Minoan Wave 17 - Grimaldi Group

Transcription

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E d i t o r i a l
º›ÏÂ˜ Î·È º›ÏÔÈ
ÌÂ ðÚˆÙ·Ú¯ÈÎfi Ì·˜ Ì¤ÏËÌ· Ù· - ð¿ÛË˜ Ê‡ÛÂˆ˜ - Ù·Í›‰È· ÊÈÏÔ‰ÔÍÔ‡ÌÂ, Ì¤Û· ·ðfi ÙÔ Ó¤Ô ÙÂ‡¯Ô˜ ÙÔ˘ ðÂÚÈÔ‰ÈÎÔ‡ «ªπ¡√∞¡ WAVE», Ó· ‰ÈÂÁÂ›ÚÔ˘ÌÂ ÙÈ˜
·ÈÛı‹ÛÂÈ˜ Î·È ÙË Ê·ÓÙ·Û›· Û·˜, Ó· Û·˜ ÌÂÙ·Ê¤ÚÔ˘ÌÂ ÂÈÎfiÓÂ˜ Î·È Û˘Ó·ÈÛı‹Ì·Ù· ·ðfi ÌÔÓ·‰ÈÎÔ‡˜ Ù·ÍÈ‰ÈˆÙÈÎÔ‡˜ ðÚÔÔÚÈÛÌÔ‡˜ Î·È Ó· Î¿ÓÔ˘ÌÂ ÙÔ Ù·Í›‰È
Û·˜ ·ÎfiÌË ðÈÔ Â˘¯¿ÚÈÛÙÔ…
™ÙÔ ðÏÔ‡ÛÈÔ ÛÂ ıÂÌ·ÙÔÁÚ·Ê›· Ó¤Ô ÙÂ‡¯Ô˜ ÙÔ˘ «ªπ¡√∞¡ WAVE» Û·˜ ðÚÔÙÚ¤ðÔ˘ÌÂ “Ó· Û˘ÓÂ¯›ÛÂÙÂ ÙÔ Ù·Í›‰È Û·˜” ¯·Ï·ÚÒÓÔÓÙ·˜, ÛÂ ÌÈ· ðÂÚÈðÏ¿ÓËÛË
ÙÔ˘ ðÓÂ‡Ì·ÙÔ˜ Î·È ÙˆÓ ·ÈÛı‹ÛÂˆÓ. ∞ðfi ÙÈ˜ ÌÔÓ·‰ÈÎ¤˜ ËÏÂÎÙÚÔÓÈÎ¤˜ ÌÔ˘ÛÈÎ¤˜ ÙÔ˘ ‚Ú·‚Â˘Ì¤ÓÔ˘ ÌÂ OSCAR Û˘Ìð·ÙÚÈÒÙË Ì·˜ µ·ÁÁ¤ÏË ¶·ð·ı·Ó·Û›Ô˘
Ì¤¯ÚÈ ÙËÓ Âð·Ó·ÛÙ·ÙÈÎ‹ Î·È Û˘Ó·Úð·ÛÙÈÎ‹ ÔðÙÈÎ‹ ÙÔ˘ ·ð·Ú¿ÌÈÏÏÔ˘ ÛÂ Ù¤¯ÓË ÛÎËÓÔı¤ÙË £Âfi‰ˆÚÔ˘ ∞ÁÁÂÏfiðÔ˘ÏÔ˘!
∞ðfi‰Ú·ÛË ÌÂ ·ÊÔÚÌ‹ ‹… ·ÊÔÚÌ‹ ÁÈ· ÙËÓ ·ðfi‰Ú·ÛË; ∂ðÈÛÎÂÊÙÂ›ÙÂ ÙË ÁÂÈÙÔÓÈÎ‹ Ì·˜ πÙ·Ï›· Ì›· ¯ÒÚ· ÌÔ˘ÛÂ›Ô ÁÂÌ¿ÙË ÂÎðÏ‹ÍÂÈ˜ - ‚ÚÈÛÎfiÌ·ÛÙÂ ÌfiÏÈ˜
Ï›ÁÂ˜ ÒÚÂ˜ Ì·ÎÚÈ¿ - ÍÂÎÈÓ‹ÛÙÂ ÌÂ Ì›· ‚fiÏÙ· ÌÂ ÁfiÓ‰ÔÏ·, ÛÙ· Ì·ÁÂ˘ÙÈÎ¿ Î·Ó¿ÏÈ· ÙË˜ µÂÓÂÙ›·˜ Î·È Û˘ÓÂ¯›ÛÙÂ ÙËÓ ðÂÚÈðÏ¿ÓËÛ‹ Û·˜ ÁÓˆÚ›˙ÔÓÙ·˜ ÙËÓ
«∞ÈÒÓÈ· ðfiÏË», ÙËÓ ð·Ó¤ÌÔÚÊË ÈÙ·ÏÈÎ‹ ðÚˆÙÂ‡Ô˘Û· ƒÒÌË, … fiÏÔÈ ÔÈ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó ÛÂ ·˘Ù‹Ó! ∫·È ·ÎfiÌË, ÂðÈÛÎÂÊÙÂ›ÙÂ ÙË ºÏˆÚÂÓÙ›·, ÙËÓ ðfiÏË ðÔ˘
Á·ÏÔ‡¯ËÛÂ ÙËÓ ∞Ó·Á¤ÓÓËÛË ‹ ÙË ÁÚ·ÊÈÎfiÙ·ÙË ¶›˙· - ðÂÚÈÛÛfiÙÂÚÔ ÁÓˆÛÙ‹ ÁÈ· ¤Ó· ·ðfi Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎfiÙÂÚ· ÌÓËÌÂ›· ÙË˜ πÙ·Ï›·˜, ÙÔ ÌÔÓ·‰ÈÎfi Î·È
ð·Û›ÁÓˆÛÙÔ ÎÂÎÏÈÌ¤ÓÔ ð‡ÚÁÔ ÙË˜. ∞Ó ð¿ÏÈ ¤¯ÂÙÂ ÙËÓ ·Ó¿ÁÎË ÁÈ· … shopping therapy … Û·˜ ðÚÔÙÂ›ÓÔ˘ÌÂ Ó· ÂÍÂÚÂ˘Ó‹ÛÂÙÂ ÙÔ˘˜ ÂÌðÔÚÈÎÔ‡˜ ‰ÚfiÌÔ˘˜ ÙË˜
ðÈÔ Â˘Úˆð·˚Î‹˜ ðÚˆÙÂ‡Ô˘Û·˜ ÙÔ˘ ÛÙÈÏ Î·È ÙË˜ Ìfi‰·˜, ÙÔ ªÈÏ¿ÓÔ.
ŸÌˆ˜ ÙÔ Ù·Í›‰È Û·˜ ‰ÂÓ ÙÂÏÂÈÒÓÂÈ ÛÙË ÁÂÈÙÔÓÈÎ‹ Ì·˜ πÙ·Ï›·. ™˘Ó‰˘¿˙ÔÓÙ·˜ ÙËÓ ·ðfi‰Ú·ÛË ÌÂ ÙÔ ·˘ÙÔÎ›ÓËÙfi Û·˜, ÌfiÓÔ˜ ‹ ÌÂ ÙËÓ ð·Ú¤· Û·˜, ÌðÔÚÂ›ÙÂ Ó·
ÂðÈ‚È‚·ÛÙÂ›ÙÂ ÛÂ ¤Ó· ·ðfi Ù· ˘ðÂÚÛ‡Á¯ÚÔÓ· ðÏÔ›· ÙË˜ MINOAN LINES Î·È Ó· ÂÍÂÚÂ˘Ó‹ÛÂÙÂ ÌÔÓ·‰ÈÎÔ‡˜ ðÚÔÔÚÈÛÌÔ‡˜ ÙfiÛÔ ÛÙËÓ ∂ÏÏ¿‰·, fiÛÔ Î·È ÛÂ
Î¿ıÂ ÁˆÓÈ¿ ÙË˜ ∂˘ÚÒðË˜. ™˘ÓÂ¯›˙ÔÓÙ·˜ ÏÔÈðfiÓ ÙËÓ Ù·ÍÈ‰ÈˆÙÈÎ‹ Û·˜ ·Ó·˙‹ÙËÛË, ÌðÔÚÂ›ÙÂ Ó· ÂðÈÛÎÂÊÙÂ›ÙÂ ÙË µÈ¤ÓÓË, ÙËÓ ·˘ÛÙÚÈ·Î‹ ðÚˆÙÂ‡Ô˘Û·, ÙËÓ
ðfiÏË ÙÔ˘ ðÓÂ‡Ì·ÙÔ˜ Î·È ÙË˜ Ù¤¯ÓË˜ ÌÂ Ù· ÛÙÂÓ¿ ÌÂÛ·ÈˆÓÈÎ¿ ‰ÚÔÌ¿ÎÈ· Î·È ÙË ÌÂÁ·ÏÂÈÒ‰Ë ·Ú¯ÈÙÂÎÙÔÓÈÎ‹ ÙˆÓ ÎÙÈÚ›ˆÓ ÙË˜ Î·È Ó· Î·Ù·Ï‹ÍÂÙÂ ÛÙÔ
™¿ÏÙÛÌðÔ˘ÚÁÎ, ÙË ÁÂÓ¤ÙÂÈÚ· ÙÔ˘ ªfiÙÛ·ÚÙ, Ì›· ð·Ó¤ÌÔÚÊË ðfiÏË ÛÙÔ ‚fiÚÂÈÔ Û‡ÓÔÚÔ ÙˆÓ ÕÏðÂˆÓ. ∫·È ·Ó ð¿ÏÈ ı¤ÏÂÙÂ Ó· ÁÓˆÚ›ÛÂÙÂ ÙË Á·ÏÏÈÎ‹ ÊÈÓ¤ÙÛ·
Î·È ÙË ÂðÈ‚ÏËÙÈÎ‹ ÔÌÔÚÊÈ¿ ÙË˜ ðfiÏË˜ ÙÔ˘ ºˆÙfi˜, ÌðÔÚÂ›ÙÂ Ó· ðÚÔÁÚ·ÌÌ·Ù›ÛÙÂ ¤Ó· Ù·Í›‰È ÛÙÔ ¶·Ú›ÛÈ. ∆Ô ÕÌÛÙÂÚÓÙ·Ì, ÙÔ µÂÚÔÏ›ÓÔ, ÔÈ ¢·ÏÌ·ÙÈÎ¤˜
∞ÎÙ¤˜ Î·È ÙfiÛÔÈ ¿ÏÏÔÈ ðÚÔÔÚÈÛÌÔ› Û·˜ ðÂÚÈÌ¤ÓÔ˘Ó Ó· ÙÔ˘˜ ÂÍÂÚÂ˘Ó‹ÛÂÙÂ!
∫È ·Ó ¤¯ÂÙÂ ·ðÔÊ·Û›ÛÂÈ Ó· ð·Ú·ÌÂ›ÓÂÙÂ ÛÙËÓ ð·Ó¤ÌÔÚÊË ∂ÏÏ¿‰· Ì·˜, ÙfiÙÂ ÌðÔÚÂ›ÙÂ ð¿ÓÙÔÙÂ Ó· ÂðÈÛÎÂÊÙÂ›ÙÂ ¤Ó· ·ðfi Ù· Ì·ÁÂ˘ÙÈÎ¿ ÓËÛÈ¿ ÙË˜. ™ÙË ÊÂÙÈÓ‹ Ì·˜ ıÂÌ·ÙÔÏÔÁ›·, Û·˜ ðÚÔÙÂ›ÓÔ˘ÌÂ ÙË ™·ÓÙÔÚ›ÓË, ÙÔ ÎfiÛÌËÌ· ÙˆÓ ∫˘ÎÏ¿‰ˆÓ Î·È ÙË §Â˘Î¿‰·, ÙÔ ÛÙÂÚÈ·Ófi ÓËÛ›, ¤Ó· ·ðfi Ù· ÁÔËÙÂ˘ÙÈÎfiÙÂÚ· ÙÔ˘
πÔÓ›Ô˘. √È ÂðÈÏÔÁ¤˜ Â›Ó·È ·Ó·Ú›ıÌËÙÂ˜ Î·È ð¿ÓÙÔÙÂ ·ðÔÙÂÏÔ‡Ó Ì›· ðÚfiÎÏËÛË ÁÈ· Î¿ıÂ Ù·ÍÈ‰ÈÒÙË. ∂Í¿ÏÏÔ˘, fiðÔ˘ ÎÈ ·Ó ÂðÈÏ¤ÍÂÙÂ Ó· Ù·ÍÈ‰¤„ÂÙÂ ‰ÂÓ ðÚ¤ðÂÈ Ó· ÍÂ¯Ó¿ÙÂ fiÙÈ ÛËÌ·Û›· ¤¯ÂÈ ÙÔ Ù·Í›‰È Î·È fi¯È Ô ðÚÔÔÚÈÛÌfi˜, Ë ÌÔÓ·‰ÈÎ‹ ·›ÛıËÛË ÙË˜ ðÂÚÈð¤ÙÂÈ·˜ Î·È ÙË˜ ·ðfi‰Ú·ÛË˜.
∫·Ïfi Ù·Í›‰È ÏÔÈðfiÓ Î·È Î·Ï‹ ·Ó¿ÁÓˆÛË!
MINOAN LINES
∆· Ù·¯‡ÙÂÚ· cruise ferries ÙË˜ ∂ÏÏ¿‰·˜!
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Dear friends,
As travelling - of any nature - is our main concern, the new issue of the “ªπ¡√∞¡ WAVE” magazine aspires to arouse your senses and imagination, to bring
to you images and impressions from unique travelling destinations and to make your travel even more pleasant…
Through the articles of this issue, we invite you to “continue your journey” and wandering through the land of the senses and culture. From the unique
electronic sounds of the academy award winner Vangelis Papathanasiou to the revolutionary and exciting cinema art of the inimitable director, Theodoros
Aggelopoulos.
Escape with a cause…or a cause for escape? Visit our neighbouring Italy, a museum-country full of surprises - only a few hours away - and begin your trip
with a gondola tour in the enchanting channels of Venice; next, head to the “Eternal City”, the beautiful Italian capital, Rome… all streets lead there! It is
also worth visiting Florence, the city of Renaissance, or the picturesque city of Pisa - which owes its popularity to the leaning tower, one of the most famous
monuments of Italy. If again you feel the need for… shopping therapy… we propose an exploration to the commercial streets of the European capital of style
and fashion, Milan.
However, the journey does not end in our neighbouring Italy. When you plan a trip with your car, alone or with company, consider boarding to one of the
high speed ferries of MINOAN LINES in order to explore unique destinations in Greece or Europe. Starting your trip from the European destinations, you
can visit Vienna, the Austrian capital, the city of spirit and art, characterized by narrow medieval alleys and magnificent architecture, and from there head to
Salzburg, the birthplace of Mozart, a beautiful city in the northern border of the Alps. And if you want to experience the french elegance and the imposing
beauty of the “City of Light”, you can organise a trip to Paris. Amsterdam, Berlin, the Dalmatian Coasts and so many other destinations invite you to explore
them!
And if you decide to stay in our lovely Greece, then you can always choose to visit one of the enchanting Greek islands. In this year's issue, we suggest the
island of Santorini, the jewel of Cyclades, and Lefkada, the mainland island, one of the most enchanting Ionian islands. The choices are endless and constitute
a challenge for every traveller. In the end, no matter where you decide to travel, you should always remember that it is the journey and not the destination
that matters, and the unique feeling of adventure and escape.
Have a nice trip and enjoy your reading!
MINOAN LINES
The fastest cruise ferries in Greece!
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¶ E P I E X O M E N A
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C O N T E N T S
006.∆∏ ª√À™π∫∏ ¢∂¡ ∆∏¡ √ƒπ∑√Àª∂, ª∞™ √ƒπ∑∂π
√ Vaggelis, ¤Ó·˜ ŒÏÏËÓ·˜,
«·˘ıÂÓÙ›· ÙË˜ ËÏÂÎÙÚÔÓÈÎ‹˜ ÌÔ˘ÛÈÎ‹˜», fiðˆ˜ ÙÔÓ ¤¯Ô˘Ó ·ðÔÎ·Ï¤ÛÂÈ, ðÔ˘ ¤Î·ÓÂ ÙÔ ÂÏÏËÓÈÎfi ðÓÂ‡Ì· ÁÓˆÛÙfi ÛÂ fiÏÔÓ ÙÔÓ ÎfiÛÌÔ, ðÔ˘ ¤ÊÂÚÂ ÙÔ fiÓÔÌ· ÙË˜ ∂ÏÏ¿‰·˜ ÛÂ ÙÂÏÂÙ‹ ÙˆÓ ŸÛÎ·Ú Î·È ÔÈ ÌÂÏˆ‰›Â˜ ÙÔ˘ ¤ÊÙ·Û·Ó Ó· ·ÎÔ‡ÁÔÓÙ·È Ì¤¯ÚÈ Î·È ÛÙÔÓ… ðÏ·Ó‹ÙË ÕÚË Ì¤Û· ·ðfi ÙËÓ ·ðÔÛÙÔÏ‹ ÙË˜ NASA “2001 √‰‡ÛÛÂÈ·
ÛÙÔÓ ÕÚË”.
∂∫¢√∆∏™: MINOAN LINES
018.§∂À∫∞¢∞: ∆√ ™∆∂ƒπ∞¡√ ¡∏™π… ªfiÏÈ˜ Ô ÂðÈÛÎ¤ðÙË˜ ‰È·Û¯›ÛÂÈ ÙÔÓ ÌÈÎÚfi ‰›·˘ÏÔ ðÔ˘
¢π∂À£À¡∆∏™ ™À¡∆∞•∏™ - ∞ƒÃπ™À¡∆∞∫∆∏™:
¡›ÎÔ˜ ∫·Ú¤ÏÏË˜
¯ˆÚ›˙ÂÈ ÙËÓ §Â˘Î¿‰· ·ðfi ÙË ™ÙÂÚÂ¿ ∂ÏÏ¿‰· ı· ÓÈÒÛÂÈ Û¯Â‰fiÓ ·Î·ÚÈ·›· Ó· Î·Ù·ÎÏ‡˙ÂÙ·È ·ðfi ÙËÓ «·‡Ú·»
ÂÓfi˜ ·ðfi ÁÔËÙÂ˘ÙÈÎfiÙÂÚ· ÓËÛÈ¿ ÙˆÓ ∂ðÙ·Ó‹ÛˆÓ Î·È ÙÔ˘ πÔÓ›Ô˘ ðÂÏ¿ÁÔ˘˜ Î·È ı· ·Ó·ÏÔÁÈÛÙÂ› ·˘Ùfi ðÔ˘
ð·ÏÈfiÙÂÚ· Â›¯Â ÁÚ¿„ÂÈ Ë Û˘ÁÁÚ·Ê¤·˜ °·Ï¿ÙÂÈ· ∫·˙·ÓÙ˙¿ÎË: «…¡¿Ù·Ó Î¿ıÂ ÓËÛ› Î·È ÌÈ· §Â˘Î¿‰·».
