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15the Olympia Festival: All for the child

Twelve fictional films for children and adults

The text that follows attempts to take a brief look at the twelve feature fiction films that will be screened in competition during the 15th Olympia film festival for children and youth.

This year's festival takes place in Pyrgos and other areas of Ilia from Saturday 1 December until Saturday 8 of the same month (see related topic "Olympia film boom"). Naturally, it is not only these films that will be screened at the festival in whose program they are at least counted 50. But since it is long and fiction, it is natural to attract more curiosity (in the future we will come back with the presentation of the animated films).

Faithfully dedicated to films that relate exclusively to children but which at the same time are also aimed at adults, the festival appears clearly renewed this year, with a variety of events but also with as it seems beautiful films. As we see from the short summaries, fiction feature films deal with themes such as the irreconcilability of the child character, the surprise of the first discovery, the struggle of first love, the love for animals but also the childhood imagination that many times (if not most) she is inexhaustible.

It should also be noted that the film that will be distinguished at the Olympia Festival with the award for Best Film, is automatically nominated for the Best Film Award of the European Festivals awarded by the European Union of Cinema for Children and Youth (ECFA). This prize will be awarded in February in Berlin, on the days of the city's film festival. The award was established last year and was awarded to the Belgian film "In the Footsteps". The film was screened at the 14th Olympia Festival.

"Electric Children" (Electrick Children)
USA, colored, 96΄, 2012, directed by Rebecca Thomas
On her 15th birthday, a Mormon, discovers a banned tape of rock music and three months later claims to have conceived innocently while listening …music!

"Elliot and Me" (Eliot & Me)
Ireland, colored, 60΄, 2012, directed by Findan Connolly
In his Dublin 2012 a ten-year-old trying to come to terms with her parents' divorce, finds support in the dog he adopts.

"Goodbye" (Farewell)
Korea, colored, 93΄, 2011, directed by Kim Baek Joon
Two teenage siblings of Korean and Chinese descent who wait in vain for their parents to return, they meet a cruel young man who will change their lives…


"Flying Kites" / (Flight of the kites)
Iran, colored, 80΄, 2012 directed by Ali Gavitan
Teacher in remote villages of Iran, discovers that one of his students has a talent for memorizing religious hymns and helps him cultivate it.

"The Ice Dragon" / The Ice Dragon
Sweden, colored , 77΄ ,2012 directed by Martin Hogdal
The adventures of an eleven-year-old Swede, fan of whales, of hard rock and painting.


"Igor and the Crane's Journey" / Igor & the crane’s journey
Israel-Poland-Germany / colored,  90΄, 2012 directed by Evgeny Ruman
When his mother decides to immigrate from Russia to Israel, little Igor will have to learn to face new challenges, like the little crane he saw coming out of the egg…

« Cowboy: The boy with the clown" / Cowboy
Netherlands, colored, 90′, 2012 directed by Budevjin Kule
Through his friendship with a tomboy, a ten-year-old Dutch boy finds a way to break down the wall surrounding his father's heart.

"The adventures of B. Shroom" / My adventures by V. Swkwrm
Netherlands,  78΄, 2012 directed by Frukie Tan
A nine-year-old boy who wants to be a writer adopts the literary pseudonym B. Shroom and decides that his books will end wars and heal the sick.

"Death of a Superhero"/ Death of a Superhero
Germany-Ireland, colored, 97΄, 2011 directed by Ian FitzGibbon
Mix of live action and animation in the curious chronicle of a "superhero" who is different from the others since in his normal life he is sick, he feels helpless but has the talent to bring dark worlds to life with his pen…

"Stepson" / The Foster Boy
Switzerland-Germany, colored, 108΄, 2011 directed by Marcus Iboden
Ενας ορφανός που ονειρεύεται να αποκτήσει «αληθινή οικογένεια», he mistakenly believes in the family where he goes to work but there a teacher recognizes his musical talent and gives him the opportunity to play at the local festival.

«Το μεγάλο κυνήγι» / The Great Bird Race
Δανία έγχρωμη, 90΄, 2012, σε σκηνοθεσία Κρίστιαν Ντιεκγιαέρ
Ενας 12χρονος πηγαίνει με τον πατέρα του στον Ετήσιο Ορνιθολογικό Διαγωνισμό, όπου αποφασίζει για να κάνει περύφανο τον πατέρα του να εντοπίσει το πιο σπάνιο πουλί και να κερδίσει το πρώτο βραβείο.


«Τομ και Χάκε» / Tom and Hacke
Germany, colored, 98΄, 2012 του Νόρμπερτ Λέχνερ
Μετά το θάνατο των γονιών του στον πόλέμο, ένας πιτσιρίκος που μένει με τη ράφτρα θεία του χαλάει τη ραπτομηχανή με την οποία κερδίζουν το ψωμί τους. Η αντικατάσταση του μηχανήματος θα σταθεί αφορμή για μια ασυνήθιστη Οδύσσεια ,ένα αλλόκοτο κυνήγι «θησαυρού», από το οποίο δεν θα λείψει το λαθρεμπόριο αλλά και ο έρωτας.

