Karagiozis
Karagiozis in Greece
Karagiozis was already known in Greece even before the War of Independence. In fact, it is said that during the period leading up to the revolution, shadow theatre served as a meeting place for its leaders, where they could discuss their plans without arousing the suspicions of the Turks. The plays were performed in Greek but were considered inappropriate and crude, with Turkish elements at their core. This was, after all, a traveling theatre, moving from place to place, primarily from Constantinople. Among the artists touring the Greek regions was Barba-Yannis Brahalis, who is believed to have been the first to bring the art of Karagiozis to Greece, sometime between 1850 and 1860.
After the War of Independence, Karagiozis settled permanently in Greece, and from the early 1900s onward, we can speak of a distinctly Greek Karagiozis. Although the process of Hellenization began in Epirus, its greatest contributor was the chanter from Patras, Dimitrios Sardounis, known by the pseudonym Mimaros, who transformed the art into a Greek family theatre. For this reason, he is regarded as the first Karagiozis “master” (1890). His work was continued by his three assistants and students, Yiannis Roulias, Memos Christodoulou, and Theodoros Theodorellos.
In 1924, the Greek Shadow Theatre Guild was established in Greece, consisting of 120 members, students of Mimaros, Roulias, and Memos. Founders included renowned shadow theatre artists Sotiris Spatharis and Antonis Papoulias (or Mollas). Some of the guild's most famous shadow puppeteers were Andreas Ayiomavritis, Yiannis Moros, Markos Xanthakis (Xanthos), Kostas Damadakis, Christos Charidemos, Panayiotis Michopoulos, Yiannis Papoulias, Spyros Kouzaros, Vasilis Agapitos, Dinos Theodoropoulos, Vasilaros, Yiannis Prevezanos, Lefteris Kelarinopoulos, Mitsos Manolopoulos, and many others who enriched Greek Karagiozis with plays and new characters.
During that period and up to 1940, the art of Karagiozis flourished throughout Greece. The German occupation later caused the first crisis for this theatrical art, but it survived thanks to the efforts of its creators.
With the arrival of color films, Karagiozis and his art began to fade, yet the dedicated and persistent efforts of the notable artist Evgenios Spatharis revived the beloved folk hero.
Today, this theatrical tradition is carried on with enthusiasm by various performers throughout Greece, and audiences continue to welcome it with love and nostalgia. It is a precious heritage that must not be lost, for its hero is a mirror of the authentic Greek soul.
The creation of Karagiozis
The origins of the iconic Greek shadow theatre character, Karagiozis, are not precisely known, and many theories surround his “birth”. The most widespread story stems from the famous legend of Karagiozis and Hadjiavatis, who supposedly lived in Bursa. According to this legend: “Hadjiavatis, a building contractor, was hired to construct the palace of the Pasha of Bursa. He employed workers, with Karagiozis—a carpenter with the wit of a master builder—as foreman. When the Pasha noticed delays in the palace construction, he threatened to kill Hadjiavatis. Terrified, Hadjiavatis blamed Karagiozis, who was often telling jokes, entertaining and making the other workers laugh. Although the Pasha threatened Karagiozis as well, he continued his antics, leading the Pasha to have him executed. Outraged at the unjust killing, the people of Bursa mourned Karagiozis, and the Pasha, to calm them down, erected a beautiful monument in his honor and gave him a grand burial. This injustice deeply affected the Pasha, making him fall gravely ill. To lift his spirits, other officials brought Hadjiavatis to the palace to perform routines based on Karagiozis’ jokes. One day, Hadjiavatis crafted a paper cutout of Karagiozis, set up a screen, illuminated it, and gave a Karagiozis performance. The Pasha was so pleased that he permitted Hadjiavatis to perform these plays wherever he wished. It is said that this is how Karagiozis started” (Sotiris Spatharis – Memoirs).
Another legend links Karagiozis to a Greek from Hydra, G. Mavromatis, placing the story in the 18th century. Mavromatis supposedly arrived in Turkey from China with his shadow theatre. When he decided to settle permanently in Constantinople, he adapted both his life and theatre to Turkish customs. Thus, he named his main character Kara-Göz, which translates to Karagiozis in Greek and means “dark-eyed” in Turkish. Mavromatis died in Turkey, and reports indicate that his assistant was Yiannis Brahalis, the first artist to bring Karagiozis to Greece.
The earliest recorded references to Karagiozis theatre date back to the mid-17th century, depicting scenes from Turkish life. Some argued that Karagiozis is Turkish theatre; however, those familiar with the cultures within the Ottoman Empire find it unlikely that a Turk, Jew, or Armenian would have invented a character so closely mirroring the lives of two Greeks—Hadjiavatis and Mavromatis. The perception of Karagiozis as Turkish theatre arose because, following its introduction, Ottoman rule extended across former Byzantine lands. Thus, shadow theatre adapted to new social circumstances, acquiring Ottoman elements. It is logical that after nearly four centuries of Ottoman rule, Karagiozis’ Greek roots became obscured, leading many researchers to classify it as Turkish shadow theatre. Karagiozis portrayed Turkish life because it developed within it and was aimed primarily at Turkish audiences. His central character took on a Turkish name to engage with Turkish social contexts effectively. There were, indeed, Turkish shadow puppeteers, yet the character of Karagiozis could only have been created by a witty Greek, whose soul and spirit reacted to subjugation with satirical humor, poignant amanes songs, and social satire—traits deeply rooted in Greek creativity.
Karagiozis theatre is a static one where action arises from emotion, not frantic movement. Karagiozis’ simplicity reflects the honesty of one who no longer needs to lie. In Karagiozis, one catches the Greek spirit in the act, firmly and fervently embracing ideals that have always been its own.
