GREEK SHADOW THEATER, which is primarily an urban phenomenon, was largely ignored until recently by folklorists, who focused their attention almost exclusively on culture of rural Greece. The decades of 1960s and 1970s, however, witnessed a remarkable surge in interest in shadow theater.' Much attention was devoted to link between shadow theater and ancient comedy, relationship between and Turkish traditions of shadow theater, and Hellenization of shadow theater in 19th century.2 Works in latter area focused on such topics as evolution of full cast of traditional characters and development of complete repertoire of classical plays. In stressing importance of shadow theater, folklorists have claimed that Karagiozis, poor, hungry trickster, with his hunchback, bare feet, and long arm, who has come to personify tradition of shadow theater, is the genuine stereotype of common Greek (Zarikos 1976:75), the only genuine expression of modern reality and the voice of modern (Trezou 1976:62). However, while popular and scholarly interest in shadow theater was increasing dramatically, tradition itself was undergoing drastic, and what many considered disturbing, changes. Well-known puppeteers were growing old, and no young people were taking their place. Fewer and fewer puppeteers were traveling through Greece giving performances in small cities and towns, while open-air theaters in large cities were being forced to close, to make way for apartment buildings and stores. Furthermore, live shadow theater performances were declining in popularity because of increased competition from movie theaters and television. Puppeteers recorded plays on long-playing records and gave short weekly performances for children on national television. Comic booklike pamphlets, orfiladhia,3 containing shadow theater plays were published inexpensively and anonymously and were advertised as the indispensable companion of every child. Karagiozis, then, had taken his place beside Mickey Mouse, Davy Crockett, and other comic book characters on shelves of kiosks and stationery stores throughout Greece. The reaction of folklorists to entry of shadow theater plays
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