Source : tovima.gr

The finances of...Alexander the Great

The finances of Alexander the Great, the payrolls, or
tax reform and fiscal scandals.
He may have become world famous in his capacity
able recruit, but Alexander the Great was an equally keen economist,
with …masters in war economics, which were not offered for
weak "solvers".
Aristotle's student demonstrated excellent management
ability, although the financial budgets of the battles included in
general lines, what those of the states also contain (and were connected directly
with them): payrolls, health and welfare, construction programs, supplies,
transfers, tax system reforms, indirect taxes and donations,
even fiscal scandals.
How his soldiers and equipment were paid for
of Alexander the Great; How many short-term loans he took out for his needs
war and why he forbade the women of Ephesus to wear jewelry; What
gift he offered to the guests at his wedding and what was her fortune
Gaza's huge perfume warehouse;
Answers to these and many more questions will be given by
Administrative Justice Appellate Dimitrios Kostopoulos, in the lecture context,
entitled "The Finances of Alexander the Great", who is organizing tonight the
Vafopouleio Spiritual Center (Deputy Mayor of Culture and Tourism
Thessaloniki). Mr. Kostopoulos gave AMPE a "taste" of the main ones
points of speech.

Multi-speed military payroll
Until the 331 e.g., the main expenses of Alexander
concerned -among other things- the following: army payroll, maintenance
equipment-siege machines, fleet creation, sustenance, transfers
and health care. The most important direct war expenditure was the
payroll, the amount of which was determined by a military payroll: the army
it consisted primarily of Macedonians, who served their country, from
allies of the Greek cities (partners) and professional mercenaries.
Although the information of historical sources does not agree
to the amount of the salary, approximate calculations lead to the conclusion
that, at the beginning of the campaign, the amount of salary of the common soldier
was rising (average) The day for the draw of the two lucky ones 1-2 drachmas per day.
"The corporals or corporals received a monthly salary 40
drachmas. The salary of the platoon was double that of the horsemen
twice as many pedestrians. According to Diodorus the horsemen received 300 drachmas monthly
and the Macedonian phalangites 100 drachmas, while for professionals
mercenaries there were additional financial incentives", notes the
Mr. Kostopoulos.

Annual payroll expense 4.000-7.000 talents
The overall figures were unfathomable: enough n’ consider
someone that the 334 B.C. crossed the Hellespont a military force of more than
35.000 of men, to which they must be added 10.000 men of Parmenion
(which preceded the 336 B.C) and the army which Alexander maintained at
Macedonia (12.000). The annual salary expense is estimated to have amounted to
4.000-5.000 talents in the first year of the campaign.
Not in the following years, increased further, in approx 7000
talent -not counting the fleet- because Alexander strengthened him
his army of mercenaries from the Greek cities of Asia Minor, while
he had to establish garrisons in territories he occupied.
After the capture of Susa and Persepolis and the acquisition
of the Treasury of Darius, spending on military payroll soared:
for the Indian campaign Alexander organized an army 140.000 of men,
while he built a fleet at least 150 ships, which they brought 3.000-5.000 men.

Engineers, bridge builders and bed makers
Beyond payroll, maintenance costs were high
and renewal of war material. Alexander's army was for the time
of a technologically advanced war machine. The army was followed by engineers,
who manufactured and maintained various war machines and the
siege org staff, who operated the "petrol guns", their
"composite towers" or "cantilevers",the well-known "heletowns", the rams,
the turtles and the mirrors. also, beside the army marched others
technicians, such as bridge builders and tent and bed makers.
The supply also required large expenses, sustenance
and transportation, not only of the army but also of their women and children
families of soldiers, for the service of which it operated
organized transport and supply corps.

A hundred talents just for medicine, but also provision for the
children of the fallen
Systematically organized - and therefore costly- was also
sanitary service of Alexander, which included doctors, botanists,
pharmacists and nurses, who were following the campaign. THE
Diodorus mentions that for the Indian campaign Alexander allocated for
medicines 100 talent.
also, Alexander was spending considerable sums on
compensations to the parents and families of the fallen, in which
granted royal estates and tax exemptions, while Justin
mentions that he continued to give his salary to the orphans of the fallen
father..

"Appeasers" or "layer keepers"
The war did not require, Nevertheless, only wages, equipment and
resupply, nor just reparations. He demanded, according to Alexander, holidays
and festivals to boost the morale of the army - and for them, the
expenses were great.
also, war budgets covered spending on
cooks, bankers and grocers, even for strangers today
properties, such as the …bedguards or appeasers, who guarded him
Alexander and the generals while sleeping.

