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© ∂ΉfiÛÂȘ ∫∂ƒ∫Àƒ∞ ∂¶∂1Ë ¤Î‰ÔÛË, √ÎÙÒ‚ÚÈÔ˜ 2007

∂È̤ÏÂÈ·, ΛÌÂÓ· ªª··ÚÚ››·· ∞∞‰‰··ÌÌ··ÓÓÙÙ››‰‰ÔÔ˘

∫·ÏÏÈÙ¯ÓÈ΋ ÂÈ̤ÏÂÈ·, ۯ‰ȷÛÌfi˜ Â͈ʇÏÏÔ˘ ∂∂ÏϤ¤ÓÓËË ∫∫··ÛÛÎη·ÚÚ››Îη·

¢ÈfiÚıˆÛË ÂÏÏËÓÈÎÔ‡ ÎÂÈ̤ÓÔ˘ °°ÈÈÒÒÙÙ·· ¶¶ÔÔÏÏ˘‰‰ˆÚÚÔÔÔÔ‡‡ÏÏÔÔ˘∞ÁÁÏÈ΋ ÌÂÙ¿ÊÚ·ÛË & ‰ÈfiÚıˆÛË ·ÁÁÏÈÎÔ‡ ÎÂÈ̤ÓÔ˘ ∫∫··ÏÏÏÏÈÈfifiËË °°ÔÔ˘ÚÚÓÓÙÙ‹‹

√È ÛÙ›¯ÔÈ ·fi ÙÔÓ ∞ÛÙ˘¿Ó·ÎÙ· ÙÔ˘ °ÈÒÚÁÔ˘ ™ÂʤÚË, ÛÙÔ Î›ÌÂÓÔ Ù˘ ª·Ú›·˜ º·Ú·ÓÙÔ‡-ÚË, ·Ô‰fiıËÎ·Ó ÛÙ· ·ÁÁÏÈο ·fi ÙËÓ ¢Ú· Gail Holst-Warhaft. ∆Ô Î›ÌÂÓÔ ÙÔ˘ ∞ÓÙÒÓË∫·ÏÔÁÈ¿ÓÓË ÚÔ‹Ïı ·fi Û˘Ó¤ÓÙ¢ÍË Ô˘ ·Ú·¯ÒÚËÛ ÛÙË ª·Ú›· ∞‰·Ì·ÓÙ›‰Ô˘.

¶∞ƒ∞°ø°∏ ÂÂÎΉ‰fifiÛÛÂÂÈȘ ∫∫∂∂ƒƒ∫∫ÀÀƒƒ∞∞

ºˆÙÔÁÚ¿ÊÈÛË ·ÊÈÛÒÓ ππˆ¿¿ÓÓÓÓˢ ∞∞ÛÛËËÌÌ··ÎÎfifiÔÔ˘ÏÏÔÔ˜ Î·È ¢¢ËËÌÌ‹‹ÙÙÚÚˢ ∆∆ÛÛ‚‚¿¿˜æËÊȷ΋ ÂÂÍÂÚÁ·Û›· ·Ú¯Â›ˆÓ ÙˆÓ ·ÊÈÛÒÓ ¢¢.. ¶¶ÏϤ¤ÛÛÛÛ··˜ ∂∂¶¶∂∂ ™˘ÓÙÔÓÈÛÌfi˜ ŒŒÊÊËË ∞∞ÓÓ‰‰ÚÚÈÈÎÎÔÔÔÔ‡‡ÏÏÔÔ˘

√È ·Ê›Û˜ ÙÔ˘ Ï¢ÎÒÌ·ÙÔ˜ ·ÔÙÂÏÔ‡Ó Ì¤ÚÔ˜ ÙÔ˘ ∞Ú¯Â›Ô˘ ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË, ÙÔ ÔÔ›Ô Ê˘Ï¿ÛÛÂÙ·È ÛÙË ªÂÁ¿ÏË ªÔ˘ÛÈ΋ µÈ‚ÏÈÔı‹ÎË Ù˘ ∂ÏÏ¿‰Ô˜ «§›ÏÈ·Ó µÔ˘‰Ô‡ÚË» ÙÔ˘ ™˘ÏÏfiÁÔ˘ «√È º›ÏÔÈ Ù˘ ªÔ˘ÛÈ΋˜» Î·È ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È ÛÙÔ Ï‡Έ̷ ·˘Ùfi Ì ÙËÓ Â˘ÁÂÓÈ΋ ¿‰ÂÈ· ÙÔ˘ Û˘Óı¤ÙË.

¶ËÁ‹ ʈÙÔÁÚ·ÊÈÒÓ: ∞Ú¯Â›Ô ª·ÚÁ·Ú›Ù·˜ £ÂÔ‰ˆÚ¿ÎË.

∫ÂÓÙÚÈ΋ ‰È¿ıÂÛË

µÏ·¯¿‚· 6-8, 10551 ∞ı‹Ó· ∆ËÏ.: 210-3314.714, fax: 210-3230.338wwwwww..eeccoonnoommiiaa..ggrr, ssaalleess@@eeccoonnoommiiaa..ggrr

√ ÂΉfiÙ˘ η٤‚·Ï οı ‰˘Ó·Ù‹ ÚÔÛ¿ıÂÈ· Ó· ÂÓÙÔ›ÛÂÈ Ù˘¯fiÓ Î·Ùfi¯Ô˘˜ ‰ÈηȈ-Ì¿ÙˆÓ ÁÈ· ÙȘ ÂÈÎfiÓ˜ Ô˘ ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È ÛÙËÓ ¤Î‰ÔÛË ·˘Ù‹, Â›Ó·È ‰Â Úfiı˘ÌÔ˜ Ó·ÚԂ› Û ‰ÈÔÚıˆÙÈΤ˜ ÎÈÓ‹ÛÂȘ Û ÂÚ›ÙˆÛË Ô˘ ‰ÈηÈÔ‡¯Ô˜ ‹ ‰ÈηÈÔ‡¯ÔÈ ÂÈÎÔÈ-ÓˆÓ‹ÛÔ˘Ó Ì· › ÙÔ˘ ÌÂÙ¿ ÙË ‰ËÌÔÛ›Â˘ÛË ÙÔ˘ ‚È‚Ï›Ô˘.

∞·ÁÔÚ‡ÂÙ·È Ë ·Ó·‰ËÌÔÛ›Â˘ÛË Î·È ÁÂÓÈο Ë ·Ó··Ú·ÁˆÁ‹ ÙÔ˘ ·ÚfiÓÙÔ˜ ¤ÚÁÔ˘, ÌÂÔÔÈÔÓ‰‹ÔÙ ÙÚfiÔ, ÙÌËÌ·ÙÈο ‹ ÂÚÈÏËÙÈο, ÛÙÔ ÚˆÙfiÙ˘Ô ‹ Û ÌÂÙ¿ÊÚ·ÛË ‹ ¿ÏÏˉȷÛ΢‹, ¯ˆÚ›˜ ÚÔËÁÔ‡ÌÂÓË ÁÚ·Ù‹ ¿‰ÂÈ· ÙÔ˘ ÂΉfiÙË.

™™ÀÀ¡¡√√¢¢∂∂ÀÀ∂∂∆∆∞∞ππ ∞∞¶¶√√ CCDD ªª∂∂ ∞∞¡¡∂∂∫∫¢¢√√∆∆√√ ∏∏ÃÃ∏∏∆∆ππ∫∫√√ ÀÀ§§ππ∫∫√√

ºˆÙÔÁÚ·Ê›· ÂۈʇÏÏÔ˘:∫ÔÛÌÔÏËÌ̇ڷ ÛÙË Û˘Ó·˘Ï›· ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË ÛÙÔ Á‹Â‰Ô ÙÔ˘ ¶·Ó·ıËÓ·˚ÎÔ‡ÛÙȘ 24 ™ÂÙÂÌ‚Ú›Ô˘ 1976.

© KERKYRA PublicationsFirst Edition: October 2007

Editor, Texts MMaarriiaa AAddaammaannttiiddiiss

Art Direction, Cover Design EElleennii KKaasskkaarriikkaa

Copyediting GGiioottaa PPoollyyddoorrooppoouulloouuEnglish translation & editing KKaalllliiooppee GGoouurrnnttiiss(Note: Member of Parliament Mimis Androulakis’ prologue in English is his adaptation.)

The excerpt from Georgios Seferis’ Astyanax was translated into English by Dr. GailHolst-Warhaft. Antonis Kalogiannis’ text resulted from an interview with MariaAdamantidis.

PRODUCTION KKEERRKKYYRRAA PPuubblliiccaattiioonnss

Posters photographed by IIooaannnniiss AAssiimmaakkooppoouullooss and DDiimmiittrriiss TTsseevvaassDigital processing of posters DD.. PPlleessssaass LLttdd..Coordination EEffii AAnnddrriikkooppoouulloouu

The posters featured in this book are from the Mikis Theodorakis Archive of the Friends of Music Society’s Great Music Library “Lilian Voudouri”. They appear here with the permission of the composer.

The photographs appear courtesy of the Margarita Theodoraki Archive.

Main distributor

6-8 Vlahava St., 10551 AthensTel: +30 210-3314.714; Fax: +30 210-3230.338wwwwww..eeccoonnoommiiaa..ggrr, ssaalleess@@eeccoonnoommiiaa..ggrr

The publisher has made every possible effort to contact potential rights holders ofimages appearing in this book and is willing to make any related corrections shouldthe potential rights holders contact the publisher after publication.

Reproduction of this work, either in part or in whole, in its original form, translated,or otherwise modified is strictly prohibited without the prior written consent of thepublisher.

AA CCDD wwiitthh uunnppuubblliisshheedd mmaatteerriiaall aaccccoommppaanniieess tthhiiss ppuubblliiccaattiioonn..

Photograph on front and back sleeve:Panathinaikos Soccer Stadium overflowing during a Mikis Theodorakis concert onSeptember 24, 1976.

IISSBBNN 997788--996600--88338866--6611--77

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KERKYRA Publications – economia PUBLISHING

ATHENS 2007

∂ΉfiÛÂȘ ∫∂ƒ∫Àƒ∞ – economia PUBLISHING

∞£∏¡∞ 2007

MIKIS THEODORAKISMy posters

EditorMaria Adamantidis

ªπ∫∏™ £∂√¢øƒ∞∫∏™OÈ ·Ê›Û˜ ÌÔ˘

∂È̤ÏÂÈ·-ΛÌÂÓ·ª·Ú›· ∞‰·Ì·ÓÙ›‰Ô˘

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PREFACEAlexandra C. Vovolini-Laskaridis . . . . . . . . . . . . . . . . . . . . . . . . . 8

FOREWORDMichalis LiapisMinister of Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Fani Palli-PetraliaFormer Minister of Tourism Development . . . . . . . . . . . . . . . . . . . . 12

Evangelos VenizelosMember of Greek Parliament, former Minister of Culture . . . . . . . . 14

Mimis AndroulakisMember of Greek Parliament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

INTRODUCTIONMaria Adamantidis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

POINT OF DEPARTUREMikis Theodorakis“We set thousands of fires ablaze everywhere we went” . . . . . . . . . . 28

TRAVEL COMPANIONSMaria Farantouri“The means to exit a period of spiritual darkness” . . . . . . . . . . . . . . 44

Petros D. Pandis“Moments of great beauty” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Antonis Kalogiannis“We’d start the song and the audience would finish it” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Lakis Karnezis“Like the most beautiful song in the world” . . . . . . . . . . . . . . . . . . . 54

Vassilis Vassilikos“The Wizard of Oz who could overcome all barriers” . . . . . . . . . . . . 58

AUDIENCEIlias GiannopoulosMelody and text in the work of Mikis Theodorakis . . . . . . . . . . . . . 66

Ilias NikolakopoulosA vital political presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

ITINERARYñ From Athens to Leningrad (1952-1966) . . . . . . . . . . . . . . . . . . . . 80

ñ From Riga to La Plata (1968-1973) . . . . . . . . . . . . . . . . . . . . . . . . 92

ñ From Stockholm to Chios (1974-2005) . . . . . . . . . . . . . . . . . . . . 150

APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

SOURCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

WORKS LISTED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

CONTENTS

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¶ƒ√§√°√™∞ÏÂÍ¿Ó‰Ú· ∫. µÔ‚ÔÏ›ÓË-§·Ûηڛ‰Ë . . . . . . . . . . . . . . . . . . . . . . . . 9

Ã∞πƒ∂∆π™ª√πªÈ¯¿Ï˘ §È¿Ë˜ÀÔ˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

º¿ÓË ¶¿ÏÏË-¶ÂÙÚ·ÏÈ¿∆¤ˆ˜ ÀÔ˘ÚÁfi˜ ∆Ô˘ÚÈÛÙÈ΋˜ ∞Ó¿Ù˘Í˘ . . . . . . . . . . . . . . . . . . . . . . 13

∂˘¿ÁÁÂÏÔ˜ µÂÓÈ˙¤ÏÔ˜µÔ˘ÏÂ˘Ù‹˜, Ù¤ˆ˜ ÀÔ˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡ . . . . . . . . . . . . . . . . . . . . . . . 15

ª›Ì˘ ∞Ó‰ÚÔ˘Ï¿Î˘µÔ˘ÏÂ˘Ù‹˜ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

∂π™∞°ø°∏ª·Ú›· ∞‰·Ì·ÓÙ›‰Ô˘ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

∞º∂∆∏ƒπ∞ª›Î˘ £ÂÔ‰ˆÚ¿Î˘«ŸÔ˘ ÎÈ ·Ó ËÁ·›Ó·ÌÂ, ·Ó¿‚·Ì ¯ÈÏÈ¿‰Â˜ ʈÙȤ˜» . . . . . . . . . . . . . . 28

™À¡∆∞•π¢πø∆∂™ª·Ú›· º·Ú·ÓÙÔ‡ÚË«Ÿ¯ËÌ· ÁÈ· ÙËÓ ¤ÍÔ‰Ô ·fi ÙÔ ÓÂ˘Ì·ÙÈÎfi ÛÎÔÙ¿‰È» . . . . . . . . . . . . . . 44

¶¤ÙÚÔ˜ ¶·Ó‰‹˜«™ÙÈÁ̤˜ ÌÂÁ¿Ï˘ ÔÌÔÚÊÈ¿˜» . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

∞ÓÙÒÓ˘ ∫·ÏÔÁÈ¿ÓÓ˘«∞Ú¯›˙·Ì ÙÔ ÙÚ·ÁÔ‡‰È ÂÌ›˜ Î·È ÙÔ ÙÂÏ›ˆÓÂ Ô ÎfiÛÌÔ˜» . . . . . . . . . . . 50

§¿Î˘ ∫·ÚÓ¤˙˘«∆Ô ˆÚ·ÈfiÙÂÚÔ ÙÚ·ÁÔ‡‰È ÙÔ˘ ÎfiÛÌÔ˘» . . . . . . . . . . . . . . . . . . . . . . . . 54

µ·Û›Ï˘ µ·ÛÈÏÈÎfi˜«◊Ù·Ó Ô ª¿ÁÔ˜ ÙÔ˘ √˙ Ô˘ ‰È·ÂÚÓÔ‡Û fiÏ· Ù· ÊÚ¿ÁÌ·Ù·» . . . . . . . 58

∞∫ƒ√∞∆∂™∏Ï›·˜ °È·ÓÓfiÔ˘ÏÔ˜ª¤ÏÔ˜ Î·È ÏfiÁÔ˜ ÛÙÔ ¤ÚÁÔ ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË . . . . . . . . . . . . . . . 66

∏Ï›·˜ ¡ÈÎÔÏ·ÎfiÔ˘ÏÔ˜ªÈ· ÔÏ˘Û‹Ì·ÓÙË ÔÏÈÙÈο ·ÚÔ˘Û›· . . . . . . . . . . . . . . . . . . . . . . . . 76

¢ƒ√ª√§√°π√ñ ∞fi ÙËÓ ∞ı‹Ó· ¤ˆ˜ ÙÔ §¤ÓÈÓÁÎÚ·ÓÙ (1952-1966) . . . . . . . . . . . . 80

ñ ∞fi ÙË ƒ›Á· ¤ˆ˜ ÙË §· ¶Ï¿Ù· (1968-1973) . . . . . . . . . . . . . . . . . 92

ñ ∞fi ÙË ™ÙÔίfiÏÌË ¤ˆ˜ ÙË Ã›Ô (1974-2005) . . . . . . . . . . . . . . . . . 150

APPENDIX (∞°°§π∫√ ∂¶πª∂∆ƒ√) . . . . . . . . . . . . . . . . . . . . . . . 316

¶∏°∂™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

∂ƒ°√°ƒ∞ºπ∞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

∂Àƒ∂∆∏ƒπ√ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

¶∂ƒπ∂Ã√ª∂¡∞

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Creating a book that is unlike any other about Mikis Theodorakis’music and his work’s influence is both an immense challenge and

a great responsibility; and this, because Mikis is larger than life. Hismusic has captured the hearts of millions of people from differentcultures in most parts of the world. In Greece, he succeeded in makingpopular some of the most beautiful lyrics written in his native language.Such a book is a challenge because it is not at all easy to shed light onMikis’ work accurately and in depth. It is a body of work that is sovoluminous and complex that inevitably some aspect of it will beoverlooked.

