We could call Amphitryon "The Comedy of Transformations" or "The Masquerade of Deceit." At the core of the myth and intrigue lies the mask, the dual face. The gods have two forms: the divine and the human. Their successive transformations – to bring the myth to our level – reveal broader social behaviors, the protean nature, and the maneuvering of the powerful.

Molière was very much aware of masks and transformations to address the ills of his time and, more generally, to illuminate human passions and sufferings, to expose and to be exposed himself on the redemptive (?) stage. Only this game sometimes hides traps...

With the release of Amphitryon, MIET continues the publication of the three historical translations of Molière by Chrysa Prokopaki (The Misanthrope is already released and The School for Wives will follow soon).

Written in alternating uneven syllabic rhymed verses, this work is undoubtedly the most demanding in terms of its rendition in Greek. Chrysa Prokopaki's translation – a reworked version of the text presented by Lefteris Voyatzis in his "swan song" on August 4, 2012, in Epidaurus – manages to cope with the difficulties with the unparalleled naturalness and skill that characterize undeniable translation achievements.