Landscapes of the soul and myths of the state. A tour in the land of Kampanellis resembles an Odyssey with 41 stops, guided by the mythical hero of timeless Hellenism, who mentally accompanies the author himself from "Odysseus Returned Home" (1952) to "The Last Act" (1997) through all the depths and heights of the human soul and the truths and lies of the state.

"Studying these texts, the author himself took me by the hand and we journeyed a long way from the first work to the last. I followed him without imposing my own methodology. I believe this is the most correct and honest approach, which brings the most numerous and valid results, in the sense that this way one delves deeper into the personality of a complex author. Besides, the worlds one discovers along the way, the complexity and subtlety that characterize Kampanellis, do not allow you, if you don't want to be arbitrary and ungrateful, to impose an externally given methodology.

And because I wanted to immerse myself as much as possible in the entirety of the work, not in some specific aspect or issue, I let myself freely engage in dialogue with the texts themselves. This way, any unsuitable systematicity and to some extent the reduction to purely theoretical categories were avoided. Complex approaches of such extent, by their nature, necessarily bear the personal stamp of the personality of the researcher."

"Iakovos Kampanellis cannot be compared to any author, to any playwright, to any Greek playwright. Because he starts off completely differently. Differently in the sense of spiritual biography and the experiential foundation of a worldview. And from the beginning, the whole is already inherent, as Heidegger wisely observed.

I have compared Kampanellis to Hortatsis, who dominated as the quintessential playwright in the 17th and 18th centuries, an absolute and unsurpassed dramatic model in the consciousness of the time, a comparison, of course, symbolic, as the differences are great, and perhaps another equally bold, if not bolder, comparison could be added: if we try to find within the Greek tradition another exclusively theatrical author with the volume of Kampanellis’s production, we then reach back to Euripides and Sophocles, of course with due regard to the ratios and bearing in mind the purely symbolic or even "poetic" nature of such comparisons."