We felt a great sense of responsibility when Mikis and Myrtoentrusted us with such exciting material – both historically and artis-tically – which comprises the central theme of this book: the postersfrom Mikis’ performances all over the world. The material is seductiveand multi-layered, written in 19 languages; it is priceless historical,musical, political and social testimony that spans six decades of the stillyoung, modern Greek state.

And this is why, as publisher, I would like to specially thank:Mikis for his generosity of soul and patience; Myrto, for giving us thematerial which she managed to preserve, very often under incrediblecircumstances; Margarita for bringing me into contact with herparents; and Yiorgos for his a capella performance on occasion of hisfather’s 80th birthday in Galata, Chania, which moved me deeply.

Accompanying and complementing this book is a CD containingrare and exclusive audio material from Mikis Theodorakis’ concerttours, courtesy of Petros Pandis. I am sincerely grateful to Petros Pandisfor his generous and valuable contibution. I believe that the combi-nation of picture and sound will take readers on a wonderful journeyof discovery.

As the reader wanders through the pages of this book, seeing theposters that accompanied Mikis all over the globe during periods thatwere truly heroic, I believe that he or she will derive substantial relieffrom the permeating prosaicness of daily life, during a period of time thatis not at all heroic for our country as it slowly comes to terms with themodern way of life and is at the same time overwhelmed with aconsumerism obsessed with anything that “glitters.”

Alexandra C. Vovolini-LaskaridisPublisher

PREFACE

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TÔ Ó· ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ Î·Ó›˜ ¤Ó· ‚È‚Ï›Ô ‰È·ÊÔÚÂÙÈÎfi, Ì ÎÂÓÙÚÈÎfi ÂÚ¤-ıÈÛÌ· ÙÔ ÌÔ˘ÛÈÎfi ¤ÚÁÔ ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË Î·È ÙËÓ ·‹¯ËÛË Ô˘

›¯Â ÛÙȘ Ï·ÙȤ˜ Ì¿˙˜, Â›Ó·È ÌÈ· ÌÂÁ¿ÏË ÚfiÎÏËÛË Î·È Â˘ı‡ÓË Ì·˙›. °È·Ù›Ô ª›Î˘ Â›Ó·È ·˘Ùfi Ô˘ ÔÈ ∞ÁÁÏÔÛ¿ÍÔÓ˜ ÔÓÔÌ¿˙Ô˘Ó –Î·È ÓÔÌ›˙ˆ ˆ˜‰ÂÓ ÌÔÚ› Ó’ ·Ô‰Ôı› ÛÙ· ÂÏÏËÓÈο– larger than life. ∏ ÌÔ˘ÛÈ΋ ÙÔ˘Û˘ÁÎÏfiÓÈÛ ÙȘ ηډȤ˜ ÂηÙÔÌÌ˘Ú›ˆÓ ·ÓıÚÒˆÓ ·fi ‰È·ÊÔÚÂÙÈÎÔ‡˜ ÔÏÈ-ÙÈÛÌÔ‡˜ ÛÙȘ ÂÚÈÛÛfiÙÂÚ˜ ¯ÒÚ˜ ÙÔ˘ Ï·Ó‹ÙË Ì·˜. ™ÙË ¯ÒÚ· Ì·˜, Ì¿ÏÈÛÙ·,¤Ù˘¯Â Ó· ‰È·‰ÒÛÂÈ ÌÂÚÈÎÔ‡˜ ·fi ÙÔ˘˜ ˆÚ·ÈfiÙÂÚÔ˘˜ ÛÙ›¯Ô˘˜ Ô˘ ¤¯Ô˘ÓÁÚ·ÊÙ› ÛÙËÓ ÂÏÏËÓÈ΋ ÁÏÒÛÛ·.

ŒÓ· Ù¤ÙÔÈÔ ‚È‚Ï›Ô ·ÔÙÂÏ› ÚfiÎÏËÛË ÁÈ·Ù› ‰ÂÓ Â›Ó·È Î·ıfiÏÔ˘ ‡ÎÔÏÔ Ó·ÊˆÙ›ÛÂÈ Î·Ó›˜ ÙÔ ¤ÚÁÔ ÙÔ˘ ª›ÎË Ì ·ÎÚ›‚ÂÈ· Î·È Û ‚¿ıÔ˜. ŒÓ· ¤ÚÁÔ ÙfiÛÔ·¤Ú·ÓÙÔ Î·È ÔÏ˘Û‡ÓıÂÙÔ Ô˘ ¿ÓÙ· οÔÈ· ÔÙÈ΋ ÁˆÓ›· ı· ¤¯ÂÈ ÍÂʇÁÂÈ.

◊Ù·Ó ‚·ÚÈ¿ Ë Â˘ı‡ÓË Ô˘ ÓÈÒÛ·Ì ÁÈ· ÙËÓ ÂÌÈÛÙÔÛ‡ÓË Ô˘ Ì·˜¤‰ÂÈÍ·Ó Ô ª›Î˘ Î·È Ë ª˘ÚÙÒ Ó· Ì·˜ ηٷı¤ÛÔ˘Ó ¤Ó· Û˘Ó·Ú·ÛÙÈÎfi–ÈÛÙÔÚÈο Î·È ÂÈηÛÙÈο– ˘ÏÈÎfi Ô˘ Û˘ÓÈÛÙ¿ Î·È ÙÔ ÎÂÓÙÚÈÎfi ı¤Ì· ·˘ÙÔ‡ÙÔ˘ ‚È‚Ï›Ô˘: ÙȘ ·Ê›Û˜ ÙˆÓ Û˘Ó·˘ÏÈÒÓ Ô˘ ¤‰ˆÛÂ Ô ª›Î˘ ÛÙ· ¤Ú·Ù·ÙÔ˘ ÎfiÛÌÔ˘. ŒÓ· ˘ÏÈÎfi Û·ÁËÓ¢ÙÈÎfi Î·È ÔÏ˘Â›Â‰Ô –¤Ó· ‚·Ú‡ÙÈÌÔÈÛÙÔÚÈÎfi, ÌÔ˘ÛÈÎfi, ÔÏÈÙÈÎfi, ÎÔÈÓˆÓÈÎfi ÓÙÔÎÔ˘Ì¤ÓÙÔ, ÁÚ·Ì̤ÓÔ Û 19ÁÏÒÛÛ˜, Ô˘ ‰È·ÙÚ¤¯ÂÈ ¤ÍÈ ‰ÂηÂٛ˜ ·fi ÙË ÌÈÎÚ‹ ˙ˆ‹ ÙÔ˘ ÓÂfiÙÂÚÔ˘ÂÏÏËÓÈÎÔ‡ ÎÚ¿ÙÔ˘˜.

°È’ ·˘Ùfi Î·È ı¤Ïˆ Ó· ¢¯·ÚÈÛÙ‹Ûˆ ȉȷ›ÙÂÚ·, ·fi ÙË ı¤ÛË ÙÔ˘ ÂΉfiÙË,ÙÔÓ ª›ÎË ÁÈ· ÙË ÁÂÓÓ·ÈÔ‰ˆÚ›· „˘¯‹˜ Î·È ÙËÓ ˘ÔÌÔÓ‹ ÙÔ˘, ÙË ª˘ÚÙÒÔ˘ ‰È¤ÛˆÛ οو ·fi Ì˘ıÈÛÙÔÚËÌ·ÙÈΤ˜, Û˘¯Ó¿, Û˘Óı‹Î˜ ÙȘ ·Ê›ÛÂ˜Ô˘ ÂÚȤ¯ÔÓÙ·È Û’ ·˘Ù‹ ÙËÓ ¤Î‰ÔÛË Î·È Ô˘ Ì·˜ ÙȘ ·Ú¤‰ˆÛ ÛÙÔ ·Á·-Ë̤ÓÔ ÙÔ˘˜ Û›ÙÈ ÛÙÔ µÚ·¯¿ÙÈ, ÙË ª·ÚÁ·Ú›Ù· Ô˘ Ì’ ¤ÊÂÚ ے ·ʋ ÌÂÙÔ˘˜ ÁÔÓ›˜ Ù˘, Î·È ÙÔÓ °ÈÒÚÁÔ Ô˘ ÌÂ Û˘ÁΛÓËÛ ÙfiÛÔ ‚·ıÈ¿, ÙÚ·ÁÔ˘-‰ÒÓÙ·˜ a capella ÛÙ· 80¿ ÁÂÓ¤ıÏÈ· ÙÔ˘ ·Ù¤Ú· ÙÔ˘ ÛÙÔÓ °·Ï·Ù¿ ÷ӛˆÓ…

∏ ¤Î‰ÔÛË ·˘Ù‹ Â›Ó·È ÂÌÏÔ˘ÙÈṲ̂ÓË Ì’ ¤Ó· ·ÔÎÏÂÈÛÙÈÎfi ˯ËÙÈÎfiÓÙÔÎÔ˘Ì¤ÓÙÔ: ¤Ó· CD Ì ۿÓÈÔ ˘ÏÈÎfi ·fi ÙȘ ÂÚÈԉ›˜ ÙÔ˘ ª›ÎË£ÂÔ‰ˆÚ¿ÎË, Ô˘ Ì·˜ ÚÔÛ¤ÊÂÚ Ì ÁÂÓÓ·ÈÔ‰ˆÚ›· Ô ¶¤ÙÚÔ˜ ¶·Ó‰‹˜ ·fiÙÔ ÚÔÛˆÈÎfi ÙÔ˘ ·Ú¯Â›Ô. ∂˘¯·ÚÈÛÙÒ ÙÔÓ ¶¤ÙÚÔ ¶·Ó‰‹ ÂÁοډȷ, ÁÈ’·˘Ù‹ ÙË ÌÂÁ¿ÏË ÚÔÛÊÔÚ¿ ÙÔ˘ ÚÔ˜ ÙȘ ÂΉfiÛÂȘ Ì·˜, ÈÛÙ‡ÔÓÙ·˜ fiÙÈ ÂÈ-ÎfiÓ· Î·È ‹¯Ô˜ Ì·˙› ı· Û·˜ ¯·Ú›ÛÔ˘Ó ·ÔÎ·Ï˘ÙÈΤ˜ ÛÙÈÁ̤˜.

∑ԇ̠ۋÌÂÚ· Û ÌÈ· ÂÔ¯‹ ηıfiÏÔ˘ ËÚˆÈ΋ ÁÈ· ÙËÓ ·ÙÚ›‰· Ì·˜, Ô˘ÂÚÓ¿ÂÈ ÌÈ· Ê¿ÛË ·ÚÁ‹˜ ÚÔÛÁ›ˆÛ˘ ÛÙÔÓ Û‡Á¯ÚÔÓÔ ÙÚfiÔ ˙ˆ‹˜ ηÈÙ·˘Ùfi¯ÚÔÓ· ÌÈ·˜ ηٷӷψÙÈ΋˜ Ì·Ó›·˜ ÁÈ· fi,ÙÈ «Á˘·Ï›˙ÂÈ». °È’ ·˘ÙfiÈÛÙ‡ˆ fiÙÈ Ë ÂÚÈ‹ÁËÛË ÙÔ˘ ·Ó·ÁÓÒÛÙË ·˘ÙÔ‡ ÙÔ˘ ‚È‚Ï›Ô˘ Ì ÙȘ ·Ê›ÛÂ˜Ô˘ Û˘Ófi‰Â„·Ó ÙÔÓ ª›ÎË ÛÙ· ¤Ú·Ù· ÙÔ˘ ÎfiÛÌÔ˘ Û’ ÂÔ¯¤˜ Ô˘ ‹Ù·ÓÚ¿ÁÌ·ÙÈ ËÚˆÈΤ˜, ı· ÚÔÛʤÚÂÈ «„˘¯È΋ ·Ó¿Ù·ÛË» ̤۷ ÛÙËÓ Î·ıË-ÌÂÚÈÓ‹, ‰È¿¯˘ÙË Â˙fiÙËÙ·…

∞ÏÂÍ¿Ó‰Ú· ∫. µÔ‚ÔÏ›ÓË-§·Ûηڛ‰Ë∂ΉfiÙÚÈ·

¶ƒ√§√°√™

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Mikis Theodorakis’ particular status as music composer and pol-itical figure of international scope is well known to everyone.

However, this book reveals another facet of his international careerpath. It further re-establishes, through art, the role Mikis Theodorakishas played as the unofficial ambassador of the Greek psyche andconscience – primarily, but not exclusively – during the dictatorship.At the same time, it gives us the opportunity to take a look at thevarious traits of Greekness others attribute to us, but also those traitswe attribute to ourselves. This is why I am very happy to welcome thepublication of this important book, enriching the existing bibliographywhich deals with this unique Greek artist and thinker who hasinfluenced the course of modern Greek culture.

Michalis LiapisMinister of Culture

“Another facet of Mikis Theodorakis’International Career Path”

10 FOREWORD

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∏ ȉȷ›ÙÂÚË ı¤ÛË ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË ˆ˜ ÌÔ˘ÛÈÎÔÛ˘Óı¤ÙË Î·È ˆ˜ÔÏÈÙÈÎÔ‡ ÚÔÛÒÔ˘ Ì ‰ÈÂıÓ‹ ·ÎÙÈÓÔ‚ÔÏ›·, Â›Ó·È ÁÓˆÛÙ‹ ÛÂ

fiÏÔ˘˜. øÛÙfiÛÔ ÙÔ Ï‡Έ̷ ·˘Ùfi ·ÔηχÙÂÈ Ì›· ¿ÏÏË Ù˘¯‹ Ù˘ ·-ÁÎfiÛÌÈ·˜ ‰È·‰ÚÔÌ‹˜ ÙÔ˘. ∂Ȃ‚·ÈÒÓÂÈ ÂÈηÛÙÈο ÙÔ ÚfiÏÔ Ô˘ ¤·ÈÍ Ԫ›Î˘ £ÂÔ‰ˆÚ¿Î˘ ˆ˜ ·Ó›ÛËÌÔ˜ ÚÂÛ‚Â˘Ù‹˜ Ù˘ ÂÏÏËÓÈ΋˜ „˘¯‹˜ ηÈÛ˘Ó›‰ËÛ˘, ȉȷ›ÙÂÚ· –·ÏÏ¿ fi¯È ÌfiÓÔÓ– ÛÙ· ¯ÚfiÓÈ· Ù˘ ‰ÈÎÙ·ÙÔÚ›·˜.∆·˘Ùfi¯ÚÔÓ· Ì¿˜ ‰›ÓÂÈ ÙËÓ Â˘Î·ÈÚ›· Ó· ‰Ô‡Ì ÙȘ ÔÈΛϘ ÂÎÊ¿ÓÛÂȘ Ù˘ÂÏÏËÓÈÎfiÙËÙ·˜ Ô˘ Ì·˜ ·Ô‰›‰Ô˘Ó Û˘¯Ó¿ ÔÈ ¿ÏÏÔÈ, ·ÏÏ¿ Î·È ÂÌ›˜ ÔÈ ›‰ÈÔÈ.°È’ ·˘Ùfi Î·È Î·ÏˆÛÔÚ›˙ˆ Ì ȉȷ›ÙÂÚË ¯·Ú¿ ·˘Ù‹ ÙË ÛËÌ·ÓÙÈ΋ ¤Î‰ÔÛËÔ˘ ¤Ú¯ÂÙ·È Ó· ÚÔÛÙÂı› ÛÙË ‚È‚ÏÈÔÁÚ·Ê›· Á‡Úˆ ·fi ÙÔÓ ÌÔÓ·‰ÈÎfi·˘ÙfiÓ ŒÏÏËÓ· ‰ËÌÈÔ˘ÚÁfi Î·È ÛÙÔ¯·ÛÙ‹, Ô˘ ÛËÌ¿‰Â„ ÙËÓ ÔÚ›·ÙÔ˘ Û‡Á¯ÚÔÓÔ˘ ÂÏÏËÓÈÎÔ‡ ÔÏÈÙÈÛÌÔ‡.

ªÈ¯¿Ï˘ §È¿Ë˜ ÀÔ˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡

«ªÈ· ¿ÏÏË Ù˘¯‹ Ù˘ ·ÁÎfiÛÌÈ·˜ ‰È·‰ÚÔÌ‹˜ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË»

11ΧΑΙΡΕΤΙΣΜΟΙ

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Mikis Theodorakis is an enlightened, multi-dimensional,timeless composer – a gigantic figure in Greek music – who

transcended our country’s borders to reach all corners of the world,as did the sound of his music.

