Πάπυροι - Επιστημονικό Περιοδικό τόμος 5, 2016

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1 STELLA KOULANDROU, National Kapodistrian University of Athens Περίληψη Η κατάσταση μετά τον Β Παγκόσμιο Πόλεμο προκάλεσε την ολοκληρωτική αλλαγή του τρόπου σκέψης και του τρόπου διαβίωσης. Η τραγωδία στη γνώριμη μορφή της δεν μπορεί να επιβιώσει σε εποχή κατά την οποία ο ηρωισμός, τα έντονα συναισθήματα και οι ωραίες λέξεις βυθίζονται στο αίμα και τη νοθεία. Είναι δύσκολο κάποιο λογοτεχνικό είδος τόσο λογικά και αρμονικά δομημένο να επιβιώσει στην κοινωνία εκείνη που θέτει τα πάντα υπό αμφισβήτηση: τη λογική συνοχή, τις αξίες, το νόημα, την ίδια την ύπαρξη. Η καταστροφή πλέον έγινε πολύ κοινή και συνηθισμένη υπόθεση, ώστε να παρουσιαστεί με τρόπο που να επιτρέπει και κάποια εναλλακτική λύση. Ωστόσο, το γενικευμένο κλίμα τρόμου, πανικού και εκφοβισμού, μετά τον πόλεμο, έδωσε την αφορμή για την ανανεωτική προσέγγιση του τραγικού. Το άρθρο εξετάζει τον τρόπο με τον οποίον η σύγχρονη τραγωδία εμφανίζεται από κάποιον απροσδόκητο χώρο και προσλαμβάνει διαφορετική μορφή και λειτουργικότητα: Η σύγχρονη τραγωδία δεν εμφανίζεται από εκεί που θα περιμέναμε από τον κόσμο των ηρώων 10 και των θεών αλλά από την αντίθετη πλευρά, καθώς προέρχεται πλέον από τον χώρο του κωμικού και ειδικότερα από την «κατώτερη» μορφή του κωμικού: την παρωδία, τη φάρσα, την ειρωνεία. Το θέατρο του παραλόγου είναι η σύγχρονη αντι-τραγωδία, καθώς παρουσιάζει τον τραγικό κόσμο ανεστραμμένο: από τον «εξαιρετικό» τραγικό ήρωα καταλήγουμε στον συνηθισμένο ή και υποδεέστερο του συνηθισμένου αντι-ήρωα του θεάτρου του παραλόγου, από τον λογικό ειρμό στο γκροτέσκο, από την ποιητική γλώσσα σε κλισέ και σλόγκαν ή σπασμωδικούς ήχους, από την πίστη στη θεϊκή δικαιοσύνη στην αίσθηση κάποιας ανεξήγητης δυστυχίας, κάποιας υποταγής στην κακοβουλία ενός ανελέητου όντος. Η σύγχρονη τραγωδία περισσότερο από οτιδήποτε άλλο απορρίπτει το «μεγαλειώδες» της αρχαίας στη θέση του, παραθέτει το μαύρο χιούμορ, το οποίο λειτουργεί εντούτοις με τον ίδιο τρόπο, δηλαδή καταδεικνύει τη συμφορά, τον θρήνο, τον παραλογισμό. Λέξεις-Κλειδιά: Tραγικό, Παράλογο, Αρχαία ελληνική τραγωδία, Θέατρο του παραλόγου, Ειρωνεία Abstract The situation after the World War II caused the complete change of the way of thinking and the way of living. Tragedy with the known form cannot survive in an era when the heroism, the great feelings and the great words had been sinked in blood and lie. It is difficult for a literary kind so formal to survive in a society who calls everything into question: the coherence, the values, the meaning, the extistence itself. Disaster became more casual and commonplace to portray it in ways which imply an alternative. However, the generalized climate of fear, panic and terrorism after the war was the reason for a renewed attention to the tragic. The article examines the ways in which modern tragedy appears from an unexpected space and with other form and other function: Modern tragedy does not come back from where we waited it, where we were looking for it in the world of heroes and gods but from the opposite side, as it is in comic where it finds its origin and especially in the inferior form of comic: parody, farce, irony. Theatre of the absurd is the modern anti-tragedy, as it presents the tragic world inverted: from the exceptional ancient hero we are leading to the usual or less inferior than usual antihero of theatre of the absurd, from the logical structure to the grotesque, from the poetic and logical language to liché and slogan, or words reduced to pure agglomerates of sound, from the faith to the divine justice to the sense of an inexplicable unhappiness, of the submission on the malevolence of some pitiless being. Modern tragedy most of all despises the grandeur of ancient tragedy. In its place it puts dark humour, which works in the same way, remarking the disaster, the lamentation, the absurdity. Keywords: Tragic, Absurd, Greek tragedy, Theatre of the absurd, Irony 64

