÔ˘ ∫È¿ÓÙÈ, fiÔ˘ ·Ú¿ÁÂÙ·È ÙÔ ÈÔ ‰È¿ÛËÌÔ
ÈÙ·ÏÈÎfi ÎÚ·Û›.
MINOAN WAVE >

∆∏¡ ∞À∆ƒπ∞ ª∂ ∆∏ MINOAN LINES
¿ÏÙÛÌÔ˘ÚÁÎ
∏ ÁÂÓ¤ÙÂÈÚ· ÙÔ˘ ªfiÙÛ·ÚÙ
∆·Íȉ¤„Ù Ì ÙÔ
·˘ÙÔΛÓËÙfi Û·˜ ηÈ
ÙË MINOAN LINES
ÛÙÔ ¿ÏÙÛÌappleÔ˘ÚÁÎ
∆Ô ¿ÏÙÛÌÔ˘ÚÁÎ, Ë
ÁÂÓ¤ÙÂÈÚ· ÙÔ˘
ªfiÙÛ·ÚÙ, Â›Ó·È ÌÈ·
·fi ÙȘ ÈÔ fiÌÔÚ-
ʘ fiÏÂȘ Ô˘
ÌÔÚ›Ù ӷ Û˘Ó·-
ÓÙ‹ÛÂÙ ÛÙ· Ù·Í›‰È·
Û·˜ ÛÙËÓ ∂˘ÚÒË.
ªÂ ÏËı˘ÛÌfi
145.000 ÌfiÓÈ̈Ó
ηÙԛΈÓ, Â›Ó·È ¯ÙÈṲ̂ÓË ÛÙȘ fi¯ı˜ ÙÔ˘
ÔÙ·ÌÔ‡ ¿ÏÙ˙·¯, ÛÙÔ ‚fiÚÂÈÔ Û‡ÓÔÚÔ
ÙˆÓ ÕÏÂˆÓ Î·È ‰È¿Û·ÚÙË Ì ·ÚÈ-
ÛÙÔ˘ÚÁ‹Ì·Ù· Ù˘ Ì·ÚfiÎ ·Ú¯ÈÙÂÎÙÔÓÈ-
΋˜, ‰·ÓÙÂϤÓÈ· ÎÈÁÎÏȉÒÌ·Ù· Î·È ÚÔÌ·-
ÓÙÈÎÔ‡˜ ΋Ԣ˜. √ÚÈṲ̂ӷ ·fi Ù· ·ÚÈ·
·ÍÈÔı¤·Ù· Â›Ó·È Ô Î·ı‰ÚÈÎfi˜ Ó·fi˜
Salzburger Dom, Ô˘ ÔÏÔÎÏËÚÒıËÎÂ ÙÔ
1628, ÙÔ µÂÓ‰ÈÎÙÈÓfi ÌÔÓ·ÛÙ‹ÚÈ ÙÔ˘
∞Á›Ô˘ ¤ÙÚÔ˘, Ô˘ ȉڇıËΠÙÔ 696, ÙÔ
ÊÚÔ‡ÚÈÔ Hohensalzburg Ì ÙËÓ ˘¤ÚÔ¯Ë
ı¤·, Ë Ï·Ù›· ªfiÙÛ·ÚÙ Î·È ‚¤‚·È· Ë
Getreidegasse, Ô Î‡ÚÈÔ˜ ÂÌÔÚÈÎfi˜ ‰Úfi-
ÌÔ˜ Ù˘ fiÏ˘ Ì ÂηÙÔÓÙ¿‰Â˜ ηٷÛÙ‹Ì·Ù· ÁÈ· fiÏ· Ù· ÁÔ‡ÛÙ·. ÙÔ ¿ÏÙÛÌÔ˘ÚÁÎ ‰ÈÔÚÁ·ÓÒÓÔÓÙ·È Ù·ÎÙÈο
Û˘Ó·˘Ï›Â˜ ¤ÚÁˆÓ ÙÔ˘ ªfiÙÛ·ÚÙ, ÌÔÚ›Ù ӷ ÂÈÛÎÂÊı›Ù ÙÔ ÎÙ‹ÚÈÔ fiÔ˘ ÁÂÓÓ‹ıËÎÂ Ô Û˘Óı¤Ù˘ Î·È ÌfiÏȘ
·Ó·Î·ÈÓ›ÛÙËÎÂ Î·È ÔÏÏ¿ ¿ÏÏ· Ô˘ ÌÔÚ›Ù ӷ ·Ó·Î·Ï‡„ÂÙ ÛÙÔÓ ‰ÈÎÙ˘·Îfi ÙfiÔ
www2.salzburg.info/mozart.html.
