Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Εύξεινος Πόντος

1. The theatrical life during the Pre-Revolutionary period (1810-1821)

The beginning of the theatrical life of Odessa can be traced to 1805, when a large theatre was constructed by the French architect, Thomas de Thomon, under the commander of the city, Richelieu. The theatre was inaugurated in 1810, with the enactment of plays by a Russian company.¹Richelieu, as well as his successor, count Langeron, reinforced the theatrical activity. From 1815, and after a dead theatrical period because of the Napoleonic Wars, the theatrical life was renewed with the presence touring companies from Russia and other countries, mainly Italy. Their repertoire consisted of plays of that time, mainly Italian and French, with emphasis on melodrama.² The languages which were used for the plays, apart from Russian, were German and Polish.³

Noteworthy was the visit of the Russian Emperor, Alexander, to Odessa, in 1818, when the melodrama L’ Italiana in Algerio (‘The Italians in Algeria’) of Cioacchimo Rossini, which was first played, in 1813, at the theatre ‘San Benedetto’ of Venice, was staged.⁴The shows of the foreign companies also attracted the Greek audience. Correspondingly, the same would happen in later years, when Greek enactments would be attended by audiences consisting of different ethnic groups.⁵

The first appearance of a Greek theatrical company is placed in November, 1814, when, according to a news item which was published in the magazine Ellinikos Tilegrafos (Greek Telegraph), Themistocles in Persia (Themistoclis en Persia - Θεμιστοκλής εν Περσία) written by Metastasios was being performed in Greek.⁶This information is confirmed by a previous report of Konstantinos Koumas, who in a letter in 1817, to Konstantinos Oikonomou, placed the beginning of the theatrical performances in the Greek language three years before, that is, in 1814.⁷That play, which was performed at the public theatre of the city, probably belonged to a series of cultural celebrations after the establishment of peace and the defeat of Napoleon.

As regards the script of the play, it is speculated that an unknown translation was used, which was also used in other performances afterwards. Definitely, Themistoklis comprises one of the most significant plays of the company’s repertoire;⁸this can be based on the fact that the play was performed several times during the following years.⁹Konstantinos Koumas himself notes that, at the end of August, 1817, he watched two enactments of that play.¹⁰

Subsequently, the repertoire of the amateur company was enriched with the drama: The Souliotes (Oi Souliote-Οι Σουλιώται), a play by an unknown writer, which was performed in the summer of 1816, the opportunity of which was provided by the visit of Grand Duke Nicholas, the succeeding Czar. The next play that followed was the historical drama: Leonidas en Thermopiles (Leonidas in Thermopiles), with the opportunity of the visit of the Grand Duke, Michael. This theatrical work was published in 1816, without reference to its writer, with the financial backing of the Greek ship-owner from Hydra Island, Pantelis Nikolakis.¹¹

These performances, although were not known abroad, constituted a sentiment of joy among the members of the Greek community and contributed to the establishment of the amateur company, though not without any difficulties. Some ‘old geezers’ individuals of the Greek community disapproved of the activities of the younger people, and so the company almost disbanded.¹² A characteristic example was the abandonment of the effort to put on the play Alexander the Great in India (Μέγας Αλέξανδρος εις Ινδίας) by Metastasios, as the young actors refused to play roles of female characters, and also because of the lack of funds. Finally, the obstacles were overcome, since solutions for the practical problems were found, and so the company, from the summer of 1817, started its activities by giving performances which were acclaimed by all Greeks.¹³This development resulted in the Greeks of Odessa “taking over the ownership of the public theatre in order to enjoy theatrical shows every day”¹⁴ and, placing the actor Georgios Avramiotis, who had already distinguished himself in the field of acting, in charge of its management.¹⁵