2 As Walter Kaufmann argues, after the images of the World War II, we cannot make so much fuss about Oedipus or Hippolytus anymore. 1 It is very difficult for tragedy to survive in an era when the heroism, the great feelings and the great words had just been sinked in blood and lie. The situation after the war caused the complete change of the way of thinking and the way of living. The atomic bomb managed to deconstruct the reality; nothing was the same anymore. At the decisive times of History, the art needs a new language to express itself. A literary kind so formal, with so many rules, it is difficult to survive in a society who rejects the taboos and calls into question the coherence and the values. 2 From the ashes of the war had jumped out suddenly a person broken into fragments, the industrialization gave birth to the wandering mass. People s position in the world had radically changed with technology, which had dismissed magic and mystery, very important elements of tragedy. 3 However, the most important element of tragedy which the modern world had dismissed is the divine faith. Freddy Decreus wonders if we are living in post-tragic times, after the big conflicts, in post-ideological times, bereft of all synoptic visions or is the generalized climate of fear, panic and terrorism once again the reason for a renewed attention to the tragic. 4 Many scholars think that god s death is being followed by tragedy s death ; absence of god, absence of severe theatre; despite our efforts, the place of myth remains empty in the contemporary dramaturgy. 5 Theatre of the absurd: Modern tragicomedy Nevertheless, modern tragedy is alive. Everything depends on the definition of the tragic : We could say that tragic is the consciousness of human s crushing and tragic is the crushing which arises from the consciousness of the disproportion between human and world; the absolute loneliness, the consciousness of the absolute wilderness in time and in space is the essence of tragic. 6 Ion Omesco believes that theatre of the absurd is the contemporary metamorphosis of ancient greek tragedy. Jean- Marie Domenach, in his turn, believes that tragedy s renaissance happened through theatre of the absurd. Modern tragedy does not come back from where we waited it, where we were looking for it in the world of heroes and gods but from the opposite side, as it is in comic where it finds its origin and especially in the inferior form of comic: parody, farce, irony. It is true that we find the tragic feeling between the anonymous, the nobodies, the weaks, the paralysed persons of Eugène Ionesco and Samuel Beckett. Consequently, theatre of the absurd is the modern anti-tragedy, as it presents the tragic world but inverted. Modern tragedy most of all despises the grandeur, the magnificence of ancient tragedy. In its place it puts dark humour, which works in the same way, remarking the disaster, the lamentation, the absurdity. So, it is the magnificence that died and not the tragedy itself. 7 Irony as the basic element of theatre of the absurd Theatre of the absurd demonstrates the unhappiness on distance, through irony. Its means are over-imaginative: fantasy, grotesque, clowning, exaggeration, dream, illusion, parable, parody. Eugène Ionesco describes the new theatre form: it should reach the edge of grotesque, of caricature; humour, yes, but using the methods of burlesque; comic effects that are firm, broad and outrageous; the new theatre should push everything on the paroxysm, where the source of the tragic lies. 8 Theatre of the absurd, the modern tragicomedy, is the final breakdown of the classical separation of high and low styles. It underlines the coexistence of amusement and pity, terror and laugher. 9 It calls into question every convention even the conventions of the theatre. Heroes The ancient tragic hero is covered with the magnificence ; ancient tragedy believes in human s worth, it does not tolerate the petty. 10 The loss of the heroes moral stature and the contrast 65

3 with the myth was the only way for tragedy to be born again. As modern heroes lack more and more the sources of wealth and power, as they move down the social order, their tragic stature starts to diminish. The heroes of theatre of the absurd have little wealth, few possessions and no cultural capital. Their lives are lived in a state of bewilderment, as if they are playing out a game whose rules they do not invent and understand, a game that none of them will win. They are largely nobodies in an unknowable world. 11 The disablement is presented as a normal situation; it is not explained: Pozzo: One day, is that not enough for you, one day like any other day, one day he went dumb, one day I went blind, one day we ll go deaf, one day we were born, one day we shall die, the same day the same second, is that enough for you?. 12 Consequently, from the exceptional ancient hero 13 we are leading to the usual or less inferior than usual anti-hero of theatre of the absurd. 