MINOAN WAVEñ

ÚÔÙ¿ÛÂȘ ÔÏÈÙÈÛÌÔ‡ 2009
Cultural Events 2009
062
∂ıÓÈÎfi £¤·ÙÚÔ/ ∞ÈÛ¯‡ÏÔ˘ «¤ÚÛ˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ȉ·‡ÚÔ˘
31 πÔ˘Ï›Ô˘ - 1 ∞˘ÁÔ‡ÛÙÔ˘
«∞·›, ηÎÒÓ ‰Ë ¤Ï·ÁÔ˜ ¤ÚÚˆÁÂÓ Ì¤Á· ¤Ú۷Ș»…ªÈ· ÔÎÙ·ÂÙ›· ÌÂÙ¿ ÙË
Ó·˘Ì·¯›· Ù˘ ·Ï·Ì›Ó·˜ (480 .Ã.), Ô ∞ÈÛ¯‡ÏÔ˜ (ÔÏÂÌÈÛÙ‹˜ Î·È Ô ›‰ÈÔ˜)
˙ˆÓÙ·Ó‡ÂÈ ÙË Û˘ÓÙÚÈ‚‹ Ù˘ ÂÚÛÈ΋˜ ·ÚÌ¿‰·˜ - ÙËÓ ‡‚ÚË ÙˆÓ ÈÛ¯˘ÚÒÓ Î·È
ÙȘ Û˘Ó¤ÂȤ˜ Ù˘ - Î·È ÂÍ·›ÚÂÈ ÙË ‰ËÌÔÎÚ·ÙÈ΋ ∞ı‹Ó·, ̤۷ ·fi ÙÔ ıÚ‹ÓÔ
ÙˆÓ ËÙÙË̤ӈÓ. ∆Ô ∂ıÓÈÎfi £¤·ÙÚÔ Î·Ï› ¤Ó·Ó ·fi ÙÔ˘˜ ÛËÌ·ÓÙÈÎfiÙÂÚÔ˘˜
ÛÎËÓÔı¤Ù˜ Ù˘ ÁÂÚÌ·ÓÈ΋˜ ÛÎËÓ‹˜, ÙÔÓ ‚Ô˘ÏÁ·ÚÈ΋˜ ηٷÁˆÁ‹˜ ¡ÙÈÌ›ÙÂÚ
°ÎfiÙÛÂÊ – ÔÈ ı·٤˜ ÙÔ˘ ºÂÛÙÈ‚¿Ï ∞ıËÓÒÓ ı· ı˘ÌÔ‡ÓÙ·È ÙÔÓ π‚¿ÓÔÊ ÙÔ˘ –
Ó· ÛÎËÓÔıÂÙ‹ÛÂÈ ÙÔ˘˜ “¤ÚÛ˜” Ì ÂÎÏÂÎÙÔ‡˜ ŒÏÏËÓ˜ ËıÔÔÈÔ‡˜. ÙËÓ
·Ú¿ÛÙ·ÛË ·›˙Ô˘Ó ÔÈ ∞Ì·Ï›· ªÔ˘ÙÔ‡ÛË, ªËÓ¿˜ ÷Ù˙ËÛ¿‚‚·˜, ¡›ÎÔ˜
∫·Ú·ı¿ÓÔ˜ Î·È ¿ÏÏÔÈ ËıÔÔÈÔ›.
