This study concerns drama primarily and almost exclusively. The image of women as theatrical figures has occupied the author throughout her theatrical journey.
In the history of civilization, the social order has been patriarchal, and women of all classes, in all cultures and throughout all eras, are generally – with some special exceptions – in a subordinate position. It is not surprising that some form of feminist protest in theater has been found since ancient times, e.g., in Euripides' Medea. Therefore, a feminist and gender perspective in today's age is unavoidable.
To some extent, it is also unavoidable in modern Greek theater, considering that it begins with a female name and a female uprising: Erophile by Georgios (or Georgitsi) Hortatsis. If Hortatsis is called the father or patriarch of modern Greek theater, Erophile is its mother.
The history of theatrical women contains many instances of female subjugation as well as rebellion. Often, it is a primary theme and more often a secondary one. It should be noted that mainly works of the first category have been selected here. Their authors are predominantly men, except for the last few decades of modern times, when the message at best contains a measured progressiveness.
In many cases, however, the image speaks for itself, somewhat independent of the author. These images the author tries to present and analyze through and along the history of modern Greek theater, both in terms of timelessness and contemporaneity.
