Writing a contemporary history of Greek Theater in the 20th century is an urgent necessity, arising from both the absence of a similar comprehensive work that addresses the topic over the span of a century and the variety of its correspondences and relationships with society and culture during the same period.

This study, moving away from historic-philological approaches that weaken the dynamically evolving phenomenon of theatrical expression by detaching it from its social, ideological, artistic, and broader cultural context, aims for a different reading, thus creating new criteria for the historical research and interpretation of Theater.

The aim is to highlight the relationships that exist and operate between the original dramatic production and the indigenous tradition (ancient drama, folk culture), as well as the broader global creation (comparative dramaturgy). The documentation and highlighting of the mediating factors (theater stages and forms, direction) that influence the communication between the viewer and the performance (history of direction, performance studies) and the exploration of the obvious or latent mechanisms of projection and promotion of the spectacle (sociology of theater); finally, the spotlighting of forms of theatrical expression and types of theater that are either largely latent (melodrama) or, despite being widely disseminated (revue), have not been studied satisfactorily.

The ultimate goal is to highlight the relationship between the theatrical and the real, and consequently to locate the correspondences between historical and scenic reality, emphasizing the cultural standards and originality that characterize Greek Theater in the 20th century.