National Theatre of Greece/ Aeschylus,
«The Persians» Epidaurus Ancient Theatre
31 July - 1 August
“Alas! In truth a vast sea of troubles has burst upon the Persians”… Eight
years after the battle of Salamis (480 BC), Aeschylus (a soldier as well as a
poet) brings to life the destruction of the Persian armada – the hubris of
powerful men and its consequences – and lauds democratic Athens through
mourning its fallen heroes.
The National Theatre of Greece has invited one of Germany’s leading men of
the theatre – the Bulgarian-born Dimiter Gotscheff, whose Ivanov Athens
Festival audiences will remember from 2007 – to direct The Persians with a
hand-picked Greek cast. Cast: Amalia Moutousi, Minas Hatzisavvas, Nikos
Karathanos and others.
∫Ú·ÙÈÎfi £¤·ÙÚÔ µÔÚ›Ԣ ∂ÏÏ¿‰Ô˜/
∂˘ÚÈ›‰Ë «∆Úˆ¿‰Â˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ȉ·‡ÚÔ˘
7 – 8 A˘ÁÔ‡ÛÙÔ˘
«‹ÌÂÚ·… ’ ¤Ó· ‚ÔÌ‚·Ú‰ÈṲ̂ÓÔ Û¯ÔÏ›Ô, ·Ó¿ÌÂÛ· Û ۷Ṳ̂ӷ
ıÚ·Ó›·, Âٷ̤ӷ ‚È‚Ï›·, ÚËÌ·Á̤ÓÔ˘˜ ÙÔ›¯Ô˘˜, ÌÈ· ÔÌ¿‰· ·È‰ÈÒÓ
«·›˙ÂÈ» ÙÔ˘˜ £ÂÔ‡˜», ·fi ÙÔÓ ÚfiÏÔÁÔ ÙˆÓ ∆Úˆ¿‰ˆÓ ÙÔ˘
∂˘ÚÈ›‰Ë. ’ ·˘ÙfiÓ ÙÔ ¯ÒÚÔ - ÚÔÛˆÚÈÓfi ÛÙÚ·ÙfiÂ‰Ô ¿Ì·¯ˆÓ - ı·
Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ Á˘Ó·›Î˜ Ù˘ ∆ÚÔ›·˜ Î·È ÙÔ ÌÔÈÚÔÏfiÈ ÙÔ˘˜ ı· Á›ÓÂÈ
Ô ıÚ‹ÓÔ˜ fiÏˆÓ ÙˆÓ ËÙÙËÌ¤ÓˆÓ Î·È ÂÍÔÚÈÛÌ¤ÓˆÓ ÙÔ˘ ÎfiÛÌÔ˘, ÌÈ·
·Ó·ÓıÚÒÈÓË ÎÚ·˘Á‹ ‰È·Ì·ÚÙ˘Ú›·˜. ∆Ô ∫.£.µ.∂. ·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ
¿ÓÙ· ›ηÈÚÔ ·ÓÙÈÔÏÂÌÈÎfi ¤ÚÁÔ ÙÔ˘ ∂˘ÚÈ›‰Ë, Ô˘ ‰È‰¿¯ÙËΠÙÔ
415 .Ã., ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ÂÏÔÔÓÓËÛÈ·ÎÔ‡ ÔϤÌÔ˘, Û Ӥ· ÌÂÙ¿-
ÊÚ·ÛË Ù˘ ∂ϤÓ˘ µ·ÚÔÔ‡ÏÔ˘ Î·È Ê¤ÚÓÂÈ ÁÈ· ÚÒÙË ÊfiÚ·, ÙË §‹‰·
ÚˆÙÔ„¿ÏÙË ÛÙËÓ ∂›‰·˘ÚÔ, ÛÙÔ ÚfiÏÔ Ù˘ ∂ο‚˘.