He is the composer of Axion Esti, but also of Epitaphios and theopera Lysistrata. He is the composer who fights for freedom, whofounds the Culture of Peace Movement, who wins the Lenin Prizeand is nominated for the Nobel Peace Prize in 2000.

Mikis Theodorakis expresses modern Greece not only in musicalterms, but also politically and socially. His work follows historicalevents of recent years, making him a creative genius. His musicallanguage is at the same time political and poetic, a lyrical means ofexpressing ideologies, values and dreams that concern and addressall people.

Mikis Theodorakis is an alchemist of music, who with the help ofhis own sorcerer’s stone, which is his passion for life, composesgolden melodies based on universal values, such as freedom, peaceand love. And this is why his work knows no borders, because thevalues he expresses are not contained within borders. They do notconcern one race, but all; they do not speak only to the Greek butto all people around the world. His music, coming alive throughnotes, is the vehicle for this transcending experience.

Whenever I hear his music, it touches me; its passion moves me,stirring up intense emotions and feelings of exhilaration and opti-mism. The musical notes reach my mind and soul and revive strongimages. His music is so imposing that it resides within me perma-nently, following me even when the notes can no longer be heard…

Fani Palli-PetraliaFormer Minister of Tourism Development

“An alchemist of music”

12 FOREWORD

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√ ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ Â›Ó·È ¤Ó·˜ ʈÙÈṲ̂ÓÔ˜, ÔÏ˘‰È¿ÛÙ·ÙÔ˜,‰È·¯ÚÔÓÈÎfi˜ Û˘Óı¤Ù˘, ¤Ó·˜ ÔÁÎfiÏÈıÔ˜ ÛÙÔ ¯ÒÚÔ Ù˘ ÂÏÏËÓÈ΋˜

ÌÔ˘ÛÈ΋˜ ÛÎËÓ‹˜, Ô˘ ͤڷÛ ٷ fiÚÈ· Ù˘ ¯ÒÚ·˜ Ì·˜ Î·È ·ÏÒıËÎÂÛÙÔÓ ·ÁÎfiÛÌÈÔ ¯¿ÚÙË, fiˆ˜ Ô ‹¯Ô˜ Ù˘ ÌÔ˘ÛÈ΋˜ ÙÔ˘.

∂›Ó·È Ô Û˘Óı¤Ù˘ ÙÔ˘ ÕÍÈÔÓ EÛÙ› ·ÏÏ¿ Î·È ÙÔ˘ ∂ÈÙ¿ÊÈÔ˘, Ô Û˘Óı¤Ù˘Ù˘ fiÂÚ·˜ §˘ÛÈÛÙÚ¿ÙË, Â›Ó·È Ô Û˘Óı¤Ù˘ Ô ÔÔ›Ô˜ ÔÏÂÌ¿ ÁÈ· ÙËÓÂÈÚ‹ÓË, ȉڇÂÈ ÙÔ ∫›ÓËÌ· «¶ÔÏÈÙÈÛÌfi˜ Ù˘ ∂ÈÚ‹Ó˘», ÙÈÌ¿Ù·È Ì ÙÔ‚Ú·‚Â›Ô §¤ÓÈÓ ÁÈ· ÙËÓ ÂÈÚ‹ÓË, Î·È ÚÔÙ›ÓÂÙ·È ÙÔ 2000 ÁÈ· ÙÔ ‚Ú·‚›ԡfiÌÂÏ ∂ÈÚ‹Ó˘.

√ ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ ÂÎÊÚ¿˙ÂÈ ÙË ÓÂfiÙÂÚË ∂ÏÏ¿‰·, fi¯È ÌfiÓÔ ÌÔ˘ÛÈο·ÏÏ¿ ÔÏÈÙÈο Î·È ÎÔÈÓˆÓÈο. ∆Ô ¤ÚÁÔ ÙÔ˘ ·ÎÔÏÔ˘ı› ÙËÓ ÈÛÙÔÚ›· ÙˆÓÓÂfiÙÂÚˆÓ ¯ÚfiÓˆÓ. °È’ ·˘Ùfi Î·È Â›Ó·È ¤Ó·˜ ‰ËÌÈÔ˘ÚÁfi˜ ÌÂÁ·ÏÔÊ˘‹˜.√ ÌÔ˘ÛÈÎfi˜ ÙÔ˘ ÏfiÁÔ˜ Â›Ó·È Ù·˘Ùfi¯ÚÔÓ· ÏfiÁÔ˜ ÔÏÈÙÈÎfi˜ Î·È ÔÈËÙÈÎfi˜,Ô ÔÔ›Ô˜ ÌÂÙÔ˘ÛÈÒÓÂÈ È‰ÂÔÏÔÁ›Â˜, ·Í›Â˜, ÔÚ¿Ì·Ù· Ô˘ ·ÊÔÚÔ‡Ó Î·È·Â˘ı‡ÓÔÓÙ·È Û fiÏÔ˘˜ ÙÔ˘˜ ·ÓıÚÒÔ˘˜.

√ ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ Â›Ó·È ¤Ó·˜ ·Ï¯ËÌÈÛÙ‹˜ Ù˘ ÌÔ˘ÛÈ΋˜ Ô˘ ̤۷·fi ÙË Ï˘‰›· Ï›ıÔ ÙÔ˘, Ô˘ Â›Ó·È ÙÔ ¿ıÔ˜ ÁÈ· ÙË ˙ˆ‹, Û˘Óı¤ÙÂÈ ¯Ú˘Û¤˜ÌÂψ‰›Â˜ ÁÈ· ·Ó·ÓıÚÒÈÓ˜ ·Í›Â˜ fiˆ˜ Â›Ó·È Ë ÂÏ¢ıÂÚ›·, Ë ÂÈÚ‹ÓË,Ë ·Á¿Ë. °È’ ·˘Ùfi Î·È ÙÔ ¤ÚÁÔ ÙÔ˘ Â›Ó·È ·ÁÎfiÛÌÈÔ. °È·Ù› ÔÈ ·Í›Â˜ Ô˘ÂÎÊÚ¿˙ÂÈ ‰ÂÓ ÁÓˆÚ›˙Ô˘Ó Û‡ÓÔÚ·. ¢ÂÓ ·ÊÔÚÔ‡Ó Ì›· Ê˘Ï‹, ·ÏÏ¿ fiϘ,‰ÂÓ ·Â˘ı‡ÓÔÓÙ·È ÌfiÓÔ ÛÙÔÓ ŒÏÏËÓ·, ·ÏÏ¿ ÛÙÔÓ ÔÏ›ÙË ÙÔ˘ ÎfiÛÌÔ˘,Û fiÏÔ˘˜ ÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ù˘ °Ë˜. ∏ ÌÔ˘ÛÈ΋ ÙÔ˘ Â›Ó·È Ë ˘¤Ú‚·ÛËÔ˘ ·›ÚÓÂÈ Û¿Úη Î·È ÔÛÙ¿ ̤۷ ·fi ÙȘ ÓfiÙ˜.

∫¿ı ÊÔÚ¿ Ô˘ ·ÎÔ‡ˆ ÙË ÌÔ˘ÛÈ΋ ÙÔ˘, ÓÈÒıˆ Ó· Ì ·ÁÁ›˙ÂÈ Î·È Ó·ÌÂ Û˘Ó·›ÚÓÂÈ ÙÔ ¿ıÔ˜ ÙÔ˘. ªÔ˘ ‰ËÌÈÔ˘ÚÁ› ¤ÓÙÔÓ· Û˘Ó·ÈÛı‹Ì·Ù·Û˘ÁΛÓËÛ˘, ·ÈÛÈÔ‰ÔÍ›·˜ Î·È „˘¯È΋˜ ·Ó¿Ù·Û˘. √È ÓfiÙ˜ ‰ÈÂÈÛ‰‡Ô˘ÓÛÙÔ Ì˘·Ïfi Î·È ÛÙËÓ „˘¯‹ Î·È ÌÔ˘ ˙ˆÓÙ·ÓÂ‡Ô˘Ó ÂÈÎfiÓ˜ ‰˘Ó·Ù¤˜.∏ ÌÔ˘ÛÈ΋ ÙÔ˘ Â›Ó·È ÙfiÛÔ ÂÈ‚ÏËÙÈ΋, Ô˘ ̤ÓÂÈ ·ÓÂÍ›ÙËÏË Ì¤Û· ÌÔ˘Î·È Ì ·ÎÔÏÔ˘ı› ·ÎfiÌË Î·È fiÙ·Ó ÔÈ ÓfiÙ˜ ·‡Ô˘Ó Ó’ ·ÎÔ‡ÁÔÓÙ·È…

º¿ÓË ¶¿ÏÏË-¶ÂÙÚ·ÏÈ¿Ù¤ˆ˜ ÀÔ˘ÚÁfi˜ ∆Ô˘ÚÈÛÙÈ΋˜ ∞Ó¿Ù˘Í˘

«ŒÓ·˜ ·Ï¯ËÌÈÛÙ‹˜ Ù˘ ÌÔ˘ÛÈ΋˜»

13ΧΑΙΡΕΤΙΣΜΟΙ

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14 FOREWORD

Mikis is the ultimate man-symbol, or rather man-movement.His personality and his work constitute a seminal chapter in

the history of Greek culture – in other words, of Greek politics. Fewcreators and even fewer political leaders have had the good fortuneof being able to cross over from decade to decade proudly, expres-sing our people’s angst, dignity and sentiment.

Mikis Theodorakis’ works are the musical accompaniment to ourcountry’s post-war history. He, however, is something much morethan that. He is the archangel of a hope that is crushed and simul-taneously revived. This is our country’s saving grace and Mikisknows how to express the soul of this country.

Evangelos VenizelosMember of Greek Parliament,

former Minister of Culture

«∆he musical accompaniment to our country’s post-war history»

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√ ª›Î˘ Â›Ó·È Ô Î·ÙÂÍÔ¯‹Ó ¿ÓıÚˆÔ˜-ۇ̂ÔÏÔ, Ì¿ÏÏÔÓ Ô ¿ÓıÚˆ-Ô˜-ΛÓËÌ·. ∏ ÌÔÚÊ‹ Î·È ÙÔ ¤ÚÁÔ ÙÔ˘ Â›Ó·È ÌÈ· ÎÈ‚ˆÙfi˜ ÙÔ˘

ÂÏÏËÓÈÎÔ‡ ÔÏÈÙÈÛÌÔ‡, ‰ËÏ·‰‹ Ù˘ ÂÏÏËÓÈ΋˜ ÔÏÈÙÈ΋˜. §›ÁÔÈ ‰ËÌÈ-Ô˘ÚÁÔ› Î·È ·ÎfiÌË ÏÈÁfiÙÂÚÔÈ ÔÏÈÙÈÎÔ› ËÁ¤Ù˜ ›¯·Ó ÙËÓ Ù‡¯Ë Ó· «‰È·-Û¯›˙Ô˘Ó» ˘ÂÚ‹Ê·Ó· ÙË Ì›· ‰ÂηÂÙ›· ÌÂÙ¿ ÙËÓ ¿ÏÏË, ÂÎÊÚ¿˙ÔÓÙ·˜ÙËÓ ·ÁˆÓ›·, ÙËÓ ·ÍÈÔÚ¤ÂÈ·, ÙÔ ÊÚfiÓËÌ· ÙÔ˘ Ï·Ô‡ Ì·˜.

∆· ¤ÚÁ· ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË Â›Ó·È Ë ÌÔ˘ÛÈ΋ ˘fiÎÚÔ˘ÛË Ù˘ ÌÂÙ·-ÔÏÂÌÈ΋˜ ÈÛÙÔÚ›·˜ Ù˘ ¯ÒÚ·˜ Ì·˜. √ ›‰ÈÔ˜, fï˜, ›ӷÈ, ηٿ ÔχÂÚÈÛÛfiÙÂÚÔ, Ô ·Ú¯¿ÁÁÂÏÔ˜ ÌÈ·˜ ÂÏ›‰·˜ Ô˘ ‰È·„‡‰ÂÙ·È Î·È Ù·˘Ùfi-¯ÚÔÓ· ·Ó·ÙÂÚÒÓÂÙ·È. ∞˘Ùfi Â›Ó·È Ô˘ Ì·˜ ÛÒ˙ÂÈ ˆ˜ ÙfiÔ Î·È Ô ª›Î˘ͤÚÂÈ Ó· ÂÎÊÚ¿˙ÂÈ ÙËÓ „˘¯‹ ÙÔ˘ ÙfiÔ˘.

∂˘¿ÁÁÂÏÔ˜ µÂÓÈ˙¤ÏÔ˜µÔ˘ÏÂ˘Ù‹˜, Ù¤ˆ˜ ÀÔ˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡

«∏ ÌÔ˘ÛÈ΋ ˘fiÎÚÔ˘ÛË Ù˘ ÌÂÙ·ÔÏÂÌÈ΋˜ Ì·˜ ÈÛÙÔÚ›·˜»

15ΧΑΙΡΕΤΙΣΜΟΙ

001-039arxika.qxd 15-10-07 19:10 ™ÂÏ›‰·15

No man, dead or alive – not Beethoven, nor Marx, nor Freud, norDostoyevsky, nor Che – has had such a profound and lasting

influence on who we are, who we would wish to be and are not, asMikis and his work. Mostly influenced were members of my gen-eration coming of age around April 21st 1967. An amateur radiostation owned by a mutual friend, Nikos Koundouros, broadcastingfrom St. Nicholas in Crete, plays the song “An thimitheis to oneiromou” (Should you remember my dream) for the first time, and allthe other songs that followed. From that moment on, nothing willever be the same. A new light is shed on our youth. The adolescentawakening of an earth-bound people’s utopia. His music marked thestages of our lives: Pride in our poverty with “Drapetsona”; our firstloves with “Fengari magia mou kanes” (Moon, you’ve cast a spell onme); our first street fight with “Romiossini”; the great college partieswith “Periyali”(Beach); breaking the law during the Resistance withbootleg tapes traveling hand to hand from Zatouna; in isolation andin prison with “Geia sou Acropoli, Tourkolimano, Odos Voukou-restiou” (Hello Acropolis, Tourkolimano, Voukourestiou street); atthe Polytechnic school with the Axion Esti poem. When thedictatorship fell, I mischievously whispered to you “Thank you forall the girls you helped us win over with your songs.” “I want acommission,” you said, laughing.

Exactly what do you represent, Mikis? The impossibility of an idealrevolution, of an ideal love; the impossibility that gave meaning toour lives and has been stored in the “hard drive” of our existence.