¶∞ƒ∞°ø°∏: ∂Î‰fiÛÂÈ˜ Magazine
¢∏ªπ√Àƒ°π∫√: ™Ù·‡ÚÔ˜ ∑ÂÌð›ÏË˜
™À¡∆∞•∏ – ™À¡∂ƒ°∞∆∂™: °È¿ÓÓË˜ ƒ¿ÁÎÔ˜,
°Ï˘ÎÂÚ›· ™Ùfi˚Ô˘, ¡›ÎÔ˜ ∆Û·ÁÎ·Ú¿ÎË˜, ª·ÚÔ‡Û·
∆Û·¯¿ÎË
ºø∆√°ƒ∞ºπ∞: ™Ù¿ıË˜ ∑·Ï›‰Ë˜, ™Ù·‡ÚÔ˜ ∑ÂÌð›ÏË˜,
¡›ÎÔ˜ ∫·Ú¤ÏÏË˜, ™ð‡ÚÔ˜ ∫·Ùˆðfi‰Ë˜, √‰˘ÛÛ¤·˜
¡¿ıÂÓ·˜,
ª∂∆∞ºƒ∞™∂π™: ™Ù¤ÏÏ· µ·ÛÈÏ¿ÎË
¢π∞º∏ªπ™∏: ∞ÓıÔ‡Ï· ∞ÚÙÂÌ¿ÎË, ¶¿ÙÚ· ∑Â˚Ìð¤ÎË,
√‰˘ÛÛ¤·˜ ¡¿ıÂÓ·˜, ª·ÓfiÏË˜ ™ÂÚ¤ðÂÙÛË˜, ¡›ÎÔ˜
™ÔÊÔ˘Ï¿ÎË˜
030.ª∂ ∆√ µ§∂ªª∞ ™∆ƒ∞ªª∂¡√ ™∆√ Ãƒ√¡√ √ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ Î·ÏÏÈ¤ÚÁËÛÂ ¤Ó· ðÚÔÛˆðÈÎfi ‰ËÌÈÔ˘ÚÁÈÎfi ‡ÊÔ˜, ÌÔÓ·‰ÈÎfi ÛÙÔÓ ÂÏÏËÓÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ, ·ð·ÈÙËÙÈÎfi, ·ÏÏ¿ ÓÔËÌ·ÙÈÎ¿ ð˘ÎÓfi Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ¿ Û˘Ó·Úð·ÛÙÈÎfi, ÌÂ ÙÔ ÔðÔ›Ô Î·Ù¿ÊÂÚÂ Ó’ ·ðÂÈÎÔÓ›ÛÂÈ ðÏÂ˘Ú¤˜ ÙË˜
ÂÏÏËÓÈÎ‹˜ ÈÛÙÔÚ›·˜ Î·È ÙÔ˘ ·ÓıÚÒðÈÓÔ˘ ¯·Ú·ÎÙ‹Ú· ÌÂ ÛÙÔ¯·ÛÙÈÎfiÙËÙ·, Â˘ı‡ÙËÙ· Î·È Â˘·ÈÛıËÛ›·,
038.SANTORINI D’OR! Àð¿Ú¯Ô˘Ó ðÔÏÏ¿ ðÚ¿ÁÌ·Ù· ðÔ˘ ÌðÔÚÂ›˜ Ó· ÛÎÂÊÙÂ›˜ ÁÈ· ÙË ™·ÓÙÔÚ›ÓË
Î·È Ó· ÛÂ Î¿ÓÔ˘Ó Ó· ·Ó·ÚÈÁ‹ÛÂÈ˜ ·ðfi Â˘¯·Ú›ÛÙËÛË. ∆ËÓ √›·, Ù· ºËÚ¿, ÙÔ ËÊ·›ÛÙÂÈÔ, ÙË ı¿Ï·ÛÛ·, Ù· ËÏÈÔ‚·ÛÈÏ¤Ì·Ù·, ÙÔ Ê·ÁËÙfi, ÙÈ˜ ÏÈ·ÛÙ¤˜ ÓÙÔÌ¿ÙÂ˜, ÙË Ê¿‚·… ∞˘Ùfi ðÔ˘ ¤¯ÂÈ, fiÌˆ˜, ÎÂÚ‰›ÛÂÈ ÙËÓ Î·Ú‰È¿ Ì·˜
ÔÏfiÙÂÏ·, Â‰Ò Î·È ¯ÚfiÓÈ·, Â›Ó·È ÙÔ ÎÚ·Û› ÙË˜.
042.∆Ô πÙ·ÏÈÎfi ı·‡Ì· ¶·Ú¿ ÙÔÓ «ÛÎÏËÚfi» ·ÓÙ·ÁˆÓÈÛÌfi, Ô ÎÂÎÏÈÌ¤ÓÔ˜ ð‡ÚÁÔ˜ ÙË˜ ¶›˙·˜ ıÂˆÚÂ›Ù·È
ÙÔ ðÈÔ ‰È¿ÛËÌÔ ÂıÓÈÎfi ÌÓËÌÂ›Ô Î·È Ë ðÈÔ ·ÓÙÈðÚÔÛˆðÂ˘ÙÈÎ‹ ÂÈÎfiÓ· ÙË˜ πÙ·Ï›·˜ ÁÈ· ÙÔ˘˜ ÙÔ˘Ú›ÛÙÂ˜
∂¶πª∂§∂π∞ À§∏™: ∞ÁÎ˘ •ÂÓ¿ÎÔ˘
048.∆∞•π¢∂æ∆∂ ™∆∏¡ ∂Àƒø¶∏ ª∂ ∆√ ∞À∆√∫π¡∏∆√ ™∞™ ∫∞π ∆π™
MINOAN LINES ¶ÚÔÙ¿ÛÂÈ˜ ÁÈ· ‰È·‰ÚÔÌ¤˜ ÛÙËÓ ∂˘ÚÒðË ÌÂ Ù· ÌÔÓ·‰ÈÎ¿ ÂÎ‰ÚÔÌÈÎ¿ ð·Î¤Ù· ÙË˜
∂∫∆À¶ø™∏ – µπµ§π√¢∂™π∞: Scripta A.E
Minoan Lines.
PUBLISHER: MINOAN LINES
062.¶ƒ√∆∞™∂π™ ¶√§π∆π™ª√À 2009 ªÈ· ÂðÈÏÔÁ‹ ·ðfi ÙÔ ºÂÛÙÈ‚¿Ï ∞ıËÓÒÓ, ÙËÓ ∂ð›‰·˘ÚÔ
Î·È ¿ÏÏÂ˜ ðÔÏÈÙÈÛÙÈÎ¤˜ ÂÎ‰ËÏÒÛÂÈ˜ ÛÂ fiÏË ÙËÓ ∂ÏÏ¿‰·.
EDITOR IN CHIEF: Nikos Karellis
PRE-PRESS: Magazine Editions
LAYOUT: Stavros Zembilis
006.IT IS NOT US THAT DEFINE MUSIC, IT IS RATHER MUSIC THAT
DEFINES US An “expert of electronic music”, as he has been called, Vangelis made Greek culture famous
REDACTION: Giannis Ragkos, Glykeria Stoiou,
Nikos Tsagkarakis, Maroussa Tsachaki
around the world, in the Oscars and even in….the planet Mars, where his music traveled with the “2001
Odyssey in Mars” NASA expedition.
PHOTOGRAPHY: Nikos Karellis, Spiros Katopodis,
Odysseas Nathenas, Stathis Zalides, Stavros Zembilis
TRADUCTION: Stella Vasilaki
ADVERTISING: Anthoula Artemaki, Eleni
Menioudaki, Odysseas Nathenas, Manolis Serepetsis,
Nikos Sofoulakis, Patra Zeibeki
CORRECTIONS: Aggie Xenakou
PRINTING: Scripta S.A.
018.LEFKADA: A MAINLAND ISLAND… As soon as the visitor crosses the bridge that
connects Lefkada with mainland Greece he will immediately feel the aura of one of the most picturesque
islands of the Ionian Sea and he will reflect on the words that the writer Galatia Kazantzaki once wrote: “…if
only every island was like Lefkada.”
030.GAZING THROUGH TIME Theodoros Aggelopoulos has developed an innately personal style,
unique in the Greek film industry, demanding and full of meanings, with which he has managed to visualize
sensitive sides of Greek history and of the human character with a unique introspective sentiment.
038.SANTORINI D’ OR The name “Santorini” can bring several pleasant and beautiful things in mind:
Oia, Phera, the volcano, the sea, the sun sets, the sun-dried tomatoes, yellow peas…However, what has
actually won over our hearts for many years now, is Santorini’s wine.
042.AN ITALIAN MIRACLE Despite the stiff competition, the Leaning Tower of Pisa is the most
famous national monument, the one that most strikes tourists as the favourite shorthand image for the idea of
Italy.
062.CULTURAL EVENTS 2009 WAVE magazine proposes cultural events from Athens Festival,
Epidaurus Ancient Theatre and more…
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PAPATHANASIU
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¶·›˙ÂÈ ðÈ¿ÓÔ, Û˘Óı¤ÙÂÈ ÌÔ˘ÛÈÎ‹, ˙ˆÁÚ·Ê›˙ÂÈ Î·È
Û¯Â‰È¿˙ÂÈ ·ðfi ÙËÓ ËÏÈÎ›· ÙˆÓ ÙÂÛÛ¿ÚˆÓ ÂÙÒÓ. √
µ·ÁÁ¤ÏË˜ ¶·ð·ı·Ó·Û›Ô˘ ·ðÔ‰›‰ÂÈ ÙÔ Ê˘ÛÈÎfi ÙÔ˘
¯¿ÚÈÛÌ· ÛÂ ¤Ó· Ì¤ÚÔ˜ ÙÔ ÔðÔ›Ô ·ðÔÎ·ÏÂ› Ô ›‰ÈÔ˜
ÌÓ‹ÌË… ¤Ó· Ì¤ÚÔ˜ ·ðfi ÙÔ ÔðÔ›Ô, fiðˆ˜ ÈÛ¯˘Ú›˙ÂÙ·È, ÌðÔÚÔ‡ÌÂ fiÏÔÈ Ó· ·ÓÙÏ‹ÛÔ˘ÌÂ, ·Ó Î·Ù·Ê¤ÚÔ˘ÌÂ ÌÔÓ¿¯· Ó· ı˘ÌfiÌ·ÛÙÂ. ŒÓ·˜ ŒÏÏËÓ·˜,
«·˘ıÂÓÙ›· ÙË˜ ËÏÂÎÙÚÔÓÈÎ‹˜ ÌÔ˘ÛÈÎ‹˜», fiðˆ˜ ÙÔÓ
¤¯Ô˘Ó ·ðÔÎ·Ï¤ÛÂÈ, ðÔ˘ ¤Î·ÓÂ ÙÔ ÂÏÏËÓÈÎfi ðÓÂ‡Ì·
ÁÓˆÛÙfi ÛÂ fiÏÔÓ ÙÔÓ ÎfiÛÌÔ, ðÔ˘ ¤ÊÂÚÂ ÙÔ fiÓÔÌ·
ÙË˜ ∂ÏÏ¿‰·˜ ÛÂ ÙÂÏÂÙ‹ ÙˆÓ ŸÛÎ·Ú Î·È ÔÈ ÌÂÏˆ‰›Â˜ ÙÔ˘ ¤ÊÙ·Û·Ó Ó· ·ÎÔ‡ÁÔÓÙ·È Ì¤¯ÚÈ Î·È ÛÙÔÓ…
ðÏ·Ó‹ÙË ÕÚË Ì¤Û· ·ðfi ÙËÓ ·ðÔÛÙÔÏ‹ ÙË˜ NASA
“2001 √‰‡ÛÛÂÈ· ÛÙÔÓ ÕÚË”.
He plays the piano, he composes music, he
paints since he was 4 years old. Vangelis´
musical gift derives from a place he calls
memory…a place we can all benefit from, if we
just achieve to remember. An “expert of
electronic music”, as he has been called,
Vangelis made Greek culture famous around
the world, in the Oscars and even in….the
planet Mars, where his music traveled with the
“2001 Odyssey in Mars” NASA expedition.
006
∆Ë ÌÔ˘ÛÈÎ‹ ‰ÂÓ ÙËÓ
ÔÚ›˙Ô˘ÌÂ, Ì·˜ ÔÚ›˙ÂÈ
It is not us that
define music, it is
rather music that
defines us
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Vangelis
∞ðfi ÙË °Ï˘ÎÂÚ›· ™ÙfiÈÔ˘
ºˆÙÔÁÚ·Ê›Â˜ ™Ù¿ıË˜ ∑·Ï›‰Ë˜
Written by Glykeria Stoiou
Photos by Stathis Zalides
MINOAN WAVE
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Vangelis
E
Ó·˜ ·ðfi ÙÔ˘˜ ÂÏ¿¯ÈÛÙÔ˘˜ ŒÏÏËÓÂ˜ ÌÔ˘ÛÈÎÔ‡˜ ðÔ˘ ¤Î·Ó·Ó ‰ÈÂıÓ‹ Î·ÚÈ¤Ú· ÌÂ
‰È¿ÚÎÂÈ·, ·Ó·ÁÓÒÚÈÛË Î·È ·ðÔ‰Ô¯‹.
°ÓˆÛÙfi˜ ðÏ¤ÔÓ ˆ˜ Vangelis, ÌÂ ð¿Óˆ
·ðfi Û·Ú¿ÓÙ· ‰ÈÛÎÔÁÚ·ÊÈÎ¿ ¤ÚÁ· ÛÂ
Î˘ÎÏÔÊÔÚ›·, ÌÔ˘ÛÈÎ¤˜ ÂðÂÓ‰‡ÛÂÈ˜ ÛÂ
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ¤˜ Ù·ÈÓ›Â˜, Ìð·Ï¤Ù· Î·È
ıÂ·ÙÚÈÎ¿ ¤ÚÁ·, ‰‡Ô ¯ÔÚˆ‰È·Î¤˜ Û˘ÌÊˆÓ›Â˜, ÌÂÁ¿Ï· ÔðÙÈÎÔ·ÎÔ˘ÛÙÈÎ¿ ıÂ¿Ì·Ù·,
ðÔÏ˘¿ÚÈıÌÂ˜ ÙÈÌ¤˜, ‚Ú·‚Â›·, Î·È Ù›ÙÏÔ˘˜
ÛÙÔ ÂÓÂÚÁËÙÈÎfi ÙÔ˘, ¤Ó· ŸÛÎ·Ú Î·È
Û˘ÓÂÚÁ·Û›Â˜ ÌÂ ÙËÓ Montserrat Caballé,
ÙËÓ Kathleen Battle, ÙËÓ Jessye Norman,
ÙÔÓ JÔn Anderson ÙˆÓ Yes, ÙËÓ ∂ÈÚ‹ÓË
¶·ð¿ Î·È ðÔÏÏÔ‡˜ ¿ÏÏÔ˘˜ Î·ÏÏÈÙ¤¯ÓÂ˜,
¤¯ÂÈ ·Ó·ÁÓˆÚÈÛÙÂ› ˆ˜ ¤Ó·˜ ·ðfi ÙÔ˘˜
ðÚˆÙÂÚÁ¿ÙÂ˜ ÙÔ˘ ËÏÂÎÙÚÔÓÈÎÔ‡ ‹¯Ô˘ ðÔ˘ ðÚÔÛ‰ÈÔÚ›ÛÙËÎÂ
·ðfi ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜ new age, space, progressive ‹
ambient. «∆Ô fiÚ·Ì¿ ÌÔ˘», ı· ðÂÈ, «ÛÂ fi,ÙÈ ·ÊÔÚ¿ ÙË ÌÔ˘ÛÈÎ‹ Â›Ó·È ðÔÏ‡ Ù·ðÂÈÓfi, ÁÈ’ ·˘Ùfi Î·È ‰Â ı¤Ïˆ Ó· ÛÎ¤ÊÙÔÌ·È ðÔÏ‡ fiÙ·Ó Î¿Óˆ ÌÔ˘ÛÈÎ‹. ¶ÚÔÛð·ıÒ Ó· Â›Ì·È fiÛÔ ÙÔ
‰˘Ó·ÙfiÓ ðÈÔ ‰È·ı¤ÛÈÌÔ˜».