National Theatre of Northern Greece/
Euripides, “The Trojan Women”
Epidaurus Ancient Theatre 7 - 8 August
“Trojan Women”, the tragedy of the defeated, presents on stage the life
of the captive Trojan women after the fall of Troy, before they are
taken as slaves by the Greeks. Among them, former mighty “Queen
Hecuba”, tragic seeress “Cassandra” and tender “Andromache” have to
watch powerless as their men are sacrificed one by one, victims of the
inhuman demands of the Greeks. This performance of Euripides’ everrelevant
anti-war play – first performed in 415 BC during the
Peloponnesian War – marks Leda Protopsalti’s debut in Epidaurus.
MINOAN WAVE >

ÚÔÙ¿ÛÂȘ ÔÏÈÙÈÛÌÔ‡ 2009
The Bridge Project/ √˘›ÏÏÈ·µ ·›ÍËÚ
«∆Ô ¯ÂÈ̈ÓÈ¿ÙÈÎÔ ·Ú·Ì‡ıÈ»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ȉ·‡ÚÔ˘
21 - 22 ∞˘ÁÔ‡ÛÙÔ˘
∆Ô ÊÂÛÙÈ‚¿Ï Ù˘ ∂ȉ·‡ÚÔ˘ ÔÏÔÎÏËÚÒÓÂÙ·È ÛÙȘ 21 Î·È 22 ∞˘ÁÔ‡ÛÙÔ˘
Ì ÙÔ «ÃÂÈ̈ÓÈ¿ÙÈÎÔ ·Ú·Ì‡ıÈ», ÌÈ· Û˘Ì·Ú·ÁˆÁ‹ ÙÔ˘ ı¿ÙÚÔ˘ The Old
Vic ÙÔ˘ §ÔÓ‰›ÓÔ˘, Ì ÙË ªÔ˘ÛÈ΋ ∞η‰ËÌ›· ÙÔ˘ ªÚÔ‡ÎÏ˘Ó Ù˘ ¡¤·˜
ÀfiÚ΢ (Brooklyn Academy of Music - µ∞ª) Î·È ÙËÓ ÂÙ·ÈÚ›· ·Ú·Áˆ-
Á‹˜ Neal Street Productions, Ô˘ Ì ÙÔ ÁÂÓÈÎfi Ù›ÙÏÔ «The Bridge Project»
ÍÂÎÈÓÔ‡Ó ·fi ÙË ÊÂÙÈÓ‹ ÛÂ˙fiÓ ÌÈ· ÙÚÈÂÙ‹, ˘ÂÚ·ÙÏ·ÓÙÈ΋ Û˘ÓÂÚÁ·Û›· Ë
ÔÔ›· ʤÚÓÂÈ ÎÔÓÙ¿ ÌÂÁ¿Ï· ٷϤÓÙ· Ù˘ ı·ÙÚÈ΋˜ ÛÎËÓ‹˜ Ù˘ ¡¤·˜
ÀfiÚ΢ Î·È ÙÔ˘ §ÔÓ‰›ÓÔ˘. ŒÙÛÈ, Ô ‚Ú·‚Â˘Ì¤ÓÔ˜ Ì ŸÛÎ·Ú ·Ì ª¤ÓÙ˜
(American Beauty) ÛÎËÓÔıÂÙ› ¤Ó·Ó ÌÂÈÎÙfi ·ÁÁÏÔ·ÌÂÚÈηÓÈÎfi ı›·ÛÔ,
ÛÙÔÓ ÔÔ›Ô Û˘ÌÌÂÙ¤¯Ô˘Ó ÛÔ˘‰·›ÔÈ ËıÔÔÈÔ› ÙÔ˘ ·ÁÁÏÈÎÔ‡ ı¿ÙÚÔ˘,
fiˆ˜ Ô ¿ÈÌÔÓ ƒ¿ÛÛÂÏ ªËÏ, Ë ÈÓ¤ÓÙ ∫ÈÔ‡˙·Î Î·È Ë ·ÓÂÚ¯fiÌÂÓË
