For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled – and as such: ritualized – in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past.
Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective – consciousness – a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.
The Development of the National Theatre in Chile to 1842