°ÂÓÓ‹ıËÎÂ ÛÙÔ µfiÏÔ ÛÙÈ˜ 29 ª·ÚÙ›Ô˘ ÙÔ˘ 1943 Î·È ·ðfi ÙË
ÓËðÈ·Î‹ ËÏÈÎ›· ¤‰ÂÈÍÂ ÙËÓ ·Á¿ðË ÙÔ˘ ÛÙËÓ Ù¤¯ÓË Î·È ÙË
‰ËÌÈÔ˘ÚÁÈÎ‹ ¤ÎÊÚ·ÛË. ªfiÏÈ˜ ÙÂÛÛ¿ÚˆÓ ÂÙÒÓ ¿Ú¯ÈÛÂ Ó·
Û˘Óı¤ÙÂÈ ÌÔ˘ÛÈÎ‹ ÌÂ ÙÔ ÔÈÎÔÁÂÓÂÈ·Îfi ðÈ¿ÓÔ Î·È ÛÙ· ¤ÍÈ
ÙÔ˘ ¯ÚfiÓÈ· ¤Î·ÓÂ ÙËÓ ð·ÚıÂÓÈÎ‹ ÙÔ˘ ÂÌÊ¿ÓÈÛË ÛÙÔ ÎÔÈÓfi
ÌÂ ÙÈ˜ ‰ÈÎ¤˜ ÙÔ˘ Û˘Óı¤ÛÂÈ˜. ŸÙ·Ó ÂÎ‰fiıËÎ·Ó Ì¿ÏÈÛÙ· ÙÔ
1956 Ù· Ù·ÍÈ‰ÈˆÙÈÎ¿ ·ÊËÁ‹Ì·Ù· ÙÔ˘ ™ÙÚ·Ù‹ ª˘ÚÈ‚‹ÏË
«∞ðfi ÙËÓ ∂ÏÏ¿‰·» (ÂÎ‰. ∂ÛÙ›·), ¤Ó· ·ðfi Ù· Ï›Á· ðÚfiÛˆð· ðÔ˘ ðÂÚÈÁÚ¿ÊÔÓÙ·È ÛÂ ¤Ó· ·ðfi Ù· Ù·Í›‰È· ÙÔ˘, Ï›ÁÔ
ðÚÈÓ ÙÔ 1950, ÛÙÔ µfiÏÔ, Â›Ó·È Ô ÌÈÎÚfi˜ Ù·Ï·ÓÙÔ‡¯Ô˜
µ·ÁÁ¤ÏË˜: «∞Ó¿ÌÂÛ· ÛÙÈ˜ Â˘¯¿ÚÈÛÙÂ˜ ÂÎðÏ‹ÍÂÈ˜ ðÔ˘ ÌÂ
ðÂÚ›ÌÂÓ·Ó ÛÙÔÓ µfiÏÔ, ‹Ù·Ó Î·È ¤Ó· ð·È‰¿ÎÈ ¤ÍÈ ‹ ÂÍ›ÌÈÛÈ
¯ÚÔÓÒÓ, ðÔ˘ ·Ó·Î¿Ï˘„· ðÚÔÈÎÈÛÌ¤ÓÔ ÌÂ ÙÔ ıÂ›Ô ‰ÒÚÔ
ÙÔ˘ Ù·Ï¤ÓÙÔ˘. √ ÌÈÎÚfi˜ ·˘Ùfi˜ ÌÂ ÙÈ˜ ðÔ‰›ÙÛÂ˜ ÙË˜ ðÚÒÙË˜ ‰ËÌÔÙÈÎÔ‡, Î·È ÌÂ Ù· ÁÎÚ›˙· ÁÂÏ·ÛÙ¿ Ì·Ù¿ÎÈ· ÙÔ˘,
Â›Ó·È ·ðfi ÙÒÚ· ¤Ó·˜ ·˘ÙÔ‰›‰·ÎÙÔ˜ ÌÈÎÚÔÛÎÔðÈÎfi˜ Û˘Óı¤ÙË˜. ªÔ˘ ¤ð·ÈÍÂ ÛÙÔ ðÈ¿ÓÔ ‰˘Ô Û˘Óı¤ÛÂÈ˜ ÙÔ˘ ðÔ˘ ÌÂ
Î·Ù¤ðÏËÍ·Ó. ªÈ· ÙËÓ ¤ÏÂÁÂ «√È Î·Ìð¿ÓÂ˜» Î·È ÙËÓ ¿ÏÏË
«√ ¯ÔÚfi˜». ¶Ú¤ðÂÈ Ó· ‰ÂÈ Î·ÓÂ›˜ Ù· ÌÈÎÚÔÛÎÔðÈÎ¿ ‰·¯Ù˘Ï¿ÎÈ· ÙÔ˘ Ó· ·ÁˆÓ›˙ÔÓÙ·È Ó· ðÈ¿ÛÔ˘Ó ÙÈ˜ ı·˘Ì¿ÛÈÂ˜ Û˘Á¯ÔÚ‰›Â˜ ðÔ˘ Î·ÓÂ›˜ ‰ÂÓ ÙÔ˘ ‰›‰·ÍÂ, ðÚ¤ðÂÈ Ó· ·ÎÔ‡ÛÂÈ
ÙÔ˘˜ ¯ÚˆÌ·ÙÈÛÌÔ‡˜ Î·È Ù· ¯·ÚÈÙˆÌ¤Ó· Â˘Ú‹Ì·Ù¿ ÙÔ˘, ÁÈ·
Ó· Î·Ù·Ï¿‚ÂÈ ÙÔ ÓfiËÌ· ÙÔ˘ ∂˘·ÁÁÂÏÈÛÙÔ‡ ðÔ˘ Â›ðÂ:
«¶ÓÂ‡Ì· Ô £Âfi˜ Î·È fiðÔ˘ ı¤ÏÂÈ ðÓÂÈ». °È· Ó· ‰Ô‡ÌÂ ÙÈ
ÂðÈÊ˘Ï¿ÛÛÂÈ Ë ÌÔ›Ú· ÛÂ ÙÔ‡ÙÔ ÙÔ µÔÏÈˆÙ¿ÎÈ».
008
Society
teaches
people how
to demand
and not how
to offer.
∏ ªÔ‡Û· ÙË˜ ÌÔ˘ÛÈÎ‹˜ ∂˘Ù¤ÚðË Î·È ÙÔ ð¿ıÔ˜ ·ÁÎ¿ÏÈ·Û·Ó «ÙÔ‡ÙÔ ÙÔ µÔÏÈˆÙ¿ÎÈ» Û¯Â‰fiÓ ·ðfi Ù· ÁÂÓÓÔÊ¿ÛÎÈ·
ÙÔ˘ ÁÈ· Ó· ·ðÔÙÂÏÂ› Û‹ÌÂÚ· ¤Ó· ·ðfi Ù· ÌÂÁ·Ï‡ÙÂÚ· ÎÂÊ¿Ï·È· ÙË˜ ð·ÁÎfiÛÌÈ·˜ ÌÔ˘ÛÈÎ‹˜. ™Â ·˘Ù‹ ÙË ÓÂ·Ú‹ ËÏÈÎ›·
¿Ú¯ÈÛÂ Ó· ·Ó·‰ÂÈÎÓ‡ÂÙ·È Î·È ÙÔ ¤ÌÊ˘ÙÔ Ù·Ï¤ÓÙÔ ÙÔ˘ ÛÙÔ
Û¯¤‰ÈÔ Î·È ÙË ˙ˆÁÚ·ÊÈÎ‹, ·Ó Î·È ı· ðÂÚÓÔ‡Û·Ó ðÔÏÏ¿
¯ÚfiÓÈ· Ì¤¯ÚÈ Ó· ÌðÔÚ¤ÛÂÈ Î¿ðÔÈÔ˜ ÂÎÙfi˜ ÙÔ˘ ÛÙÂÓÔ‡ ÙÔ˘
ðÂÚÈ‚¿ÏÏÔÓÙÔ˜ Ó· ‰ÂÈ ÙÔ ¤ÚÁÔ ÙÔ˘.
™ÙËÓ ·Ù›ı·ÛË ‰ÂÎ·ÂÙ›· ÙÔ˘ ’60 ‰ËÌÈÔ˘ÚÁÂ› ÌÂ Ê›ÏÔ˘˜ ÙÔ˘
·ðfi ÙÔ ¶ÔÏ˘ÙÂ¯ÓÂ›Ô ÙÔ˘˜ ºÔÚÌÈÁÍ fiÓÔÌ· ð·ÚÌ¤ÓÔ ·ðfi ÙÔ
·Ú¯·›Ô ÂÏÏËÓÈÎfi ¤Á¯ÔÚ‰Ô. ∆Ô Û˘ÁÎÚfiÙËÌ· Á›ÓÂÙ·È ÙÔ
‰ËÌÔÊÈÏ¤ÛÙÂÚÔ ÂÏÏËÓÈÎfi Û˘ÁÎÚfiÙËÌ· ÂÎÂ›ÓË˜ ÙË˜ ÂðÔ¯‹˜.
∞ÚÁfiÙÂÚ· ÂÁÎ·Ù·ÛÙ¿ıËÎÂ ÛÙË °·ÏÏ›· ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ÌÂ
ÙÔÓ ¡Ù¤ÌË ƒÔ‡ÛÔ Î·È ÙÔÓ §Ô˘Î¿ ™È‰ÂÚ¿ ÙÔ˘˜ Aphrodite's
Vangelis is a composer that made an international career
and achieved widespread recognition. He boasts over forty
published albums, many film scores, music compositions for
ballets and theatrical plays, two choral symphonies, great
audiovisual spectacles, numerous distinctions, awards, and
honors, one Oscar award and famous collaborations, such
as with Montserrat Caballé, Kathleen Battle, Jessye
Norman, JÔn Anderson, the lead singer of the band Yes,
Irene Papas and many other artists. He has been
distinguished as one of the pioneers of electronic music, and
his style has been characterized as new age, space,
progressive and ambient. “My approach”, he says,
“concerning my music, is very humble and this is why I
leave music to lead when Icompose: I try to be as
‘available’ as possible”.
He was born in Volos on the 29th of March 1943, and
expressed his love for art and creative expression since he
was still a child. He was just 4 years old when he started
composing music on the family piano, and he was 6 years
old when he made his first public appearance presenting his
own music compositions. In 1956, when the travel stories of
Stratis Myrivilis “From Greece” were published, one of the
few personalities described in one of the author’s travels in
Volos, around 1950, was the young talented Vangelis: “one
of the pleasant surprises that awaited for me in Volos was a
little child six or six and a half years old, privileged with the
divine gift of talent. This child, dressed with the school
uniform and with grey smiley eyes, he is now one selftaught tiny composer. He played two music pieces in the
piano that astounded me. The first was called ‘Bells’ and the
second ‘the Dance’. One must view his tiny fingers trying to
play chords that no one taught him in order to understand
what the Evangelist meant when he said, “God is spirit and
breaths where He pleases”. Let’s see what destiny has
planned for this young boy from Volos”.
The muse of music, Euterpe, blessed this “young boy from
Volos” since his birth and destined him to become one of
the greatest artists in the international music scene. His
natural talent in painting was also evident since his early
years, although many years had to pass to have his work be
known outside his family circle.
In the wild decade of the ‘60s, he forms the pop band
“Forminx”, named after the ancient Greek stringed
instrument, together with his friends from the Technical
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ŸÛÔ ÁÈ· Ó·
ÁÓˆÚ›ÛÔ˘ÌÂ ÙÔÓ
Â·˘Ùfi Ì·˜ ‰Â
¯ÚÂÈ¿˙ÔÓÙ·È
¯Ú‹Ì·Ù·, ·ÏÏ¿
Î¿ÙÈ ¿ÏÏÔ, ðÈÔ
ðÔÏ‡ÙÈÌÔ.
ÃÚÂÈ¿˙ÂÙ·È
ı¿ÚÚÔ˜!
In order to get to
know our selves
better, it is not
material solutions
we need, but rather
something more
valuable. It is
courage!
Child (Û.Û. ÙÔ ¶·È‰› ÙË˜ ∞ÊÚÔ‰›ÙË˜), Î·Ù·ÎÙÒÓÙ·˜ Âð› 3
¯ÚfiÓÈ· ÙÈ˜ ðÚÒÙÂ˜ ı¤ÛÂÈ˜ ÛÙÔ ÌÔ˘ÛÈÎfi ÛÙÂÚ¤ˆÌ· ÙË˜
∂˘ÚÒðË˜.. ªÂÙ¿, Ô µ·ÁÁ¤ÏË˜ ¶·ð·ı·Ó·Û›Ô˘ ¿Ú¯ÈÛÂ Ó·
ÂÍÂÚÂ˘ÓÂ› ðÈÔ ðÚÔÛˆðÈÎÔ‡˜ ÌÔ˘ÛÈÎÔ‡˜ ‰ÚfiÌÔ˘˜ Î·È ‚Ú¤ıËÎÂ ÛÙÔ §ÔÓ‰›ÓÔ, fiðÔ˘ ‰ËÌÈÔ‡ÚÁËÛÂ ÙÔ ðÚÒÙÔ ÙÔ˘ ÛÙÔ‡ÓÙÈÔ/ÂÚÁ·ÛÙ‹ÚÈÔ.
∂ÎÂ› ÌðfiÚÂÛÂ Ó· ·Ó·ðÙ‡ÍÂÈ ÙÈ˜ ÌÔ˘ÛÈÎ¤˜ ıÂˆÚ›Â˜ Î·È ÙÔÓ
‹¯Ô ÙÔ˘, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ¤Ó· Û‡ÛÙËÌ· ÌÔ˘ÛÈÎÒÓ ÔÚÁ¿ÓˆÓ
Û¯Â‰È·ÛÌ¤ÓˆÓ ·ðfi ÙÔÓ ›‰ÈÔ ÁÈ· Ó· ÂÍ˘ðËÚÂÙ‹ÛÔ˘Ó ÙË
Û˘ÓÂ¯Ò˜ ‰ÈÂ˘Ú˘ÓfiÌÂÓË Ê·ÓÙ·Û›· ÙÔ˘ Î·È ÙÔ˘˜ Î·ÈÓÔÙfiÌÔ˘˜ ðÂÈÚ·Ì·ÙÈÛÌÔ‡˜ ÙÔ˘. ™˘Ó¤Ï·‚Â ÙË ÌÔ˘ÛÈÎ‹ ÙÔ˘
¯ˆÚ›˜ ÙËÓ Âð‹ÚÂÈ· ÙË˜ ÏÔÁÈÎ‹˜, ÙËÓ ðÈı·ÓfiÙËÙ· ÙË˜
·ÏÏÔ›ˆÛË˜ ‹ ÙËÓ ‚Ô‹ıÂÈ· ÙÔ˘ ËÏÂÎÙÚÔÓÈÎÔ‡ ˘ðÔÏÔÁÈÛÙ‹.
ª›· Ì¤ıÔ‰Ô˜ ðÚ·ÁÌ·ÙÈÎ¿ ÌÔÓ·‰ÈÎ‹ ðÔ˘ Û˘Ó¤‰ÂÛÂ Î·Ù¿
ÙÚfiðÔ ·ÓÂð·Ó¿ÏËðÙÔ ÙËÓ ÙÂ¯ÓÔÏÔÁ›· Î·È ÙËÓ ËÏÂÎÙÚÔÓÈÎ‹ ÌÔ˘ÛÈÎ‹ ÌÂ ÙÔÓ ÂÛˆÙÂÚÈÎfi „˘¯ÈÛÌfi ÙÔ˘ ðËÁ·›Ô˘ Î·È
Ê˘ÛÈÎÔ‡ ÙÔ˘ Ù·Ï¤ÓÙÔ˘.
«∏ ÌÔ˘ÛÈÎ‹ ‰ÂÓ ·ÏÏ¿˙ÂÈ Î·È ‰Â ı· ·ÏÏ¿ÍÂÈ ðÔÙ¤ fiÛÔ
˘ð¿Ú¯ÂÈ ÙÔ Û‡Ìð·Ó. ∞˘Ùfi ðÔ˘ ·ÏÏ¿˙ÂÈ Â›Ó·È Ë Û¯¤ÛË Ì·˜
ÌÂ ·˘Ù‹. ª¤Û· ÛÙÔ˘˜ ·ÈÒÓÂ˜ Ô ¿ÓıÚˆðÔ˜, ·Ó¿ÏÔÁ· ÌÂ ÙËÓ
ðÔÏÈÙÈÛÌÈÎ‹ ÙÔ˘ ðÔÈfiÙËÙ·, ¯ÚËÛÈÌÔðÔÈÂ› ÙË ÌÔ˘ÛÈÎ‹ Î·È
University. The band became one of the most popular
Greek bands of this period. He later moved to France and
founded the famous band “Aphrodite's Child” together with
Demis Roussos and Loukas Sideras, which was constantly at
the top of the European charts for 3 continuous years. Next,
Vangelis Papathanasiou started exploring more personal
music routes that led him to London, where he set up his
own studio.
There, he developed his music theories and his personal
sounds and he designed a system of music instruments to fit
his continuously expanding imagination and innovative
experimentations. His music style was conceived without
the help of any computer. His music style combines
technology, electronic music and the psyche of his innate
talent in a unique manner.
“Music does not change and it never will as long as the
universe exists. What changes is our relationship with it.
Throughout the centuries, humans used music for
expressing their feelings according to the state of their
cultural level. Thus, by analyzing and deciphering the music
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Vangelis
ÂÎÊÚ¿˙ÂÙ·È. ŒÙÛÈ, ·Ó·Ï‡ÔÓÙ·˜ Î·È ·ðÔÎˆ‰ÈÎÔðÔÈÒÓÙ·˜
ÙË ÌÔ˘ÛÈÎ‹ ¤ÎÊÚ·ÛË ÙË˜ ÂÎ¿ÛÙÔÙÂ ðÂÚÈfi‰Ô˘ Î·È ÙfiðÔ˘,
ÌðÔÚÔ‡ÌÂ Ó· Î·Ù·ÓÔ‹ÛÔ˘ÌÂ ðÏ‹Úˆ˜ ÙÔ ðÔÈÔÙÈÎfi ˘ðfi‚·ıÚÔ Î·È ÙË Û˘ÌðÂÚÈÊÔÚ¿ ÙˆÓ ·ÓıÚÒðˆÓ».
M
010
Â ÙÔ ð¤Ú·ÛÌ· ÙˆÓ ¯ÚfiÓˆÓ,
‰ËÌÈÔ‡ÚÁËÛÂ ÎÈ ¿ÏÏ· ÂÚÁ·ÛÙ‹ÚÈ· ÌÔ˘ÛÈÎ‹˜ ÛÙÔ ¶·Ú›ÛÈ,
ÛÙÔ §ÔÓ‰›ÓÔ, ÛÙËÓ ∞ı‹Ó·
Î·È ÛÙË ƒÒÌË, Î·È Û˘ÓÂÚÁ¿ÛÙËÎÂ ÌÂ ðÔÏ‡ ÛËÌ·ÓÙÈÎÔ‡˜
Î·ÏÏÈÙ¤¯ÓÂ˜,
ıÂ·ÙÚÈÎÔ‡˜
Û˘ÁÁÚ·ÊÂ›˜, ðÔÈËÙ¤˜, ¯ÔÚÔÁÚ¿ÊÔ˘˜,
ÙÚ·ÁÔ˘‰ÈÛÙ¤˜,
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ¤˜, ðÂÚÈ‚·ÏÏÔÓÙÔÏfiÁÔ˘˜, ·ıÏËÙ¤˜,
ÁÈ·ÙÚÔ‡˜ Î·È ÂðÈÛÙ‹ÌÔÓÂ˜
·ð’ fiÏÔ ÙÔÓ ÎfiÛÌÔ. Àð¿Ú¯ÂÈ
Î¿ðÔÈÔ Ì˘ÛÙÈÎfi ðÔ˘ Ó· ÂÍËÁÂ› ÙÈ˜ ÙfiÛÂ˜ ÂðÈÙ˘¯›Â˜;
«ÃÚËÛÈÌÂ‡ˆ ˆ˜ Î·Ó¿ÏÈ», Ï¤ÂÈ Ô ›‰ÈÔ˜ ·ðÏ¿. «ŒÓ· Î·Ó¿ÏÈ
ðÔ˘ ÂðÈÙÚ¤ðÂÈ ÛÙË ÌÔ˘ÛÈÎ‹ Ó· ·Ó·‰˘ıÂ› ·ðfi ÙÔ ¯¿Ô˜ ÙÔ˘
ıÔÚ‡‚Ô˘». ∆Ô 1981 Î¿ÓÂÈ ÙËÓ ∂ÏÏ¿‰· ðÂÚ‹Ê·ÓË, Î·ıÒ˜
Á›ÓÂÙ·È Ô ‰Â‡ÙÂÚÔ˜ ŒÏÏËÓ·˜ ÌÔ˘ÛÈÎÔÛ˘Óı¤ÙË˜, ÌÂÙ¿ ÙÔ
ª¿ÓÔ Ã·Ù˙È‰¿ÎÈ ÁÈ· ÙÔ ÙÚ·ÁÔ‡‰È ÙÔ˘ «∆· ð·È‰È¿ ÙÔ˘
¶ÂÈÚ·È¿» ÛÙËÓ Ù·ÈÓ›· ¶ÔÙ¤ ÙËÓ ∫˘ÚÈ·Î‹ ÙÔ˘ ∑ÈÏ ¡Ù·Û¤Ó,
ðÔ˘ ÎÂÚ‰›˙ÂÈ ŸÛÎ·Ú ÌÔ˘ÛÈÎ‹˜ Âð¤Ó‰˘ÛË˜ ÁÈ· ÙËÓ Ù·ÈÓ›·
ÙÔ˘ ÃÈÔ˘ Ã¿ÓÙÛÔÓ, ÔÈ ¢ÚfiÌÔÈ ÙË˜ ºˆÙÈ¿˜ (Chariots of
Fire) Î·È Ô ÙÚ›ÙÔ˜ ŒÏÏËÓ·˜ ðÔ˘ ÊÂ‡ÁÂÈ ÌÂ ÙÔ ¯Ú˘Ûfi ·Á·ÏÌ·Ù›‰ÈÔ ·ðfi ÙËÓ ÙÂÏÂÙ‹ - ðÚÒÙË ‹Ù·Ó Ë ∫·Ù›Ó· ¶·ÍÈÓÔ‡
ðÔ˘ ð‹ÚÂ ÙÔ ŸÛÎ·Ú ‚’ Á˘Ó·ÈÎÂ›Ô˘ ÚfiÏÔ˘ ÁÈ· ÙË Û˘ÌÌÂÙÔ¯‹ ÙË˜ ÛÙËÓ Ù·ÈÓ›· °È· ¶ÔÈÔÓ ÃÙ˘ð¿ Ë ∫·Ìð¿Ó· ÙÔ˘ ™·Ì
°Ô˘ÓÙ.