ƒÂ̤η ÃÔÏ (Vicky, Christina, Barcelona), Ì·˙› Ì ·ÛÙ¤Ú˜ ÙÔ˘ ·ÌÂÚÈ-
ηÓÈÎÔ‡ ı¿ÙÚÔ˘ Î·È ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, fiˆ˜ Ô ƒ›ÙÛ·ÚÓÙ ◊ÛÙÔÓ, Ô ∆˙Ô˜
ÿÌÈÏÙÔÓ Î·È Ô ◊ı·Ó ÈÎ. ∆Ô «ÃÂÈ̈ÓÈ¿ÙÈÎÔ ·Ú·Ì‡ıÈ» Û˘ÁηٷϤ-
ÁÂÙ·È ·Ó¿ÌÂÛ· ÛÙ· ¤ÚÁ· Ù˘ ÙÂÏÂ˘Ù·›·˜ Û˘ÁÁÚ·ÊÈ΋˜ ÂÚÈfi‰Ô˘ ÙÔ˘
·›ÍËÚ, fiÔ˘ Ù· fiÚÈ· ·Ó¿ÌÂÛ· ÛÙ· ·Ú·‰ÔÛȷο ı·ÙÚÈο ›‰Ë ›ӷÈ
Ú¢ÛÙ¿. ∏ ÈÛÙÔÚ›· ÍÂÎÈÓ¿ÂÈ Ì ÛÎÔÙÂÈÓÔ‡˜ ÙfiÓÔ˘˜, ·ÏÏ¿ ÙÔ ¤ÓÙÔÓÔ „˘¯Ô-
ÏÔÁÈÎfi ‰Ú¿Ì· ÙˆÓ ÚÒÙˆÓ ÙÚÈÒÓ Ú¿ÍÂˆÓ ‰›ÓÂÈ ÙË ı¤ÛË ÙÔ˘ Û ΈÌÈΤ˜
ηٷÛÙ¿ÛÂȘ Î·È ÙÂÏÈο ÛÂ Â˘Ù˘¯ÈṲ̂ÓÔ Ù¤ÏÔ˜.
Cultural Events 2009
The Bridge Project/ William Shakespeare,
“The Winter's Tale”
Epidaurus Ancient Theatre
21 - 22 August
The Epidaurus Festival is playing host to the transatlantic Bridge Project,
which brings some of the finest talents from the New York and London
stage to our ancient theatre.
Academy Award-winning director Sam Mendes, the driving force behind
this unprecedented partnership, presents Shakespeare’s rich tragicomedy
“The Winter’s Tale”: a magical testament to the follies of hasty
judgement and the force of love as a means of redemption. Cast: Simon
Russell Beale, Sinéad Cusack, Sinéad Cusack, Richard Easton, Josh
Hamilton, Ethan Hawke and many others.
∞ÚÈÛÙÔÊ¿ÓË «ŸÚÓÈı˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ȉ·‡ÚÔ˘
14 - 15 ∞˘ÁÔ‡ÛÙÔ˘
«∂˘‰·ÈÌÔÓ›·Ó, ‚›ÔÓ, ÂÈÚ‹ÓËÓ, ÓÂfiÙËÙ·, Á¤ÏˆÙ·, ¯ÔÚÔ‡˜, ı·Ï›·˜» Û˘Ó ÙÔ˘
Ô˘ÏÈÔ‡ ÙÔ Á¿Ï·: fiÏ· ·˘Ù¿ ˘fiÛ¯ÔÓÙ·È ÁÈ· ÙËÓ Ô˘ÙÔÈ΋
¡ÂÊÂÏÔÎÔÎ΢Á›· Ù· ÂÚ›ÊËÌ· Ô˘ÏÈ¿ ÙÔ˘ ∞ÚÈÛÙÔÊ¿ÓË. ∂Ó ¤ÙÂÈ 414 .Ã.
