Dimitris Dimitriadis (born in 1944 in Thessaloniki) is undoubtedly one of the most interesting personalities of contemporary Greek theater: a multifaceted literary figure across all genres, translator, essayist, thinker, and commentator on the intellectual life and cultural events.

As one of the most prolific writers and playwrights, he is particularly interesting due to the asymmetrical reception of his works, as it is only after the millennium that he establishes a somewhat more permanent relationship with the theatrical scene. He is a characteristic example of postmodern dramaturgy, which does not exactly coincide with the so-called “post-dramatic” theater, as the aesthetic substance of his works is primarily textual, linguistic, and indeed poetic.

Therefore, he is a typical example of the fact that Greek postmodernism presents some significant deviations from international postmodernism, despite the fact that Dimitriadis is in close contact with contemporary French theater and his first work was staged in Paris as early as 1968.

It would be interesting to compare the Greek peculiarities of the reception of postmodernism in dramaturgy with the Greek peculiarities of modernism around the turn of the century in the “theater of ideas” (1895-1922), to the extent that so-called “postmodernism” continues certain characteristics of classical modernism while overturning others.