14 The anti-hero does not communicate with the world. He lives sometimes in the country, sometimes in an undefinite place, buried in the sand and wastes his time watching his objects or inventing silly activities. It is not about human characters anymore, but about the personification of some situations (pain, boredom, loneliness, impasse). It is about people without name, without face, without existence. Nobody ever recognizes us, admits Vladimir, while he feels the need to be confirmed, somebody to assure him that he is alive: Tell him... tell him you shaw us. You did see us, didn t you?. 15 It is about alive-dead, person with only physical existence. Mrs Rooney in All that fall says: Don t mind me. Don t take any notice of me. I do not exist. The fact is well known ; Mr Tyler cries: What sky! What light! Ah in spite of all it is a blessed thing to be alive in such weather, and out of hospital ; Mrs Rooney wonders: Alive? -Mr Tyler: Well half alive shall we say? Mrs Rooney: Speak for yourself, Mr Tyler. Iam not half alive nor anything approaching it. 16 The non-existence is revealed through the impotence of communication. The anti-heroes of the absurd, while they have physically other people nearby, experience the absolute loneliness: nobody understands nobody, nobody communicates with nobody. The same is happening somehow, certainly, with the exceptional ancient tragic heroes, who do not make sometimes themselves understood to the common men. 17 The lack of understanding, however, is the consequence of the spiritual difference; in theatre of the absurd, on the contrary, the lack of understanding is deeper and is due to the lack of logos. Winnie is clear: One does not appear to be asking a great deal, indeed at times it would seem hardly possible to ask less of a fellow-creature to put it mildly whereas actually when you think about it look into your heart see the other what he needs peace to be left in peace then perhaps the moon all this time asking for the moon. 18 The impotence of communication is presented as a natural illness of the human being. Means Theatre of the absurd utilizes the technique of shock. These plays do not have a structure, a logical evolution; the same pointless activities are being repeated; people are immobile and attempt in vain to communicate, to transmit a message, which always remains unreasonable, because of the loss of logos (with both meanings: speach and reason). Estragon confirms: Nothing happens, nobody comes, nobody goes, it s awful!. 19 As Ionesco says, if our world is one in which people strike us as inhuman, then let us place robots on the stage. If we feel that the physical aspects of life deny us the full development of our spiritual potential, then by all means let that be reflected in a play whose décor or properties slowly dominate the characters. If language is worn out, then let us show the solidified forms of that language as cliché and slogan, or words reduced to pure agglomerates of sound. 20 In theatre of the absurd, we find the world disfigured: we watch grotesque creature on stage, super-natural beings, we become witnesses of the multiplication of objects, in front of us humans turn into animals. Theatre of the absurd denies reason, order, modest behaviour, even language; it attempts to show their ineffectiveness. Everything is being treated by irony: familly relationship (The Chairs, Jack or the submission, Amédée or How to get rid of it), erotic relationship (The Lesson), communication (The bald Soprano), capability of understanding (The bald Soprano, Waiting for Godot). Mean- 66

4 while, behind irony and parody is hiding the most bitter tragedy. Tragic and comic coexist, in the end, however, what is remaining is tragic, this sense of nihilism, of lack of meaning, this sense of the absurd. Fate Vladimir wonders suppose we repented, while Estragon answers our being born?. 21 At difficult times, people usually doubt about the existence of a supreme being who governs logically the universe. This doubt is already shown in Euripides tragedy, in the era of the hardest civil war. 22 In almost all the plays of theatre of the absurd is being provoked the sense of an inexplicable unhappiness, of the submission on the malevolence of some pitiless being: Estragon: Do you think God sees me? - Vladimir: You must close your eyes. -Estragon: God have pity on me! -Vladimir: And me? -Estragon: On me! On me! Pity! On me! ; 23 but the life s governor does not answer, for not betraying his non-existence. Winnie, in her turn, notices: How can one better magnify the Almighty than by sniggering with him at his little jokes, particularly the poorer one?. 24 The modern fate is this resignation to the absurdity. Vladimir objects: To every man his little cross. Till he dies. And is forgotten. 