Mimis AndroulakisMember of Greek Parliament

«∆he impossibility of an ideal revolution, of an ideal love»

16 FOREWORD

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∫·Ó›˜ ¿ÓıÚˆÔ˜, ˙ˆÓÙ·Ófi˜ ‹ Âı·Ì¤ÓÔ˜, Ô‡ÙÂ Ô ªÂÙfi‚ÂÓ, Ôª·ÚÍ, Ô ºÚfiÈÓÙ Î·È Ô ¡ÙÔÛÙÔÁȤÊÛÎÈ, Ô‡ÙÂ Ô ∆Û ‰ÂÓ ¿ÛÎËÛ ÙfiÛÔ

‚·ıÈ¿ Î·È ‰È·Ú΋ ›‰Ú·ÛË Û’ fi,ÙÈ Â›Ì·ÛÙÂ, Û’ fi,ÙÈ ı· ı¤Ï·Ì ӷ ›̷ÛÙÂÎ·È ‰ÂÓ Â›Ì·ÛÙÂ, fiÛÔ Ô ª›Î˘ Î·È ÙÔ ¤ÚÁÔ ÙÔ˘. ∂ȉÈο ÛÙË ÁÂÓÈ¿ ÌÔ˘,·˘Ù‹ Ô˘ ÍÂ̇ÙÈÛ ϛÁÔ ÚÈÓ, Ï›ÁÔ ÌÂÙ¿ ÙËÓ 21Ë ∞ÚÈÏ›Ô˘. ŒÓ·˜ÂÚ·ÛÈÙ¯ÓÈÎfi˜ Ú·‰ÈÔʈÓÈÎfi˜ ÛÙ·ıÌfi˜ ÙÔ˘ ÎÔÈÓÔ‡ Ì·˜ Ê›ÏÔ˘, ÙÔ˘∫Ô‡Ó‰Ô˘ÚÔ˘, ÛÙÔÓ ÕÁÈÔ ¡ÈÎfiÏ·Ô ∫Ú‹Ù˘ ·›˙ÂÈ ÚÒÙË ÊÔÚ¿ ÙÔ «∞Óı˘ÌËı›˜ ÙÔ fiÓÂÈÚfi ÌÔ˘» Î·È ‡ÛÙÂÚ· fiÏ· Ù· ¿ÏÏ·. ∆›ÔÙ ‰ÂÓ ı· ›ӷÈÈ· ÙÔ ›‰ÈÔ. ŒÓ· ηÈÓÔ‡ÚÁÈÔ Êˆ˜ ¤ÂÛ ÛÙË ÓÂfiÙËÙ¿ Ì·˜. ∆Ô ÂÊË‚ÈÎfi͇ÓËÌ· ÌÈ·˜ Á‹ÈÓ˘ Ï·˚΋˜ Ô˘ÙÔ›·˜. ∏ ÂÚËÊ¿ÓÈ· ÁÈ· ÙË ÊÙүȷ̷˜ Ì ÙË «¢Ú·ÂÙÛÒÓ·». √È ÚÒÙÔÈ ¤ÚˆÙ˜ Ì ÙÔ «ºÂÁÁ¿ÚÈ Ì¿ÁÈ·ÌÔ˘ ’ηÓ˜». ∆Ô ÚÒÙÔ Í‡ÏÔ ÛÙÔ ‰ÚfiÌÔ Ì ÙË «ƒˆÌÈÔÛ‡ÓË». ∆· ÌÂÁ¿Ï·ÊÔÈÙËÙÈο ÁϤÓÙÈ· Ì ÙÔ «¶ÂÚÈÁÈ¿ÏÈ». ∏ ·Ú·ÓÔÌ›· ÛÙËÓ ·ÓÙ›ÛÙ·ÛË ÌÂÙȘ ηۤÙ˜ ¯¤ÚÈ Ì ¯¤ÚÈ ·fi ÙË ∑¿ÙÔ˘Ó·. ™ÙËÓ ·ÔÌfiÓˆÛË Î·È ÛÙËÊ˘Ï·Î‹: «°ÂÈ· ÛÔ˘ ∞ÎÚfiÔÏË, ∆Ô˘ÚÎÔϛ̷ÓÔ, Ô‰fi˜ µÔ˘ÎÔ˘ÚÂÛÙ›Ô˘».™ÙÔ ¶ÔÏ˘Ù¯Ó›Ô: «∆˘ ¢ÈηÈÔÛ‡Ó˘ ‹ÏÈ ÓÔËÙ¤». ŸÙ·Ó ¤ÂÛÂ Ë ¯Ô‡ÓÙ·ÛÔ‡ „Èı‡ÚÈÛ· ÔÓËÚ¿: «æËϤ, ÛÔ˘ ÔÊ›ÏÔ˘Ì ٷ ÎÔÚ›ÙÛÈ· Ô˘ ڛͷÌÂÌ ٷ ÙÚ·ÁÔ‡‰È· ÛÔ˘». «£¤Ïˆ ÔÛÔÛÙ¿», Á¤Ï·Û˜.

∆ÂÏÈο, ª›ÎË ÌÔ˘, ÙÈ ·ÓÙÈÚÔۈ‡ÂȘ; ∆Ô ·Ó¤ÊÈÎÙÔ Ù˘ ȉ·ÓÈ΋˜Â·Ó¿ÛÙ·Û˘, ÙÔ˘ ȉ·ÓÈÎÔ‡ ¤ÚˆÙ·, ÙÔ ·Ó¤ÊÈÎÙÔ Ô˘ ¤‰ˆÛ ÓfiËÌ· ÛÙË˙ˆ‹ Ì·˜ Î·È Î·Ù·ÁÚ¿ÊËΠÛÙÔ «ÛÎÏËÚfi ‰›ÛÎÔ» Ù˘ ‡·ÚÍ‹˜ Ì·˜.

ª›Ì˘ ∞Ó‰ÚÔ˘Ï¿Î˘µÔ˘ÏÂ˘Ù‹˜

«∆Ô ·Ó¤ÊÈÎÙÔ Ù˘ ȉ·ÓÈ΋˜ ·ӿÛÙ·Û˘, ÙÔ˘ ȉ·ÓÈÎÔ‡ ¤ÚˆÙ·»

17ΧΑΙΡΕΤΙΣΜΟΙ

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¶·Ú›ÛÈ, 14 ™ÂÙÂÌ‚Ú›Ô˘ 1980: ¶Ï‹ıÔ˜ ÎfiÛÌÔ˘ ·Ú·ÎÔÏÔ˘ı› ÙË Û˘Ó·˘Ï›· Ù˘ °ÈÔÚÙ‹˜ Ù˘ Humanité.

Paris, September 14, 1980: A large crowd turns out for the concert organized by L’Humanité.

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When we received the poster collection from the Theodorakis familyfor the production of this book, there were certain concerns we

needed to address: final selection of posters, order of presentation andtouch ups. There was a wealth of varied material – there were more than350 posters from popular concerts, performances of symphonic works,theatrical plays and lyrical tragedies. The collection also included a smallnumber of posters that dealt with political issues, book presentations,the release of albums and films, as well as an oil painting by Bost.Additionally, time as well as the fact that the posters had been kept inwell-meaning but inexpert hands, had left their mark.

From a creative perspective, the material varied widely, rangingfrom highly aesthetic compositions to simple, no-frills announcementsof events. However, we were not concerned with the artistic merit ofthe posters; what mattered most was their value as historical testimonythat was being published for the first time. We decided to leave outthose posters that were in very poor condition, while in the case ofidentical or similar posters for the same show given at different venues,we chose a representative one for this book.

In general, however, there was never a question of choosing onlythose that were of superior aesthetic quality. On the one hand, becauseTheodorakis himself wished to see the material published in its entirety;on the other, because the semantics of the various artistic approacheswere of interest. Regardless of the importance or quality of a poster, theinternational stereotypes regarding Greek and Theodorakis’ identitythat guided the hand of the designer, can be discovered by anyonelooking closely enough. Even run-of-the-mill works can be useful,simply for the associations they create as in the case of the Swiss flierannouncing the April 1977 performances of Mikis Theodorakis, ShirleyMacLaine, Black Sabbath and Lou Reed…

Faced with the challenge of presenting this disparate collection ofposters in a logical, easily understood order, we examined a wide rangeof possibilities. One possibility was to present them according to thecomposer’s creative periods. We ruled this out, however, since mosttimes there was a wide chronological gap between the date of compo-sition and when the work was first performed. We also considered cat-egorizing them by genre, separating the popular concerts from the per-formances of symphonic works. But that wasn’t feasible because it meantleaving out a number of posters that didn’t fall under either categoryand, moreover, were not enough to create a new substantial categoryby themselves (let alone that the solution of a popular/symphonic

INTRODUCTION

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ŸÙ·Ó Ì·˜ ·Ú·‰fiıËÎÂ Ë Û˘ÏÏÔÁ‹ ·fi ·Ê›Û˜ Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜ £ÂÔ-‰ˆÚ¿ÎË ÁÈ· ÙËÓ ·Ú·ÁˆÁ‹ ·˘ÙÔ‡ ÙÔ˘ Ï¢ÎÒÌ·ÙÔ˜, Ù· ‚·ÛÈο ËÙ‹-

Ì·Ù· Ô˘ Ì·˜ ··Û¯fiÏËÛ·Ó ‹Ù·Ó Ë ÙÂÏÈ΋ ÂÈÏÔÁ‹, Ë Ù·ÍÈÓfiÌËÛ‹ ÙÔ˘˜Î·È ÙÔ ÚÂÙÔ‡˜. ∆Ô ˘ÏÈÎfi ‹Ù·Ó ÏÔ‡ÛÈÔ Î·È ÂÍ·ÈÚÂÙÈο ÔÈΛÏÔ: ÂÚÈÛÛfiÙÂÚ˜·fi 350 ·Ê›Û˜ ÁÈ· Ï·˚Τ˜ Û˘Ó·˘Ï›Â˜, ÂÎÙÂϤÛÂȘ Û˘ÌʈÓÈÎÒÓ ¤ÚÁˆÓ,·Ú·ÛÙ¿ÛÂȘ ı·ÙÚÈÎÒÓ ¤ÚÁˆÓ Î·È Ï˘ÚÈÎÒÓ ÙÚ·Áˆ‰ÈÒÓ. ™’ ·˘Ù¤˜ ÂÚÈ-Ï·Ì‚·ÓfiÙ·Ó Î·È ¤Ó·˜ ÌÈÎÚfi˜ ·ÚÈıÌfi˜ ·ÊÈÛÒÓ Ô˘ ·ÊÔÚÔ‡Û·Ó ı¤Ì·Ù·ÔÏÈÙÈ΋˜ ʇÛˆ˜, ·ÚÔ˘ÛÈ¿ÛÂȘ ‚È‚Ï›ˆÓ, ΢ÎÏÔÊÔڛ˜ ‰›ÛÎˆÓ ‹ ÚÔ‚ÔϤ˜Ù·ÈÓÈÒÓ Î·ıÒ˜ Î·È Ì›· ÂÏ·ÈÔÁÚ·Ê›· ÙÔ˘ ªÔÛÙ. ∞fi ÙËÓ ¿ÏÏË, Ë ËÏÈΛ·ÙˆÓ ·ÊÈÛÒÓ, ηıÒ˜ Î·È Ë ·Ôı‹ÎÂ˘Û‹ ÙÔ˘˜ ·fi ¯¤ÚÈ· ÔÈΛ· ·ÏÏ¿ ÌËÂȉÈο, ›¯·Ó ·Ê‹ÛÂÈ Ù· ›¯ÓË ÙÔ˘˜ ¿Óˆ ÛÙÔ ¯·ÚÙ›.

∞fi ÂÈηÛÙÈ΋ ¿Ô„Ë, ÙÔ ˘ÏÈÎfi ‰È¤ÙÚ¯ ¤Ó· Ï·Ù‡ Ê¿ÛÌ·, ·fi ÙËÓ˘„ËÏ‹˜ ·ÈÛıËÙÈ΋˜ Û‡ÓıÂÛË ¤ˆ˜ ÙËÓ ¯ˆÚ›˜ ȉȷ›ÙÂÚ˜ ÊÈÏÔ‰Ô͛˜ ·Ï‹·Ó·ÁÁÂÏ›· ÌÈ·˜ ÂΉ‹ÏˆÛ˘. ∫·ı·˘Ù‹ Ë Î·ÏÏÈÙ¯ÓÈ΋ ·Í›· ÙˆÓ ·ÊÈÛÒÓ,fï˜, ‰ÂÓ Ì·˜ ··Û¯fiÏËÛ –ÚÔ›¯Â Ë È‰ÈfiÙËÙ· ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ ÓÙÔÎÔ˘-̤ÓÙÔ˘, ÙÔ ÔÔ›Ô ¿ÏψÛÙ ·ÚÔ˘ÛÈ¿˙ÂÙ·È ÁÈ· ÚÒÙË ÊÔÚ¿ Û ÂȉÈ΋¤Î‰ÔÛË. ∂ÎÙfi˜ Ï¢ÎÒÌ·ÙÔ˜ ·Ê¤ıËÎ·Ó ÔÈ Ôχ Êı·Ṳ́Ó˜ ·Ê›Û˜ ÂÓÒ·fi ÙȘ ·ÓÔÌÔÈfiÙ˘Â˜, Ô˘ ‰È¤ÊÂÚ·Ó ÌfiÓÔ ˆ˜ ÚÔ˜ ÙËÓ ËÌÂÚÔÌËÓ›·,ÂÈϤ¯ıËΠ̛· ÂÎÚfiÛˆÔ˜ ÁÈ· ÙËÓ ¤Î‰ÔÛË.

°ÂÓÈο, ˆÛÙfiÛÔ, ‰ÂÓ Ù¤ıËΠı¤Ì· ÂÈÏÔÁ‹˜ ÙˆÓ «·ÈÛıËÙÈο ηχÙÂ-ÚˆÓ». ∞fi ÙË ÌÈ·, ÂÂȉ‹ Ô ›‰ÈÔ˜ Ô Û˘Óı¤Ù˘ ÂÈı˘ÌÔ‡Û ӷ ‰ÂÈ ÙÔÛ‡ÓÔÏÔ ÙÔ˘ ˘ÏÈÎÔ‡ Ó· ‰ËÌÔÛȇÂÙ·È, ·ÏÏ¿ Î·È ÁÈ·Ù› ¤¯ÂÈ ÂӉȷʤÚÔÓ ËÛËÌÂÈÔÏÔÁ›· ÙˆÓ ÂÈηÛÙÈÎÒÓ ÚÔÛÂÁÁ›ÛˆÓ. ÕÛ¯ÂÙ· Ì ÙÔ fiÛÔ ÛËÌ·-ÓÙÈ΋ ‹ ·Û‹Ì·ÓÙË, ÔÈÔÙÈ΋ ‹ fi¯È Â›Ó·È ÌÈ· ·Ê›Û·, Ù· ‰ÈÂıÓ‹ ÛÙÂÚÂfiÙ˘·ÁÈ· ÙËÓ ÂÏÏËÓÈ΋ Î·È ıÂÔ‰ˆÚ·ÎÈ΋ Ù·˘ÙfiÙËÙ·, Ô˘ Ô‰‹ÁËÛ·Ó ÙÔ ¯¤ÚÈ ÙÔ˘Î¿ı ۯ‰ȷÛÙ‹, ‚Ú›ÛÎÔÓÙ·È Â‰Ò ÁÈ· fiÔÈÔÓ ıÂÏ‹ÛÂÈ Ó· Ù· ·Ó·˙ËÙ‹ÛÂÈ.ÃÚ‹ÛÈÌË, ›Û˘, Â›Ó·È Î·È Ë ·ÚÔ˘Û›· ÂÓÙ‡ˆÓ Ù˘ ÛÂÈÚ¿˜ Î·È ÌfiÓÔ ÁÈ·ÙÔ˘˜ Û˘ÓÂÈÚÌÔ‡˜ Ô˘ ÚÔηÏÔ‡Ó, fiˆ˜ ÂΛÓÔ ÙÔ Ê¤ÈÁ-‚ÔÏ¿Ó Ì ÙÔ Úfi-ÁÚ·ÌÌ· Û˘Ó·˘ÏÈÒÓ ÛÙËÓ ∂Ï‚ÂÙ›· fiÔ˘ Ô ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ ÁÂÈÙÔÓ‡ÂÈÌ ÙË ™›ÚÏÂ˚ ª·ÎϤÈÓ, ÙÔÓ Lou Reed Î·È ÙÔ Û˘ÁÎÚfiÙËÌ· Black Sabbath.

ªÚÔÛÙ¿ ÛÙÔ ÂÙÂÚfiÎÏËÙÔ Ï‹ıÔ˜ ÙˆÓ ·ÊÈÛÒÓ Î·È ÛÙÔ ˙ËÙÔ‡ÌÂÓÔ Ó·Ù·ÎÙÔÔÈËıÔ‡Ó Ì ÁÓÒÌÔÓ· Ì›· ·Ó·ÁÓˆÚ›ÛÈÌË, ‡ÎÔÏ· ·Ô‰ÂÎÙ‹ ÏÔÁÈ΋,ÂÍÂÙ¿Û·Ì fiÏË ÙËÓ Áο̷ ÙˆÓ Èı·ÓÒÓ Ï‡ÛˆÓ: ™‡Ìʈӷ Ì ÙȘ ‰ËÌÈ-Ô˘ÚÁÈΤ˜ ÂÚÈfi‰Ô˘˜ ÙÔ˘ Û˘Óı¤ÙË; Ÿ¯È, ÁÈ·Ù› ÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÊÔÚ¤˜ ËÛ‡ÓıÂÛË ÂÓfi˜ ¤ÚÁÔ˘ Î·È Ë ·ÚÔ˘Û›·Û‹ ÙÔ˘ ÛÙÔ ÎÔÈÓfi ·Â›¯·Ó ¯ÚÔÓÔÏÔ-ÁÈο. ª‹ˆ˜ ηٿ ›‰Ô˜ –¯ˆÚÈÛÙ¿, ‰ËÏ·‰‹, ÔÈ Ï·˚Τ˜ Û˘Ó·˘Ï›Â˜ ·fi ÙȘÂÎÙÂϤÛÂȘ ÙˆÓ Û˘ÌʈÓÈÎÒÓ; ∫·È ¿ÏÈ fi¯È, ÁÈ·Ù› Ë ÂÈÏÔÁ‹ ·˘Ù‹ ¿ÊËÓÂÂÎÙfi˜ Ó˘ÌÊÒÓÔ˜ ¤Ó·Ó ·ÚÈıÌfi ·ÊÈÛÒÓ Ô˘ ‰ÂÓ ·Ó‹Î·Ó ÛÙȘ ηÙËÁÔڛ˜·˘Ù¤˜ ·ÏÏ¿, ›Û˘, ‰ÂÓ ÌÔÚÔ‡Û·Ó Ó· Û˘ÁÎÚÔÙ‹ÛÔ˘Ó ·ÍÈfiÏÔÁÔ ∂›ÌÂÙÚÔ(ÁÈ· Ó· ÌËÓ Ô‡Ì fiÙÈ ·˘Ù‹ Ë Ï‡ÛË Â¤‚·ÏÂ, Ì ÙÔÓ ÙÚfiÔ Ù˘, ¤Ó·Ó

∂π™∞°ø°∏

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works division, would seem to be imposing a sort of – God forbid! –class discrimination...). Another possibility was grouping them byspecific works. However, the great number of posters of Canto Generaland Zorba the Greek in this collection would overshadow otherimportant works which did not have extensive poster coverage andwould therefore not be represented adequately. This of course, is under-standable, especially in the beginning of Theodorakis’ career when thefamily would only occasionally collect posters. But even later, duringmajor tours when performers, friends and family members would travelto a different city for one or even two performances daily, there wasn’tenough time for a systematic collection of posters. It is necessary there-fore to emphasize that the posters presented in this book do not com-prise an exhaustive list of performances of Mikis Theodorakis’ worksneither in Greece nor abroad.