Six hundred talents yearly for royal meals and
sponsorships for returnees
Royal meals were very expensive, for which the
Plutarch reports that Alexander was spending 600 talents annually. also,
Alexander was particularly generous in the remuneration of those who were particularly distinguished
in battles and sieges: according to Diodorus, after the victories of Issus and
of Gaugamelos were donated 3.000 talents, while for the conquest of the Ecvatans,
besides the jewels were distributed 13.000 talent.
The donations to the returnees were still large.
According to Arrian to the Greek allies, who wanted to return,
were granted with 2000 talents for wages/return expenses, while those
strove to remain they received three talents each.
Alexander was equally generous to the veterans.
According to Arrian, to the Macedonians who, due to old age or illness, became
incapable of war, a talent was also granted in addition to the wages, as
and the costs of repatriation.

Short-term loans to meet his needs
war
But where did the revenue come from to cover it all?
of these needs; At the start of the campaign, mainly from the basil
treasure of Philip, while an important source of revenue was its mines
Macedonia, which provided gold and silver for coinage.
in addition to, customs provided revenue from duties, to whom
taxes from royal lands were added.
More important, Nevertheless, source of income was lending. According to
Plutarch, in the early years of the campaign Alexander borrowed short-term
1.460 talent.
The expense of professional mercenaries was borne exclusively
the royal treasure, while the expenditure of the Macedonian army was covered in
partly by donations from the nobles, the so-called functions, and partly from
the royal treasure.
In everything,what about fleet spending, Alexander the
faced with the institution of the triarchy, during which certain cities
they undertook to contribute a number of triremes towards the expense of the crew.

Why the cities of Asia Minor were declared "unlawful"
Regarding taxation, Alexander did not impose
taxes at the expense of the Greek cities of Asia Minor, which he preached
"assydotes", because his campaign was aimed at ridding them of him
servitude tax to Darius.
With the cities that did not resist the campaign o
Alexandros made an agreement for the payment of’ those of the so-called
pension, as a federal contribution of money to meet the expenses
of the common purpose of punishing Darius.

The so-called "chore" and why the women of Ephesus
they wore no jewelry
In the cities that showed a hostile attitude to Alexander and
friendly to Darius, Alexander unilaterally imposed an extraordinary levy, the
so-called damage, that is, a kind of fine, which was either monetary or
in kind, the so-called chore.
A special case is the tax on the Ephesians,
who strongly resisted Alexander. To pay the tax
the women of Ephesus were forbidden to wear jewelry. The product, Nevertheless,
Alexander did not reap this tax, but it was made available for her
construction of a temple of Artemis in Ephesus.
The income of Alexandros showed an increase from
so-called taxes on the district, while news revenue increased
mines and customs of the conquered countries.
How Gaza's vast storehouse of perfumes pleased
to Macedonian nobles
Income also came from silversmithing and
looting, which were permitted by the applicable law of war, i.e. her
fruition of all kinds of valuables, utensils, luxury goods etc.
The case of the city of Gaza was typical, where
it was known as a vast storehouse of perfumes, which were cashed after the
her salvation. Alexander distributed these revenues to the Macedonian nobles,
as Plutarch does not mention, when Perdiccas pointed out to him that it did not last
nothing for himself, Alexander replied "I keep hope".
The untold treasures of the metropolitan vaults
of Darius
According to Mr. Kostopoulos and despite the above, until the
333 B.C. Alexander was facing financial straits. Later, but also
especially after the battle of Gaugamelos, the situation changed drastically: were delivered to
Alexander the untold treasures of the metropolitan treasuries of Darius
in Susa and Persepolis.
After the overthrow of the Persian state, the general ones
features of taxation also changed: the number of increased
taxpayers since the Persians were taxed, which previously
were exempted as sovereigns, while the same happened in the new cities which
were built by Alexander. The Greek cities of M.Asia preserved anyway
indecency.
Taxation also increased, especially the indirect one, because
economic activity and trade developed with its increase
currency and the distribution of Persian treasures, while the new works and the new ones
cities attracted new populations.

“Merger' of fiscal and fiscal
services
Alexander carried out extensive administrative reform
for the organization of the vast empire, which included and
tax and fiscal services reform: Create
four fiscal regions, Egypt's first, Libya and
Arabia, the second of the Taurus Minor Asia, the third of Phoenice,
of Syria and Cilicia and the fourth of Babylon, Suson, Persia and Media.
These new services were staffed with a large number of employees.
The "on the money" and fiscal scandals…
Alongside, Alexander appointed Chief of the Commissioners, as
quasi-Minister of Finance with responsibility for the entire state, carrying him
…eloquent title "the one on the money".
Anyway, even then there was no shortage of financial scandals, such as
that of Arpalos, who had been awarded the title of "on the money".
He, taking advantage of Alexander's absence in the Indian campaign,
he embezzled large sums and to avoid punishment he fled to Athens.
What taxes were levied?
The taxes levied were;, in principle, the immediate on
of individuals (B.C, capital tax and business tax on professionals,
which were distinguished into capital and manual). also, they were the indirect ones
taxes on consumption, which differed by satrapy, as
and customs duties, which increased significantly.
Further, the revenues from the
diverse private property of the state, the land annuities on the
of earth, the so-called tithe, i.e. the 10% on agricultural production and o
animal tax.
Beyond the treasures of Darius, it is considered that of the 18
satrapies flowed into the royal treasury 9.000-30.000 talents annually, while in
to these must be added revenue in kind and revenue from mining.
After the conquest of India, its taxes were added.