25 Winnie admits: Just can t be cured cannot be cured no worse no better, no worse no change no pain no zest for anything no interest in life ; sometimes she appeals to the divine help: good God! ; she hopes that her prayers are perhaps not for naught ; she tries not to complain ; she glorifies the fleeting joys, but then she remembers the something lasting woe ; and she concludes that this is going to be another happy day!. 26 The modern fate is the acceptance of the swamp. The mouldy house is drowning Jean in Hunger and Thirst, while Marie-Madeleine objects: Afterwards, if this is the common fate, we have to accept it... Most people live in this way, in houses like this. 27 Μadeleine in Amédée or How to get rid of it underlines that the reason of their unhappiness is Amédée s lack of initiative. 28 Hamm in Beckett s Endgame wonders anxiously what s happening and Clov answers that simply something is taking its course. The unhappiness seems prearranged. Hamm admits: I was never there... Absent, always. It all happened without me. 29 Even when the anti-heroes find the opportunity to react, they are so reassured that they manage to ruin every possibility of change: In The Chairs, the old couple is panicked when the ceremony begins; in Amédée or How to get rid of it, the arrival of the postman, the threat that after all this isolation the world will come into their life, make them anxious: Who do you think we are for receiving letters?. 30 The lack of communication is what makes the impasse harder. Amédée notices: You know, Madeleine, if we really loved each other, all these would not have any importance. Let s love each other, Madeleine, I beg you. You know, love manages everything, it changes life, while Madeleine objects that: It is not love that can free people from life s trouble! He is all these. It is his world, not ours. 31 The unhappiness is now monstrous and people paralyse in front of it. Modern tragedy is tragedy of immobility, of inactivity. It could be said that the terms are inverted: the fate is movable and the modern tragic hero is immobile; his only movement is to be submited to the absurdity: Winnie: No, here all is strange. Thankful for it in any case. Most thankful. Bow and raise the head, bow and raise, always that ; 32 Madeleine: You call this life... Amédée: All these, it is fate. 33 Even at the most comic and ironical times, some kind of fate smoulders, which arranges human matters. To the question what time is it, the answer is the same as usual. 34 In ancient tragedy are fighting presences : persons, values, meanings in anti-tragedy are fighting absences : absence of face, of value, of meaning. The old man in Ionesco s The Chairs wonders: What s left? Pain, sorrow, remorse, nothing else We could say that in these words is condensed the main worldview of theatre of the absurd: the human being came to the earth for suffering. In theatre of the absurd it is not death that stops the time, it is life itself. It is a severely bleak version of play as fate. Environment is no longer clear, tangible or rationally accessible. It is replaced by an inscrutable fate in which intention seems severed from human action, in which causality has been replaced by the randomness of chance. Yet without being environmental in the naturalist sense, or supernatural in the religious sense, fate still is an external 67

5 force, the external something that determines human action but has no public face, no visible emanation. No longer in the lap of the gods, it is dispersed amidst the being of a profane world. 