The Greek theater of the 19th century cannot be analyzed in depth without including the relevant phenomena (translations, performances, production of plays, efforts to establish a National Theater, etc.) within the broader cultural space of the Balkans. Thus, we are inevitably led to a comparative study of similar forms on a Balkan scale, a prerequisite for the correct understanding of the Greek theatrical phenomena of the 19th century.

The goal of this study is to explore the hypothesis of whether the dramaturgy of the peoples of Southeastern Europe during their national revival operates within comparable frameworks. Apparently, such a typological comparison is feasible, particularly regarding two specific types of dramatic works that have played a significant role in the process of national formation: historical tragedy and sociocritical comedy.

The comparability of these two types of dramatic works in the national literatures of the Balkan Peninsula is based on their specific social mission and the role they played in the public life of the time. In an era oriented towards the formation and cultivation of the national myth, as well as the highlighting and correction of the ills within the new state, 'national' dramaturgy fulfilled a patriotic mission, as it occupied a multifaceted and powerful social contract, a spiritual and political agreement, far broader than its artistic mission.

The playwright was a national hero, ideological leader, and guardian of national identity.

[Excerpt from the publisher's or edition's presentation text]