¶¤Ú· ·ðfi ÙÔ Â›‰Ô˜ ÙË˜ ÌÂıfi‰Ô˘ Î·È ÙˆÓ ËÏÂÎÙÚÔÓÈÎÒÓ
‹/Î·È ð·Ú·‰ÔÛÈ·ÎÒÓ ÌÔ˘ÛÈÎÒÓ ÔÚÁ¿ÓˆÓ ðÔ˘ ¯ÚËÛÈÌÔ-
expression of each period and culture, we are able to fully
realize the qualitative background and the behavior of
people.
As years went by, he founded more music studios in Paris,
London, Athens and Rome, and he collaborated with very
prominent artists, theatre writers, poets, choreographers,
singers, cinematographers, environmentalists, athletes,
doctors and scientists from all over the world. Is there a
secret that explains all this success? “I function as a
channel”, he simply says, “a channel that allows music to
emerge from the chaos of noise”.
In 1981, he makes the whole Greece proud, as he becomes
the second Greek music composer who wins the Academy
Award for Best Original Music Score for the film “Chariots
of Fire”, directed by Hugh Hudson, after Manos Hatzidakis
who received the same award for his song “Children of
Piraeus” from the film Never on Sunday, and the third
Greek that won an Academy Award – first was Katina
Paxinou for Best Supporting Actress for her role in the film
“For Whom the Bell Tolls”.
Vangelis will always be known, not only for his unique
music style mixing traditional and electronic musical
instruments, but also for his powerful melodies, innovative
sounds and the emotional depth of his music. This is why his
music from the film “Chariots of Fire” still inspires athletes
from all over the world and has become the epitome of the
Olympic ideal, while his epic music in the film “1492:
Conquest of Paradise”, directed by Ridley Scott, symbolizes
the battle of humans for the conquest of high and difficult
goals, but also for smaller, everyday goals of survival and
happiness.
The film “1492: Conquest of Paradise” was not the first
collaboration of Vangelis with Ridley Scott. Ten years
before, in 1982, he had written the score for his film “Blade
Runner”, one of the most emblematic sci-fi films of the 20th
century, presenting a prophetic image of Los Angeles in
2019. The psychedelic atmosphere, the laconic dialogues,
the subversions, the settings, the lighting and the main
characters of the film are perfectly “dressed” with the
imposing music of Vangelis, who put the last piece in the
puzzle of a cult masterpiece. Ridley Scott has reported that:
“One of my most special experiences as a director is my
collaboration with Vangelis Papathanasiou for the score of
“Blade Runner”, composed in his studio in London. He was
observing still unfinished pieces of film scenes, insisting on
every detail and capturing it with exceptional beauty…the
final result took us further from my initial expectations”.
He has also collaborated with other great directors of the
international film industry, such as Roman Polanski (Bitter
Moon), Costas Gavras (Missing), Oliver Stone (Alexander)
and Giannis Smaragdis (Kavafis and El Greco).
His music during the 90s was mainly inspired from his own
roots (El Greco, Mythodea), while he continued expanding
his electronic music by combining elements of acoustic
symphonic music. Vangelis is known for his love of the
universe and for his deep knowledge of the small place of
humans within it. For this reason, in 1995 the Minor Planet
Center of the International Astronomy Union will honor
him by giving the name “Vangelis” to the asteroid 6354, in
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012
ðÔÈÂ›, Ô µ·ÁÁ¤ÏË˜ ¶·ð·ı·Ó·Û›Ô˘ ı· Â›Ó·È ð¿ÓÙ· ÁÓˆÛÙfi˜ ÁÈ·
ÙË ‰‡Ó·ÌË ÙË˜ ÌÂÏˆ‰›·˜ ÙÔ˘, ÙÔÓ ðÚˆÙÔðÔÚÈ·Îfi ‹¯Ô ÙÔ˘ Î·È
ÙÔ Û˘Ó·ÈÛıËÌ·ÙÈÎfi ÙÔ˘ ‚¿ıÔ˜. °È’ ·˘Ùfi Î·È Ë ÌÔ˘ÛÈÎ‹ ·ðfi ÙÔ˘˜
«¢ÚfiÌÔ˘˜ ÙË˜ ºˆÙÈ¿˜» (Chariots of Fire) ÂÍ·ÎÔÏÔ˘ıÂ› Ó·
ÂÌðÓ¤ÂÈ ·ıÏËÙ¤˜ ·ðfi fiÏÔ ÙÔÓ ÎfiÛÌÔ Î·È ·ðÔÙÂÏÂ› ÙËÓ ÂðÈÙÔÌ‹
ÙÔ˘ ÔÏ˘ÌðÈ·ÎÔ‡ È‰ÂÒ‰Ô˘˜, Ë ÂðÈÎ‹ ÌÔ˘ÛÈÎ‹ ·ðfi ÙËÓ Ù·ÈÓ›·
«1492: ÃÚÈÛÙfiÊÔÚÔ˜ ∫ÔÏfiÌ‚Ô˜» (1492: Conquest of Paradise)
ÙÔ˘ ƒ›ÓÙÏÂ˚ ™ÎÔÙ Û˘Ì‚ÔÏ›˙ÂÈ ÙÔÓ ·ÁÒÓ· ÙÔ˘ ·ÓıÚÒðÔ˘ fi¯È
ÌfiÓÔ ÁÈ· ÙËÓ Î·Ù¿ÎÙËÛË „ËÏÒÓ Î·È ‰˘ÛðÚfiÛÈÙˆÓ «ÎÔÚ˘ÊÒÓ»,
·ÏÏ¿ Î·È ÙË ‰ÈÂÎ‰›ÎËÛË ÌÈÎÚÒÓ, Î·ıËÌÂÚÈÓÒÓ ÛÙfi¯ˆÓ ÁÈ· ÙËÓ
ÂðÈ‚›ˆÛË Î·È ÙËÓ Â˘Ù˘¯›·.
∏ ÌÔ˘ÛÈÎ‹ ‰Â
ÁÂÓÓ‹ıËÎÂ
ðÔÙ¤. ∂ÌÂ›˜ Î·È
fiÏÔ ÙÔ Û‡Ìð·Ó
ÁÂÓÓËı‹Î·ÌÂ
·ðfi ÙË
ÌÔ˘ÛÈÎ‹.
√ ÃÚÈÛÙfiÊÔ˜ ∫ÔÏfiÌ‚Ô˜ fiÌˆ˜ ‰ÂÓ ‹Ù·Ó Ë ðÚÒÙË Û˘ÓÂÚÁ·Û›·
ÙÔ˘ µ·ÁÁ¤ÏË ¶·ð·ı·Ó·Û›Ô˘ ÌÂ ÙÔ ƒ›ÓÙÏÂ˚ ™ÎÔÙ. ¢¤Î· ¯ÚfiÓÈ·
ðÚÈÓ, ÙÔ 1982, Â›¯Â ‚ÁÂÈ ÛÙÈ˜ ·›ıÔ˘ÛÂ˜ ÙÔ «Blade Runner», ðÔ˘
¤ÌÂÏÂ Ó· Î·ıÈÂÚˆıÂ› ˆ˜ Ì›· ·ðfi ÙÈ˜ ðÈÔ ‰È¿ÛËÌÂ˜ Ù·ÈÓ›Â˜ ÂðÈÛÙËÌÔÓÈÎ‹˜ Ê·ÓÙ·Û›·˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· ÌÂ ÙËÓ ðÚÔÊËÙÈÎ‹ ·ðÂÈÎfiÓÈÛË ÙÔ˘ §Ô˜ ÕÓÙ˙ÂÏÂ˜ ÙÔ 2019. ∏ „˘¯Â‰ÂÏÈÎ‹ ·ÙÌfiÛÊ·ÈÚ·,
ÔÈ Ï·ÎˆÓÈÎÔ› ‰È¿ÏÔÁÔÈ Î·È ÔÈ ·Ó·ÙÚÔð¤˜ ÙË˜ Ù·ÈÓ›·˜, Ù· ÛÎËÓÈÎ¿, Ô ÊˆÙÈÛÌfi˜, ÔÈ ¯·Ú·ÎÙ‹ÚÂ˜ «ÓÙ‡ÓÔÓÙ·È» ÂðÈ‰¤ÍÈ· ·ðfi ÙË
˘ðÔ‚ÏËÙÈÎ‹ ÌÔ˘ÛÈÎ‹ ÙÔ˘ µ·ÁÁ¤ÏË ¶·ð·ı·Ó·Û›Ô˘, ðÔ˘ ¤‚·ÏÂ
ÙÔ ÙÂÏÂ˘Ù·›Ô ÎÔÌÌ¿ÙÈ ÛÙÔ ð·˙Ï ÂÓfi˜ cult ·ÚÈÛÙÔ˘ÚÁ‹Ì·ÙÔ˜. √
ƒ›ÓÙÏÂ˚ ™ÎÔÙ ¤¯ÂÈ ·Ó·Ê¤ÚÂÈ ¯·Ú·ÎÙËÚÈÛÙÈÎ¿: «ªÈ· ·ðfi ÙÈ˜ ðÈÔ
ÍÂ¯ˆÚÈÛÙ¤˜ ÂÌðÂÈÚ›Â˜ ÙË˜ Î·ÚÈ¤Ú·˜ ÌÔ˘ ˆ˜ ÛÎËÓÔı¤ÙË ‹Ù·Ó Ë
‰Ô˘ÏÂÈ¿ ð¿Óˆ ÛÙË ÌÔ˘ÛÈÎ‹ ÙÔ˘ «Blade Runner» Ì·˙› ÌÂ ÙÔ
µ·ÁÁ¤ÏË ¶·ð·ı·Ó·Û›Ô˘, ÛÙÔ ÛÙÔ‡ÓÙÈfi ÙÔ˘ ÛÙÔ §ÔÓ‰›ÓÔ.
Œð·È˙Â ·Û¯ËÌ¿ÙÈÛÙ· ·ÎfiÌË ÎÔÌÌ¿ÙÈ· ·ðfi ÛÎËÓ¤˜ ÙÔ˘ ÊÈÏÌ,
ÂÌÌ¤ÓÔÓÙ·˜ ÛÙËÓ ð·Ú·ÌÈÎÚ‹ ÏÂðÙÔÌ¤ÚÂÈ· Î·È ·È¯Ì·ÏˆÙ›˙Ô-
the Smithsonian Astrophysics Planetarium in the
United States.
“Subjectively, the Creator might be many things.
Objectively, he is the one who brings the Universe
within human’s reach”
By using orchestral music exclusively, he has
achieved not only to refurbish his electronic
inspirations, but also to introduce the orchestra in
his music language.
The peak of this maturation process was his music
composition “Mythodea”, a choral symphony
which was used by NASA in the expedition of the
spaceship “Mars Odyssey 2001” in the planet Mars.
In June 2001, a majestic concert was organized in
the sanctuary of the Olympian Zeus, with the
participation of the Greek National Opera and the
London Metropolitan Orchestra, which was named
“Mythodea” and was simultaneously transmitted to
the planet Mars through the spaceship!
Vangelis is in a continuous creative quest, an
innovative artistic personality dedicated to music
and painting since he was a little child. However, it
was in 2003 when his work was exhibited for the
first time, after his permission. Perhaps because, as
he had stated, “often, after I create something, I will
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Vangelis
ÓÙ·˜ ÙËÓ Î¿ıÂ ÛÙÈÁÌ‹ ÌÂ ·ð·Ú¿ÌÈÏÏË ÔÌÔÚÊÈ¿… ∆Ô ÙÂÏÈÎfi ·ðÔÙ¤ÏÂÛÌ· Ì¿˜ ð‹ÁÂ ðÔÏ‡ ðÈÔ ð¤Ú· ·ðfi ÙÈ˜ ðÚÔÛ‰ÔÎ›Â˜ ÌÔ˘».
∂
Œ¯ÂÈ Û˘ÓÂÚÁ·ÛÙÂ› Î·È ÌÂ ¿ÏÏÔ˘˜ ÛðÔ˘‰·›Ô˘˜
ÛÎËÓÔı¤ÙÂ˜ ÙÔ˘ ð·ÁÎfiÛÌÈÔ˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎÔ‡ ‚ÂÏËÓÂÎÔ‡˜ fiðˆ˜ ÌÂ ÙÔ ƒÔÌ¿Ó ¶ÔÏ¿ÓÛÎÈ
ÛÙ· ª·‡Ú· ºÂÁÁ¿ÚÈ· ÙÔ˘ ŒÚˆÙ·, ÌÂ ÙÔÓ
∫ÒÛÙ· °·‚Ú¿ ÛÙÔÓ ∞ÁÓÔÔ‡ÌÂÓÔ, ÌÂ ÙÔÓ
ŸÏÈ‚ÂÚ ™ÙfiÔ˘Ó ÛÙËÓ Ù·ÈÓ›· ∞Ï¤Í·Ó‰ÚÔ˜, ÌÂ ÙÔ
°È¿ÓÓË ™Ì·Ú·Á‰‹ ÛÙÈ˜ Ù·ÈÓ›Â˜ «∫·‚¿ÊË˜» Î·È
«El Greco».
√È Ë¯ÔÁÚ·Ê‹ÛÂÈ˜ ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1990, ı·
·ðÔÎÙ‹ÛÔ˘Ó Î˘Ú›ˆ˜ ÂÏÏËÓÈÎ‹ ıÂÌ·ÙÔÏÔÁ›· (El
Greco, ª˘ıˆ‰›·), ÂÓÒ ÂÍ·ÎÔÏÔ‡ıËÛÂ Ó· ‰ÈÂ˘Ú‡ÓÂÈ ÙÔ˘˜ ÔÚ›˙ÔÓÙÂ˜ ÙË˜ ËÏÂÎÙÚÔÓÈÎ‹˜ ÌÔ˘ÛÈÎ‹˜ ÛÂ Û˘Ó‰˘·ÛÌfi ÌÂ ÙËÓ ·ÎÔ˘ÛÙÈÎ‹ Û˘ÌÊˆÓÈÎ‹ ÌÔ˘ÛÈÎ‹. °È· ÙËÓ ·Á¿ðË ÙÔ˘ ÛÙÔ Û‡Ìð·Ó Î·È
ÙË ‚·ıÈ¿ ÁÓÒÛË ÙË˜ ·ðÂÈÚÔÂÏ¿¯ÈÛÙË˜ ÛËÌ·Û›·˜
ÙÔ˘ ·ÓıÚÒðÔ˘ Ì¤Û· ÛÂ ·˘Ùfi ı· ·ðÔ‰ÔıÂ› ÙÈÌËÙÈÎ¿ ÙÔ fiÓÔÌ· Vangelis ÛÙÔÓ ·ÛÙÂÚÔÂÈ‰‹ «6354» ÙÔ 1995
·ðfi ÙÔ Minor Planet Center ÙË˜ ¢ÈÂıÓÔ‡˜ ∞ÛÙÚÔÓÔÌÈÎ‹˜
ŒÓˆÛË˜, ÛÙÔ ∞ÛÙÚÔÊ˘ÛÈÎfi ∞ÛÙÂÚÔÛÎÔðÂ›Ô Smithsonian
ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ¶ÔÏÈÙÂÈÒÓ.
«ÀðÔÎÂÈÌÂÓÈÎ¿, Ô ‰ËÌÈÔ˘ÚÁfi˜ ÌðÔÚÂ› Ó· Â›Ó·È ðÔÏÏ¿
ðÚ¿ÁÌ·Ù·. ∞ÓÙÈÎÂÈÌÂÓÈÎ¿, Â›Ó·È ·˘Ùfi˜ ðÔ˘ ÌÂÙ·Ê¤ÚÂÈ
ÛÙÔ˘˜ ·ÓıÚÒðÔ˘˜ ÙË ÌÔÚÊ‹ ÙÔ˘ ™‡Ìð·ÓÙÔ˜».
014
∞ðfi ÙËÓ ·ðÔÎÏÂÈÛÙÈÎ‹ ¯Ú‹ÛË ÔÚ¯ËÛÙÚÈÎ‹˜ ÌÔ˘ÛÈÎ‹˜, fi¯È
ÌfiÓÔ ·Ó·Ó¤ˆÛÂ ÙÈ˜ ËÏÂÎÙÚÔÓÈÎ¤˜ ÙÔ˘ ÂÌðÓÂ‡ÛÂÈ˜, ·ÏÏ¿
ÂðÈðÏ¤ÔÓ ÂÈÛ‹Á·ÁÂ Î·È ÙËÓ ÔÚ¯‹ÛÙÚ· ÛÙÔ ÌÔ˘ÛÈÎfi ÙÔ˘
ÏfiÁÔ. ∞ðÔÎÔÚ‡ÊˆÌ· ·˘Ù‹˜ ÙË˜ ‰È·‰ÈÎ·Û›·˜ ˆÚ›Ì·ÓÛË˜
ÙÔ˘ Û˘Óı¤ÙË ‹Ù·Ó Ë «ª˘ıˆ‰›·» (Mythodea), ÌÈ· ¯ÔÚˆ-
™‹ÌÂÚ· fiÏÔ Î·È ðÂÚÈÛÛfiÙÂÚÔ ÂÌðÈÛÙÂ˘fiÌ·ÛÙÂ ÙÔ˘˜ ˘ðÔÏÔÁÈÛÙ¤˜ ÓÔÌ›˙ÔÓÙ·˜ fiÙÈ ÏÂÈÙÔ˘ÚÁÔ‡ÌÂ ¤ÙÛÈ ÌÂ ÌÂÁ¿ÏÂ˜ Ù·¯‡ÙËÙÂ˜ Î·È
fiÙÈ Â›Ó·È Ë Ï‡ÛË ÁÈ· Ù· ð¿ÓÙ·. ªÂ Ù¤ÙÔÈ·
ÂÍ¿ÚÙËÛË, ðÔ˘ fiÏÔ Î·È ðÂÚÈÛÛfiÙÂÚÔ ÌÂÁ·ÏÒÓÂÈ, ÂÈ‰ÈÎfiÙÂÚ· ÛÙÈ˜ ÓÂfiÙÂÚÂ˜ ËÏÈÎ›Â˜,
Ê·ÓÙ·ÛÙÂ›ÙÂ ÌÈ· ‰È·ÎÔð‹ ÚÂ‡Ì·ÙÔ˜ ÙÈ
ðÓÂ˘Ì·ÙÈÎ‹ ð·Ú¿Ï˘ÛË ‰ËÌÈÔ˘ÚÁÂ›.
walk away, I will leave it and I will never look back,
sometimes for months, in order to avoid emotional
attachment”.