Perhaps the biggest disadvantage of the above possible solutions isthat a rich life’s work and a creative genius that never fit neatly intospecific moulds would be divided into parts. As Mikis Theodorakiswrote in the programme for the performance of “Songs of Eros andLove,” held as part of the 2005 Athens Festival at the Athens ConcertHall: “For me, writing songs or composing symphonic works is one andthe same […] The essence of my musical expression remains the same;only the means of expression change.”

In the end, we chose the simplest solution; that is, presenting thematerial chronologically and dividing it into three periods, each onedefined by the one event that is without question a turning point forGreece, Greeks and Mikis Theodorakis: the dictatorship of 1967-74.Indeed, presenting the material in simple, chronological order was Theo-dorakis’ suggestion from the start. Thus, the gradual evolution andinternational acclaim of Mikis Theodorakis’ work is reflected, to a greatextent, reliably.

As for the question of touching up the posters, we were faced witha series of other problems, such as signs of wear and tear due to age andfolding; discoloration; traces of liquid adhesive that had been absorbedby the paper (many posters were glued to pieces of cardboard); even thecase of two very large posters that had to be cut in half for easier storage.What guided us in our decision was the consideration that the purposeof this book is primarily to tell a story over time through pictures thatare printed on paper. And that the marks time has left on the paper arealso an integral part of the story, of the authenticity and of the charm ofthese posters. In other words, we considered these posters primarily ashistorical evidence and decided to touch up only those flaws which wereextensive enough to distract the reader. Depending on the case at hand,and always aiming at keeping the original design and colour intact, someflaws were removed while others were made less visible.

The posters appear in sequence by year and usually by month.However, there are instances in which we bent the rules when wethought it more appropriate to emphasize the particular link betweencertain events, for example, or when we decided to give priority to thevisual aspect of the material in order to emphasize aesthetic similarities.Of course, we did this only if it did not drastically disrupt the chrono-

22 INTRODUCTION

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·Ó¿ÚÌÔÛÙÔ… Ù·ÍÈÎfi ‰È·¯ˆÚÈÛÌfi!). ¢ÂÓ ·ÔÎÏ›ÛÙËΠԇÙÂ Ë ÔÌ·‰Ô-Ô›ËÛË Î·Ù¿ ¤ÚÁÔ. ªÚÔÛÙ¿, fï˜, ÛÙË Û˘ÓÙÚÈÙÈ΋ ·ÚÈıÌËÙÈ΋ ˘ÂÚÔ¯‹ÙÔ˘ Canto General Î·È ÙÔ˘ ∑ÔÚÌ¿, ·˘Ù‹ Ë Èı·ÓfiÙËÙ· ¿ÊËÓ ¿ÏÏ·ÛËÌ·ÓÙÈο ¤ÚÁ· Û ·Ó·ÈÌÈΤ˜, ·ÙÔÌÈΤ˜ ÂÓfiÙËÙ˜ Ô˘ ‰ÂÓ Î¿Ï˘Ù·Ó ‰ÈÂÍÔ-‰Èο ‹ ¤ÛÙˆ Û˘ÛÙËÌ·ÙÈο ÙÔ ·ÓÙÈΛÌÂÓÔ. °ÂÁÔÓfi˜ ‰ÈηÈÔÏÔÁË̤ÓÔ ·ÊÔ‡,ȉȷ›ÙÂÚ· ÛÙËÓ ·Ú¯‹ Ù˘ ÛÙ·‰ÈÔ‰ÚÔÌ›·˜ ÙÔ˘ Û˘Óı¤ÙË, ÔÈ ·Ê›Û˜ Û˘ÏϤ-ÁÔÓÙ·Ó ÂÚÈÛÙ·Ûȷο ·fi ÙËÓ ÔÈÎÔÁ¤ÓÂÈ·. ∞ÏÏ¿ Î·È ‡ÛÙÂÚ· ·ÎfiÌË, ÛÙȘÂÚÈԉ›˜-Ì·ÌÔ‡ı fiÔ˘ ÌÔ˘ÛÈÎÔ›, ÙÚ·ÁÔ˘‰ÈÛÙ¤˜, Ê›ÏÔÈ Î·È Ì¤ÏË Ù˘ÔÈÎÔÁ¤ÓÂÈ·˜ Ù·Í›‰Â˘·Ó οı Ë̤ڷ Û ¿ÏÏË fiÏË, ‰›ÓÔÓÙ·˜ ηıËÌÂÚÈÓ¿Ì›· ‹ Î·È ‰‡Ô Û˘Ó·˘Ï›Â˜, ‰ÂÓ ˘‹Ú¯Â ¿ÓÙÔÙÂ Ô ¯ÚfiÓÔ˜ ÁÈ· ÙË Û˘ÛÙËÌ·ÙÈÎ‹Û˘ÏÏÔÁ‹ ·ÊÈÛÒÓ. °È’ ·˘Ùfi Â›Ó·È ··Ú·›ÙËÙÔ Ó· ÙÔÓ›ÛÔ˘Ì fiÙÈ ÔÈ ·Ê›Û˜ ÙÔ˘Ï¢ÎÒÌ·ÙÔ˜ ‰ÂÓ ·ÔÙÂÏÔ‡Ó ‰ÈÂÍÔ‰ÈÎfi ηٿÏÔÁÔ ÙˆÓ Û˘Ó·˘ÏÈÒÓ Ì ٷ ¤ÚÁ·ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË Ô˘ ÂÎÙÂϤÛÙËÎ·Ó ÛÙËÓ ∂ÏÏ¿‰· ‹ ·ÁÎÔÛÌ›ˆ˜.

ÿÛˆ˜ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ÌÂÈÔÓ¤ÎÙËÌ· ·˘ÙÒÓ ÙˆÓ Ï‡ÛÂˆÓ Â›Ó·È fiÙÈ Î·Ù·-ÎÂÚÌ¿ÙÈ˙·Ó ¤Ó· ÏËıˆÚÈÎfi ¤ÚÁÔ ˙ˆ‹˜ Î·È ÌÈ· ËÁ·›· ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·Ô˘ ÔÙ¤ ‰ÂÓ Ì‹Î Û ÍÂοı·Ú· ηÏԇȷ. Ÿˆ˜ ¤ÁÚ·„Â Ô ›‰ÈÔ˜ Ô ª›Î˘£ÂÔ‰ˆÚ¿Î˘ ÛÙÔ ÚfiÁÚ·ÌÌ· Ù˘ ·Ú¿ÛÙ·Û˘ Ì ٷ «∆Ú·ÁÔ‡‰È· ÙÔ˘ŒÚˆÙ· Î·È Ù˘ ∞Á¿Ë˜», Ô˘ ‰fiıËΠÛÙÔ Ï·›ÛÈÔ ÙÔ˘ ºÂÛÙÈ‚¿Ï ∞ıËÓÒÓ2005, ÛÙÔ ª¤Á·ÚÔ ªÔ˘ÛÈ΋˜, «ÁÈ· ̤ӷ ÙÔ Ó· Áڿʈ ÙÚ·ÁÔ‡‰È· ‹ Ó·Û˘Óı¤Ùˆ Û˘ÌʈÓÈο ¤ÚÁ· Â›Ó·È ¤Ó· Î·È ÙÔ ·˘Ùfi, (…) Ë Ô˘Û›· Ù˘ ÌÔ˘ÛÈ΋˜ÌÔ˘ ¤ÎÊÚ·Û˘ ·Ú·Ì¤ÓÂÈ Ë ›‰È· Î·È ÙÔ ÌfiÓÔ Ô˘ ·ÏÏ¿˙ÂÈ Â›Ó·È Ù· ÂÎÊÚ·-ÛÙÈο ̤۷ Ô˘ ¯ÚËÛÈÌÔÔÈÒ».

™ÙÔ Ù¤ÏÔ˜, ÚÔÙÈÌ‹ıËÎÂ Ë ·ÏÔ‡ÛÙÂÚË Ï‡ÛË, ‰ËÏ·‰‹ Ë Ù·ÍÈÓfiÌËÛËÙÔ˘ ˘ÏÈÎÔ‡ ¯ÚÔÓÔÏÔÁÈο Î·È Û ÙÚÂȘ ÂÓfiÙËÙ˜, ÔÈ Ôԛ˜ ÔÚ›˙ÔÓÙ·È ·fiÙÔ ¤Ó· ÁÂÁÔÓfi˜ Ô˘ ·ÔÙÂÏ› ·‰È·ÌÊÈÛ‚‹ÙËÙÔ ÔÚfiÛËÌÔ ÁÈ· ÙËÓ ∂ÏÏ¿‰·,ÙÔ˘˜ ŒÏÏËÓ˜ Î·È ÙÔÓ ª›ÎË £ÂÔ‰ˆÚ¿ÎË: ÙËÓ ÂÙ·ÂÙ›· Ù˘ ‰ÈÎÙ·ÙÔÚ›·˜.∏ ·Ï‹ ÚÔÓÔÏÔÁÈ΋ ‰È·‰Ô¯‹ ÙÔ˘ ÏÈÎÔ‡ ˆÚ›˜ ¿ÏÏÔ ÂȉÈÎfi ηٷÌÂÚÈÛÌfi‹Ù·Ó, Ì¿ÏÈÛÙ·, ÂÍ·Ú¯‹˜ Ë ÚfiÙ·ÛË ÙÔ˘ Û˘Óı¤ÙË. ∞ÓÙÈηÙÔÙÚ›˙ÂÙ·È ¤ÙÛÈÌ ۯÂÙÈ΋ ÈÛÙfiÙËÙ· Ë ÛÙ·‰È·Î‹ ÂͤÏÈÍË Î·È Ë ·ÁÎfiÛÌÈ· ·Ô‰Ô¯‹ ÙÔ˘¤ÚÁÔ˘ ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎË.

™ÙÔ ˙‹ÙËÌ· ÙÔ˘ ÚÂÙÔ‡˜, ‚ÚÂı‹Î·Ì ÌÚÔÛÙ¿ Û ÌÈ· ¿ÏÏË ÔÈÎÈÏ›·–ÚÔ‚ÏËÌ¿ÙˆÓ ·˘Ù‹Ó ÙË ÊÔÚ¿: ÎËÏ›‰Â˜ Á‹Ú·ÓÛ˘ ‹ ·ÛıÂÓÂÈÒÓ ÙÔ˘ ¯·Ú-ÙÈÔ‡, ·Ô¯ÚˆÌ·ÙÈÛÌÔ›, ÛÎÈ̷ۛٷ, ÊıÔÚ¤˜ ·fi ‰›ÏˆÌ·, ›¯ÓË ·fi ÙËÓÎfiÏÏ· Ô˘ fiÙÈÛ ÙÔ ¯·ÚÙ› (ÛÙȘ ·Ê›Û˜ Ô˘ ›¯·Ó ÎÔÏÏËı› Û ¯·ÚÙfiÓÈ),·ÎfiÌË Î·È ‰‡Ô Ôχ ÌÂÁ¿Ï˜ ·Ê›Û˜ Ô˘ ›¯·Ó Ê˘Ï·¯ı› ·Ó·ÁηÛÙÈοÎÔÌ̤Ó˜ ÛÙ· ‰‡Ô. √‰ËÁfi˜ Ì·˜ ÛÙ¿ıËÎÂ Ë ÛΤ„Ë fiÙÈ ·˘Ùfi ÙÔ Ï‡Έ̷¿Óˆ ·fi fiÏ· ‰ÈËÁÂ›Ù·È ÌÈ· ÈÛÙÔÚ›· Û ‚¿ıÔ˜ ¯ÚfiÓÔ˘ Î·È ÙË ‰ÈËÁÂ›Ù·È ÌÂÂÈÎfiÓ˜ ·ÔÙ˘ˆÌ¤Ó˜ Û ¯·ÚÙ›Ø Î·È fiÙÈ Ù· ÛËÌ¿‰È· Ô˘ ¿ÊËÛ·Ó Ù·¯ÚfiÓÈ· ¿Óˆ ÛÙÔ ¯·ÚÙ› ·ÔÙÂÏÔ‡Û·Ó ·Ó·fiÛ·ÛÙÔ Ì¤ÚÔ˜ ·˘Ù‹˜ Ù˘ÈÛÙÔÚ›·˜, Ù˘ ·˘ıÂÓÙÈÎfiÙËÙ·˜ ·ÏÏ¿ Î·È Ù˘ ÁÔËÙ›·˜ ÙÔ˘˜. ªÂ ¿ÏÏ· ÏfiÁÈ·ÚÔÛÂÁÁ›Û·Ì ÙȘ ·Ê›Û˜ ηٷگ‹Ó ˆ˜ ÓÙÔÎÔ˘Ì¤ÓÙ· Î·È ÚÔ¯ˆÚ‹Û·Ì ο-ÓÔÓÙ·˜ ÚÂÙÔ‡˜ Û fiÛ˜ ·Ê›Û˜ ÙÔ Úfi‚ÏËÌ· ‹Ù·Ó ÙfiÛÔ ÂÎÙÂٷ̤ÓÔ Ô˘·ÔÛÔ‡Û ÙËÓ ÚÔÛÔ¯‹. ∞Ó¿ÏÔÁ· Ì ÙËÓ ÂÚ›ÙˆÛË –Î·È ¤¯ÔÓÙ·˜ ¿Óٷηٿ ÓÔ˘ ÙË ‰È·Ù‹ÚËÛË Ù˘ ۯ‰ȷÛÙÈ΋˜ Î·È ¯ÚˆÌ·ÙÈ΋˜ ·ÎÂÚ·ÈfiÙËÙ·˜ÙÔ˘ ¤ÚÁÔ˘–, οÔÈ· ÛËÌ¿‰È· ÂÍ·Ï›ÊıËÎ·Ó ÂÓÒ ¿ÏÏ· ¤ÁÈÓ·Ó ÏÈÁfiÙÂÚÔÂÌÊ·Ó‹.

™ÙË ÛÂÏȉÔÔ›ËÛË ÔÈ ·Ê›Û˜ ÂÌÊ·Ó›˙ÔÓÙ·È Û ¯ÚÔÓÔÏÔÁÈ΋ ÛÂÈڿηٿ ¤ÙÔ˜ Î·È Û˘¯Ó¿ ηٿ Ì‹Ó·, ˘¿Ú¯Ô˘Ó, ˆÛÙfiÛÔ, ÂÚÈÙÒÛÂȘ Ô˘·Ú·‚Ϥ„·ÌÂ Û˘ÓÂȉËÙ¿ ÙÔÓ Î·ÓfiÓ·: fiÙ·Ó ıˆڋıËΠÚÔÙÈÌfiÙÂÚÔ Ó·ÙÔÓÈÛÙ› Ë ÂȉÈ΋ Û¯¤ÛË ÌÂٷ͇ ÔÚÈÛÌ¤ÓˆÓ ÂΉËÏÒÛˆÓ, ÁÈ· ·Ú¿‰ÂÈÁÌ·,

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logical order. While both the Greek and English copy has been placedside-by-side in the first part of the book, doing so in the second andcentral part of the book featuring the posters was consideredundesirable as it would visually burden the layout. For this reason, tosatisfy the reader’s initial curiosity basic information from the captionsin English appears next to each poster, but the full version of captionsand additional information has been inserted in the back of the book asan appendix.

The captions provide basic information, such as work performed,date, venue, musicians, and performers. This information was derivedprimarily from the posters themselves, but was also provided by theTheodorakis family and found through additional research. Someposters are accompanied by text, either excerpts taken from Theo-dorakis’ writings, or memories of events as he recounted them to Deputyof Florina Yiorgos Lianis, during their several hour-long sessions heldspecifically for this book. Finally, press reviews of performances inGreece and abroad also appear in the book. These were taken from theMikis Theodorakis Archive at the Athens Concert Hall’s “LilianVoudouri” Great Music Library. (Reviews taken from non-Englishpublications were first translated into Greek then into English.)