The arrival of Nikolaos Pikkolos in Odessa, after following Konstantinos Vardalachos, revitalized the company. So, in February 1818, Filoktetes (Φιλοκτήτης) by Sophocles was performed, complying with the adapted version of the scholar of the Greek Enlightenment. It was the first presentation of an ancient drama in the Modern Greek language, an event of great significance in the world of art and culture, as it was described by the major magazines of the time. The adaptor, following the technique of the European theatrical scene, had transcribed the ancient text into prosy, dividing it into three acts and leaving out the chorals, in order to be adapted to the capabilities of the amateur theatrical company.¹⁶

In September, 1818, the drama The Death of Demosthenes (Ο Θάνατος του Δημοσθένους) by Nikolaos Pikkolos was performed. It was quite a successful play. In this drama, for the first time the female role was not played by a man, as it occurred till then, but by the Russian actress, Marasevskayia, a star of the Russian theatrical scene. For her contribution the actress was rewarded with a considerable amount of money, while afterwards, a tribute performance of Fiolktitis was presented for her as a gesture of gratitude.¹⁷As regards the play, it was the first New Greek drama to be publicly acknowledged by the wider Greek community. It was followed by the dance pantomime Souliotes in Ioannina (Οι Σουλιώτες στα Ιωάννινα).¹⁸

In the same year, in Vienna, the historical drama Oi Strelitzi (Οι Στρελίτζοι) was printed by the obscure playwright from Munich, Joseph Marius Babo, and translated by Ioannis Kokkinakis, who, as he referred in the prologue, had translated it in order to be performed by the amateur company of Odessa.¹⁹

In the following year, the circle of company collaborators was widened by the presence of Georgios Lassanis, a teacher in the ‘Greek Commercial School’ (‘Ελληνεμπορική Σχολή’). Besides being an amateur actor, he was also a playwright with two works, the one-act drama, Hellas and the foreigner (Η Ελλάς και ο ξένος), a play of patriotic content, and the tragedy, Armodios and Aristogiton (Αρμόδιος και Αριστογείτων), in which he treated the subject of tyrannicide. Both plays were performed in February, 1819, and were received enthusiastically by the members of the Greek community.²⁰The shows continued for the whole year, as well as, in 1820, when, as we are informed, two dramas of Voltaire were performed, Fanaticism, or Mahomet the Prophet (Le fanatisme, ou Mahomet le Prophete), and the Death of Caesar, translated by the scholar, Georgios Serouios, enactments which gave the opportunity to Spiridon Drakouli from Ithaki, to achieve distinction for his acting performance.²¹

It is noteworthy that this unprecedented theatrical activity was realized thanks to pioneer Greek actors, who were led by the historical concurrence into having the dual ‘role’ of that of the teacher on the theatrical scene, and subsequently that of fighter on the battlefields. With the outbreak of the Greek Revolution (1821) they abandoned their activities as actors and participated in the War of Independence. The first was Spiridon Drakoulis, the so called ‘Talmas’ of the Greek theatre, who followed Alexandros Ipsilantis as a centurion in the ‘Ieros Lochos’ (‘Ιερός Λόχος’, ‘Sacred Company’). He was killed during the battle of Dragatsani (7th of June, 1821). Georgios Avramiotis, who was acclaimed for his acting performances, fought from the beginning of the Revolution in the region of the Peloponnese, and died in Nafplio from typhus, in 1825. Georgios Lassanis as well, the first chiliarch and personal aid-de-camp of Alexandros Ipsilantis, after the battle mentioned above, sought refuge in Vienna, with Ipsilantis, where he died in 1828; the actors Ioannis Soumakis and Gerasimos Orfanos, also fought in the Danubian Principalities, under the flag of the Filiki Etaireia.²²

2. The repertoire during the Pre-Revolutionary period

The theatrical plays, which were chosen, despite the fact that they were limited in number, show the Greek-inclined orientation of the repertoire. The repertoire, concentrated on historical and heroic themes, which referred to the ancient and modern Greek history, at the beginning included foreign plays, like Themistocles, and O Megas Alexandros is tas Indias (‘Alexander the Great in India’) of(by) Metastasios, and subsequently the Greek plays (Souliotai, Leonidas en Thermopiles –‘Leonidas in Thermopiles’, Filoktitis, O thanatos tou Dimosthenous – ‘The death of Demosthenes’).