36 Conclusion: Comic is more painful and more serious than tragic From this puppetshow, this clownerie, consequently, arises modern tragic, which is based on irony and parody. Tragic is not at heaven anymore; it is not between values, in an era when everything is in doubt. It is on the earth, between common people: Pozzo: That s how it is on this bitch of an earth. -Estragon: So long as one knows. -Vladimir: One can bide one s time. Estragon: One knows what to expect. -Vladimir: No further need to worry. -Estragon: Simply wait. -Vladimir: We re used to it. 37 George Steiner proclaimed that when god is dead, tragedy is also dead. 38 Nevertheless, the tragic feeling is never absent from human life, the ways that it is being expressed is what change from time to time. Irony, parody and absurd, that ancient tragedy uses up to a point, 39 are the basic elements of modern tragedy. Theatre of the absurd is the modern anti-tragedy; a tragedy with different view and different worldview. A tragicomedy which presents the lack, the absence, the emptiness; it demonstrates the anti-values, the anti-meanings, the anti-feelings. The tragic in theatre of the absurd is the metaphysical agony for the lack of meaning. If at first absurd and tragic seem contraries, both of them, in fact, arise from the same view on human situation. Tragic and comic-absurd are supplement; they are the recto and the verso of the same problem. The society of the twentieth century, sinked in loneliness, insecurity and uncertainty, seems more tragic than every other society, tragic even without god or maybe thanks to the lack of god. In the century of logic people come out more absurd than ever and less main of themselves than ever. If there is a modern Nemesis, we could say that is the modern life itself, which is taking revenge even on innocents turning itself into alive death. 68

6 1 Walter Kaufmann, Tragedy and Philosophy, University Press, Princeton 1992, p. XX. 2 Terry Eagleton wonders who can be a hero in a nuclear age, in an era when disaster is too casual and commonplace for us to portray it in ways which imply an alternative. As an aristocrat among arts forms, tragedy s tone is too solemn and portentous for a streetwise and sceptical culture (Sweet Violence: The idea of the Tragic, Blackwell, Oxford 2003, p. 64, 94, IX). 3 Jean-Marie Domenach, Le retour du tragique, Éditions du Seuil, Paris 1967, p Freddy Decreus, Can greek tragedy, when staged in an open dramaturgical style, still be tragic?, Theatre and theatre studies in the 21st century, Ed. Anna Tabaki Walter Puchner, First International Conference, , National and Kapodistrian University of Athens, Ergo, Athens 2010, p Ion Omesco, La métamorphose de la tragédie, PUF, Paris 1978, p Christos Malevitsis, On the tragic, Αstrolavos/Εfthini, Athens 1986, p Stella Koulandrou, Modern anti-tragedy: Theatre of the absurd, The reception of greek tragedy in contemporary french drama, PhD Thesis, University of Athens, Faculty of Theatre Studies, School of Philosophy, 2012, p Eugène Ionesco, Notes and Counter-Notes, Tr. D. Watson, J. Calder, London 1964, p John Orr, Modernism and Tragicomedy, Tragicomedy and contemporary culture: Play and performance from Beckett to Shepard, Palgrave, New York 1991, p Very characteristic is the stasimon of Sophocle s Antigone ( ), which refers to the man s value: Chorus: Many things are formidable, and none more formidable than man! He crosses the gray sea beneath the winter wind, passing beneath the surges that surround him; and he wears away the highest of the gods, Earth, immortal and unwearying, as his ploughs go back and forth from year to year, turning the soil with the aid of the breed of horses. And he captures the tribe of thoughtless birds and the races of wild beasts and the watery brood of the sea, catching them in the woven coils of nets, man the skilful. And he contrives to overcome the beast that roams the mountain, and tames the shaggy-maned horse and the untiring mountain bull, putting a yoke about their necks. And he has learned speech and wind-swift thought and the temper that rules cities, and how to escape the exposure of the inhospitable hills and the sharp arrows of the rain, all-resourceful; he meets nothing in the future without resource; only from Hades shall he apply no means of flight; and he has contrived escape from desperate maladies. Skilful beyond hope is the contrivance of his art, and he advances sometimes to evil, at other times to good. When he applies the laws of the earth and the justice the gods have sworn to uphold he is high in the city; outcast from the city is he with whom the ignoble consorts for the sake of gain. May he who does such things never sit by my hearth or share my thoughts! (Sophocles, vol. II, Ed. Tr. H. Lloyd-Jones, The Loeb Classical Library, Harvard University Press, London 1994). 11 John Orr, Modernism and Tragicomedy, p Samuel Beckett, Waiting for Godot, The complete dramatic works, Faber and Faber, London 1990, p It goes without saying that the tragic heroes are not flawless and that their extreme delinquent behavior is not blameless. However, the hero-problem, according to Jean-Pierre Vernant (The historical moment of tragedy in Greece: Some social and psychological conditions, Myth and Tragedy in Ancient Greece I, Zaharopoulos, Athens 1988, p. 19), fits into a different order, where the evaluation is done with different standards. 