Kostas Papaioannou serves in the sacred-cosmic and sacred-institutional "resurrection" of the Ephesian, if we consider the patience and persistence with which he faces and inspects the countless connections and continuities distinguishing the ancient Greek world and modern Western history, in the "here" and the "now" of the cosmic-historical rupture.
In his thoughts, the two sequential European Renaissances represent manifestations and developments of a single "return" of the early and late historical burden of "modernity" to the initially "classical" and ultimately "tragic" "antiquity" of a preceding "archaic" and a subsequent "classical" century, for the coherence and continuity of which little may become accessible in modern perception and its scientific achievements.
Under the condition of incomplete knowledge or complete ignorance, the "perfection of form" and the "tragic nature of fate" become operators of a Manichean fantasy that is utterly incapable of synthesizing the counter-figurative theorem that perhaps unequivocally governs the "art of beauty" against the "drama of the tragic."
In this counter-figurative dimension of influences that define inextricably the bio-layer of human suffering, an "aesthetic" perception of beauty exorcises the "threatening dimension of violent fate" just as a "dramatic" understanding of death undermines the "aspirational dimension of the form of life," with whatever this double misunderstanding entails in that which is called "consciousness."
The under-published trilogy titled ‘Dramaturgy + Technification’ includes two things: a concise study of Kostas Papaioannou through the critical reading of his work "Man and His Shadow," and a two-volume reference to Greek archaic juxtaposition of drama + art.
In the above tripartite collection, which in some way constitutes a continuation of our previous references to the speaker of the word Heraclitus, what is attempted is an approach to the peculiar and idiosyncratic duality of drama-art following the critical inspections of Kostas Papaioannou.
In the studies that follow the special reference to Kostas Papaioannou, the early work of the Greek thinker, first dramaturgy and second technification, are examined under the condition of their relation to what as worldview on one hand and as temporal continuity on the other responds to the being and the eternal of the Heraclitean interrelation of the world and time.