In Odessa, where the Filiki Etaireia was founded in 1814, the ideas of the Enlightenment, which were widely spread among the members of the Greek community, were expressed through the performances of that first amateur Greek theatrical company. Through those performances the company sought to form a Greek national identity and to create a strong national sentiment in the Greek community of Odessa.²³ Plays with intensive ideological concept, like Filoktitis and The death of Demosthenes of Pikkolos became landmarks in the history of the Modern-Greek Theatre. Two other theatrical plays of a political and revolutionary character, as well, were: Ellas (‘Ελλάς’-‘Hellas’) and Armodios kai Aristogiton (‘Armodios and Aristogiton’) of Georgios Lassanis. Two plays of Voltaire, Mahomet and The Death of Julius Caesar, were performed in 1820, in the mentioned sequence, the first to denounce religious fanaticism, and the latter to denounce the tyranny and the autocracy via the presentation of the personality of Julius Caesar.²⁴

3. The Theatrical Life during the Post-Revolutionary Period

After the outbreak of the Greek Revolution and the heroic death of Spiridon Drakoulis in the battle of Dragatsani, the theatrical performances were consequently interrupted for the whole year of 1821. At the beginning of 1822, the fellow combatants of the brave actor on the theatrical scene and during the War, who had survived the battles, performed Filoktitis, the adaptation of Nikolaos Pikkolos, in tribute to his memory, a performance which was enthusiastically accepted by the spectators.²⁵

In the following year, the then young Alexandros Rizos Rangavis, during his stay in Odessa for studies, translated the Voltaire’s work, ‘Mahomet’ in rhyming lines, a work which brought enthusiasm to his friends who undertook the task of performing the play in the granary of K. Varvatis’s house, transforming it into a theatrical scene.²⁶ In 1824, students of the ‘Richelieu Lyceum‘ performed Voltaire’s, Zaire, with the participation of Alexandros R. Ragavis, who later narrated the details of the performance in his Memoirs (Apomnimonevmata-Απομνημονεύματα).²⁷ The amateur theatrical activities of the Greek community in Odessa continued in 1827, with the five-act drama The Souliotes or the Spartans of the 18th century (Οι Σουλιώτες είτε οι Σπαρτιάτες του 18ου αιώνα), performed by the students of the ‘Ellinemporiki School’ (Greek-Commercial School) and in 1834 with the Greek tragedy Aristodimos (Αριστόδημος) of the Italian poet V. Monti,²⁸ translated into Greek, it was performed in the newly built stock-market hall.²⁹

As regards the professional performances, those were given by the touring theatrical companies which visited Odessa in the framework of their passage movement along the South-Eastern Europe and the Eastern Mediterranean, where prosperous Greek communities existed. The absence of Greek newspapers in Odessa, the main source for the Greek theatrical activity, restricts our knowledge regarding our knowledge on the movements of the Greek professional companies in Odessa. The very little data available to us refers only to the visit of the Ioannis Vasileiadis’s theatrical company, in the autumn of 1868³⁰ and to the visit of the company of Konstantinos Chalikiopoulos, who with his wife Elpida Kiriakou-Chalikiopoulou performed the play Meropi of Dimitirios Vernardakis and the Two Sergeants of Daubigni, in November, 1874.³¹

Odessa was also visited in 1892 by the theatrical company ‘Menandros’ of Dionisios Tavoularis, which gave performances at the theatre ‘Rossikon’;³² by Kiveli Adrianou in December of 1907, after being invited by the council of the Greek community.³³ Odessa was also visited, as well, by the company ‘Aristophanes’ of Anastasios Apergis, which played at the theatre ‘Armonia’ from March to November in the year 1910.³⁴

