The Unknown Land<\/p>\n
1 male – 2 female<\/p>\n
Two women diametrically opposed: LADY (Myrto in real life), a bourgeois woman trapped in a wooden, rigid way of life, confined within a bankrupt marriage to a harsh businessman, who has recently lost her daughter to drugs, meets on a street corner JUNKIE, an orphaned girl, homeless, addicted to drugs, yet with a broad, universal vision of life, deep understanding of the world, and very strong defenses.<\/p>\n
At the sight of JUNKIE begging, LADY is shaken: fresh memories awaken in her soul; the girl is the same age as her dead daughter. Their encounter is transformative; the two women lead one another into a profound journey of self-awareness, the discovery of the neglected inner self\u2014a journey into existence, into the ignored \u201cUnknown Country.\u201d<\/p>\n
THE PASSER-BY, a character without a voice\u2014just as voiceless as the everyday human he represents\u2014appears before them completely naked, wrapped in cellophane, like packaged meat in a supermarket. LADY and JUNKIE represent a threat to him, and after he eliminates the\u2014seemingly\u2014more dangerous one, the dreamy, rebellious JUNKIE, he commits suicide in the face of the truly dangerous one: LADY, the person who draws strength from her own \u201cUnknown Country\u201d that she has discovered, who cannot be manipulated by the threat of violence and stands unafraid before him.<\/p>\n
Between reality and dream, THE UNKNOWN COUNTRY speaks of alienation from our fellow human beings as a consequence of our inner alienation, of the unknown country within us, of the life we live with only half of ourselves:<\/p>\n
\u201c\u2026unbearable
to live with one half of ourselves
and the other half, elsewhere, within
quietly passing by\u2026\u201d<\/p>\n","protected":false},"template":"","format":"standard","categories":[11],"class_list":["post-4386","article","type-article","status-publish","format-standard","hentry","category-essays"],"_links":{"self":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4386","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":2,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4386\/revisions"}],"predecessor-version":[{"id":14994,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4386\/revisions\/14994"}],"wp:attachment":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/media?parent=4386"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/categories?post=4386"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}