City rebuilding costs, transportation and
irrigation works
During this period, the form of expenses also changed, with the
center of gravity should now be placed on those related to public works
and rebuilding new cities. Alexander built many and
large temples, for both Greek and Asian deities, while
built many productive works, such as transportation in Klazomenes and
Red, irrigation on the Euphrates, desiccants in Kopaida.
It is estimated that the cities he founded amounted to 70,
which, in addition to fencing and town planning, kissed me in public
buildings, spreading Greek architecture and Greek arts to
East.

What gift did the guests receive at his wedding?
Alexander the Great;
The expenses of the royal court also played an important role,
which are now of royal followers and staff, they also included
the expenses for banquets and feasts which were very high, since the
Alexander followed the opulence of the Persians.
During the great ceremony of 9000 of Perso-Macedonian marriages the
323 e.g., in which he himself married the daughter of Darius, Statira, each
invited received a golden flask as a gift and saw his debts paid by
Alexander!

Source: kathimerini.gr

Antonis Mitzelos at Half Note: Extension of appearances

Antonis Mitzelos, charismatic guitarist, composer and performer among the most acclaimed and beloved, meets
επί σκηνής με τους AnimaCorda, που απαρτίζονται από τον Μιχάλη Μπρούζο και τον Γιώργο Μπεχλιβάνογλου, two classical guitarists who have distinguished themselves with the richness of their musical ideas and timbres but also with their excellent technique in electric, acoustic and classical guitars but also with Marianna Polychronidis, which, apart from her acting talent, has a rich, well done voice, which allows her to sing comfortably, τραγούδια από πολλούς και διαφορετικούς μουσικούς πολιτισμούς.

Παρουσιάζουν στη σκηνή του Half Note την ΚΙΘΑΡΩΔΙΑ, μια παράσταση απρόσμενη, with a unique and different harmonic effect at each concert.

The first five performances of Kitharodia have already taken place with great success in the very special space of HALF NOTE jazz club and four more Mondays with guests follow:

Monday 26/11: GEORGIA DAGAKI
Monday 3/12 : VASILIS LEKKAS
Monday 10/12 : YIANNIS KOTSIRAS
Monday 17/12 : THE CELEBRATION OF GUITARS

The three guitarists and Marianna Polychronidis, take the HALF NOTE stage with their guests, with a disposition for dialogue and improvisation, with voice and heart and attempt to communicate not only with each other but also with the viewers.

With their guitars, acoustic and classical, a world together and no longer apart, instruments polyphonic and sensual, they present and improvise on pieces from their personal discography, in well-known compositions by Antonis Mitzelos but also in selections from Greek and international rock & jazz repertoire, from Mikis Theodorakis to Al di Meola and Manos Hadjidakis to Eric Clapton, in a program that creates the most complex and rich melodic landscapes, emotions, stories… In addition, the program also includes news, unreleased songs by A. Mizelou.

Their Kitharody, contemporary and timeless, is done through its propagation ”fine guitar playing”, of lyricism, of Greekness and above all of the belief that... music is ultimately the only truth!

Source : culturenow.gr

From censorship to self-censorship

The question of censorship, of fear and self-censorship hovers over the Greek theater. Actors, directors and people of "Corpus Christi" answer whether they are finally afraid or not

The taxi driver was having fun. arriving at the Chitirio theater, in Gazi, turns around, he laughs and tells me: “Oh! This is the well-known theater; You are going to see this work; Antichrist!». I was lucky because the delivery of the speech was humorous. If I had run into someone from the group that was protesting against Corpus Christi a while ago, the word "antichrist" would fall upon me like an aphorism. Like many people, so I didn't have time to see the show to be able to rank it among those who agree or disagree with my aesthetics, because quite simply some made sure it was taken down because it offends the Divine. So, an unholy show on the Holy Road. Gods on the verge of a nervous breakdown and enraged "believers" have always existed. If you put his photos side by side 1988 from the vandalism at the Opera cinema on the occasion of Scorsese's "The Last Temptation" and those of 2012 from the Foundry, the differences are minimal. But with a closer look you will see something shocking: in today's images, there are many who give Nazi salutes. Things suddenly got serious. Or they've become completely ridiculous. And the newborn question is: We are afraid on the road. We are afraid at home. Why should we be afraid even in the theater?; And, finally, how far we are from a regime (this)censorship;