‰‡Ô ∞ıËÓ·›ÔÈ – Ô ÈÛı¤Ù·ÈÚÔ˜ ÎÈ Ô ∂˘ÂÏ›‰Ë˜– ÂÁηٷÏÂ›Ô˘Ó ÙË ÊÈÏÔ-
fiÏÂÌË ∞ı‹Ó· Î·È Ù· ÔÏÈÙÈÎÔÎÔÈÓˆÓÈο ‰ÂÈÓ¿ ·Ó·˙ËÙÒÓÙ·˜ ÙËÓ È‰·ÓÈ-
΋ ÔÏÈÙ›· ÛÙÔÓ Ô˘Ú·Ófi. √ ˆÙ‹Ú˘ ÷Ù˙¿Î˘ Ì·˙› Ì ÁÓ‹ÛÈ·˜ ΈÌÈ-
΋˜ ÊϤ‚·˜ ËıÔÔÈÔ‡˜ ·fi ‰È·ÊÔÚÂÙÈΤ˜ ÁÂÓȤ˜ ÂÛÙÈ¿˙Ô˘Ó ÛÙËÓ «ÙÚ·˘-
Ì·ÙÈ΋ Î·È Û˘Ó·Ú·ÛÙÈ΋» ‰ÂηÂÙ›· ÙÔ˘ ’60 «Î·È ÛÙËÓ ·ÈÛıËÙÈ΋ ÙˆÓ
ÂÚÈÏ·ÓÒÌÂÓˆÓ ·ÎÚÔ‚·ÙÒÓ, ÙˆÓ ·˘ÙÔ‰›‰·ÎÙˆÓ Û¯ÔÈÓÔ‚·ÙÒÓ, ÙˆÓ
ÂÚ·ÛÙÒÓ Ù˘ ¿ÚÛ˘ ÙÔ˘ ‚¿ÚÔ˘˜ ÛÙ· Ï·˚ο ı¿̷ٷ».
∂ÚµËÓ‡ԢÓ: °ÈÒÚÁÔ˜ ∞Úµ¤Ó˘, ∞ϤͷӉÚÔ˜ ª˘ÏˆÓ¿˜, µ·Û›Ï˘
÷ڷϷµfiÔ˘ÏÔ˜.
Aristophanes, “The Birds”
Epidaurus Ancient Theatre 14 - 15 August
“Health and wealth, long life, peace, youth, laughter, songs and feasts” and
everything you’ve ever wished for: that’s what Aristophanes’ famous
“Birds” promise about their utopian Cloud-cuckoo-land. In the year 414
BC, two Athenians, Pisthetaerus and Euelpides, flee warlike Athens and its
socio-political afflictions, seeking the perfect city in the sky. Sotiris
Hadzakis, together with a multigenerational group of genuine comic
actors, promise to highlight in their performance the play’s relevance to
the modern world. Cast: Giorgos Armenis, Alexandros Mylonas, Vasilis
Charalambopoulos
MINOAN WAVE >

ÚÔÙ¿ÛÂȘ ÔÏÈÙÈÛÌÔ‡ 2009
Cultural Events 2009
Spaghetti Western Orchestra
£¤·ÙÚÔ Badminton 16 - 25
ÂÙÂÌ‚Ú›Ô˘
ªfiÙ˜, ÛÈÚÔ‡ÓÈ· Î·È Î·˘Ù¤˜ ۤϘ ÛÙÔ Ú˘ıÌfi
ÙÔ˘ Ennio Morricone. ÔÙ¤ ¿ÏÏÔÙÂ Ë ¿ÁÚÈ· ¢‡ÛË
‰ÂÓ ‹Ù·Ó ÙfiÛÔ ‰È·ÛΉ·ÛÙÈ΋. ŒÓ· ·ÊȤڈ̷ ÛÙ·
ÎÏ·ÛÈο Û·ÁΤÙÈ ÁÔ˘¤ÛÙÂÚÓ Ì ÙȘ ·Ó·ӿÏË-
Ù˜ Û˘Óı¤ÛÂȘ ÙÔ˘ Ennio Morricone.
