Films byTexts by Theodoros Angelopoulos
Landscape in the Mist
Theodoros Angelopoulos, 1988, 127’

“Before I saw Angelopoulos’s film, I, who had been brought up without a father, would never have thought that I would discover him in the image of a tree. This last scene of Landscape in the Mist was a revelation for me.

Days of ’36
Theodoros Angelopoulos, 1972, 105’

“More than Reconstruction, Angelopoulos’s direct indictment of the Junta came in 1972 with his film Days of ’36 [Meres tou ’36].

The Travelling Players
Theodoros Angelopoulos, 1975, 230’

“History is the first aporia of his work. One could easily refer to the famous letter by Friedrich Engels, that history as it happened is something that no one ever wanted.

Alexander the Great
Theodoros Angelopoulos, 1980, 235’

“Through his lens, Angelopoulos looks at things in silence. It is the weight of this silence and the intensity of the immobile stare of Angelopoulos’ camera which makes O Megalexandros so powerful that the viewer cannot break away from the screen.

Theodoros Angelopoulos, 1970, 100’

“Simply put, we feel the fictive in reality and the reality of fiction simultaneously in Angelopoulos’s work, with this ‘tag’ note: while Angelopoulos often refers to Brecht and the need for an audience to think as well as feel in theater and cinema, we do not experience anything close to what co

The Hunters
Theodoros Angelopoulos, 1977, 168’

The Hunters reflects how a man of my generation sees Greek history, a history whose continuation blends with the years of my own life. It is a study of the historical conscience of the Greek bourgeoisie. In Greece, the ruling class is afraid of history and, for this reason, hides it.

Article NL

Hoewel hij de films van Angelopoulos er niet expliciet bij vermeldt, wijst András Bálint Kovács er in zijn standaardwerk Screening Modernism (2007) op dat een theatrale stijl een dominant aspect vormt van het laatmodernisme in de cinema – sommige auteurs zoals Andrew Horton gewagen zelfs van Angelopoulos als ‘de laatste modernist’. Een terugkerend motief doorheen O thiasos is precies de connectie tussen de toneelopvoeringen van Golfo door het theatergezelschap en hun trektocht doorheen de harde realiteit van de nationale geschiedenis. Deze connectie is er een van reciprociteit. Enerzijds roepen de reële gebeurtenissen op het politieke strijdtoneel de visuele setting van het theater op. Anderzijds breekt de realiteit voortdurend in in de theateropvoeringen en -repetities van de spelersgroep. Interessant is na te gaan hoe dit idee vorm krijgt, opdat een beeld op die manier zou werken.