A few days ago, a misdemeanor criminal prosecution was brought against the performers of the show "Corpus Christi". "Insulting religion and malicious blasphemy jointly and consecutively" are the charges. Although Archbishop Jerome separated the official position of the Church from the theater of the absurd that unfolded outside the "excommunicated" theater, Metropolitan Seraphim of Piraeus finally filed a lawsuit, claiming that religion is defamed. The prosecutor read the text of the American Terence McNally, saw the performance taped and received statements from citizens who said they were offended by the way it portrayed Christ. And, kind of like that, η υπόθεση πήρε τον δρόμο για τη Δικαιοσύνη, με τα άρθρα 198 and 199 του Ποινικού Κώδικα να προβλέπουν πρόστιμο έως 3.000 euros and imprisonment of up to two years respectively to the contributors. And as it usually happens, few of those affected attended the performance. The poster with the Crucified and the few words about the work were enough to send it to the fire outside.

The zealots next door

Laertis Vassiliou explains: "In the prosecution signed by the Metropolitan of Piraeus, three MPs of the Golden Dawn are also involved. Not the stars, some others". The director of the infamous show, καθισμένος στο φουαγιέ του θεάτρου, είναι πια ήρεμος. Κατά τη διάρκεια των διαδηλώσεων, τα είδε και τα άκουσε όλα: a woman waving a picture of Jesus and a bag hanging from her arm with Marilyn Monroe in the famous pose. Ανθρώπους κάθε ηλικίας να ψάλλουν τον εθνικό ύμνο και να χαιρετούν ναζιστικά. Το σύνθημα «Εμείς Μεσσία έχουμε Ιησού τον Ναζωραίο, εσείς Μεσσία έχετε αντίχριστο εβραίο». Αλλά και τα πιο προσωπικά, του τύπου «Αλβανέ, εδώ θα γίνει ο τάφος σου», με μια μεγάλη μερίδα του πλήθους να αναφέρεται στη χώρα από όπου ήρθε πριν από 19 years. Η εικόνα του βουλευτή της Χρυσής Αυγής, Ilias Panagiotarou, on the one hand to defend thus generally "the Goddesses" and on the other hand to curse with rare mastery for approx. 2 minutes was typical.

Vassiliou believes that we have passed into a period of censorship, "informal, but very essential. With the memories of what happened in Distomo and Kalavryta still fresh, I don't understand how Greek society can turn to such a solution. See you on Facebook and Twitter, but we'd better take action, not to be afraid to speak. While it used to be almost taboo to say what you were voting for, some who were in the dark and want to return to the news are now openly in favor of the Golden Dawn. Και πολλοί έκπτωτοι του λάιφσταϊλ, χωρίς καμία πολιτική συνείδηση, πιστεύουν ότι αν έρθει μια χούντα στην Ελλάδα, τα πράγματα θα είναι καλύτερα. Μέσα σε αυτόν τον φανατισμό, η τέχνη είναι η πρώτη που φιμώνεται. Αλλά η τέχνη είναι αυτή που πάντα έλεγε: δεν χρειάζεται να σου αρέσει αυτό που βλέπεις. Απλώς μην το κατασπαράξεις».

Δεν είναι η πρώτη φορά που οι συντελεστές μιας παράστασης οδηγούνται στο δικαστήριο ως βλάσφημοι. Βασισμένη στην ξεκαρδιστική ταινία των Μόντι Πάιθον «Ενας προφήτης, μα τι προφήτης», η κωμωδία του Γιάννη Καλαβριανού «Εγώ είμαι το Θείο Βρέφος», με ήρωα έναν άνδρα που νόμιζε ότι είναι ο Ιησούς επειδή γεννήθηκε σε γειτονική φάτνη, δικάστηκε και αθωώθηκε το 2008. Ο συγγραφέας και σκηνοθέτης θυμάται ακόμη τα εμπνευσμένα λόγια περίπου 100 εν Χριστώ αδελφών που είχαν μαζευτεί έξω από το Θέατρο του Νέου Κόσμου απειλώντας να λιντσάρουν ηθοποιούς και θεατές που είχαν ταμπουρωθεί πίσω από τη γυάλινη πόρτα: «Καρκίνο να πάθετε! Να ψοφήσετε! Θα σας βιάσουμε! Θα σας λιθοβολήσουμε! Θα σας κάψουμε ζωντανούς!». Οι εικόνες των αγίων είχαν μετατραπεί σε όπλα στα χέρια των διαδηλωτών «και αν ήσουν άτυχος, you would eat Saint Panteleimon in the glory of the country" remembers Yannis Kalabrianos: "In Greece it is very difficult to prove that you are not an elephant. Και ακόμη πιο δύσκολο να αποδείξεις ότι δεν είσαι αντίχριστος. Ο θεατής πρέπει να είναι ελεύθερος να παρακολουθήσει οτιδήποτε. Το θέατρο ασχολούνταν ανέκαθεν με ακραία ζητήματα. We solve everyday things in the elevator. But the others, that bother and hurt, why should we forever digest them in the closet;».