His first exhibition was realized in Valencia, Spain a
project, which due to its success, led to a series of
exhibitions in some of the top art museums in the world
He was awarded an Honorary Doctorate Degree by the
University of Athens for his outstanding contribution to
the general education of Greeks and for the promotion of
Hellenism internationally. Moreover, on the 22nd of
May, he was awarded an Honorary Doctorate Degree in
the Department of Physics by the University of Patras
and he became an Honorary Citizen of the city of Patras.
Finally, in 1992 he received two of the highest honors of
the French Republic: the title of the “Knight of the Order
of Arts and Letters” and the title of the “Knight of the
Legion of Honor” for his contribution in the European
cultural heritage, and for supporting the preservation of
cultural differences. How is it possible, after receiving so
many distinctions, to protect yourself from arrogance?
The answer of the artist is laconic: “By marching through
the multidimensional path of music” ….
For this great artist, music is holy, primeval power of the
Universe. Its purpose is to elevate, to inspire, to refine
and to “cure” the human. This is also the mission of
Vangelis and his desire: to awaken this place called
memory in all of us.
“… and every time I remember, I discover and reveal
something new…”
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‰È·Î‹ Û˘ÌÊˆÓ›·, Ë ÔðÔ›· ¯ÚËÛÈÌÔðÔÈ‹ıËÎÂ ·ðfi ÙË NASA ÛÙËÓ Î·Ìð¿ÓÈ· ÙË˜ ·ðÔÛÙÔÏ‹˜ ÙÔ˘ ‰È·ÛÙËÌfiðÏÔÈÔ˘ “Mars Odyssey 2001” ÛÙÔÓ ÕÚË. ∆ÔÓ πÔ‡ÓÈÔ Ì¿ÏÈÛÙ· ÙÔ˘ 2001 ¤ÁÈÓÂ ÌÂÁ·ÏÔðÚÂð‹˜
Û˘Ó·˘Ï›· ÛÙÔ πÂÚfi ÙÔ˘ ÙÔ˘ √Ï˘Ìð›Ô˘ ¢Èfi˜, ÌÂ ÙË Û˘ÌÌÂÙÔ¯‹ ÙË˜ ∂ıÓÈÎ‹˜ §˘ÚÈÎ‹˜ ™ÎËÓ‹˜ Î·È ÙË˜
London Metropolitan Orchestra, ÙËÓ ÔðÔ›· ÔÓfiÌ·Û·Ó «ª˘ıˆ‰›·» Î·È ·Ó·ÌÂÙ·‰È‰fiÙ·Ó Ù·˘Ùfi¯ÚÔÓ·
Î·È ÛÙÔÓ ÕÚË Ì¤Ûˆ ÙÔ˘ ‰È·ÛÙËÌfiðÏÔÈÔ˘!
√ µ·ÁÁ¤ÏË˜ ¶·ð·ı·Ó·Û›Ô˘ Â›Ó·È ÛÂ Û˘ÓÂ¯‹ ‰ËÌÈÔ˘ÚÁÈÎ‹ ·Ó·˙‹ÙËÛË, ÌÈ· ðÔÏ˘Ì‹¯·ÓË Î·ÏÏÈÙÂ¯ÓÈÎ‹
Ê˘ÛÈÔÁÓˆÌ›·, ðÔ˘ ·ðfi ÌÈÎÚfi ð·È‰› ‰Â›¯ÓÂÈ ·ÊÔÛ›ˆÛË Î·È ÛÙË ÌÔ˘ÛÈÎ‹ Î·È ÛÙË ˙ˆÁÚ·ÊÈÎ‹. øÛÙfiÛÔ,
ÌfiÏÈ˜ ÙÔ 2003 ¤‰ˆÛÂ ÙË Û˘ÁÎ·Ù¿ıÂÛ‹ ÙÔ˘ Ó· ÂÎÙÂıÔ‡Ó ÛÙÔ ÎÔÈÓfi ÔÚÈÛÌ¤Ó· ·ðfi Ù· ¤ÚÁ· ÙÔ˘. √ ›‰ÈÔ˜
¤¯ÂÈ ·Ó·Ê¤ÚÂÈ: «™˘¯Ó¿, ·ÊÔ‡ ‰ËÌÈÔ˘ÚÁ‹Ûˆ Î¿ÙÈ, ı· Ê‡Áˆ, ı· ÙÔ ·Ê‹Ûˆ Î·È ‰Â ı· Á˘Ú›Ûˆ Ó· ÙÔ
Í·Ó·ÎÔÈÙ¿Íˆ, Î¿ðÔÈÂ˜ ÊÔÚ¤˜ ÁÈ· Ì‹ÓÂ˜, ÁÈ· Ó· ·ðÔÊ‡Áˆ Î¿ıÂ Û˘Ó·ÈÛıËÌ·ÙÈÎ‹ ÂÌðÏÔÎ‹».
∏ ðÚÒÙË ¤ÎıÂÛË ðÚ·ÁÌ·ÙÔðÔÈ‹ıËÎÂ ÛÙË µ·Ï¤ÓıÈ· ÙË˜ πÛð·Ó›·˜ Î·È ÔÈ ÎÚÈÙÈÎÔ› ˘ðÔ‰¤¯ÙËÎ·Ó ÙË
˙ˆÁÚ·ÊÈÎ‹ ÙÔ˘ ÌÂ ÂÎıÂÈ·ÛÙÈÎ¿ ÏfiÁÈ·: «√ µ·ÁÁ¤ÏË˜ ¶·ð·ı·Û›Ô˘ ¯ÚËÛÈÌÔðÔÈÂ› ðÚˆÙÔðÔÚÈ·Î¤˜
ÙÂ¯ÓÈÎ¤˜ ðÔ˘ ÂÍ¿ðÙÔ˘Ó ÙË Ê·ÓÙ·Û›· Î·È ðÔÏÏ¤˜ ÊÔÚ¤˜ Ù· ¯ÚÒÌ·Ù¿ ÙÔ˘ ·Ó·‰ÂÈÎÓ‡ÔÓÙ·È ÌÂ ¤Ó·Ó
ÌÔÓ·‰ÈÎfi ÙÚfiðÔ». ∞ðfi ÙÔ 2003 Ì¤¯ÚÈ Û‹ÌÂÚ·, ‰¤Î· ÌÂÁ¿ÏÂ˜ ÂÎı¤ÛÂÈ˜ ÙˆÓ ¤ÚÁˆÓ ÙÔ˘ ¤¯Ô˘Ó ÔÚÁ·ÓˆıÂ› ÛÂ ÎÔÚ˘Ê·›· ÌÔ˘ÛÂ›· Ù¤¯ÓË˜ ·Ó¿ ÙÔÓ ÎfiÛÌÔ».
∆Ô ∂ıÓÈÎfi Î·È ∫·ðÔ‰ÈÛÙÚÈ·Îfi ¶·ÓÂðÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ ÙÔÓ ·Ó·ÁfiÚÂ˘ÛÂ ∂ð›ÙÈÌÔ ¢È‰¿ÎÙÔÚ· ÁÈ· ÙËÓ
ÂÍ·ÈÚÂÙÈÎ‹ ðÚÔÛÊÔÚ¿ ÙÔ˘ ÛÙËÓ ÁÂÓÈÎ‹ ð·È‰Â›· ÙˆÓ ∂ÏÏ‹ÓˆÓ Î·È ÙËÓ ðÚÔ‚ÔÏ‹ ÙÔ˘ ∂ÏÏËÓÈÛÌÔ‡ ‰ÈÂıÓÒ˜. ∆ËÓ 22· ª·˚Ô˘ Ì¿ÏÈÛÙ· ·Ó·ÎËÚ‡¯ÙËÎÂ ∂ð›ÙÈÌÔ˜ ¢È‰¿ÎÙˆÚ ÙË˜ º˘ÛÈÎ‹˜ ÙÔ˘ ¶·ÓÂðÈÛÙËÌ›Ô˘
ÙˆÓ ¶·ÙÚÒÓ Î·È Âð›ÙÈÌÔ˜ ¢ËÌfiÙË˜ ¶·ÙÚ·›ˆÓ. ∂ð›ÛË˜, ÙÔ˘ ¤¯Ô˘Ó ·ðÔÓÂÌËıÂ› ‰‡Ô ‡„ÈÛÙÔÈ Ù›ÙÏÔÈ
·ðfi ÙËÓ °·ÏÏÈÎ‹ ¢ËÌÔÎÚ·Ù›·: Ô Ù›ÙÏÔ˜ ÙÔ˘ πððfiÙË ÙÔ˘ ∆¿ÁÌ·ÙÔ˜ ÙˆÓ ∆Â¯ÓÒÓ Î·È ÙˆÓ °Ú·ÌÌ¿ÙˆÓ
Î·È Ô Ù›ÙÏÔ˜ ÙÔ˘ πððfiÙË ÙË˜ §ÂÁÂÒÓ·˜ ÙË˜ ∆ÈÌ‹˜ ÁÈ· ÙË Û˘ÓÂÈÛÊÔÚ¿ ÙÔ˘ ÛÙÔÓ ∂˘Úˆð·˚Îfi ðÔÏÈÙÈÛÌfi
Î·È ÙË ‰È·Ù‹ÚËÛË ÙË˜ ‰È·ÊÔÚÂÙÈÎfiÙËÙ·˜ ÙˆÓ ðÔÏÈÙÈÛÌÒÓ. ¶Ò˜ ÌðÔÚÂ›˜ ÌÂÙ¿ ·ðfi ÙfiÛÂ˜ ‰È·ÎÚ›ÛÂÈ˜
Ó· ðÚÔÊ˘Ï·¯ÙÂ›˜ ·ðfi ÙËÓ ¤ð·ÚÛË; ∏ ·ð¿ÓÙËÛË ÙÔ˘ Î·ÏÏÈÙ¤¯ÓË Â›Ó·È Ï·ÎˆÓÈÎ‹: «ŸÙ·Ó ðÔÚÂ‡ÂÛ·È
Ì¤Û· ·ðfi ÙËÓ ðÔÏ˘‰È¿ÛÙ·ÙË È‰ÈfiÙËÙ· ÙË˜ ÌÔ˘ÛÈÎ‹˜»...
°È· ÙÔ ÌÂÁ¿ÏÔ ·˘Ùfi ‰ËÌÈÔ˘ÚÁfi, Ë ÌÔ˘ÛÈÎ‹ Î·È Ë ˙ˆÁÚ·ÊÈÎ‹ Â›Ó·È ÈÂÚ¤˜, ‚·ÛÈÎ¤˜ ‰˘Ó¿ÌÂÈ˜ ÙÔ˘ Û‡Ìð·ÓÙÔ˜. ™ÎÔðfi˜ ÙÔ˘˜ Â›Ó·È Ó· ·Ó˘„ÒÓÔ˘Ó, Ó· ÂÌðÓ¤Ô˘Ó, Ó· ÂÍÂ˘ÁÂÓ›˙Ô˘Ó Î·È Ó· «ıÂÚ·ðÂ‡Ô˘Ó» ÙÔÓ
¿ÓıÚˆðÔ. ∞˘Ù‹ Â›Ó·È Ë ·ðÔÛÙÔÏ‹ ÙÔ˘ µ·ÁÁ¤ÏË ¶·ð·ı·Ó·Û›Ô˘, ·˘Ù‹ Î·È Ë ÂðÈı˘Ì›· ÙÔ˘: Ó· Í˘ðÓ‹ÛÂÈ ›Ûˆ˜ Ì¤Û· ÛÂ fiÏÔ˘˜ Ì·˜ ·˘Ùfi ÙÔ Ì¤ÚÔ˜ ðÔ˘ Ï¤ÁÂÙ·È ÌÓ‹ÌË.
«… Î·È Î¿ıÂ ÊÔÚ¿ ðÔ˘ ı˘Ì¿Ì·È, ·Ó·Î·Ï‡ðÙˆ Î·È ·ðÔÎ·Ï‡ðÙˆ Î¿ÙÈ ‰È·ÊÔÚÂÙÈÎfi…»
MINOAN WAVE
ñ
Nowadays, we trust
computers more and
more, believing that
in this way we
function faster and
that we can find
solutions to
everything. With
such a dependence,
which only keeps
growing, especially
in the younger ages,
imagine what a mess
will create an electric
black out
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018
§Â˘Î¿‰· / Lefkada
∆Ô ÛÙÂÚÈ·Ófi ÓËÛ›
The mainland island
∆Ô ¶fiÚÙÔ ∫·ÙÛ›ÎÈ, ¤Ó· ı·‡Ì· ÙË˜ Ê‡ÛË˜ ðÔ˘ Û˘ÁÎ·Ù·Ï¤ÁÂÙ·È ·Ó¿ÌÂÛ· ÛÙÈ˜ ˆÚ·ÈfiÙÂÚÂ˜ ð·Ú·Ï›Â˜ ÙË˜ ∂ÏÏ¿‰·˜.
Porto Katsiki, a natural beauty, considered to be one of the most wonderful beaches of Greece.
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∂›Ó·È ÙÔ ÓËÛ› ÌÂ ÙËÓ Â˘ÎÔÏfiÙÂÚË ðÚfiÛ‚·ÛË ·ðã
fiÏ· fiÛ· ‚Ú›ÛÎÔÓÙ·È ÛÙÈ˜ ÂÏÏËÓÈÎ¤˜ ı¿Ï·ÛÛÂ˜.
∞ÚÎÂ› ÙÔ ·˘ÙÔÎ›ÓËÙÔ ÁÈ· Ó· ÊÙ¿ÛÂÈ Î¿ðÔÈÔ˜ ÂÎÂ›!
∫È ·˘Ùfi, ÂðÂÈ‰‹ ·ð¤¯ÂÈ ·ðfi ÙËÓ ·ð¤Ó·ÓÙÈ ·ÎÙ‹
ÙË˜ ™ÙÂÚÂ¿˜ ∂ÏÏ¿‰·˜ ÌfiÏÈ˜ 50 Ì¤ÙÚ· (!) Î·È Û˘Ó‰¤ÂÙ·È Ì·˙› ÙË˜ Ì¤Ûˆ ÎÈÓËÙ‹˜ Á¤Ê˘Ú·˜, ‰›ÓÔÓÙ·˜
ÙËÓ ÂÓÙ‡ðˆÛË ðˆ˜ ·ðÔÙÂÏÂ› ÌÈ· ·ðÏ‹ ¯ÂÚÛfiÓËÛÔ.
ªfiÏÈ˜, ˆÛÙfiÛÔ, Ô ÂðÈÛÎ¤ðÙË˜ ‰È·Û¯›ÛÂÈ ÙÔ ÌÈÎÚfi
‰›·˘ÏÔ ı· ÓÈÒÛÂÈ Û¯Â‰fiÓ ·Î·ÚÈ·›· Ó· Î·Ù·ÎÏ‡˙ÂÙ·È ·ðfi ÙËÓ «·‡Ú·» ÂÓfi˜ ·ðfi Ù· ÁÔËÙÂ˘ÙÈÎfiÙÂÚ· ÓËÛÈ¿ ÙˆÓ ∂ðÙ·Ó‹ÛˆÓ Î·È ÙÔ˘ πÔÓ›Ô˘ ðÂÏ¿ÁÔ˘˜ Î·È ı· ·Ó·ÏÔÁÈÛÙÂ› ·˘Ùfi ðÔ˘ ð·ÏÈfiÙÂÚ·
Â›¯Â ÁÚ¿„ÂÈ Ë Û˘ÁÁÚ·Ê¤·˜ °·Ï¿ÙÂÈ·
∫·˙·ÓÙ˙¿ÎË:
«… ¡¿Ù·Ó Î¿ıÂ ÓËÛ› Î·È ÌÈ· §Â˘Î¿‰·...».
Lefkada is the only island in Greece accessible
by car. It is situated across the west coast of
Central Greece, just 50 meters away from it!
πt is connected to the mainland by a floating
bridge. At first sight, the island looks more
like a peninsula; however, as soon as you cross
the bridge you will immediately feel the aura
of one of the most picturesque islands of the
Ionian Sea and you will reflect on the words
that the writer Galatia Kazantzaki once wrote:
“...if only every island was like Lefkada...”.