Nevertheless, the amateur theatrical activity was the only one which continued uninterrupted. In 1861 and 1862, the non-professional theatrical company in which there were also two Greek members, A. L. Anastasopoulos and M. P. Anastasopoulos, gave performances for charity purposes and in aid of the Richelieu Lyceum students, at the theatre of Odessa.³⁵ In 1872, the Greek youth of the city organised a performance of the theatrical play Aristodimos, of Monti in order to support the newly founded ‘Greek Girls’ School’ (‘Ελληνικόν Παρθεναγωγείον’). The proceeds from that performance and from the other two that followed provided significant financial support to the school.³⁶ In addition, for the commemoration of the 25th of March, there were organised music and drama events, on an annual basis, in which amateurs participated (students and teachers).³⁷

The putting on of the theatrical shows for benevolent purposes was the means which was frequently used, in order for benevolent organizations, like ‘The Greek Charity Society of Odessa’ and the Greek club ‘Omonia’, to collect money, in aid of the Greek schools and other cultural establishments.³⁸ However, the students, organised charity theatrical shows as well in order to financially support various benevolent foundations, as they did in March, 1899, in aid of the ‘Greek Charitable Society of Odessa’.³⁹

During the mayoralty of Grigorios Gr. Maraslis ⁴⁰ (1878-1894), the city was renovated, having as a result, it being compared in beauty to the most important major cities of Western Europe,⁴¹ Odessa attracted the interest of foreign actors who visited it, like the famous actress Sarah Bernard⁴² and the baritone of the Opera of Paris, Victor Morel.⁴³ Moreover, Maraslis organised in his mansion private theatrical shows, in which he often participated. It is noted that at young age he was the protagonist in one of them, and specifically, in the play Gérard, le tueur de lions, a one-act play operetta written by Lambert Thiboust and Ernest Lehmann.⁴⁴

Apart from the amateur theatrical scene of the Greek community, Odessa had glorious days thanks to its Lyric Theatre. In 1883, thanks to the actions of Maraslis the construction of the new theatre commenced, on the site of the old public theatre, which had been built in 1810 by the architects of the Vienna Opera, F. Felmer and H. Felmer, but which had been burnt down in 1873. The ‘Dimotiko’ (Municipal) as the new Theatre was called, was inaugurated in 1887 and subsequently housed the opera of Odessa.⁴⁵

Maraslis, owing to his financial and social status, managed to invite famous artists of melodrama from abroad. The artistic environment of the city provided the conditions for the creation of great Greek lyrical artists, who also had enjoyed successful careers, frequently using foreign names, mainly Russified. The use of foreign names explains the fact that these artists weren’t noticed by the historians of the Greek Melodrama. We can refer to the sopranos Anna and Thaleia Mitaraki, Ikonomidou and the tenor, Iraklis Paschalidis. Moreover, the melodramatic artists, Eleni and Victoria Theodoridi, Kakia Kokkinaki-the last named Krasnova-, Magda Fleri and the dancer Vera Karali came from Odessa.⁴⁶

4. The Theatres

The first amateur theatrical performances of the Greeks of Odessa were housed in the public theatre of the city, a theatre which could be easily compared to the best European ones. As a result, the Greek company had at its disposal the means (the equipment, scenery and costumes) of a well- organised theatre and was able to stage well- performed plays,⁴⁷ despite its lack of experience. At the end of 1821, Negris, a merchant of Greek origin, was put in charge of the direction of the theatre.⁴⁸

In the Post-Revolutionary period of time, Greek theatrical plays took place in private spaces, apart from the Odessa Theatre, like in the homes of K. Varvatis and Gr. Maraslis, in the Richelieu Lyceum and in the Greek-Commercial School (both established on 1817), in the Stock-market Hall,⁴⁹at the ‘Sibiriak’ theatre⁵⁰ and in at the naval club of the city.⁵¹

In the second half of the 19th century, from 1871, as scenery was added to the Greek Girls’ School, theatrical activity could be traced even into the 20th century.⁵² In 1891, a Greek, named Nikolaos N. Chionakis, was referred to as the director of the theatre of Odessa.⁵³ It was probably the theatre ‘Rossikon’, in which the company ‘Menandros’ perfomed, in 1892.