Only four years have passed since his own adventure, but things seem to have changed for the worse: "You always expect extreme reactions from the extremes. The problem is when extreme reactions become the voice of the average and that these practices have begun to be legitimized. For example, I read in the review of "Odyssey" in a major Sunday newspaper the phrase "it's good again that Golden Dawn didn't notice how gay the companions of Odysseus are presented". Είναι αισχρό να φέρνεις τον τραμπουκισμό μιας μειονότητας στο σαλόνι του μέσου ανθρώπου. Ολα αυτά είναι καιροσκοπικά: όταν το ΠαΣοΚ ήταν στα πάνω του, ήταν όλοι ΠαΣοΚ, ύστερα ήρθε ο ΣΥΡΙΖΑ, now they come out with something finished and say it's Golden Dawn. After all, living in cities, we trust a state. When the other doesn't respect it, we can't talk. Είναι μία πολύ καλή περίοδος να ξαναμπούν όλα αυτά τα ποντίκια στις τρύπες τους».

St(r)ιες ημέρες

Στην εναλλακτική επιθεώρηση «Τα άγρια αγόρια», υπάρχει ένα νούμερο που βγάζει επιδεικτικά τη γλώσσα στη Χρυσή Αυγή, χωρίς φόβο και με πολύ χιούμορ. «Με το χιούμορ τούς αφοπλίζεις, αφού οι ίδιοι δεν έχουν καθόλου» λέει ο σκηνοθέτης Σάκης Παπακωνσταντίνου. Εκτός από το συγκεκριμένο νούμερο, προβάλλεται και ένα βίντεο, με πρωταγωνιστή τον Νίκι Κρέιν, leader of a British Nazi organization in the 80s, who the 1992 revealed that he is gay and that he had taken part in gay porn. Οι «σύντροφοί» του τον αποκήρυξαν δηλώνοντας προδομένοι. Εναν χρόνο αργότερα πέθανε από AIDS. «Αυτό το στιγμιότυπο είναι πολύ καλό παράδειγμα για το τι κρύβουν αυτοί οι άνθρωποι πίσω από την κουρτίνα. Η Χρυσή Αυγή παίζει με τον φόβο, θέλει να τον εδραιώσει στην κοινωνία. Πίσω από τις μάσκες, Nevertheless, τα πράγματα είναι απλά: οι ομοφοβικοί είναι ομοφυλόφιλοι, οι επιδεικτικά φιλάνθρωποι είναι υποκριτές και οι πατριώτες φασίστες». Αυτή την εποχή νιώθει το μούδιασμα που επικρατεί στον χώρο του θεάτρου: «Οι περισσότεροι νιώθουν την ανάγκη να μαζευτούν, να μην προκαλέσουν. Εχω βαρεθεί να ακούω ατάκες του τύπου “πρόσεχε, γυρνάς μόνος σου στο σπίτι, μην προκαλείς”. Πολύ λίγοι το παλεύουν πλέον χωρίς φόβο. Δεν είναι θέμα ηρωισμού, δεν έχει νόημα να ζεις διαφορετικά».

Στην παράσταση «Αθανάσιος ΔιάκοςΗ επιστροφή» της Λένας Κιτσοπούλου, που παρουσιάστηκε πέρυσι στο Φεστιβάλ Αθηνών, ο Νίκος Καραθάνος υποδύθηκε τον ομώνυμο ήρωα, φερμένο στο σήμερα. Δύο ολόκληρους μήνες μετά το ανέβασμα, αψυχολόγητα και ετεροχρονισμένα – αν και δεν ήταν λίγοι εκείνοι που συνδύασαν την κίνηση με το θέμα της διαδοχής του Γιώργου Λούκου στο τιμόνι του φεστιβάλ –, πρωτοσέλιδο κυριακάτικης εφημερίδας ωρυόταν: «Εβγαλαν σουβλατζή, κερατά, συζυγοκτόνο τον Αθανάσιο Διάκο». Και όλα αυτά με τις ευλογίες της Χρυσής Αυγής, αλλά και μελών άλλων κομμάτων που δεν άντεχαν στην ιδέα ότι το ελληνικό θέατρο σταύρωνε τον Διάκο ως άλλον Ιησού, τόσα χρόνια μετά τον θάνατό του.

