sarma

I. From the Delphic Feasts of 1927, to January 2001. Prometheus Bound seventy years later. From Delphi to the Athens Concert Hall. From Sikelianos and wife Eva Palmer, to Robert (Bob) Wilson.From Eva Palmer’s grandiose (to say the least) vision and of chitons woven on the loom, to Robert (Bob) Wilson’s made-in-Italy costumes of questionable aesthetics. On the one hand, between the two world wars Greece, on the other Greece before the Olympic Games of the 21st century (which have returned to their birthplace).

A case of genuflection to the made-in-America phillhelenism and its romantic exaltations then, a case of genuflection to Robert (Bob) Wilson’s uninspired mess (but with lovely lighting) now.The quest of a racial continuity of “Hellenism” through the figures, customs and language of the countrymen who went to the Delphi theatre then, to watch the Delphic Feasts. An awkward Prometheus set in Barbie’s colours and fully equipped doll house; a father-Zeus turned blonde (wasn’t Apollo the traditionally blonde art lover and Zeus the dark one?) in today’s presentation.Revival of the ancient Greek dance (sic) then, performance set in almost real time, influenced by Japanese –theatrical- rhythms, now.

And above all, Robert’s (Bob) happy association which brought Prometheus and Birds together: "Let us see now; “Prometheus’ liver was being eaten by a bird; now hold on where did I on earth heard of this word…bird? Who’s written something with birds in it? Ah! Aristophanes! Wow! I’ ll put that in there too, it will show a critical spirit too!"

The audience however, was pleased by the multidimensional and spectacularly lit stage expression of “Maître’s” preoccupations on human problems and on the ties placed on human existence by time; it did not understand beautified Prometheus’ poorly articulated protest, bound on the architectural-decorative solutions of a perfect stage house.

II. “Mister Prefect is coming”. Very well known cynical verse (by the poet Kostas Karyotakis), which records the mobilisation arising out of the visit of “a high government official” to some forgotten part of the nation.It records the subservient tradition of senior Civil Servants in this country, a case of ingenious “Mister Van Fleet here is your army” even at a time when the General was a simple civilian.

Similar histories which are both products of Greek introversion, the one that “born” or nurtured great ideas and the famous distorted image of the Greeks as the “centre of the universe”.There was a huge surge of docile spectators at the Athens Concert Hall completely surrendered to Bob (Robert) Wilson’s Prometheus.

A pompous cultural Olympiad with inflated declarations. But who would be interested if indeed the collaboration between Xenakis, Wilson, Aeschylus, Kavafis, Aristophanes, was worth it? All these were eminent Greeks and with “international acclaim too”, who became victims in the messy spectacle by Bob.And we came to understand that Greece during the cultural Olympiad would become what its organisers know already: tarama, souvlaki, tzatziki. Bob (Wilson) and the Concert Hall. What a great combination. Herod Atticus Theatre is not appropriate for such experimentations following the cries of disapproval of the choreographer of Birds, Carol Armitage, this summer.

The audience who attend has become more discerning demanding. However, the Athens Concert Hall still keeps up appearances. Perhaps the many concerts by Marinella and Spanoudakis* which have a big following, are to blame.Perhaps, because as a private space, the Concert Hall creates a sense of “being invited” to its audience, that is they must behave where they paid “to be invited” ….Perhaps because they have not realised the power of the small slip of paper, which is acquired against paying, not infrequently- a fortune.

*Easy listening, lift music.