\u00a0<\/p>\n
The upstart family of a contractor who became rich by building refugee settlements, for which tenders are awarded through suspicious processes.<\/p>\n
The play is structured around problems that occur during the preparations for the daughter\u2019s wedding: on the eve of the social event, hijackers take charge of the plane with which aunt Zannet is returning from Paris, bringing with her the very expensive wedding dress that was bought there.<\/p>\n
This unexpected development sparks clashes, revealing through comic situations how superficial the relationships between the members of this family really are, as well their moral priorities. An additional result is the following: this incident so upsets the family that none of them acknowledges the presence of the groom\u2019s grandparents, who overcame many obstacles to come from the occupied territory for their grandson’s wedding. The silent and “invisible” presence of the elderly pair who is trapped and represents the country\u2019s raw pain renders this play a bitter comedy.<\/p>\n
The work ends on a happy note; as the family crisis culminates, accusations are leveled and the daughter kicks the groom out and threatens to commit suicide, Zannet appears like another deus ex machina<\/em>. The wedding dress that became the stumbling block to the wedding arrives on time and intact, as by sheer luck the aunt had taken an earlier flight. Like by magic, all the conflicts are forgotten \u2013 \u00a0no one is longer interested in the hijacking \u2013 the preparations for the wedding resume immediately, while the father learns that he got the big job \u2013 contracting a refugee settlement \u2013 that he was anxious about throughout the play.<\/p>\n A Hijacking<\/p>\n 5 male – 6 female<\/p>\n","protected":false},"template":"","format":"standard","categories":[12],"class_list":["post-4151","article","type-article","status-publish","format-standard","hentry","category-general-essays"],"_links":{"self":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4151","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article"}],"about":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/types\/article"}],"version-history":[{"count":0,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4151\/revisions"}],"wp:attachment":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/media?parent=4151"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/categories?post=4151"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}