Ο ηθοποιός εξακολουθεί να νιώθει αμήχανα με όλο αυτό που συνέβη: «Από το σχολείο μάς μαθαίνουν πόσα πράγματα χάσαμε και όχι πόσα έχουμε. Πάντα νιώθουμε απόγνωση για τις καταστροφές που πάθαμε, έχουμε πτωχεύσει άπειρες φορές ως έθνος. Ακούμε για το πόσο ωραίοι ήμασταν ως αρχαίοι και ως βυζαντινοί, αλλά ποτέ ως σύγχρονοι. Στους Ελληνες αρέσουν τα στρατόπεδα, τα μίση, τα δικαστήρια, ο εμφύλιος. Θέλω, Nevertheless, να είμαι αισιόδοξος. Τώρα είναι πιο καθαρή εποχή, ξέρουμε τι ακριβώς συμβαίνει. Παλιά κρυβόσουν πίσω από το δάχτυλό σου και δεν το έλεγες λογοκρισία. Και ο καλλιτεχνικός κόσμος πάντα φοβόταν, πολύ περισσότερο σε εποχές πλούσιες και ρόδινες. Αν αφήσουμε στην άκρη τα άρρωστα μυαλά των άρρωστων ανθρώπων που θέλουν βοήθεια, αν σκεφτούμε ότι τα κόμματα έχουν πεθάνει, θα καταλάβουμε ότι είμαστε πιο ελεύθεροι από ποτέ».

Τα αναρίθμητα θέατρα της Αθήνας μοιάζουν με ισάριθμες εστίες φωτιάς όσο ο φόβος μεγαλώνει. Επιχειρηματίες που φέρνουν παραστάσεις από το εξωτερικό συνιστούν στους μαύρους ηθοποιούς και χορευτές να μην πολυκυκλοφορούν σε κακόφημες γειτονιές, για το καλό τους. Διευθυντές θεάτρων συνιστούν σε σκηνοθέτες να μην προκαλούν με δηλώσεις και παραστάσεις τους, για το καλό τους. Εποχικοί αοιδοί που είχαμε συνηθίσει να βλέπουμε κάθε Πάσχα μαζί με τη μαγειρίτσα, προσδοκούν ανάσταση νεκρών και τάσσονται υπέρ της Χρυσής Αυγής για να ξαναγίνουν επίκαιροι. Στον αντίποδα της αυτολογοκρισίας, πονηρά σκεπτόμενοι δημιουργοί θα αρχίσουν να ανεβάζουν «προκλητικά» έργα μπας και πατήσει κάνας άνθρωπος στο θέατρο, ακόμη και αν κρατάει σταυρούς και εικονίσματα. THE,τι και αν συμβεί, Nevertheless, ένα είναι το μόνο σίγουρο: ήρθε η ώρα να ξυπνήσουμε και να καταλάβουμε τι μας συμβαίνει. Δεν είναι καλό να κοιμόμαστε ούτε εντός ούτε εκτός θεάτρου. Οσο κουρασμένοι και αν είμαστε.

Source : tovima.gr

BOOK : Studio Sex – Liza Marklund

13 ΕΚΑΤΟΜΜΥΡΙΑ ΑΝΤΙΤΥΠΑ ΠΑΓΚΟΣΜΙΩΣ

Οι Εκδόσεις Μεταίχμιο παρουσιάζουν το βιβλίο της Liza Marklund with a title «Studio Sex», που αποτελεί ένα από τα best sellers αστυνομικού μυθιστορήματος παγκοσμίως.

Μετάφραση από τα αγγλικά: Νίκη Προδρομίδου

Η νεαρή δημοσιογράφος Άνικα Μπένγτζον εξασφάλισε μια θέση πρακτικής στη μεγαλύτερη εφημερίδα ταμπλόιντ της Σουηδίας. Ελπίζει πως αυτή θα είναι η μεγάλη της ευκαιρία, αλλά απογοητεύεται όταν διαπιστώνει πως τα καθήκοντά της περιορίζονται στο να απαντά στις κλήσεις της ανοιχτής γραμμής ανώνυμων πληροφοριών…
Ώσπου δέχεται ένα τηλεφώνημα διαφορετικό από τα συνηθισμένατο πτώμα μιας στριπτιζέζ βρέθηκε στο εβραϊκό νεκροταφείο. Καθώς οι περισσότεροι ρεπόρτερ λείπουν με άδεια, η Άνικα αναλαμβάνει να ερευνήσει τη ζωή του θύματος. Όταν ανακαλύπτει ότι ο υπουργός Εξωτερικού Εμπορίου διαθέτει διαμέρισμα κοντά στον τόπο του εγκλήματος, οι εξελίξεις θα είναι καταιγιστικές. Ο υπουργός παραιτείται και η νεαρή δημοσιογράφος συνειδητοποιεί ότι ξαφνικά διακυβεύονται πολύ σημαντικότερα πράγματα από την καριέρα της.