ÎÂ›ÌÂÓÔ °È¿ÓÓË˜ ƒ¿ÁÎÔ˜
ÊˆÙÔÁÚ·Ê›Â˜ ™ð‡ÚÔ˜ ∫·Ùˆðfi‰Ë˜ (View Photo Agency)
Written by Giannis Ragkos
Photos Spyros Katopodis (View Photo Agency)
MINOAN WAVE
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H
020
∏ §Â˘Î¿‰· (ÌÂ ¤ÎÙ·ÛË 303 Ù. ¯ÏÌ. Î·È
·ÎÙÔÁÚ·ÌÌ‹ 117 ¯ÏÌ.) ·ðÔÙÂÏÔ‡ÛÂ ðÚ¿ÁÌ·ÙÈ Û˘Ó¤¯ÂÈ· ÙË˜ ÛÙÂÚÂÔÂÏÏ·‰›ÙÈÎË˜
·ÎÙ‹˜ ˆ˜ ÙÔÓ 7Ô ·È. ð. Ã. fiÙ·Ó Û‡ÌÊˆÓ·
ÌÂ ÙËÓ ð·Ú¿‰ÔÛË ∫ÔÚ›ÓıÈÔÈ ¿ðÔÈÎÔÈ, ðÔ˘
ÂÁÎ·Ù·ÛÙ¿ıËÎ·Ó ÂÎÂ›, ¤ÎÔ„·Ó ÙÔÓ ÈÛıÌfi
Î·È ÙËÓ ÌÂÙ¤ÙÚÂ„·Ó ÛÂ ÓËÛ›! ™‹ÌÂÚ·, Ë
Á¤Ê˘Ú· Ô‰ËÁÂ› ÙÔÓ ÂðÈÛÎ¤ðÙË ÛÙËÓ ÔÌÒÓ˘ÌË ðÚˆÙÂ‡Ô˘Û· ÙÔ˘ ÓËÛÈÔ‡, ÌÈ· fiÌÔÚÊË ÂðÙ·ÓËÛÈ·Î‹ ðfiÏË (ÙˆÓ ðÂÚ›ðÔ˘
8.000 Î·ÙÔ›ÎˆÓ) ÌÂ ¤ÓÙÔÓË ÁÚ·ÊÈÎfiÙËÙ·
ðÔ˘ ÙË˜ ðÚÔÛ‰›‰Ô˘Ó Ù· ðÔÏ‡¯ÚˆÌ· Ûð›ÙÈ· ÌÂ ÙÈ˜ ÎÂÚ·ÌÈ‰¤ÓÈÂ˜ ÛÙ¤ÁÂ˜ Î·È ÙËÓ
È‰ÈfiÌÔÚÊË ·Ú¯ÈÙÂÎÙÔÓÈÎ‹, Ù· ÛÙÂÓ¿
ÛÔÎ¿ÎÈ·, ÔÈ Â˘Ú‡¯ˆÚÂ˜ ðÏ·ÙÂ›Â˜ ÁÂÌ¿ÙÂ˜
ÌÂ fiÌÔÚÊ· Î·Ê¤ Î·È Ù·‚¤ÚÓÂ˜, Ô ð·Ú·ÏÈ·Îfi˜ ðÂ˙fi‰ÚÔÌÔ˜
ðÔ˘ ÛÊ‡˙ÂÈ ·ðfi ˙ˆ‹, Ô ÎÂÓÙÚÈÎfi˜ ÂÌðÔÚÈÎfi˜ ‰ÚfiÌÔ˜
(Ô‰fi˜ ªÂÏ¿) Î·È Ô ·ÈˆÓfi‚ÈÔ˜ ÂÏ·ÈÒÓ·˜ ðÔ˘ ÙËÓ ðÂÚÈ‚¿ÏÏÂÈ Î·È ¤¯ÂÈ ÎËÚ˘¯ıÂ› ˆ˜ ÙÔð›Ô È‰È·›ÙÂÚÔ˘ Ê˘ÛÈÎÔ‡ Î¿ÏÏÔ˘˜. ∏ ðfiÏË ‰È·ı¤ÙÂÈ ÛËÌ·ÓÙÈÎ¿ ıÚËÛÎÂ˘ÙÈÎ¿ ÌÓËÌÂ›·
(ÙÈ˜ ÂÎÎÏËÛ›Â˜ ÙÔ˘ ∞Á›Ô˘ ªËÓ¿, ÙÔ˘ ∞Á›Ô˘ ¡ÈÎÔÏ¿Ô˘, ÙÔ˘
ÃÚÈÛÙÔ‡ ¶·ÓÙÔÎÚ¿ÙÔÚ· Î.¿, fiÏÂ˜ ÙÔ˘ 16Ô˘ Î·È 17Ô˘
·ÈÒÓ·), ¤Ó· È‰È·›ÙÂÚ· ÂÓ‰È·Ê¤ÚÔÓ ∞Ú¯·ÈÔÏÔÁÈÎfi
ªÔ˘ÛÂ›Ô Î·È ÙÔ ªÔ˘ÛÂ›Ô ºˆÓÔÁÚ¿ÊˆÓ-¶·ÏÈÒÓ
∂Óı˘ÌËÌ¿ÙˆÓ, ðÔ˘ ÊÈÏÔÍÂÓÂ› ÊˆÓÔÁÚ¿ÊÔ˘˜-·ÓÙ›ÎÂ˜, ‰È·ÎÔÛÌËÙÈÎ¿ ·ÓÙÈÎÂ›ÌÂÓ·, ð·ÏÈ¿ ¯·ÚÙÔÓÔÌ›ÛÌ·Ù· Î.¿.
ŸÌˆ˜, ÙÔ ÛËÌ·ÓÙÈÎfiÙÂÚÔ ÌÓËÌÂ›Ô ÙË˜ Â›Ó·È ÙÔ Î¿ÛÙÚÔ ÙË˜
∞Á›·˜ ª·‡Ú·˜, ðÔ˘ ÎÙ›ÛÙËÎÂ ÙÔ 1300 ·ðfi ÙÔÓ ™ÈÎÂÏfi ∆˙.
√ÚÛ›ÓÈ ÛÂ ÓËÛ›‰· Ì¤Û· ÛÙË ÏÈÌÓÔı¿Ï·ÛÛ· (ðÔ˘ ·ðÔÙÂÏÂ›
ÛËÌ·ÓÙÈÎfi ˘ÁÚÔ‚ÈfiÙÔðÔ) Î·È ‰¤¯ÙËÎÂ ÌÂÙ·ÁÂÓ¤ÛÙÂÚÂ˜
ðÚÔÛı‹ÎÂ˜ ·ðfi ÙÔ˘˜ ∆Ô‡ÚÎÔ˘˜ Î·È ÙÔ˘˜ ∂ÓÂÙÔ‡˜. ∫ÔÓÙ¿
ÛÙËÓ ðfiÏË ‚Ú›ÛÎÂÙ·È Ë ªÔÓ‹ ÙË˜ ¶·Ó·Á›·˜ º·ÓÂÚˆÌ¤ÓË˜
(1634), Ô ÛðÔ˘‰·ÈfiÙÂÚÔ˜ ÙfiðÔ˜ ðÚÔÛÎ˘Ó‹Ì·ÙÔ˜ ÙÔ˘ ÓËÛÈÔ‡, Ë ªÔÓ‹ ÙË˜ £ÂÔÙfiÎÔ˘ √‰ËÁ‹ÙÚÈ·˜ (1450) ðÔ˘ Â›Ó·È Ë
ð·ÏÈfiÙÂÚË ÙÔ˘ ÓËÛÈÔ‡ Î·È Ë ÂÎÎÏËÛ›· ÙÔ˘ ÕË °È¿ÓÓË
∞ÓÙ˙Ô‡ÛË, fiðÔ˘ Û‡ÌÊˆÓ· ÌÂ ÙËÓ ð·Ú¿‰ÔÛË Î‹Ú˘ÍÂ ÙÔÓ
¯ÚÈÛÙÈ·ÓÈÛÌfi Ô ∞ðfiÛÙÔÏÔ˜ ¶·‡ÏÔ˜. °È· ÎÔÏ‡ÌðÈ ÂÓ‰Â›ÎÓ˘ÓÙ·È ÔÈ ÂÍ·ÈÚÂÙÈÎ¤˜ ð·Ú·Ï›Â˜ ÙË˜ °‡Ú·˜ Î·È ÙÔ˘ ∞Á›Ô˘
¶Â‡Î· Î·È ÂÏÈ¤˜ “·ÁÁ›˙Ô˘Ó” ÙËÓ ·ÏÌ‡Ú· ÙË˜ ı¿Ï·ÛÛ·˜ ÛÂ ðÔÏÏ¿ ÛËÌÂ›· ÙË˜ §Â˘Î¿‰·˜.
Pines and olive trees “touch” the sea in many parts of Lefkada.
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√ ÎfiÏðÔ˜ ÙÔ˘ µÏ˘¯Ô‡ ÌÂ
ÙÔ ÎÔÛÌÔðÔÏ›ÙÈÎÔ ¡˘‰Ú›
ÛÙËÓ «Â›ÛÔ‰fi» ÙÔ˘. ∞ðfi
Ù· ÔÌÔÚÊfiÙÂÚ· «Î·ÚÙðÔÛÙ¿Ï» ÙÔ˘ πÔÓ›Ô˘ ðÂÏ¿ÁÔ˘˜.
The bay of Vlychos and
the cosmopolitan Nydri in
its “entrance”. One of the
most beautiful “cardpostal” images of the
Ionian Sea.
πˆ¿ÓÓË, ÂÓÒ fiÛÔÈ ‰È·ı¤ÙÔ˘Ó ÛÎ¿ÊÔ˜ ÌðÔÚÔ‡Ó Ó· «‰¤ÛÔ˘Ó» ÛÙËÓ Ì·Ú›Ó· ÙË˜ ðfiÏË˜, Ì›·
·ðfi ÙÈ˜ ðÏ¤ÔÓ Û‡Á¯ÚÔÓÂ˜ ÙË˜ ªÂÛÔÁÂ›Ô˘ ÌÂ 500 ı¤ÛÂÈ˜ ÂÏÏÈÌÂÓÈÛÌÔ‡.
¶·›ÚÓÔÓÙ·˜ ÙÔÓ ‰ÚfiÌÔ ðÔ˘ Ô‰ËÁÂ› ·ðfi ÙËÓ ðfiÏË, ðÚÔ˜ ÙÈ˜ ·Ó·ÙÔÏÈÎ¤˜ Î·È ÓfiÙÈÂ˜ ·ÎÙ¤˜
ÙÔ˘ ÓËÛÈÔ‡, Ô ÂðÈÛÎ¤ðÙË˜ ðÂÚÓ¿ ·ðfi ÙÔ ¯ˆÚÈfi ∫·ÏÏÈÁfiÓÈ, ÎÔÓÙ¿ ÛÙÔ ÔðÔ›Ô ·Ó·ÛÎ¿ÊËÎ·Ó Ù· ÂÚÂ›ðÈ· ÙË˜ ·Ú¯·›·˜ ¡ËÚ›ÎÔ˘ ‹ §Â˘Î¿‰·˜ (2Ë ¯ÈÏÈÂÙ›· ð. Ã.), ·ðfi ÙÈ˜ ÌÂÁ·Ï‡ÙÂÚÂ˜ ÛÂ ÂðÈÊ¿ÓÂÈ· ðfiÏÂÈ˜ ÙË˜ ·Ú¯·›·˜ ∂ÏÏ¿‰·˜, ÙË §˘ÁÈ¿, ÛðÔ˘‰·›Ô ·ÏÈÂ˘ÙÈÎfi
Î¤ÓÙÚÔ ÙÔ˘ ÓËÛÈÔ‡, ÙË ¡ÈÎÈ¿Ó·, ‰ËÌÔÊÈÏ‹ ÙfiðÔ ‰È·ÎÔðÒÓ Î·È ÙÔÓ ð·Ú·ı·Ï¿ÛÛÈÔ ÔÈÎÈÛÌfi ¶ÂÚÈÁÈ¿ÏÏÈ, ˆ˜ ÙÔ ¡˘‰Ú›, ðÔÏ˘Û‡¯Ó·ÛÙÔ ı¤ÚÂÙÚÔ ÙË˜ §Â˘Î¿‰·˜ ÛÙËÓ «Â›ÛÔ‰Ô» ÙÔ˘
ð·Ó¤ÌÔÚÊÔ˘ ÎfiÏðÔ˘ ÙÔ˘ µÏ˘¯Ô‡. ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ·ðfi Ù· ðÈÔ ·ÓÂðÙ˘ÁÌ¤Ó· ÙÔ˘ÚÈÛÙÈÎÒ˜ ¯ˆÚÈ¿ ÙÔ˘ ÓËÛÈÔ‡, ÌÂ ˘ð¤ÚÔ¯Ë ı¿Ï·ÛÛ· Î·È ı·˘Ì¿ÛÈ· ı¤· ÛÙ· ÌÈÎÚ¿ ÓËÛÈ¿
(¶ÚÈÁÎËðÔÓ‹ÛÈ·) ðÔ˘ ‚Ú›ÛÎÔÓÙ·È ·ð¤Ó·ÓÙÈ: ÙË ™ð¿ÚÙË, ÙÔ ™ÎÔÚð›‰È, ÙË ª·‰Ô˘Ú‹, ÌÂ
ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘ ðÔÈËÙ‹ ∞Ú. µ·Ï·ˆÚ›ÙË, Î·È ÙÔ ıÚ˘ÏÈÎfi ™ÎÔÚðÈfi, ÙÔ È‰ÈˆÙÈÎfi ÓËÛ›
ÙÔ˘ ∞ÚÈÛÙÔÙ¤ÏË øÓ¿ÛË. ™‡ÌÊˆÓ· ÌÂ ÙÔÓ °ÂÚÌ·Ófi ·Ú¯·ÈÔÏfiÁÔ W. Dorpfeld, Ë ðÂÚÈÔ¯‹
Ù·˘Ù›˙ÂÙ·È ÌÂ ÙËÓ ÔÌËÚÈÎ‹ πı¿ÎË, Î·ıÒ˜ Â‰Ò ¤¯Ô˘Ó ÂÓÙÔðÈÛÙÂ› ÏÂ›„·Ó· ðÚÔ˚ÛÙÔÚÈÎ‹˜
ðfiÏË˜.
™ÙÔ ¡˘‰Ú› ‰ÈÔÚÁ·ÓÒÓÔÓÙ·È ·ÁÒÓÂ˜ ÙÔ˘ ð·ÁÎÔÛÌ›Ô˘ ðÚˆÙ·ıÏ‹Ì·ÙÔ˜ Ù·¯‡ðÏÔˆÓ ÛÎ·ÊÒÓ (formula jetski) Î·È ÍÂÎÈÓÔ‡Ó ı·Ï¿ÛÛÈÂ˜ ‰È·‰ÚÔÌ¤˜ ÁÈ· Ù· ¶ÚÈÁÎËðÔÓ‹ÛÈ·, ÙËÓ
πı¿ÎË, ÙËÓ ∫ÂÊ·ÏÔÓÈ¿, ÙË ™ÙÂÚÂ¿ ∂ÏÏ¿‰· Î·È ÙÔ ÁÂÈÙÔÓÈÎfi ªÂÁ·Ó‹ÛÈ, fiÌÔÚÊÔ ÓËÛ›
ðÔ˘ ðÚÔÛÊ¤ÚÂÙ·È ÁÈ· Á·Ï‹ÓÈÂ˜ ‰È·ÎÔð¤˜. ∫ÔÓÙ¿ ÛÙÔ ¡˘‰Ú›, Âð›ÛË˜, Î·È ÛÙÔ ‰ÚfiÌÔ ðÔ˘
L
Lefkada (covering an
area of 303 kmÇ with
a 117 km long
coastline)
was
actually attached to
the mainland of
Greece until the 7th
century B.C, when,
according
to
tradition,
the
Corinthian settlers
that weve established
there dug a trench on
its
isthmus.
Nowadays, the bridge leads visitors to the homonym capital
of the island, a beautiful Ionian city (with about 8.000
residents) characterised by its colorful houses, a unique
architecture style, narrow streets, squares filled with
picturesque cafeterias and taverns, the vibrant coastal
promenade, the central Melas street, and the centuries old
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022
∆Ô ·ÎÚˆÙ‹ÚÈÔ ÙË˜ §Â˘Î¿Ù·˜, ·ðfi Ù· ÂÓÙ˘ðˆÛÈ·ÎfiÙÂÚ· ÙÔð›· ÙÔ˘ ÓËÛÈÔ‡. ∏ ÙÂÏÂ˘Ù·›· ı¤· ðÔ˘ ·ÓÙ›ÎÚ˘ÛÂ Ë ðÔÈ‹ÙÚÈ· ™·ðÊÒ,
ðÚÈÓ ·˘ÙÔÎÙÔÓ‹ÛÂÈ ð¤ÊÙÔÓÙ·˜ ·ðfi ÙÔ˘˜ ¿ÁÚÈÔ˘˜ ‚Ú¿¯Ô˘˜ ÛÙË ı¿Ï·ÛÛ·…
The cape of Lefkata, one of the most impressive landscapes of the island. According to mythology, the ancient poetress
Sappho threw herself into the sea from these wild rocks...
«·ÓËÊÔÚ›˙ÂÈ» ÛÙÔÓ ÔÚÂÈÓfi fiÁÎÔ ÙÔ˘ ™Î¿ÚÔ˘ ÌÂ Ù· ˘ðÂÚ·ÈˆÓfi‚È· ‰¤ÓÙÚ·, ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÍÂ¯ˆÚÈÛÙ‹˜ ÔÌÔÚÊÈ¿˜ Ê·Ú¿ÁÁÈ ¢ËÌÔÛ·Ú›Ô˘, ÌÂ ÙÚÂ¯Ô‡ÌÂÓ· ÓÂÚ¿, Î·Ù·ÚÚ¿ÎÙÂ˜ Î·È ÌÈÎÚ¤˜ Ï›ÌÓÂ˜. ™ÙÔÓ Ì˘¯fi ÙÔ˘ ÎfiÏðÔ˘, Ô ‰ÚfiÌÔ˜ Û˘Ó·ÓÙ¿ ÙÔ ÁÚ·ÊÈÎfi ¯ˆÚÈfi µÏ˘¯fi, ÂÓÒ ÛÙÈ˜ ·ð¤Ó·ÓÙÈ
·ÎÙ¤˜ ·Ó·ðÙ‡ÛÛÂÙ·È Ô ð·Ú·ıÂÚÈÛÙÈÎfi˜ ÔÈÎÈÛÌfi˜ °¤ÓÈ.
¡ÔÙÈfiÙÂÚ·, ‚Ú›ÛÎÂÙ·È Ô ¶fiÚÔ˜, ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÏÂ˘Î·‰›ÙÈÎÔ ¯ˆÚÈfi, ÎÙÈÛÌ¤ÓÔ ·ÌÊÈıÂ·ÙÚÈÎ¿ ÛÂ ðÂÚÈÔ¯‹ ÌÂ ðÏÔ‡ÛÈ· ‚Ï¿ÛÙËÛË, Ô ÁÂÈÙÔÓÈÎfi˜ ªÈÎÚfi˜ °È·Ïfi˜, ı·˘Ì¿ÛÈ·
ð·Ú·Ï›· ÌÂ ·ÛÙÚ·ÊÙÂÚfi ‚fiÙÛ·ÏÔ Î·È Ù· ™‡‚ÔÙ·, ÛÙÔ
‚¿ıÔ˜ ð·Ó¤ÌÔÚÊÔ˘ ÊÈfiÚ‰. ™˘ÓÂ¯›˙ÔÓÙ·˜ ‰˘ÙÈÎ¿, Ë ‰È·‰ÚÔÌ‹ ðÂÚÓ¿ ·ðfi ÙÔ ª·Ú·ÓÙÔ¯ÒÚÈ, ·ð’ fiðÔ˘ ‰Â˘ÙÂÚÂ‡ÔÓÙÂ˜ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó ÛÙÈ˜ ·ÌÌÒ‰ÂÈ˜ ð·Ú·Ï›Â˜ ÙÔ˘ ÓfiÙÈÔ˘
ÙÌ‹Ì·ÙÔ˜ ÙÔ˘ ÓËÛÈÔ‡ (∞ÊÙ¤ÏÈ, ∞ÌÌÔ‡Û· Î.¿.) Î·È ÙË
ÛËÌ·ÓÙÈÎ‹ ·ðfi ·Ú¯·ÈÔÏÔÁÈÎ‹˜ ¿ðÔ„Ë˜ ÃÔÈÚÔÛðËÏÈ¿ Î·È
Î·Ù·Ï‹ÁÂÈ ÛÙË µ·ÛÈÏÈÎ‹, Î·Ù·ðÚ¿ÛÈÓÔ ÎÂÊ·ÏÔ¯ÒÚÈ ÌÂ
È‰È·›ÙÂÚË ÙÔ˘ÚÈÛÙÈÎ‹ ·Ó¿ðÙ˘ÍË Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· Î·È
ÂÍ·ÈÚÂÙÈÎ‹ ·ÌÌÔ˘‰È¿, ðÔ˘ ÂðÈðÏ¤ÔÓ Â›Ó·È ÙÔ ðÚÔÛÊÈÏ¤˜
ÛËÌÂ›Ô Û˘Ó¿ÓÙËÛË˜ ÁÈ· ÙÔ˘˜ Ï¿ÙÚÂÈ˜ ÙÔ˘ windsurfing.