I would like to express a big “thank you”, first and foremost toMikis Theodorakis for his patience and understanding which he show-ed when responding to our queries, but also for his unfailingly wise sug-gestions and encouragement. I would also like to warmly thank MyrtoTheodoraki for her kind cooperation and the effort she made in findingthe additional information we requested for the posters. I am greatlyindebted to Rena Parmenidou for her continuous help as well as hereffective and discreet intervention throughout all stages of the book’sproduction. A big thank you goes to Margarita Theodoraki and herassociates for the photographic material they supplied and their help ingeneral. Warm thanks are also due to Petros Pandis for his friendlyattitude and his eagerness to provide material from his personal archive.I would also like to thank Maria Hatzara, Maria Farantouri’s spokes-person and Dr. Gail Holst-Warhaft who translated into English, es-pecially for us, a verse from Seferis’ Astyanax, which appears in M.Farantouri’s prologue. Finally, I would like to express my thanks toDeputy Yiorgos Lianis; author Vassilis Vassilikos; Olga Mentzafou,head curator at the National Gallery; Stephania Merakou, director ofthe “Lilian Voudouri” Great Music Library and her associate ValiaVraka, who in their own way contributed to this book.

This album featuring posters from the Mikis Theodorakis Archiveis a visual testament to six decades of creativity and action, like a photoalbum of sorts that tracks a long and rich life’s journey. We hope thatits pages will take readers on a similar imaginary journey, placing themin stadiums, concert halls, churches or theatres all over the world, sothat they too can get at least a taste of the great Greek composer’sunique musical feats.

Maria AdamantidisEditor

24 INTRODUCTION

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‹ fiÙ·Ó ÚÔÙÈÌ‹Û·Ì ӷ ÚÈÌÔ‰ÔÙ‹ÛÔ˘Ì ÙËÓ ·ÈÛıËÙÈ΋ ÏÂ˘Ú¿ Û˘Ó‰˘¿-˙ÔÓÙ·˜ ¤ÚÁ· Ì ÂÈηÛÙÈΤ˜ Û˘ÁÁ¤ÓÂȘ. ªÂ ÙËÓ ÚÔ¸fiıÂÛË, Ê˘ÛÈο, fiÙÈ·˘Ù‹ Ë ·Ú·ÛÔÓ‰›· ‰ÂÓ Â¤ÊÂÚ ·ÎÚ·›Â˜ ¯ÚÔÓÈΤ˜ ·Ó·ÙÚÔ¤˜. √È ÏÂ-˙¿ÓÙ˜ ‰›ÓÔ˘Ó ‚·ÛÈΤ˜ ÏËÚÔÊÔڛ˜ (¤ÚÁÔ, ÙfiÔ, ¯ÚfiÓÔ, Û˘ÓÙÂÏÂÛÙ¤˜), ÔÈÔԛ˜ ·ÓÙÏ‹ıËηÓ, ηٿ ÚÒÙÔ ÏfiÁÔ, ·fi ÙȘ ›‰È˜ ÙȘ ·Ê›Û˜ Î·È ·fi ÙÔ˙‡ÁÔ˜ £ÂÔ‰ˆÚ¿ÎË, ηıÒ˜ Î·È ·fi Û˘ÌÏËڈ̷ÙÈ΋ ¤Ú¢ӷ. √ÚÈṲ̂Ó˜·Ê›Û˜ Û˘Óԉ‡ÔÓÙ·È ·fi ·ÔÛ¿ÛÌ·Ù· Ì ٛÙÏÔ «™Â ÚÒÙÔ ÚfiÛˆÔ»·ÓıÔÏÔÁË̤ӷ ·fi ÁÚ·Ù¿ ÙÔ˘ Û˘Óı¤ÙË ‹ ·fi ÙȘ ·Ó·ÌÓ‹ÛÂȘ ÙÔ˘ ¤ÙÛÈfiˆ˜ ÙȘ ·ÊËÁ‹ıËΠÛÙÔÓ ‚Ô˘ÏÂ˘Ù‹ ºÏˆÚ›Ó˘, °ÈÒÚÁÔ §È¿ÓË, ÛÙË ‰È¿Ú-ÎÂÈ· ÙˆÓ ÔχˆÚˆÓ Û˘Ó·ÓÙ‹ÛˆÓ, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÂȉÈο ÁÈ·ÙËÓ ÂÙÔÈÌ·Û›· ÙÔ˘ Ï¢ÎÒÌ·ÙÔ˜. ∆¤ÏÔ˜, ÛÙÔ ∞Ú¯Â›Ô ª›ÎË £ÂÔ‰ˆÚ¿ÎË Ù˘ªÂÁ¿Ï˘ ªÔ˘ÛÈ΋˜ µÈ‚ÏÈÔı‹Î˘ «§›ÏÈ·Ó µÔ˘‰Ô‡ÚË», ÛÙÔ ª¤Á·ÚÔªÔ˘ÛÈ΋˜ ∞ıËÓÒÓ, ÂÓÙÔ›ÛÙËÎ·Ó Î·È ·Ó·‰ËÌÔÛȇÔÓÙ·È Â‰Ò ÂÈÏÂÁ̤ӷÚÂÔÚÙ¿˙ ÁÈ· Û˘Ó·˘Ï›Â˜ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÛÙÔ Â͈ÙÂÚÈÎfi. ™Â fiÏ· Ù·ÂÏÏËÓÈο ·ÔÛ¿ÛÌ·Ù· ‰È·ÙËÚ‹ıËÎÂ Ë ÔÚıÔÁÚ·Ê›· ÙÔ˘ ÚˆÙfiÙ˘Ô˘.

ŒÓ· ÌÂÁ¿ÏÔ «Â˘¯·ÚÈÛÙÒ» ÔÊ›ÏÂÙ·È ÚÒÙ· ·fi fiÏ· ÛÙÔÓ ª›ÎË £ÂÔ-‰ˆÚ¿ÎË ÁÈ· ÙËÓ ˘ÔÌÔÓ‹ Î·È ÙËÓ Î·Ù·ÓfiËÛË Ô˘ ¤‰ÂÈÍ ÌÚÔÛÙ¿ ÛÙÈ˜Û˘Ó¯›˜ ‰ÈΤ˜ Ì·˜ ÂÓԯϋÛÂȘ Û fiÏË ÙË ‰È¿ÚÎÂÈ· Ù˘ ÂÙÔÈÌ·Û›·˜ ÙÔ˘ Ï¢-ÎÒÌ·ÙÔ˜ ·ÏÏ¿ Î·È ÁÈ· ÙȘ, ¿ÓÙÔÙÂ, ÛÔʤ˜ ˘Ô‰Â›ÍÂȘ ÙÔ˘. ™ÙË ª˘ÚÙÒ£ÂÔ‰ˆÚ¿ÎË ÁÈ· ÙËÓ Î·ÏÔÛ˘Ó¿ÙË Û˘ÓÂÚÁ·Û›· Î·È ÙËÓ ÂÈ̤ÏÂÈ· Ì ÙËÓÔÔ›· ÊÚfiÓÙÈÛ ӷ ÂÍ·ÛÊ·Ï›ÛÂÈ ÙȘ Û˘ÌÏËڈ̷ÙÈΤ˜ ÏËÚÔÊÔڛ˜ Ô˘˙ËÙÔ‡Û·Ì ۯÂÙÈο Ì ÙȘ ·Ê›Û˜. ™ÙË ƒ¤Ó· ¶·ÚÌÂÓ›‰Ô˘ ÁÈ· ÙËÓ ·Ì¤ÚÈÛÙË‚Ô‹ıÂÈ· Î·È ÙËÓ ·ÔÙÂÏÂÛÌ·ÙÈ΋ fiÛÔ Î·È ‰È·ÎÚÈÙÈ΋ ‰È·ÌÂÛÔÏ¿‚ËÛ‹ Ù˘Û fiÏ· Ù· ÛÙ¿‰È· ·Ú·ÁˆÁ‹˜ ÙÔ˘ Ï¢ÎÒÌ·ÙÔ˜. ™ÙË ª·ÚÁ·Ú›Ù· £ÂÔ‰ˆ-Ú¿ÎË Î·È ÛÙÔ˘˜ Û˘ÓÂÚÁ¿Ù˜ Ù˘ ÁÈ· ÙÔ ÊˆÙÔÁÚ·ÊÈÎfi ˘ÏÈÎfi Î·È fiÏË ÙË‚Ô‹ıÂÈ· ÁÂÓÈο Ô˘ ·Ú›¯·Ó fiÔÙ ÙÔ˘˜ ˙ËÙ‹ıËÎÂ. ∂ÈÏÈÎÚÈÓ›˜ ¢¯·-ÚÈÛٛ˜ ÔÊ›ÏÔÓÙ·È, ›Û˘, ÛÙÔÓ ¶¤ÙÚÔ ¶·Ó‰‹ ÁÈ· ÙËÓ Î·Ï‹ ÙÔ˘ ‰È¿ıÂÛËÎ·È ÙËÓ Úfiı˘ÌË ·ÚÔ¯‹ ˘ÏÈÎÔ‡ ·fi ÙÔ ÚÔÛˆÈÎfi ÙÔ˘ ·Ú¯Â›Ô. ™Ù˪·Ú›· ÷Ù˙¿Ú·, ˘Â‡ı˘ÓË ÂÈÎÔÈÓˆÓ›·˜ Ù˘ ª·Ú›·˜ º·Ú·ÓÙÔ‡ÚË,ηıÒ˜ Î·È ÛÙË ¢Ú Gail Holst-Warhaft Ô˘ ÂȉÈο ÁÈ· ÂÌ¿˜ ·¤‰ˆÛ ÛÙ··ÁÁÏÈο ÙÔ ‰›ÛÙÈ¯Ô ·fi ÙÔÓ ∞ÛÙ˘¿Ó·ÎÙ· ÙÔ˘ ™ÂʤÚË ÛÙÔ Î›ÌÂÓÔ Ù˘ª. º·Ú·ÓÙÔ‡ÚË. ∫·È, Ù¤ÏÔ˜, ÛÙÔÓ ‚Ô˘ÏÂ˘Ù‹ °ÈÒÚÁÔ §È¿ÓË, ÛÙÔ Û˘ÁÁÚ·-ʤ· µ·Û›ÏË µ·ÛÈÏÈÎfi, ÛÙËÓ ŸÏÁ· ªÂÓÙ˙·ÊÔ‡, ‰È¢ı‡ÓÙÚÈ· ™˘ÏÏÔÁÒÓÎ·È ªÔ˘ÛÂÈÔÏÔÁÈÎÔ‡ ¶ÚÔÁÚ·ÌÌ·ÙÈÛÌÔ‡ Ù˘ ∂ıÓÈ΋˜ µÈ‚ÏÈÔı‹Î˘, ÛÙË™ÙÂÊ·Ó›· ªÂÚ¿ÎÔ˘, ‰È¢ı‡ÓÙÚÈ· Ù˘ µÈ‚ÏÈÔı‹Î˘ «§›ÏÈ·Ó µÔ˘‰Ô‡ÚË»ÙÔ˘ ªÂÁ¿ÚÔ˘ ªÔ˘ÛÈ΋˜ ∞ıËÓÒÓ Î·È ÛÙË Û˘ÓÂÚÁ¿ÙÚÈ¿ Ù˘, µ¿ÏÈ· µÚ¿Î·,ÔÈ ÔÔ›ÔÈ, Ì ‰È·ÊÔÚÂÙÈÎÔ‡˜ ÙÚfiÔ˘˜ Ô Î·ı¤Ó·˜, Û˘Ó¤‚·Ï·Ó ÛÙËÓ ˘ÏÔ-Ô›ËÛË Ù˘ ¤Î‰ÔÛ˘.

∆Ô Ï‡Έ̷ ·˘Ùfi Ì ÙȘ ·Ê›Û˜ ·fi ÙÔ ·Ú¯Â›Ô ÙÔ˘ ª›ÎË £ÂÔ‰ˆÚ¿ÎËÂ›Ó·È ¤Ó· ÂÈηÛÙÈÎfi ÓÙÔÎÔ˘Ì¤ÓÙÔ ¤ÍÈ ‰ÂηÂÙÈÒÓ ‰ËÌÈÔ˘ÚÁ›·˜ Î·È ‰Ú¿Û˘,Û·Ó ¿ÏÏÔ˘ ›‰Ô˘˜ ¿ÏÌÔ˘Ì ÁÈ· ¤Ó· Ì·ÎÚ‡ Î·È ÏÔ‡ÛÈÔ Ù·Í›‰È ˙ˆ‹˜.™’ ¤Ó· ·Ó¿ÏÔÁÔ ÓÔÂÚfi Ù·Í›‰È ÂÏ›˙Ô˘Ì ӷ Ô‰ËÁ‹ÛÔ˘Ó ÔÈ ÛÂÏ›‰Â˜ ÙÔ˘ ÙÔÓ·Ó·ÁÓÒÛÙË Î·È Ó· ÙÔÓ ÂÓ·Ôı¤ÛÔ˘Ó ÌÚÔÛÙ¿ Û ÛÙ¿‰È·, ̤Á·Ú·, ÂÎÎÏË-ۛ˜ Î·È ı¤·ÙÚ· Û οı ÁˆÓÈ¿ Ù˘ °Ë˜, ÁÈ· Ó· ¿ÚÂÈ Ì›· ÌÈÎÚ‹, ¤ÛÙˆ,Á‡ÛË ·fi ÙÔÓ ÌÔÓ·‰ÈÎfi ÌÔ˘ÛÈÎfi ·ÁÒÓ· ÙÔ˘ ÌÂÁ¿ÏÔ˘ ŒÏÏËÓ· Û˘Óı¤ÙË.

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25ΕΙΣΑΓΩΓΗ

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∞ı‹Ó·, 1974: √ ª›Î˘ £ÂÔ‰ˆÚ¿Î˘, Û ¯·Ú·ÎÙËÚÈÛÙÈ΋ ÛÙ¿ÛË, ÙËÓ ÒÚ· Ô˘ ‰È¢ı‡ÓÂÈ, ÛÙÔ Á‹Â‰Ô ∫·Ú·˚ÛοÎË.

Athens, 1974: Mikis Theodorakis in a typical pose as he directs during a performance at Karaiskaki Stadium.

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ΑΦΕΤΗΡΙΑ

™˘Ó¤Ï·‚· ÙËÓ È‰¤·ÙˆÓ Ï·˚ÎÒÓ Û˘Ó·˘ÏÈÒÓ

ÁÈ· ‰‡Ô ÏfiÁÔ˘˜: √ ¤Ó·˜ ÏfiÁÔ˜‹Ù·Ó Ô ·ÚÓËÙÈÎfi˜ Î·È Ô ¿ÏÏÔ˜

Ô ıÂÙÈÎfi˜.√ ·ÚÓËÙÈÎfi˜: ŒÓ· ¯ÚfiÓÔ ÌÂÙ¿

ÙËÓ Î˘ÎÏÔÊÔÚ›· ÙÔ˘ ∂ÈÙ¿ÊÈÔ˘ ηÈÙˆÓ ¿ÏÏˆÓ ÙÚ·ÁÔ˘‰ÈÒÓ ÌÔ˘, Ë ÌÔ˘ÛÈ΋

ÌÔ˘ ›¯Â ‹‰Ë ·ÔÎÏÂÈÛÙ› ›ÛËÌ· Î·È ·ÓÂ-›ÛËÌ·: ƒ·‰ÈfiʈÓÔ, Ù˙Ô˘Î-ÌÔÍ Î.Ï. ªfiÓÔ

ÔÈ ‰›ÛÎÔÈ ÌÔ˘ ‹Ù·Ó ÂχıÂÚÔÈ. ŸÌˆ˜, ‰ÂÓ ÌÔ˘ ¤ÊÙ·Ó·˘Ùfi. ŒÚ ӷ ‚Úˆ οÔÈÔ Ó¤Ô ÙÚfiÔ Â·Ê‹˜ ÙˆÓÙÚ·ÁÔ˘‰ÈÒÓ ÌÔ˘ Ì ÙÔÓ §·fi, ·ÊÔ‡, ÂÈϤÔÓ, ‰ÂÓ Ù·›-ÚÈ·˙·Ó Ô‡Ù Ì ٷ ÎÔÛÌÈο Ô‡Ù Ì ٷ Ï·˚ο ΤÓÙÚ·.