In the 20th century, in particular in 1913, the Greek-Commercial School, later known as the Greek Boys’ School, after many transitions, finally acquired its own four-storey building, based on the designs of the Italian architect Dalavka, which was located on a block of land, next to the Greek ‘Rodokonakeio’ Girls’ School and the nursery school of ‘The Holy Trinity’ church.⁵⁴ In that building the Mali theatre (The Small Theatre) was housed - which quickly became popular owing to its well-chosen repertoire of modern Russian and foreign writers –, as well as, the Greek Club ‘Omonia,’ founded in 1900. The revenue from the rents contributed to the financing of the administration of the Greek Boys’ School.⁵⁵

Art-shows in the 20th century, were also held in the ‘Zatrik’ club, which was housed in the building of the ‘Military Society’,⁵⁶ as well as, in the theatre ‘Armonia’, in which the professional theatrical company ‘Aristophanes’, owned by Anastasios Apergis, performed, in 1910.⁵⁷

1. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 51.

2. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 41 (first published in the periodical Ο Ερανιστής 16 (1980), pp. 229-39).

3. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 51.

4. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 42.

5. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 51.

6. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 46.

7. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 45.

8. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 47.

9. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 45; Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 51.

10. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 45; Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), pp. 53-4.

11. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 48.

12. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 52.

13. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 53.

14. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 42.

15. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 43.

16. Σπάθης, Δ., «Ο Φιλοκτήτης του Σοφοκλή διασκευασμένος από τον Νικόλαο Πίκκολο», Ο Ερανιστής 15 (1979), pp. 256-320; Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), pp. 145-198.

17. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), pp. 55-6.

18. Λάσκαρης, Ν., «Τα εν Οδησσώ: 1814-1824», in the Λάσκαρης, Ν., Ιστορία του νεοελληνικού θεάτρου Α’, (Athens 1939), p. 164; Πούχνερ, Β., Η ιδέα του εθνικού θεάτρου στα Βαλκάνια του 19ου αιώνα (Athens 1993), p. 94.

19. Πούχνερ, Β., Είδωλα και ομοιώματα: Πέντε θεατρολογικά μελετήματα (Athens 2000), pp. 75-6. The historical drama Oi Strelitzoi (Οι Στρελίτζοι) has not been traced by the historical research till the present day.

20. Λασσάνης, Γ., Τα θεατρικά, Πούχνερ, Β. (ed.) (Athens 2002). See introduction.

21. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 58.

22. Σταματοπούλου-Βασιλάκου, Χ, «Οι Έλληνες ηθοποιοί 1800-1917:Η δύσβατη πορεία», in the Σωματείο Ελλήνων Ηθοποιών ογδόντα χρόνια 1917-1997:Iστορική αναδρομή (Athens 1999), pp. 36-8; Πούχνερ, Β., «Ηθοποιοί και αγωνιστές του 1821:Μία ηρωική τυπολογία», in the Πούχνερ, Β. Σταθμίσεις και ζυγίσματα: Δέκα θεατρολογικά μελετήματα (Athens 2006), pp. 172-5.

23. Ταμπάκη, Ά., «Το ελληνικό θέατρο στην Οδησσό:1814-1818. Αθησαύριστα στοιχεία», in the Ταμπάκη, Ά., Η νεοελληνική δραματουργία και οι δυτικές της επιδράσεις 18ος-19ος αι: Μία συγκριτική προσέγγιση (Athens 1993), p. 43.

24. Σπάθης, Δ., Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), pp. 58-9.

25. Λάσκαρης, Ν., «Τα εν Οδησσώ: 1814-1824», in the Λάσκαρης, Ν., Ιστορία του νεοελληνικού θεάτρου Α’, (Athens 1939), p. 176.

26. Λάσκαρης, Ν., «Τα εν Οδησσώ: 1814-1824», in the Λάσκαρης, Ν., Ιστορία του νεοελληνικού θεάτρου Α’, (Athens 1939), p. 177.

