The author, a former actor of investigative theatrical schemes and later an obscure behind-the-scenes figure, records "note entries" born out of disillusionment, the slow disintegration of stage exposure, and the definitive withdrawal from acting. His personal experience, without intentions of sensationalism or self-reflection, functions as a diagnostic tool rather than an apology or confession.
Theatre is approached through power relations, narcissisms, ideological pretenses, and institutional inertia, where mediocrity is often rewarded and dedication exhausts itself without reward. These notes move between memory and critique, deconstructing myths about the "sacredness" of the stage, collectivity, avant-garde, and cultural mission.
The Thessaloniki of the post-dictatorship decades functions as a specific, but not exclusive example of a theatrical field that favored stagnation, petty politics, and the recycling of the same figures and ideas. At the same time, it explores empirically the actor and his art. Theatre is neither idealized nor condemned entirely. It is simply presented here as a field of tension, systematically consuming those who serve it, often harsh and wasteful, capable of rare moments of genuine intensity, but also long periods of illusion.