ªÈ· ·Ú¿ÛÙ·ÛË Ô˘ Û·˜ ÙÚ·‚¿ ·fi ÙÔ Áȷο ηÈ
¯ÒÓÂÈ ÙË Ì‡ÙË Û·˜ ̤۷ ÛÙË ÛÎfiÓË Ù˘ ÂÚ‹ÌÔ˘.
¤ÓÙ ·‰›ÛÙ·ÎÙÔÈ ÌÔ˘ÛÈÎÔ› ÈÛÙÔϤÚÔ ÊÙ¿ÓÔ˘Ó
ÛÙËÓ fiÏË Ì·˜, ·ÔÊ·ÛÈṲ̂ÓÔÈ Ó· ÌÂÙ·ÙÚ¤„Ô˘Ó
ÙË ÛÎËÓ‹ ÙÔ˘ ı¿ÙÚÔ˘ Badminton Û ۷ÏÔ‡Ó. «∏
Spaghetti Western Orchestra ÌÂÙ·ÙÚ¤ÂÈ ÙËÓ ·ÍÂ-
¤Ú·ÛÙË ÌÔ˘ÛÈ΋ ÙÔ˘ Morricone Û ·Ó·ӿÏË-
ÙË ÂÌÂÈÚ›·.
064
Spaghetti Western Orchestra
Badminton Theatre
16 - 25 September
“Boots, sperms and saddles” in the music of Ennio
Morricone.
A dedication to classic western movies with the
unprecedented compositions of Ennio Morricone.
Five musical “cowboys” turn the theatre into
saloon. “Spaghetti Western Orchestra” reforms the
incredible music of famous composer into an
unprecedented experience.
“Singin' in the Rain”
£¤·ÙÚÔ Badminton
21 - 25 √ÎÙˆ‚Ú›Ô˘
∆Ô ÈÔ ÎÂÊ¿ÙÔ, Ôχ¯ÚˆÌÔ Î·È ¯ÔÚ¢ÙÈÎfi ÌÈÔ‡˙ÈÎ·Ï ÙÔ˘
ÃfiÏ˘ÁÔ˘ÓÙ ÍÂÙ˘Ï›ÁÂÈ Ì ¯ÈÔ‡ÌÔÚ Î·È ·ıˆfiÙËÙ· ÌÈ· ÈÛÙÔ-
Ú›· ·fi ÙË «¯Ú˘Û‹» ÂÔ¯‹ ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Û ÌÈ·
·Ú·ÁˆÁ‹ Ô˘ ı·ÌÒÓÂÈ ÙÔ ı·ً Ì ٷ Ê·ÓÙ·¯ÙÂÚ¿
ÎÔÛÙÔ‡ÌÈ· ÂÔ¯‹˜, Ù· ÏÔ‡ÛÈ· ÛÎËÓÈο Î·È Ê˘ÛÈο ÙȘ
·Í¤¯·ÛÙ˜ ¯ÔÚÔÁڷʛ˜ ÙÔ˘ ∆˙ËÓ ∫¤Ï˘. ÙÔ ÚfiÏÔ ÙÔ˘
ÚˆÙ·ÁˆÓÈÛÙ‹ o ÂÍ·ÈÚÂÙÈÎfi˜ ËıÔÔÈfi˜ Tim Flavin, ¤Ó·˜
·fi ÙÔ˘˜ ÈÔ ·Ó·ÁÓˆÚÈṲ̂ÓÔ˘˜ ηÏÏÈÙ¤¯Ó˜ ÙÔ˘
Broadway.
“Singin' in the Rain”
Badminton Theatre
21 - 25 October
The famous dancing musical, back from cinema’s “golden
ages”, unfolds its history in a production that dazzles the
audience with flashy suits and the amazing Gene Kelly’s
choreographies. In the leading part, one of the most famous
Broadway’s actors, Tim Flavin.
MINOAN WAVE ñ

FOTO: MARIOS MANOUSAKIS