º¤ÚÈÌðÔÙ Û˘Ó‰¤Ô˘Ó ÙË µ·ÛÈÏÈÎ‹ ÌÂ ÙËÓ ∫ÂÊ·ÏÔÓÈ¿ Î·È
ÙËÓ πı¿ÎË, ÂÓÒ ÂÎ‰ÚÔÌÈÎ¿ ÛÎ¿ÊË Û·˜ ÌÂÙ·Ê¤ÚÔ˘Ó ÛÙÔ
·ÎÚˆÙ‹ÚÈÔ ÙË˜ §Â˘Î¿Ù·˜.
olive grove that surrounds it and has been declared
monument of unique natural beauty.
The city features important religious monuments (such as the
churches of Aghios Minas, Aghios Nikolaos, Christos
Pantokratoras, etc, all built during the 16th and 17th century),
a fascinating Archeological Museum and the Museum of
Phonographs - Old Remembrances with a rich collection of
romantic Lefkada souvenirs, such as antique phonographs,
decorative items, old coins, ect. The most famous monument
of Lefkada, however, is the Castle of Aghia Mavra, built in
1300 by the Sicilian G. Orsini on the islet of the lagoon (which
is also an important wetland) and was later modified by the
Venetian and Turkish settlers. Near the city lie the Monastery
of Panaghia Faneromeni (1634), which is also the most
famous pilgrimage site of the island, the Monastery of
Theotokos Odigitria (1450), which is the oldest monastery on
the island, and the church of Ai Yiannis Atzousis, where,
according to tradition, Apostle Paul preached Christianity.
The best beaches to swim in Lefkada are the ones of Gira and
Aghios Ioannis. The island also has one of the most modern
marinas in the Mediterranean, featuring 500 berths for those
who have a boat.
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Ã·Ú·ÎÙËÚÈÛÙÈÎfi
ÛÙÈÁÌÈfiÙ˘ðÔ ·ðfi
ÙÔ ¢ÈÂıÓ¤˜
ºÔÏÎÏÔÚÈÎfi
ºÂÛÙÈ‚¿Ï ÙË˜
§Â˘Î¿‰·˜, ðÔ˘
Î¿ıÂ ¯ÚfiÓÔ ðÚÔÛÂÏÎ‡ÂÈ ¯ÈÏÈ¿‰Â˜
ÂðÈÛÎ¤ðÙÂ˜.
Snapshot from
the International
Folklore Festival
of Lefkada,
attracting many
visitors every
year
∆Ô ÕÏ·ÙÚÔ Â›Ó·È
¤Ó· ÌÈÎÚfi ¯ˆÚÈfi
ÎÔÓÙ¿ ÛÙÔÓ ™‡‚ÚÔ,
ÌÂ ÂÏ¿¯ÈÛÙÔ˘˜
Û‹ÌÂÚ· Î·ÙÔ›ÎÔ˘˜.
ª›· ËÏÈÎÈˆÌ¤ÓË
Á˘Ó·›Î· ÙÔ˘
¯ˆÚÈÔ‡, ÛÙË Û¿Ï·
ÙÔ˘ ÛðÈÙÈÔ‡ ÙË˜,
ÌÔÚÊ‹
‚Á·ÏÌ¤ÓË ÏÂ˜ ·ðfi
ÙË ‚˘˙·ÓÙÈÓ‹
ÂÈÎÔÓÔÁÚ·Ê›·.
Alatro, a small
village near Syvros
that is now almost
deserted. The last
inhabitant of the
village, in her living
room, resembling a
figure of a
Byzantine icon.
∏ §Â˘Î¿‰·
Â›Ó·È ¤Ó·˜
ÙfiðÔ˜ ÌÂ
ðÏÔ‡ÛÈ· Î·È
·ÓfiıÂ˘ÙË
Ï·˚Î‹ ð·Ú¿‰ÔÛË. ∂‰Ò, ÌÈ·
Á˘Ó·›Î· ÛÙÔÓ
ð·Ú·‰ÔÛÈ·Îfi
·ÚÁ·ÏÂÈfi ÔÏÔÎÏËÚÒÓÂÈ ¤Ó·
˘Ê·ÓÙfi.
Lefkada is a
place with a
rich and
unadulterated
folk tradition.
In this photo
you see a
woman
weaving with a
loom.
Starting in the city, you can take the road that leads to
the eastern and southern coast of the island. On the
way you will cross the village of Kalligoni, where the
ruins of the ancient Nirikos or Lefkada were found
(2nd millennium B.C), one of the largest in size
ancient Greek cities. Next, you will encounter
Nikiana, a popular holiday destination, the coastal
settlement of Perigialli and finally Nydri, a busy
summer resort situated in the “entrance” of the lovely
bay of Vlychos. Nydri is one of the most developed
villages on the island, in terms of tourism, with
wonderful beaches and a marvellous view to the small
islands (“Prigkiponisia”- Prince Islands) that lie across
it: Sparta, Skorpidi, Madouri, where the villa of the
poet Aristotelis Valaoritis is located and the private
island of Aristotelis Onasis, the legendary Skorpios.
According to the German archeologist W. Dorpfeld,
who performed excavations in the region, it is
possible that here was Homeric Ithaca, as the remains
of a prehistoric city have been found in Nydri.
International Jet Ski competitions are organized
every year in Nydri and there are ferries to the Prince
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∞ÓÙ›ıÂÙ· ·ðfi ÙÈ˜ ·Ó·ÙÔÏÈÎ¤˜ ·ÎÙ¤˜ ðÔ˘ Î·Ù·Ï‹ÁÔ˘Ó
ÔÌ·Ï¿ ÛÙË ı¿Ï·ÛÛ· Î·È Â›Ó·È ˘ð‹ÓÂÌÂ˜, Ù· ‰˘ÙÈÎ¿ ð·Ú¿ÏÈ·, Ù· ÔðÔ›· ‚Ú›ÛÎÔÓÙ·È «·ÓÙ›ÎÚ˘» ÛÙÔ ·ÓÔÈÎÙfi ð¤Ï·ÁÔ˜, Â›Ó·È ·ðfiÙÔÌ· Î·È «ÎÔÊÙ¿», Û¯ËÌ·Ù›˙ÔÓÙ·˜ ÂÓÙ˘ðˆÛÈ·ÎÔ‡˜ ÎfiÏðÔ˘˜ Î·È ÂÎÙÂÙ·Ì¤ÓÂ˜ ð·Ú·Ï›Â˜. •ÂÎÈÓÒÓÙ·˜
·ðfi ÙËÓ ðfiÏË, Û˘Ó·ÓÙ¿ÌÂ ÙÔ ºÚ‡ÓÈ (ÎÔÓÙ¿ ÛÙË ªÔÓ‹
∏ ª·‰Ô˘Ú‹, ÙÔ ÌÈÎÚfi ÓËÛ¿ÎÈ ·ð¤Ó·ÓÙÈ ·ðfi ÙÔ ¡˘‰Ú›, fiðÔ˘ ‚Ú›ÛÎÂÙ·È
ÙÔ ÓÂÔÎÏ·ÛÈÎfi ·Ú¯ÔÓÙÈÎfi ÙÔ˘ ∞Ú. µ·Ï·ˆÚ›ÙË.
Madouri, the small island across Nydri, where the neoclassic villa of Aristotelis
Valaoritis is located.
024
§fiÁˆ ÙˆÓ ÙÂÎÙÔÓÈÎÒÓ ÚËÁÌ¿ÙˆÓ ÙÔ˘ πÔÓ›Ô˘ ðÂÏ¿ÁÔ˘˜, ÔÈ ·ÎÙ¤˜ ÙË˜
§Â˘Î¿‰·˜ ð·ÚÔ˘ÛÈ¿˙Ô˘Ó “ð˘ÎÓfi” ·Ó¿ÁÏ˘ÊÔ ÌÂ ÂÎÙÂÙ·ÌÌ¤ÓÂ˜ ð·Ú·Ï›Â˜, ÌÈÎÚÔ‡˜ ÎfiÏðÔ˘˜ Î·È ı·Ï¿ÛÛÈ· Ûð‹Ï·È·, Û¯ËÌ·Ù›˙ÔÓÙ·˜ ÙÔð›·
ÌÔÓ·‰ÈÎ‹˜ ÔÌÔÚÊÈ¿˜.
Due to the tectonic faults of the Ionian Sea, the coast of Lefkada is
characterised by dramatic bays and a “dense” anaglyph, forming
landscapes of unique natural beauty.
Islands, Ithaca, Kefalonia, Central Greece and Meganisi,
a beautiful island ideal for restful holidays. Moreover,
near Nydri, on the uphill road that leads to the mountain
of Skaros, there is the exceptionally beautiful gorge of
Dimosari with running waters, water falls and small
lakes. At the heart of the bay, the road meets the
picturesque village of Vlychos, while in the opposite
shores extends the summer resort of Geni.
A bit further to the south there is Poros, a characteristic
village of Lefkada, built amphitheatrically in a region
with abundant vegetation, and Mikros Yalos, a
marvellous pebble beach, and finally Syvota, a
picturesque harbour. To the west, the road leads to
Marantochori, from where side roads lead to the sandy
beaches of the southern part of the island (Afteli,
Ammousa, ect) and to ‘Chirospilia’, a cave of great
archeological interest. The road ends in Vassiliki, a
charming village and popular summer resort, featuring a
fantastic beach, ideal for windsurfing. From Vassiliki
there are ferries to Kefalonia and Ithaca, as well as boats
to the cape of Lefkata.
Across the eastern leeward shores that gently spill into
the sea, there is the western coast, characterised by steep
slopes, impressive bays and long beaches.
Starting from the city, you will encounter Fryni (near
the Monastery of Faneromeni) and the picturesque small
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º·ÓÂÚˆÌ¤ÓË˜) Î·È ÙÔ˘˜ ÁÚ·ÊÈÎÔ‡˜ ∆ÛÔ˘Î·Ï¿‰Â˜ ÁÈ· Ó·
Ô‰ËÁËıÔ‡ÌÂ ÛÙÔÓ ÕÁÈÔ ¡ÈÎ‹Ù·, ð·Ú·‰ÔÛÈ·Îfi „·ÚÔ¯ÒÚÈ
ðÔ˘ ¤¯ÂÈ ÂÍÂÏÈ¯ıÂ› ÛÂ ÎÔÛÌÔðÔÏ›ÙÈÎÔ ı¤ÚÂÙÚÔ ÌÂ ·ÚÎÂÙ¿
ÍÂÓÔ‰Ô¯Â›·, „·ÚÔÙ·‚¤ÚÓÂ˜ Î·È ÙÈ˜ ÎÔÓÙÈÓ¤˜ ð·Ú·Ï›Â˜
¶Â˘ÎÔ‡ÏÈ· Î·È ∫¿ıÈÛÌ·, ·ðfi ÙÈ˜ ˆÚ·ÈfiÙÂÚÂ˜ Î·È ðÈÔ ðÚÔÛÊÈÏÂ›˜ ÙÔ˘ ÓËÛÈÔ‡. √ ‰ÚfiÌÔ˜ Û˘ÓÂ¯›˙ÂÈ ÁÈ· ÙÔ ∫·Ï·Ì›ÙÛÈ
ÌÂ ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÙÈÎÔ‡˜ ·ÓÂÌfiÌ˘ÏÔ˘˜, ÂÓÒ ÌÂÙ¿ ÙÔ ¯ˆÚÈfi
∫·Ì‹ÏÈ ‰È·ÎÏ·‰›˙ÂÙ·È: ÙÔ ·Ó·ÙÔÏÈÎfi ÛÎ¤ÏÔ˜ ÙÔ˘ Ô‰ËÁÂ› ÛÙÔ
ð·Ú·‰ÔÛÈ·Îfi ¯ˆÚÈfi ÕÁÈÔ˜ ¶¤ÙÚÔ˜, ·ð’ fiðÔ˘ ¤¯ÂÙÂ ð·ÓÔÚ·ÌÈÎ‹ ı¤· ÛÙËÓ Â˘Ú‡ÙÂÚË ðÂÚÈÔ¯‹, Î·È ÙË µ·ÛÈÏÈÎ‹, ÂÓÒ ÙÔ
‰˘ÙÈÎfi ðÂÚÓ¿ ·ðfi ÙÔ ÔÚÂÈÓfi ¯ˆÚÈfi ∞ı¿ÓÈ, ðÔ˘ ‰È·ı¤ÙÂÈ
·ÍÈfiÏÔÁË ð·Ú·‰ÔÛÈ·Î‹ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹ Î·È ð·Ú¿ÁÂÈ ı·˘Ì¿ÛÈÔ Ì˘Úˆ‰¿ÙÔ Ì¤ÏÈ, Î·È ÙÈ˜ ð·Ú·Ï›Â˜ ∂ÁÎÚÂÌÓÔ› Î·È ¶fiÚÙÔ
∫·ÙÛ›ÎÈ, ÔÈ ÔðÔ›Â˜ ıÂˆÚÔ‡ÓÙ·È ·ðfi ÙÈ˜ ÎÔÚ˘Ê·›Â˜ ÛÂ ÔÏfiÎÏËÚË ÙËÓ ∂ÏÏ¿‰·. ŸÌˆ˜, ·Ó ·ðÔÊ·Û›ÛÂÙÂ Ó· Û˘ÓÂ¯›ÛÂÙÂ
·ÎfiÌ· ÓÔÙÈfiÙÂÚ· Î·È Ó· ÊÙ¿ÛÂÙÂ ˆ˜ ÙÔ ·ÎÚˆÙ‹ÚÈÔ ÙË˜
§Â˘Î¿Ù·˜ ‹ Î¿‚Ô ÙË˜ ¡‹Ú·˜, ı· ‚ÚÂıÂ›ÙÂ ÌðÚÔÛÙ¿ Û’ ¤Ó·
Û˘Ó·Úð·ÛÙÈÎfi ÙÔð›Ô, ðÔ˘ Îfi‚ÂÈ ÙËÓ ·Ó¿Û· ÌÂ ÙËÓ «¤ÓÙ·ÛË»
ÙˆÓ ÏÂ˘ÎÒÓ ‚Ú¿¯ˆÓ Î·È ÙËÓ ·ÓÂÌðfi‰ÈÛÙË ı¤· ÛÙÔ ð¤Ï·ÁÔ˜,
È‰È·›ÙÂÚ· ·ðfi ÙÔÓ ð¤ÙÚÈÓÔ Ê¿ÚÔ. ∫·Ù¿ ÙËÓ ·Ú¯·ÈfiÙËÙ·,
ÛÙËÓ ðÂÚÈÔ¯‹ Ï·ÙÚÂ˘fiÙ·Ó Ô §Â˘Î¿Ù·˜ ∞ðfiÏÏˆÓ·˜ ÌÂ ÛËÌ·ÓÙÈÎfi ÈÂÚfi Î·È Ó·fi, ÛÙË ı¤ÛË ÙÔ˘ ÔðÔ›Ô˘ ‚Ú›ÛÎÂÙ·È Ë ÂÎÎÏËÛ›· ÙÔ˘ ∞Á›Ô˘ ¡ÈÎÔÏ¿Ô˘ (17Ô˘ ·ÈÒÓ·). ∞ÎfiÌ·, Ë ðÂÚÈÔ¯‹
Û˘Ó‰¤ÂÙ·È ÌÂ ÙËÓ ðÔÈ‹ÙÚÈ· ÙË˜ ·Ú¯·ÈfiÙËÙ·˜ ™·ðÊÒ, ðÔ˘
Û‡ÌÊˆÓ· ÌÂ ÙÔÓ Ì‡ıÔ ·˘ÙÔÎÙfiÓËÛÂ ð¤ÊÙÔÓÙ·˜ ·ðfi Ù· ‚Ú¿¯È·, ·ðÂÏðÈÛÌ¤ÓË ÁÈ· ÙÔÓ ¿Ù˘¯Ô ¤ÚˆÙ¿ ÙË˜ ÌÂ ÙÔÓ º¿ˆÓ·.
ÕðÔ„Ë ÙÔ˘ ™ÎÔÚðÈÔ‡, ÙÔ˘ È‰ÈfiÎÙËÙÔ˘ ÓËÛÈÔ‡ ÙË˜ ÔÈÎÔÁ¤ÓÂÈ·˜ øÓ¿ÛË.
Viewpoint of Skorpios, the private island of the Onasis family.
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026
°˘Ó·›ÎÂ˜ fiÏˆÓ ÙˆÓ
ÁÂÓÂÒÓ ÎÂÓÙÔ‡Ó Ù·
ð·Ú·‰ÔÛÈ·Î¿ «Î·ÚÛ¿ÓÈÎ· ÎÂÓÙ‹Ì·Ù·», ðÔ˘
Â›Ó·È ð·ÁÎÔÛÌ›ˆ˜ ÁÓˆÛÙ¿ ÁÈ· ÙË ÌÔÓ·‰ÈÎ‹
Ù¤¯ÓË ÙÔ˘˜.
Women of all ages
embroider the
traditional needlework
of Karya, which are
famous around the
world for their ornate
designs.
∫·ıÒ˜ Ë §Â˘Î¿‰· Â›Ó·È ÙÔ ÔÚÂÈÓfiÙÂÚÔ ·ðfi Ù· ÓËÛÈ¿ ÙÔ˘
πÔ˘Ó›Ô˘ (ÌfiÏÈ˜ ÙÔ 27% ÙË˜ ¤ÎÙ·Û‹˜ ÙË˜ Î·Ï‡ðÙÂÙ·È ·ðfi
ðÂ‰ÈÓ¤˜ Î·È ËÌÈÔÚÂÈÓ¤˜ ÂÎÙ¿ÛÂÈ˜), ÁÈ· ðÔÏÏÔ‡˜ ÙÔ ðÈÔ
ÂÓ‰È·Ê¤ÚÔÓ ÙÌ‹Ì· ÙÔ˘ Â›Ó·È Ë ÏÈÁfiÙÂÚÔ ÂðÈÛÎ¤„ÈÌË ÔÚÂÈÓ‹ ÂÓ‰Ô¯ÒÚ·, ðÔ˘ ‰È·ÙËÚÂ› ·Î¤Ú·È· ÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹
ð·Ú¿‰ÔÛË Î·È Ù· ¤ıÈÌ· ÙÔ˘ ÓËÛÈÔ‡ Î·È Û˘Ó·Úð¿˙ÂÈ ÌÂ ÙËÓ
ÂðÈ‚ÏËÙÈÎfiÙËÙ· ÙÔ˘ Ê˘ÛÈÎÔ‡ ÙÔð›Ô˘. ¢ÂÎ·Ù¤ÛÛÂÚ· ¯ÏÌ.