27. Ραγκαβής, Αλέξανδρος-Ρίζος, Απομνημονεύματα Α’ (Athens 1894), p. 130.

28. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 150.

29. Αυγητίδης, Κ. Γ., Οι Έλληνες της Οδησσού και η Επανάσταση του 1821 (Athens – Giannina 1994), p. 223.

30. Χατζηπανταζής, Θ., Από του Νείλου μέχρι του Δουνάβεως. Το χρονικό της ανάπτυξης του ελληνικού επαγγελματικού θεάτρου στο ευρύτερο πλαίσιο της Ανατολικής Μεσογείου, από την ίδρυση του ανεξάρτητου κράτους ως τη Μικρασιατική Καταστροφή Α/2 (Herakleion 2002), p. 666.

31. Χατζηπανταζής, Θ., Από του Νείλου μέχρι του Δουνάβεως. Το χρονικό της ανάπτυξης του ελληνικού επαγγελματικού θεάτρου στο ευρύτερο πλαίσιο της Ανατολικής Μεσογείου, από την ίδρυση του ανεξάρτητου κράτους ως τη Μικρασιατική Καταστροφή Α/2 (Herakleion 2002), pp. 984-5.

32. See, Αρχείο Προγραμμάτων Θεατρικού Μουσείου, f. 17/9-2880.

33. Καρδάσης, Β., Ο Ελληνισμός του Ευξείνου Πόντου (Athens), p. 124.

34. See, Αρχείο προγραμμάτων Θεατρικού Μουσείου, f. 53/5.

35. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 153.

36. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 65.

37. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 152.

38. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 117.

39. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 153.

40. Παπουλίδης, Κ., Γρηγόριος Γ. Μαρασλής (1831-1907). Η ζωή και το έργο του. Συμβολή στη δραστηριότητα του Ελληνισμού της Ρωσίας (Thessaloniki 1989).

41. Καρδάσης, Β., Ο Ελληνισμός του Ευξείνου Πόντου (Athens), pp. 139-55.

42. Καραβία, Μ., Οδησσός: Η λησμονημένη πατρίδα (Athens 1998), p. 52.

43. Καραβία, Μ., Οδησσός: Η λησμονημένη πατρίδα (Athens 1998), p. 57.

44. Καραβία, Μ., Οδησσός: Η λησμονημένη πατρίδα (Athens 1998), p. 58. It was played in Paris, at Palais-Royal, on 5 February, 1856.

45. Καραβία, Μ., Οδησσός: Η λησμονημένη πατρίδα (Athens 1998), p. 52.

46. Καραβία, Μ., «Έλληνες ηθοποιοί και καλλιτέχνες στην Οδησσό», Επτά Ημέρες Καθημερινής (7 September 2003), p. 14.

47. Σπάθης, Δ. Ο Διαφωτισμός και το νεοελληνικό θέατρο: Επτά μελέτες (Thessaloniki 1986), p. 60.

48. Αυγητίδης, Κ. Γ., Οι Έλληνες της Οδησσού και η Επανάσταση του 1821 (Athens – Giannina 1994), p. 222.

49. Αυγητίδης, Κ. Γ., Οι Έλληνες της Οδησσού και η Επανάσταση του 1821 (Athens – Giannina 1994), p. 223.

50. Αυγητίδης, Κ. Γ., Η εκδοτική δραστηριότητα των ομογενών της Οδησσού 1829-1917 (Athens – Giannina 2000), p. 11.

51. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 151.

52. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 155.

53. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 151.

54. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), pp. 38-40.

55. Αυγητίδης, Κ. Γ., Τα ελληνικά εκπαιδευτικά ιδρύματα της Οδησσού: 1816-1936 (Athens – Giannina 2000), p. 39.

56. Αυγητίδης, Κ. Γ., Οι Έλληνες της Οδησσού και η Επανάσταση του 1821 (Athens – Giannina 1994), p. 223.

57. See, Αρχείο προγραμμάτων Θεατρικού Μουσείου, f. 53/5.