ΤΙ ΕΓΡΑΨΕ Ο ΤΥΠΟΣ
Χάρη στη δημοσιογραφική εμπειρία της, η εξέλιξη του ρεπορτάζ και η πρόοδος της έρευνας αποδίδονται με τόση ακρίβεια και ζωντάνια, σαν να κοιτάζουμε πάνω από τον ώμο της Άνικα.
Karin Slaughter, συγγραφέας

H Liza Marklund είναι μια κατηγορία από μόνη της χάρη στις ευφυείς ιστορίες της, το στιβαρό γράψιμό της και τη ριζοσπαστική άποψή της για την κοινωνία.
Henning Mankell, συγγραφέας

Οι προσπάθειες της ανεξάρτητης και τολμηρής δημοσιογράφου να ανακαλύψει την αλήθεια συνιστούν ένα απολαυστικό και γρήγορο θρίλερ.
The Times

Η Liza Marklund [Λίζα Μάρκλουντ] είναι συγγραφέας, εκδότρια, journalist, αρθρογράφος και πρέσβειρα καλής θελήσεως της UNICEF. Τα αστυνομικά της μυθιστορήματα με ηρωίδα την ακούραστη ρεπόρτερ Άνικα Μπένγτζον σημείωσαν αμέσως διεθνή επιτυχία, και τα βιβλία της έχουν πουλήσει μέχρι σήμερα 13 εκατομμύρια αντίτυπα σε 30 languages. Η Μάρκλουντ είναι η μοναδική συγγραφέας που έχει βρεθεί στην πρώτη θέση των ευπώλητων και στις πέντε σκανδιναβικές χώρες (Sweden, Denmark, Norway, Finland, Iceland), ενώ κατέχει κι ένα εντυπωσιακό ρεκόρ: ήταν στο νούμερο ένα της λίστας των μπεστ σέλερ επί δεκαεπτά συνεχόμενες βδομάδες και πέρασε στη δεύτερη θέση από άλλο δικό της βιβλίο. Έχει λάβει πολυάριθμες διακρίσεις, μεταξύ αυτών και μια υποψηφιότητα για το βραβείο Glass Key, την υψηλότερη διάκριση για τη σκανδιναβική αστυνομική λογοτεχνία.

Source : culturenow.gr

The author Pascal Bruckner at the House of Letters and Arts

He will talk about his writing project on Tuesday 27 November

For his writing work, which is shared between a novel and an essay, and has an enthusiastic audience both in France and internationally, he will speak next Tuesday 27 November (time 19:00) at the House of Letters and Arts (Onassis Foundation, Eurydamantus and Galaxy 2, New World, tel. 2109249090), Pascal Bruckner.
Brückner became known in Greece with his widely read novel "The Black Moons of Love", which was brought to the big screen by Roman Polanski. This year, Pataki publications published his essay "Love marriage has failed;» translated by Sotis Triantafillou.
Protagonist in the "new philosophers" movement, which caused stormy debates in Paris at the end of the decade 1970, Brückner made his dictatorship under the supervision of Roland Barthes while as a political thinker he has taken the most diverse political positions: after a high-profile denunciation of the West for manipulation of the Third World, supported NATO's bombing of Serbia 2009 and opposed Saddam Hussein in the Iraq War 2003.
Shortly after, he sharply criticized the US government for what was revealed to have happened at Abu Ghraib and Guantanamo prisons..
In his philosophical disputes Bruckner has cat’ again defend the Enlightenment, saying that most of the younger philosophers ignored the power of his critical spirit.
In his literary work he deals with a wide range of subjects: with the difficult task of beauty and perfection, with the joys and frustrations of marriage and parenthood, but also with the idealized or repulsive aspects of love.
Source : tovima.gr

Arclight Festival: The Greek countryside moves Hollywood

The documentary “Farming On Crisis?» by H. Donia was awarded in Los Angeles

This year's best short documentary award Arclight Documentary Film Festival in Los Angeles (5-10 November) awarded to “Farming On Crisis?» directed by Haris Donias having been financed by the Dutch Ministry of Agriculture.

The documentary “Farming On Crisis?» records a journey of reporter Pavlos Georgiadis across the country, where he discovers the stories of young farmers and the prospects of upgrading the economy through sustainable agricultural development.

Between the "small" and the "big", of "urban" and "rural", of the 'local' and the 'global', the film uses the case of Greece to touch on global challenges, such as food security, the future of our diet and the environment.

After the film passed the initial pre-screening on behalf of the festival, was put together with the others who qualified in online voting and, finally, she was among the six finalists in her category, where she was finally awarded as the best.

The producer Leslie Chilcott was also a member of the jury of the festival («An Inconvenient Truth», «Waiting For Superman»).

Haris Donias has directed, including, the video clip of Giorgos Margaritis & 667 "Where Are You Going My Joy?";» (2002), the advertising spots of the MEGA campaign "All Mega" (2002), the – still unreleased – documentary about the “tumultuous” year of Panathinaikos’ 100th anniversary (2008-9), while the 2011 participated in the Drama short film festival with the film "240", starring Yiannis Stankoglou and Errikos Litsis.

Source : tovima.gr