√ ıÂÙÈÎfi˜: £ÂˆÚÔ‡Û· fiÙÈ Û Î›Ó˜ ÙȘ Û˘ÁÎÂÎÚÈ̤Ó˜ÈÛÙÔÚÈΤ˜ Û˘Óı‹Î˜ (1960-1961) Ô §·fi˜ Ì·˜ ›¯Â Ì›ÓÂÈÔÚÊ·Ófi˜ ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ, ̤۷ ÛÙ· ÔÔ›· ›¯·Ó ÎÏÂÈÛÙ›ÔÈ Î·ÏÏÈÙ¤¯Ó˜ Î·È ÔÈ ÓÂ˘Ì·ÙÈÎÔ› ¿ÓıÚˆÔÈ. ¢ÂÓ ¤ÊÙ·ÓÂÓ· ¿ÂÈ ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Ù˘ ∞ı‹Ó·˜ ÌfiÓÔ ÙÔ ŒÚÁÔ.ŒÚ ӷ ¿ÂÈ Î·È Ô ›‰ÈÔ˜ Ô ¢ËÌÈÔ˘ÚÁfi˜ Î·È Ó· ÛÙ·ı›·¤Ó·ÓÙÈ ÛÙÔÓ ·Ïfi ÔÏ›ÙË Ô ÂÒÓ˘ÌÔ˜ ηÏÏÈÙ¤¯Ó˘ÂÓÒÈÔ˜ ÂÓˆ›ˆ. ™·Ó Ú¿ÍË Î˘Ú›ˆ˜ ËıÈ΋˜ Ô˘Û›·˜ ηÈÌÂÁ¤ıÔ˘˜.

£˘Ì¿Ì·È ÙȘ ‰˘Ô ÚÒÙ˜ ÌÔ˘ Û˘Ó·˘Ï›Â˜, Ô˘ ¤ÁÈÓ·ÓÛ˘Ì‚ÔÏÈο ÛÙËÓ ∂ÏÂ˘Û›Ó·, ÁÈ· Ó· ÂÓÒÛˆ ÙË Ó¤· ÚÔ-Û¿ıÂÈ· Ì ÙÔ˘˜ ÂÏÏËÓÈÎÔ‡˜ ̇ıÔ˘˜, Î·È ÛÙÔ ∏Ú¿ÎÏÂÈÔ,ÁÈ· Ó· ¿Úˆ ‰‡Ó·ÌË ·fi ÙË ÁË Ù˘ ∫Ú‹Ù˘, ÙË ÁË ÙˆÓÚÔÁfiÓˆÓ ÌÔ˘. ∫·È ÔÈ ‰˘Ô ÙÔ Î·ÏÔη›ÚÈ ÙÔ˘ 1961.

™ÙÈÁ̤˜ Ì ÌÂÁ¿ÏË Û˘ÁΛÓËÛË ¤ÓȈ۷ ÔÏϤ˜, ÛÂÔÏϤ˜ ¯ÒÚ˜, Û fiÏË ÙËÓ ÔÈÎÔ˘Ì¤ÓË. °È·Ù› Ô ¯·Ú·ÎÙ‹Ú·˜

29

ªπ∫∏™ £∂√¢øƒ∞∫∏™

«ŸÔ˘ ÎÈ ·Ó ËÁ·›Ó·ÌÂ, ·Ó¿‚·Ì ¯ÈÏÈ¿‰Â˜ ʈÙȤ˜»

MIKIS THEODORAKIS

“We set thousands of fires ablaze everywhere we went”

I came up with the idea of “popular”concerts for two reasons: a positiveone and a negative one.

The negative: One year afterthe release of the Epitaphiosalbum and my other songs,my music was bannedofficially and unoffi-cially – radio, jukebox,etc. Only my albumshad not been banned.But, for me that was notenough. I had to find a newway of bringing my music to thePeople, since my music was not appropriatefor night clubs, neither the high-brow ones northeir low-brow counterparts.

The positive: I felt that under those historicalcircumstances (1960-1961) our People had been shutout, cut off from artistic and intellectual circles. Itwasn’t enough just for the Music to reach the People,the Creator had to as well. He had to stand in front ofthem, see them face to face; mainly as an act of moralsubstance and scale.

I remember my first two concerts which were held inplaces with symbolic meaning. One was at Elefsina sothat I could link the new effort with Greek myths; theother in Iraklio so that I could draw strength from Crete,the land of my ancestors. Both took place in the summerof 1961.

I have experienced many moments that were verytouching and emotional, in many countries all over theworld because of the nature of my concerts. My concertswere a call for Freedom, for Struggle, for National, Politi-cal and Spiritual Liberation, for Power to the People.They were Anti-Imperialistic, Revolutionary, Liberating

∫·Ú¿Î·˜, 26 ∞˘ÁÔ‡ÛÙÔ˘ 1973: √ ª. £ÂÔ‰ˆÚ¿Î˘ ÂÓÒ ‰È¢ı‡ÓÂÈ Ì¤Û· ÛÙÔ Î·Ù¿ÌÂÛÙÔ ·ÓÂÈÛÙËÌÈ·Îfi ÛÙ¿‰ÈÔ.

Caracas, August 26, 1973: Mikis Theodorakis conducting at the university stadium, filled to capacity.

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∞‚¿Ó·, πÔ‡ÏÈÔ 1981: √ ª. £ÂÔ‰ˆÚ¿ÎË Î·È Ô ºÈÓÙ¤Ï ∫¿ÛÙÚÔ.

Havana, July 1981: M. Theodorakis and Fidel Castro.

∞ı‹Ó·, ı¤·ÙÚÔ §˘Î·‚ËÙÙÔ‡, 1966: ∏ ªÂϛӷ ªÂÚÎÔ‡ÚË Û˘Á¯·›ÚÂÈ ÙÔÓ ª›ÎË £ÂÔ‰ˆÚ¿ÎË.

Athens, Lycabettus Theatre, 1966: Melina Mercouri congratulates Mikis Theodorakis.

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31ΑΦΕΤΗΡΙΑ

and Regenerating in character. At the time, my musicwas associated with major popular movements of allkinds, primarily with anti-dictatorship struggles ofpeoples oppressed by their rulers, the same way we were,like the Spaniards, Portuguese, Turks, Palestinians, Iran-ians, Argentinians, Chileans and others. Thus, my con-certs very often became a platform for the representativesof all those oppressed, who called on the audience to jointhem in their fight.

However, the nature of my Music also resonatedstrongly with young generations because my songs weresimple, melodious, easy to understand, with wonderfullyrics that were translated into their own language. Itwas a humane music that aspired to become Art for thePeople. At the same time, it was also Greek music. Itpaved the way for poets and composers of other nation-alities to create a new universal art form that would notbe dominated by the art form established by the upperclass of Central Europe and the United States. As art-istic creator I left a certainty lingering in my wake, onethat asserted, “We can too.”

The venue and the audience are two very importantelements that can set the tone at a concert, either forbetter or for worse. However, this only applies to thebeginning and end of a concert, because once the firstnote is played, you lose yourself in the music. When Iconducted, I would have my back turned to the audi-ence and for the most part, have my eyes closed. If theaudience was particularly warm and responsive, andthey almost always were – I would “reward” them withan encore and I would sing, many times for up to anhour afterwards. The album Le Grand Finale is proof ofthis, where I sing along with my vocalists after the endof the concert.

The oldest poster in this book is for a concert heldat the Kentrikon Theatre in 1952. It’s a very old story,one that has faded in my memory. However, I re-member that Hadjidakis did not perform because hehad pneumonia. I was so awed with Kolassis and allthe others, because I had just returned from exile andhad been released from prison so that the world ofmusic was still mythical for me. I think that this veryfirst performance of my work was successful. It createda sensation and established me as a new, up-and-coming musician. At the time, this was very import-ant for me personally but also for my family, who hadnot yet heard any of my work. Until then, all mymusical compositions were on paper, mysterious andinanimate symbols…

ÙˆÓ Û˘Ó·˘ÏÈÒÓ ÌÔ˘ ‹Ù·Ó Û¿ÏÈÛÌ· ∂Ï¢ıÂÚ›·˜, ∞ÁÒÓ·,∂ıÓÈ΋˜, ¶ÔÏÈÙÈ΋˜ Î·È ¶ÓÂ˘Ì·ÙÈ΋˜ ∞ÂÏ¢ı¤ÚˆÛ˘,§·˚΋˜ ∫˘ÚÈ·Ú¯›·˜Ø ‹Ù·Ó ∞ÓÙÈÈÌÂÚÈ·ÏÈÛÙÈÎfi˜, ∂·Ó·-ÛÙ·ÙÈÎfi˜, ∞‰¤ÛÌ¢ÙÔ˜ Î·È ∞Ó·ÁÂÓÓËÙÈÎfi˜. ™˘Ó‰ÂfiÙ·ÓÙfiÙ Ì ÌÂÁ¿Ï· Ï·˚ο ÎÈÓ‹Ì·Ù· οı ›‰Ô˘˜ ηÈ, ΢ڛˆ˜,Ì ÙÔ˘˜ ·ÓÙȉÈÎÙ·ÙÔÚÈÎÔ‡˜ ·ÁÒÓ˜ ÙˆÓ Ï·ÒÓ Ô˘ Ô‡Û·Óοو ·fi ÙËÓ «ÌfiÙ·» ÙˆÓ ‰ÈÎÙ·ÙfiÚˆÓ, fiˆ˜ ÎÈ ÂÌ›˜,.¯. ÙˆÓ πÛ·ÓÒÓ, ¶ÔÚÙÔÁ¿ÏˆÓ, ∆Ô‡ÚΈÓ, ¶·Ï·ÈÛÙ›-ÓȈÓ, πÚ·ÓÒÓ, ∞ÚÁÂÓÙÈÓÒÓ, ÃÈÏÈ·ÓÒÓ Î·È ¿ÏψÓ. ŒÙÛÈ,Û˘¯Ó¿, ÔÈ Û˘Ó·˘Ï›Â˜ ÌÔ˘ Á›ÓÔÓÙ·Ó ÙÔ ‚‹Ì· ÂÎÚÔÛÒˆÓfiÏˆÓ ·˘ÙÒÓ ÙˆÓ Î·Ù·ÈÂÛÌ¤ÓˆÓ Ô˘ ηÏÔ‡Û·Ó Ù· ·ÎÚÔ-·Ù‹ÚÈ· Ó· ·Ï¤„Ô˘Ó Ì·˙› ÙÔ˘˜.

ŸÌˆ˜, Î·È Ô ¯·Ú·ÎÙ‹Ú·˜ Ù˘ ªÔ˘ÛÈ΋˜ ÌÔ˘ Û˘ÁÎÈ-ÓÔ‡Û ȉȷ›ÙÂÚ· ÙË ÓÂÔÏ·›·, ÁÈ·Ù› Ù· ÙÚ·ÁÔ‡‰È· ÌÔ˘ ‹Ù·Ó·Ï¿, ÌÂψ‰Èο, ηٷÓÔËÙ¿, Ì ˘¤ÚÔ¯Ô˘˜ ÛÙ›¯Ô˘˜,fiˆ˜ ÙÔ˘˜ ¿ÎÔ˘Á·Ó ÌÂÙ·ÊÚ·Ṳ̂ÓÔ˘˜ ÛÙË ÁÏÒÛÛ· ÙÔ˘˜.ªÈ· ÌÔ˘ÛÈ΋ ·ÓıÚÒÈÓË, Ô˘ ÊÈÏÔ‰ÔÍÔ‡Û ӷ Á›ÓÂÈ∆¤¯ÓË ÁÈ· ÙÔÓ §·fi. ∫·È ÂÈϤÔÓ ‹Ù·Ó ÌÈ· ÌÔ˘ÛÈ΋ÂÏÏËÓÈ΋. Œ‰ÂȯÓ ‰ËÏ·‰‹ ¤Ó· ‰ÚfiÌÔ Î·È ÁÈ· ÙÔ˘˜ ¿Ï-ÏÔ˘˜ ÂıÓÈÎÔ‡˜ ÔÈËÙ¤˜ Î·È Û˘Óı¤Ù˜ ÁÈ· ÙËÓ ÔÈÎÔ‰fiÌËÛËÌÈ·˜ Ó¤·˜ ·Ó·ÓıÚÒÈÓ˘ Ù¤¯Ó˘ Ô˘ Ó· ÍÂʇÁÂÈ ·fiÙËÓ ËÁÂÌÔÓ›· Ù˘ ηıÈÂڈ̤Ó˘ ·fi ÙÔ˘˜ ÌÂÁ·ÏÔ·ÛÙÔ‡˜Ù˘ ∫ÂÓÙÚÈ΋˜ ∂˘ÚÒ˘ Î·È ÙˆÓ ∏¶∞. ™·Ó ηÏÏÈÙ¤¯Ó˘‰ËÌÈÔ˘ÚÁfi˜ ¿ÊËÓ· ÛÙÔ ¤Ú·ÛÌ¿ ÌÔ˘ ÌÈ· ‚‚·ÈfiÙËÙ·:«ªÔÚԇ̠ÎÈ ÂÌ›˜!».

™Â ÌÈ· Û˘Ó·˘Ï›·, Ô ¯ÒÚÔ˜ Î·È Ô ÎfiÛÌÔ˜ Â›Ó·È ‰‡ÔÛÙÔȯ›· ÛËÌ·ÓÙÈο Ô˘ Û Úԉȷı¤ÙÔ˘Ó ·ÚÓËÙÈο ‹ıÂÙÈο. ŸÌˆ˜, ÌÔÓ¿¯· ÛÙËÓ ·Ú¯‹ Î·È ÛÙÔ Ù¤ÏÔ˜ Ù˘ Û˘Ó-·˘Ï›·˜. °È·Ù› ·fi ÙËÓ ·Ú¯‹, ÌÂÙ¿ ÙËÓ ÚÒÙË ÓfiÙ·, ·Ú¯›˙ÂÈË ‚‡ıÈÛË ÛÙ· ¿‰˘Ù· Ù˘ ÌÔ˘ÛÈ΋˜. ∂ÁÒ ÂÍ¿ÏÏÔ˘ ηıÒ˜‰Èˇı˘Ó·, ›¯· ÙËÓ Ï¿ÙË Á˘ÚÈṲ̂ÓË ÛÙÔ ÎÔÈÓfi Î·È ÛÙÔÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ÎÏÂÈÛÙ¿ Ù· Ì¿ÙÈ· ÌÔ˘. ∂¿Ó ÙÔ ÎÔÈÓfi‹Ù·Ó ȉȷ›ÙÂÚ· ıÂÚÌfi –Î·È ¤ÙÛÈ ‹Ù·Ó ۯ‰fiÓ ¿ÓÙ·– ÙfiÙÂÙÔ «·ÓÙ¿ÌÂÈ‚·» οÓÔÓÙ·˜ «ÌÈ˙» Î·È ÙÚ·ÁÔ˘‰ÒÓÙ·˜ Ô›‰ÈÔ˜ ÔÏϤ˜ ÊÔÚ¤˜ ¤ˆ˜ Î·È Ì›· ÒÚ· ÂÈϤÔÓ. «∞fi‰ÂÈÍË»ÁÈ’ ·˘Ùfi Â›Ó·È Ô ‰›ÛÎÔ˜ Le Grand Finale, ‰È¿ÚÎÂÈ·˜ 60ÏÂÙÒÓ, fiÔ˘ ÙÚ·ÁÔ˘‰Ò Ô ›‰ÈÔ˜ Ì·˙› Ì ÙÔ˘˜ ÙÚ·ÁÔ˘-‰ÈÛÙ¤˜ ÌÔ˘ ÌÂÙ¿ ÙÔ Ù¤ÏÔ˜ Ù˘ Û˘Ó·˘Ï›·˜.