14 Emmanuel Jacquart argues that le surhumain cède le pas au subhumain (the superhuman gives his place to the subhuman) (Le théâtre de dérision, Gallimard, Paris 1974, p. 117). 15 Samuel Beckett, Waiting for Godot, p. 47, Samuel Beckett, All that fall, p. 179, Especially in the sophoclean and in the euripidean tragedy, it is very typical the view of an absolute hero who cannot make himself (his absolute passion, his firm ideal, his inflexible determination) understood to the moderate chorus or to the nurses, who try in vain to make him reasonable (typical are the cases of Antigone, Oedipus, Medea, Phaedra). 69

7 18 Samuel Beckett, Happy Days, p Samuel Beckett, Waiting for Godot, p Arnold Hinchliffe, The Absurd, Methuen, London 1969, p Samuel Beckett, Waiting for Godot, p Oedipus cries out: O fate, how miserable you have made me from the start, how wretched if any man ever was! Even before I came forth into the light from my mother s womb and was still unborn Apollo prophesied to Laius that I would be my father s murderer: O the misery! (Euripides, Phoenician Women, , vol. V, Ed. Tr. D. Kovacs, The Loeb Classical Library, Harvard University Press, London 2002); the chorus leader in Iphigenia at Aulis marks: Yet ill is the fate the gods have sent you (1403, vol. VI, Ed. Tr. D. Kovacs, The Loeb Classical Library, Harvard University Press, London 2002); Orestes in Iphigenia among the Taurians says: And the gods, who are called wise, are no more truthful than winged dreams. There is much confusion in the divine and in the mortal realm ( , vol. IV, Ed. Tr. D. Kovacs, The Loeb Classical Library, Harvard University Press, London 1999). 23 Samuel Beckett, Waiting for Godot, p Samuel Beckett, Happy Days, p Samuel Beckett, Waiting for Godot, p Samuel Beckett, Happy Days, p Eugène Ionesco, La soif et la faim, Théâtre IV, Gallimard, Paris 1986, p. 79. The translation is mine. 28 Eugène Ionesco, Amédée ou Comment s en débarrasser, Théâtre I, Gallimard, Paris 1994, p Samuel Beckett, Endgame, p. 98, Eugène Ionesco, Amédée ou Comment s en débarrasser, p Ibid., p Samuel Beckett, Happy Days, p Eugène Ionesco, Amédée ou Comment s en débarrasser, p Samuel Beckett, Endgame, p Eugène Ionesco, Les Chaises: Farce tragique, Théâtre II, Gallimard, Paris 1995, p John Orr, Modernism and Tragicomedy, p Samuel Beckett, Waiting for Godot, p George Steiner, The death of tragedy, Faber and Faber, London 1963, p It is well known the sophoclean tragic irony, where the audience knows something that the main hero ignores (Oedipus); equally known is Euripides ironic perspective at his heroes (especially in the antiwar plays) and at god. 70

8 Βιβλιογραφία Plays Beckett, Samuel, The complete dramatic works, Faber and Faber, London Ionesco, Eugène, Théâtre I, Gallimard, Paris Ionesco, Eugène, Théâtre II, Gallimard, Paris Ionesco, Eugène, Théâtre IV, Gallimard, Paris Essays Decreus, Freddy, Can greek tragedy, when staged in an open dramaturgical style, still be tragic?, Theatre and theatre studies in the 21st century, Ed. Anna Tabaki Walter Puchner, First International Conference, , National and Kapodistrian University of Athens, Ergo, Athens Domenach, Jean-Marie, Le retour du tragique, Éditions du Seuil, Paris Eagleton, Terry, Sweet Violence: The idea of the Tragic, Blackwell, Oxford Hinchliffe, Arnold, The Absurd, Methuen, London Ionesco, Eugène, Notes and Counter-Notes, Tr. D. Watson, J. Calder, London Jacquart, Emmanuel, Le théâtre de dérision, Gallimard, Paris Kaufmann, Walter, Tragedy and Philosophy, University Press, Princeton Koulandrou, Stella, Modern anti-tragedy: Theatre of the absurd, The reception of greek tragedy in contemporary french drama, PhD Thesis, University of Athens, Faculty of Theatre Studies, School of Philosophy, Malevitsis, Christos, On the tragic, Αstrolavos/Εfthini, Athens Omesco, Ion, La métamorphose de la tragédie, PUF, Paris Orr, John, Modernism and Tragicomedy, Tragicomedy and contemporary culture: Play and performance from Beckett to Shepard, Palgrave, New York Steiner, George, The death of tragedy, Faber and Faber, London Vernant, Jean-Pierre, The historical moment of tragedy in Greece: Some social and psychological conditions, Myth and Tragedy in Ancient Greece I, Zaharopoulos, Athens