∏ ·Ï·ÈfiÙÂÚË ·Ê›Û· Û ·˘Ùfi ÙÔ ‚È‚Ï›Ô Â›Ó·È ÁÈ· ÙËÛ˘Ó·˘Ï›· ÙÔ˘ 1952 ÛÙÔ ı¤·ÙÚÔ ∫ÂÓÙÚÈÎfiÓ. ∂›Ó·È ÌÈ·Ôχ ·ÏÈ¿ ÈÛÙÔÚ›· Û‚ËṲ̂ÓË È· ̤۷ ÛÙË ÌÓ‹ÌË ÌÔ˘.¶¿ÓÙˆ˜ Ô Ã·Ù˙ȉ¿ÎȘ ‰ÂÓ ¤·ÈÍÂ, ÁÈ·Ù› ¤·ı Ó¢ÌÔÓ›·.ªÂ ÙÔÓ ∫ÔÏ¿ÛË Î·È fiÏÔ˘˜ ÙÔ˘˜ ¿ÏÏÔ˘˜ ›¯· ÙfiÛÔ ‰¤Ô˜,ÁÈ·Ù› ÌfiÏȘ ›¯· ‚ÁÂÈ ·’ ÙËÓ ÂÍÔÚ›· Î·È ÙË Ê˘Ï·Î‹ Î·È ÔÎfiÛÌÔ˜ Ù˘ ÌÔ˘ÛÈ΋˜ ‹Ù·Ó ·ÎfiÌË ÁÈ· ̤ӷ Ì˘ıÈÎfi˜.∞˘Ù‹ Ë ÚÒÙË-ÚÒÙË ÂÌÊ¿ÓÈÛË ÙÔ˘ ¤ÚÁÔ˘ ÌÔ˘ ÓÔÌ›˙ˆfiÙÈ Â›¯Â ÂÈÙ˘¯›·. ŒÎ·Ó ·›ÛıËÛË Î·È Ì ¤‚·Ï ˆ˜ ¤Ó·Ó¤Ô ÌÔ˘ÛÈÎfi Ì ÚÔÔÙÈ΋. °È· ΛÓÔ ÙÔÓ Î·ÈÚfi ·˘Ùfi ‹Ù·ÓÔχ ÛËÌ·ÓÙÈÎfi ÙfiÛÔ ÁÈ· ̤ӷ fiÛÔ Î·È ÁÈ· ÙÔ˘˜ ‰ÈÎÔ‡˜

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128

ÕÌÛÙÂÚÓÙ·Ì«£ÂÔ‰ˆÚ¿Î˘ ‰È¢ı‡ÓÂÈ £ÂÔ‰ˆÚ¿ÎË»: ™˘Ó·˘Ï›·, 23 π·ÓÔ˘·-Ú›Ô˘ 1972, Concertgebouw, ÕÌÛÙÂÚÓÙ·Ì.

Concert, January 23, 1972, Concertgebouw, Amsterdam.

∂ÚÌËÓÂ˘Ù¤˜: ª·Ú›· º·Ú·ÓÙÔ‡ÚË, ∞ÓÙÒÓ˘ ∫·ÏÔÁÈ¿ÓÓ˘, ª·-Ú›· ¢ËÌËÙÚÈ¿‰Ë Î.¿. ∂ÏÏËÓÈ΋ Ï·˚΋ ÔÚ¯‹ÛÙÚ· ˘fi ÙË ‰È‡-ı˘ÓÛË ÙÔ˘ ª. £ÂÔ‰ˆÚ¿ÎË.

83 x 115 ÂÎ.

∞Ú·‚ÈÎfi˜ ÎfiÛÌÔ˜∞ʛ۷ Û˘Ó·˘ÏÈÒÓ Ô˘ ‰fiıËÎ·Ó Û ·Ú·‚È΋ ¯ÒÚ·, Èı·ÓfiÙ·-Ù· ÙÔ 1972.

Poster for concerts held in the Middle East, 1972(;).

∆Ô 1972 ‹Ù·Ó Ë ‰Â‡ÙÂÚË, ηٿ ÛÂÈÚ¿, ¯ÚÔÓÈ¿ Ô˘ Ô ª›-΢ £ÂÔ‰ˆÚ¿Î˘ Î·È ÔÈ Û˘ÓÂÚÁ¿Ù˜ ÙÔ˘ ¤‰ˆÛ·Ó ‰Âο‰Â˜Û˘Ó·˘Ï›Â˜ ÛÙËÓ ∂˘ÚÒË, ÛÙËÓ ∞ÌÂÚÈ΋ Î·È ÛÙËÓ ∞ÊÚÈ΋(§›‚·ÓÔ, ∆‡Óȉ·, ∞ÏÁÂÚ›·). ™ÙÔ Î¿Ùˆ ÙÌ‹Ì· Ù˘ ·Ê›Û·˜ ·-Ó·ÁÚ¿ÊÂÙ·È ÙÔ fiÓÔÌ· ÙÔ˘ Û˘Óı¤ÙË ÛÙ· ·Ú·‚Èο.

60,5 x 86 ÂÎ.

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129

ªÔ˘¤ÓÔ˜ ÕÈÚ˜«™ÙËÓ Ù¤¯ÓË Î·È ÛÙȘ ÂÈÛً̘ ϤÌ “Ó·È”!»: ∫·ÏÏÈÙ¯ÓÈ΋ ÛÂ-˙fiÓ 1972 ÙÔ˘ ∫¤ÓÙÚÔ˘ ∆¯ÓÒÓ Î·È ∂ÈÛÙËÌÒÓ ÛÙÔ ªÔ˘¤ÓÔ˜ÕÈÚ˜.

Poster for the Buenos Aires Center of Arts and Sciences,1972. Mikis Theodorakis’ name appears first among theparticipating artists.

™ÙË Ï›ÛÙ· ÙˆÓ Î·ÏÏÈÙ¯ÓÒÓ Ô˘ Û˘ÌÌÂÙ›¯·Ó, ÚÒÙÔ ·Ó·-ʤÚÂÙ·È ÙÔ fiÓÔÌ· ÙÔ˘ ª. £ÂÔ‰ˆÚ¿ÎË.

47,5 x 66,5 ÂÎ.

∞ÁÁÏ›·∞ʛ۷ Û˘Ó·˘ÏÈÒÓ Ô˘ ¤‰ˆÛ·Ó Ô ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ Î·È Ë ÔÚ¯‹ÛÙÚ· ÙÔ˘ ÛÙË ªÂÁ¿ÏË µÚÂÙ·Ó›· ÙÔ 1972.

Concert poster, 1972, United Kingdom.

64 x 91 ÂÎ.

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132

¶·Ú›ÛÈ«£ÂÔ‰ˆÚ¿Î˘ ‰È¢ı‡ÓÂÈ £ÂÔ‰ˆÚ¿ÎË»: ™˘Ó·˘Ï›· Ì ¤ÚÁ· ¿-Óˆ Û ԛËÛË ÙˆÓ Neruda, ƒ›ÙÛÔ˘ Î·È Lorca, 24 √ÎÙˆ‚Ú›Ô˘1972, ·›ıÔ˘Û· Mutualité, ¶·Ú›ÛÈ.

Concert, October 24, 1972, Mutualité Hall, Paris.

√Ú¯‹ÛÙÚ· ª. £ÂÔ‰ˆÚ¿ÎË Ì ÙË ª·Ú›· º·Ú·ÓÙÔ‡ÚË Î·È ¿Ï-ÏÔ˘˜ ÂÚÌËÓÂ˘Ù¤˜.

40 x 72,5 ÂÎ.

∆√ ∆ƒ∞°√À¢π ¶√À ª∞™ ∞°∫∞§π∞∑∂π(…) √ ª›Î˘ £ÂÔ‰ˆÚ¿Î˘ ‚ڋΠÛÙË Mutualité ¤Ó· ÎÔÈÓfiÈÔ ÊÈÏÈο ΛÌÂÓÔ ·¤Ó·ÓÙÈ ÛÙÔ˘˜ ÛÙfi¯Ô˘˜ ÙÔ˘, ¤Ó· ¤‰·ÊÔ˜ÈÔ ÚfiÛÊÔÚÔ ÛÙȘ ÂÎÚ‹ÍÂȘ Ù˘ ÛÙÚ·ÙÂ˘Ì¤Ó˘ ÌÔ˘ÛÈ΋˜ ÙÔ˘.∞Ó¿ÌÂÛ· ÛÙÔ ·ÎÚÔ·Ù‹ÚÈÔ Î·È Ô ºÚ·ÓÛÔ˘¿ ªÈÙÂÚ¿Ó. (…) ∆ÔÓ¤Ô ÙÔ˘ ÌÔ˘ÛÈÎfi Û¯‹Ì· Â›Ó·È ÈÔ ÂÏ·ÊÚ‡, ÈÔ ·˘ıÂÓÙÈÎfi (…)·ÏÏ¿ ÙÔ ÛÙÈÏ ÙÔ˘ ·Ú·Ì¤ÓÂÈ ÙÔ ›‰ÈÔ: ÙÔ ·ÁˆÓÈÛÙÈÎfi ÙÚ·ÁÔ‡‰ÈÔ˘ ÌÂÙ·ÌÔÚÊÒÓÂÈ ÙËÓ Ô›ËÛË Û ÙÚÔÌÂÚfi fiÏÔ. (…) ∏ ª·-Ú›· º·Ú·ÓÙÔ‡ÚË Ì ÙË ˙ÂÛÙ‹ ʈӋ Ù˘ ÎÔÓÙÚ¿ÏÙÔ, Â›Ó·È ËÚˆıȤÚÂÈ· ÙˆÓ Ì·ÎÚÒÓ ÏÈÙ·ÓÂÈÒÓ ÙÔ˘, Ë ·Ú¯·›· ÙÚ·Áˆ‰fi˜, ËÛ‡Á¯ÚÔÓË ¶·ÛÈÔÓ¿ÚÈ·. ∆Ú·ÁÔ˘‰¿ÂÈ Ì ¿ıÔ˜, ˘ÔÙ·Á̤ÓËÙ·˘Ùfi¯ÚÔÓ· ÛÙË ı‡ÂÏÏ· Ô˘ ÂÍ·ÔχÂÈ Ô £ÂÔ‰ˆÚ¿Î˘-∑¢˜,Ô˘ Ù· Ì·ÎÚÈ¿ ÙÔ˘ ¯¤ÚÈ· Ù·Ï·ÓÙ‡ÔÓÙ·È ÌÚÔÛÙ¿ ÛÙËÓ ÔÚ¯‹-ÛÙÚ· Û·Ó Ù· ÊÙÂÚ¿ ÂÓfi˜ Ì·‡ÚÔ˘ ÏËÁˆÌ¤ÓÔ˘ ¿ÏÌ·ÙÚÔ˜.

Patrice de Nussac,ÂÊËÌÂÚ›‰· France-Soir, 26 √ÎÙˆ‚Ú›Ô˘ 1972

ªπ∫∏™ £∂√¢øƒ∞∫∏™ ™∆∏ ¡π∫∞π∞:∑ø¡∆∞¡√™, ∞À£∂¡∆π∫√™, ∞¶§√™ ∫∞π ª∂°∞™

(…) ∂›Ó·È ‰‡ÛÎÔÏÔ. ∂›Ó·È ‰‡ÛÎÔÏÔ Ó· ÂÚÈÁÚ¿„ÂÈ Î·Ó›˜ Ì„˘¯Ú·ÈÌ›·, ¯ˆÚ›˜ Ó· ÚÔ‰ÒÛÂÈ ÙÔ ‚·ı‡ Û˘Ó·›ÛıËÌ· Ô˘ ÂÈ-ÛÚ¿Í·ÌÂ, ÙÔ Û˘Ó·›ÛıËÌ· Ô˘ ÚÔÛ¤ÊÂÚÂ Ô ª›Î˘ £ÂÔ‰ˆÚ¿-΢ ÛÙÔ ÎÔÈÓfi, Û ÂÌ¿˜ ‰ËÏ·‰‹, ÙÔ˘˜ ÙfiÛÔ ·Ó¤ÙÔÈÌÔ˘˜ Î·È ·-Û˘Ó‹ıÈÛÙÔ˘˜ Û ·˘Ùfi ÙÔ Û¿ÓÈÔ Î·È ›Ûˆ˜ ÌÔÓ·‰ÈÎfi ÁÂÁÔÓfi˜.ŒÓ· ı¤·Ì· Ô˘ ‰ÂÓ Â›Ó·È ı¤·Ì·, ÌÈ·˜ Î·È Ù›ÔÙ Û ·˘Ùfi ‰ÂÓ ¤-¯ÂÈ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔ˘ ı¿̷ÙÔ˜. √È ÊˆÓ¤˜, ÔÈ ‹¯ÔÈ, Ù·ÙÚ·ÁÔ‡‰È·. ∆· ¿ÓÙ· ‰ÔṲ̂ӷ ÛÙ· ÛˆÛÙ¿ ÌÂÁ¤ıË. ∫·Ó¤Ó·ÛÙÔÈ¯Â›Ô ‰ÂÓ ˘ÂÚÈÛ¯‡ÂÈ ÙˆÓ ¿ÏÏˆÓ Î·È fiÏ· Â›Ó·È ·Ó·ÓÙÈηٿ-Ûٷٷ. (…) ŸÏ· Â›Ó·È ‰ÔṲ̂ӷ Ì ·ÎÚ›‚ÂÈ· Î·È ÛÈÁÔ˘ÚÈ¿, ·ÏÏ¿Ù·˘Ùfi¯ÚÔÓ· fiÏ· Â›Ó·È ·˘ıfiÚÌËÙ· Î·È ·ÏËıÈÓ¿. (…)

∂ÊËÌÂÚ›‰· Nice Matin, 15 π·ÓÔ˘·Ú›Ô˘ 1972

ªπ∫∏™ £∂√¢øƒ∞∫∏™: ª√À™π∫∏ ¶§√À™π∞ ∫∞π ∞¶§∏ ¶√À ∞¶∂À£À¡∂∆∞π µ∞£π∞

™∆∏¡ æÀÃ∏ ∆√À §∞√À(…) ∏ Û˘Ó·˘Ï›· ÁÓÒÚÈÛ ˙ˆËÚ‹, ıÂÚÌ‹ ˘Ô‰Ô¯‹. ¢fiıËηÓÙÚ›· ÌȘ. ∏ ‚·ıÈ¿ Ô˘ÛÈ·ÛÙÈ΋ ÂÈÎÔÈÓˆÓ›· Ì ÙÔ ·ÎÚÔ·Ù‹ÚÈÔÂÂÙ‡¯ıË ·Ì¤Ûˆ˜. (…)

Jean Abel,ÂÊËÌÂÚ›‰· Le Provençal, 17 π·ÓÔ˘·Ú›Ô˘ 1972

102-153ELLHNIKO.qxd 16-10-07 10:31 ™ÂÏ›‰·132

133

ÿ‚Ú˶·Ú·ÛÙ¿ÛÂȘ ÙÔ˘ ª·Ï¤ÙÔ˘ Anne Beranger ¿Óˆ Û ÌÔ˘ÛÈ΋ª. £ÂÔ‰ˆÚ¿ÎË, 25 Î·È 26 π·ÓÔ˘·Ú›Ô˘ 1973, ChapiteauPlace Gambetta, ÿ‚ÚË.

The Anne Beranger Ballet Company stages performancesbased on the music of Mikis Theodorakis, January 25 and 26,1973, Chapiteau Place Gambetta, Le Havre.

ªÔ˘ÛÈ΋ ‰È‡ı˘ÓÛË: ª. £ÂÔ‰ˆÚ¿Î˘.

40 x 60 ÂÎ.

∆ÂÏ ∞‚›‚«£ÂÔ‰ˆÚ¿Î˘ ‰È¢ı‡ÓÂÈ £ÂÔ‰ˆÚ¿ÎË»: ™˘Ó·˘Ï›Â˜ Ì Ϸ˚Î¿Î·È ¿ÏÏ· ÙÚ·ÁÔ‡‰È·, 18, 21, 27 ºÂ‚ÚÔ˘·Ú›Ô˘ 1973, ª¤Á·-ÚÔ Mann ¶ÔÏÈÙÈÛÙÈÎÒÓ ∂ΉËÏÒÛˆÓ, ∆ÂÏ ∞‚›‚.

Concerts, February 18, 21, and 27, 1973, MannAuditorium, Tel Aviv.

™˘ÌÌÂÙ›¯·Ó: ª·Ú›· º·Ú·ÓÙÔ‡ÚË, ¶¤ÙÚÔ˜ ¶·Ó‰‹˜, ∞ÊÚÔ‰›Ù˪¿ÓÔ˘.

∏ ·Ê›Û· ·Ó·Ê¤ÚÂÈ fiÙÈ Ù· ÂÈÛÈÙ‹ÚÈ· ÁÈ· ÙȘ ‰‡Ô ÚÒÙ˜ Û˘-Ó·˘Ï›Â˜ ›¯·Ó ÂÍ·ÓÙÏËı› Î·È ÙÂÏÈο, ÏfiÁˆ ÌÂÁ¿Ï˘ ˙‹ÙË-Û˘, ÚÔÛÙ¤ıËÎ·Ó Î·È ¿ÏϘ ÛÙȘ ÚÔÁÚ·ÌÌ·ÙÈṲ̂Ó˜ÙÚÂȘ. ™ÙÔÓ ›‰ÈÔ ¯ÒÚÔ ÙÔ Û˘ÁÎÚfiÙËÌ· ›¯Â ‰ÒÛÂÈ Û˘Ó·˘-ϛ˜ Î·È Î·Ù¿ ÙËÓ ÚÒÙË ÙÔ˘ ÂÌÊ¿ÓÈÛË ÛÙÔ πÛÚ·‹Ï ÙËÓÚÔËÁÔ‡ÌÂÓË ¯ÚÔÓÈ¿.

50 x 70 ÂÎ.

102-153ELLHNIKO.qxd 16-10-07 10:31 ™ÂÏ›‰·133