ÓfiÙÈ· ÙË˜ ðfiÏË˜, ‚Ú›ÛÎÂÙ·È Ë ∫·Ú˘¿, ÂÓÙ˘ðˆÛÈ·Îfi ÎÂÊ·ÏÔ¯ÒÚÈ ÎÙÈÛÌ¤ÓÔ ÛÂ Î·Ù¿Ê˘ÙË ðÂÚÈÔ¯‹ ÛÂ ˘„fiÌÂÙÚÔ 500Ì.
∆Ô ¯ˆÚÈfi ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·ðfi Ù· ðÔÏ‡ ÂÓ‰È·Ê¤ÚÔÓÙ·
ÙÔðÈÎ¿ ¤ıÈÌ· Î·È ÙË ÛðÔ˘‰·›· ð·Ú¿‰ÔÛË ÛÙËÓ ÎÂÓÙËÙÈÎ‹
- Â›Ó·È ÔÓÔÌ·ÛÙ¿ Ù· «Î·ÚÛ¿ÓÈÎ·» ÎÂÓÙ‹Ì·Ù· - ÂÓÒ ðÔÏ‡
Û˘¯Ó¿ Ô ÂðÈÛÎ¤ðÙË˜ ¤¯ÂÈ ÙËÓ Â˘Î·ÈÚ›· Ó· Û˘Ó·ÓÙ‹ÛÂÈ
Á˘Ó·›ÎÂ˜ ÙÔ˘ ¯ˆÚÈÔ‡ ÌÂ ÙÔðÈÎ¤˜ ÊÔÚÂÛÈ¤˜ Ó· ÌÂÙ·Ê¤ÚÔ˘Ó
ÙÂÓÙ˙ÂÚ¤‰Â˜ ÌÂ ÓÂÚfi ÛÙÔ ÎÂÊ¿ÏÈ ÙÔ˘˜.
¡ÔÙÈfiÙÂÚ·, ‚Ú›ÛÎÂÙ·È Ë ∂ÁÎÏÔ˘‚‹, ÙÔ ÔÚÂÈÓfiÙÂÚÔ ¯ˆÚÈfi
ÙÔ˘ ÓËÛÈÔ‡ (˘„fiÌÂÙÚÔ 730 Ì.) ðÔ˘ ÊËÌ›˙ÂÙ·È ÁÈ· ÙËÓ
ð·Ú·ÁˆÁ‹ ÂÍ·ÈÚÂÙÈÎ‹˜ ðÔÈfiÙËÙ·˜ Ê·Î‹˜, Ë ð·Ú·‰ÔÛÈ·Î‹
µ·˘ÎÂÚ‹, ÎÔÓÙ¿ ÛÙËÓ ÔðÔ›· ÛÒ˙ÂÙ·È ÙÔ Î·ıÔÏÈÎfi ÙË˜
ÈÛÙÔÚÈÎ‹˜, ·ÏÏ¿ ÂÚÂÈðˆÌ¤ÓË˜ Û‹ÌÂÚ· ∫fiÎÎÈÓË˜
∂ÎÎÏËÛ›·˜ (ªÔÓ‹ ∂˘·ÁÁÂÏÈÛÌÔ‡, 1478) Î·È Ô ™‡‚ÚÔ˜ ÌÂ
ÙÔ ·ÈÛıËÙÈÎfi ‰¿ÛÔ˜ ÙË˜ ¢¿ÊÓË˜, ÙÔðÔıÂÛ›· ÌÂ ðÏ·Ù¿ÓÈ·
Î·È ÙÚÂ¯Ô‡ÌÂÓ· ÓÂÚ¿.
∂ÓÙÔ‡ÙÔÈ˜, ¤Ó· ·ðfi Ù· ðÏ¤ÔÓ ¯·Ú·ÎÙËÚÈÛÙÈÎ¿ ÛÙÔÈ¯Â›·
ÙË˜ §Â˘Î¿‰·˜ Â›Ó·È Ë ÛÊ‡˙Ô˘Û· ðÔÏÈÙÈÛÙÈÎ‹ ÙË˜ ð·Ú¿‰ÔÛË. ¢ÂÓ Â›Ó·È Ù˘¯·›Ô, ¿ÏÏˆÛÙÂ, fiÙÈ ·ðfi ÙÔ ÓËÛ› Î·Ù¿ÁÔÓÙ·È ÛðÔ˘‰·›Â˜ ðÚÔÛˆðÈÎfiÙËÙÂ˜ ÙˆÓ ÁÚ·ÌÌ¿ÙˆÓ Î·È ÙˆÓ
village of Tsoukalades. The route ends in Aghios Nikitas,
a traditional fishing village that has developed to a
cosmopolitan resort, filled with hotels and fish taverns. Two
of the most beautiful beaches of the island are also located
here, the beach of Pefkoulia and Kathisma. The road
continues to Kalamitsi with the characteristic windmills,
while after the village of Kamili the road forks: to the east,
it leads to the traditional village of Aghios Petros, where
you can enjoy a panoramic view of the wider area, and to
the village of Vassiliki; to the west, the road crosses the
mountainous village of Athani, known for its traditional
architecture and for its fabulous honey production, and then
leads to the amazing beaches of Egremnoi and Porto
Katsiki, which are considered to be among the best beaches
of Greece. However, if you decide to go further south
towards the cape of Lefkata or Cavo Nira, you will arrive
to a fascinating landscape that will take your breath away
with the imposing white rocks and the open view of the sea,
especially from the stone-built lighthouse. In antiquity,
there was a sanctuary and temple of god Apollo of Lefkata
in this region, on the same location where the 17th century
church of Aghios Nikolaos stands today. Furthermore,
according to mythology, the ancient Greek poet Sappho
leapt to her death from these high cliffs, driven to suicide by
her unfortunate love for Phaon.
Lefkada is also the most mountainous island of the Ionian
Sea (only 27% of its total area is covered by lowlands and
MINOAN WAVE
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LEYKADA
20/7/09
12:51
Page 10
¶·È¯Ó›‰È· ÛÙ· ÓÂÚ¿ ÙˆÓ Î·Ù·ÚÚ·ÎÙÒÓ ÙË˜ ðÂÚÈÔ¯‹˜ ÙÔ˘ Ê·Ú·ÁÁÈÔ‡
¢ËÌÔÛ·Ú›Ô˘, ·ðfi Ù· Ì·ÁÂ˘ÙÈÎfiÙÂÚ· ÛËÌÂ›· ÙË˜ «¿ÁÓˆÛÙË˜» ÔÚÂÈÓ‹˜ §Â˘Î¿‰·˜.
Playing in the waters of the lake
and the waterfalls in the gorge of
Dimosari, one of the most charming
locations of the “unknown”
mountainous Lefkada.
LEYKADA
20/7/09
12:52
Page 11
ÙÂ¯ÓÒÓ, fiðˆ˜ Ô ÏfiÁÈÔ˜ §Â˘Î¿‰ÈÔ˜ Hearn
(ðÔ˘ ·ÚÁfiÙÂÚ· ÂÁÎ·Ù·ÛÙ¿ıËÎÂ ÛÙËÓ
π·ðˆÓ›· Î·È ¤ÁÈÓÂ Ô ÂıÓÈÎfi˜ ðÔÈËÙ‹˜ ÙË˜ ÌÂ
ÙÔ fiÓÔÌ· °. ∫Ô˚˙Ô‡ÌÈ), ÔÈ ðÔÈËÙ¤˜
∞ÚÈÛÙÔÙ¤ÏË˜ µ·Ï·ˆÚ›ÙË˜ Î·È ÕÁÁÂÏÔ˜
™ÈÎÂÏÈ·Ófi˜, Ô ËıÔðÔÈfi˜ ∆Û·‚·Ï¿˜
∫·ÚÔ‡ÛÔ˜, Ë ‰ÈÂıÓÔ‡˜ ·ÎÙÈÓÔ‚ÔÏ›·˜ ÌÂÛfiÊˆÓÔ˜ ∞ÁÓ‹ ªð¿ÏÙÛ·, Ô ÈÛÙÔÚÈÎfi˜ ¡›ÎÔ˜
™‚ÔÚÒÓÔ˜ Î.¿., ðÚÔÙÔÌ¤˜ ðÔÏÏÒÓ ·ðfi
ÙÔ˘˜ ÔðÔ›Ô˘˜ ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ð¿ÚÎÔ
028
semi-mountainous regions) and for many
visitors the mountainous hinterland of the
island is also its most interesting part, as the
local architecture is still preserved in the
mountainous villages, as well as the local
mores and customs, and there are also
numerous imposing natural landscapes.
14km south of the city the village of Karya
is located, a fascinating village, built in a
wooded region in an altitude of 500 meters.
The village is known for
its unique local customs
and long tradition in
embroidery,while
visitors often have the
chance to see the village
women dressed with the
local costumes, carrying
water jugs on their
head.
Further to the south,
there is the village of
Eglouvi, the highest
mountain village (730
m. altitude), known for
its excellent quality
lentil production, the
traditional village of
Vafkeri, near which
stands the preserved
temple of the historical
Red Church (Monastery
of Evaggelismos, 1478),
which is today deserted,
and finally the village of
Syvros, surrounded by
the lovely forest of
Dafne, characterised by
plane trees and running
waters.
Nevertheless, one of the
most
noteworthy
characteristic
of
Lefkada is her vibrant
cultural life and
traditions. It is not a
coincidence that several
prominent intellectuals
and artists come from
this island, such as the
scholar Lefcadio Hearn
(who later moved to
Japan and became the
national poet of the
country, known by the
name
Koizumi
Yakumo), the poets
Aristotelis Valaoritis
and Aggelos Sikelianos,
LEYKADA
20/7/09
14:00
Page 12
¶·ÓÔÚ·ÌÈÎ‹ ı¤· ÙË˜ ∂ÁÎÏÔ˘‚‹˜, ÙÔ ðÈÔ
ÔÚÂÈÓfi ¯ˆÚÈfi ÙË˜ §Â˘Î¿‰·˜.
Panoramic view of Eglouvi, the highest
mountain village of Lefkada.
ªðÔÛÎ¤ÙÔ (ðfiÏË §Â˘Î¿‰·˜). ∏ §Â˘Î¿‰·
‰È·ı¤ÙÂÈ
·ÍÈfiÏÔÁË
ºÈÏ·ÚÌÔÓÈÎ‹
√Ú¯‹ÛÙÚ· (¤¯ÂÈ È‰Ú˘ıÂ› ÙÔ 1850) Î·È
ÃÔÚˆ‰›·, ÂÓÒ ÛÙËÓ ðfiÏË ·ðfi ÙÔ 1955
‰ÈÔÚÁ·ÓÒÓÔÓÙ·È Î¿ıÂ ∞‡ÁÔ˘ÛÙÔ ÔÈ
«°ÈÔÚÙ¤˜ §fiÁÔ˘ Î·È ∆¤¯ÓË˜», ðÔ˘ ðÂÚÈÏ·Ì‚¿ÓÔ˘Ó ÔÌÈÏ›Â˜, Û˘ÌðfiÛÈ·, Û˘Ó·˘Ï›Â˜, ıÂ·ÙÚÈÎ¤˜ ð·Ú·ÛÙ¿ÛÂÈ˜ Î·È ÂÎı¤ÛÂÈ˜ ˙ˆÁÚ·ÊÈÎ‹˜ Î·È ÛÙÈ˜ ÔðÔ›Â˜ ¤¯Ô˘Ó
Û˘ÌÌÂÙ¿Û¯ÂÈ, Î·Ù¿ Î·ÈÚÔ‡˜, ÎÔÚ˘Ê·›ÔÈ
ÂðÈÛÙ‹ÌÔÓÂ˜ Î·È Î·ÏÏÈÙ¤¯ÓÂ˜, ÌÂ ¯·Ú·ÎÙËÚÈÛÙÈÎfiÙÂÚË ›Ûˆ˜ ðÂÚ›ðÙˆÛË ÙËÓ
ÂÌÊ¿ÓÈÛË ÙË˜ ª·Ú›·˜ ∫¿ÏÏ·˜, ÙÔÓ
∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1964. ™ÙÔ ðÏ·›ÛÈÔ ÙˆÓ
«°ÈÔÚÙÒÓ» ‰ÈÂÍ¿ÁÂÙ·È, Âð›ÛË˜, Î·È ÙÔ
ð·ÁÎfiÛÌÈ·˜
Ê‹ÌË˜
«¢ÈÂıÓ¤˜
ºÔÏÎÏÔÚÈÎfi ºÂÛÙÈ‚¿Ï» ÌÂ ð·Ú·ÛÙ¿ÛÂÈ˜
ÎÔÚ˘Ê·›ˆÓ ÂÏÏËÓÈÎÒÓ Î·È Í¤ÓˆÓ ÊÔÏÎÏÔÚÈÎÒÓ Û˘ÁÎÚÔÙËÌ¿ÙˆÓ, ðÔ˘ ð·ÚÂÏ·‡ÓÔ˘Ó ð·ÓËÁ˘ÚÈÎ¿ ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ ÙË˜
ðfiÏË˜ ÎÚ·ÙÒÓÙ·˜ Ù· Ï¿‚·Ú¿ ÙÔ˘˜.
∂Í¿ÏÏÔ˘,
Ô
ªÔ˘ÛÈÎÔÊÈÏÔÏÔÁÈÎfi˜
ŸÌÈÏÔ˜ «∞ðfiÏÏˆÓ» ∫·Ú˘¿˜ ‰ÈÔÚÁ·ÓÒÓÂÈ ÛÙÔ ¯ˆÚÈfi ÙËÓ ·Ó·ð·Ú¿ÛÙ·ÛË ð·Ú·‰ÔÛÈ·ÎÔ‡ ÏÂ˘Î·‰›ÙÈÎÔ˘ Á¿ÌÔ˘ (ÛÙÈ˜ 11
∞˘ÁÔ‡ÛÙÔ˘), ÂÓÒ Î˘Ú›ˆ˜ ÙÔ˘˜ Î·ÏÔÎ·ÈÚÈÓÔ‡˜ Ì‹ÓÂ˜ ÛÂ ðÔÏÏ¿ ¯ˆÚÈ¿ ÙÔ˘ ÓËÛÈÔ‡
ðÚ·ÁÌ·ÙÔðÔÈÔ‡ÓÙ·È ðÔÏÈÙÈÛÙÈÎ¤˜ ÂÎ‰ËÏÒÛÂÈ˜ Î·È ·Ó·‚ÈÒÓÔ˘Ó ÁÓ‹ÛÈ· ÙÔðÈÎ¿
ð·ÓËÁ‡ÚÈ·, ðÔ˘ ‰ÂÓ ðÚ¤ðÂÈ Ó· ¯¿ÛÂÙÂ…
the actor Tsavalas Karousos, the
internationally acclaimed opera mezzo soprano Agnes Baltsa, the historian
Nikos Svoronos and many others. The
busts of many of these notable persons
are placed in the park of Boschetto, in
the city of Lefkada. Lefkada also has an
acclaimed Philharmonic Orchestra,
(founded in 1850) and choir, while the
“Festival of Literature and Art” takes
place annually in August since 1955, with
many conferences, speeches, concerts,
theatrical plays and art exhibitions with
the participation of prominent scientists
and artists. A memorable appearance in
the festival was the one of Maria Callas,
in
August
1964.
The
famous
“International Folklore Festival” of
Lefkada attracts many visitors every
year, with the performances of Greek
and foreign folklore groups that parade
in the streets of the city. Moreover, the
Music and Philology Association
“Apollon” of Karya performs the reenactment of the traditional wedding of
Lefkada (on August 11), while during the
summer months many other cultural
events are organized in many villages of
the island, including traditional feasts you
should not miss…
MINOAN WAVE
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>
™ÙÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ Î¿ÛÙÚÔ˘ ÙË˜ ∞Á›·˜ ª·‡Ú·˜
ÛÒ˙ÂÙ·È Ô ÔÌÒÓ˘ÌÔ˜ Ó·fi˜ (13Ô˘ ·ÈÒÓ·), ðÔ˘ ðÔÏÏÔ› Î¿ÙÔÈÎÔÈ ÙÔ˘ ÓËÛÈÔ‡ ÂðÈÛÎ¤ðÙÔÓÙ·È Î¿ıÂ ¯ÚfiÓÔ
ÛÙÈ˜ 3 ª·›Ô˘, ËÌ¤Ú· Î·Ù¿ ÙËÓ ÔðÔ›· ÁÈÔÚÙ¿˙ÂÈ Ë
ÂÎÎÏËÛ›·.
Many inhabitants of Lefkada visit, every 3rd of May,
the church of Saint Maura, built into a castle and
dating from the 13rd century.
AGGELOPULOS
23/7/09
13:11
Page 1
£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜
Theodoros Aggelopoulos
030
ªÂ ÙÔ ‚Ï¤ÌÌ·
ÛÙÚ·ÌÌ¤ÓÔ
ÛÙÔ ¯ÚfiÓÔ
Gazing
through Time
√ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ Â›Ó·È ›Ûˆ˜ Ë ðÈÔ È‰ÈfiÌÔÚÊË ðÂÚ›ðÙˆÛË ÛÎËÓÔı¤ÙË ÛÙÔÓ ÂÏÏËÓÈÎfi
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ. ªÂ Î·Ù·ÁˆÁ‹ ·ðfi ÙÔ °·‚·ÏÔ¯ÒÚÈ Ã·Ó›ˆÓ, ÁÂÓÓ‹ıËÎÂ ÛÙËÓ ∞ı‹Ó· ÙÔÓ
∞ðÚ›ÏË ÙÔ˘ 1935, ÛðÔ‡‰·ÛÂ ÓÔÌÈÎ¿ ÛÙÔ ¶·ÓÂðÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ Î·È ÙÔ ¶·Ú›ÛÈ, ð·Ú·ÎÔÏÔ‡ıËÛÂ Ì·ı‹Ì·Ù· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙË ™ÔÚ‚fiÓË Î·È ÙËÓ IDHEC, ÛÙÔ ¶·Ú›ÛÈ. ∞ðfi ÙÔ 1964 ˆ˜ ÙÔ
1967, ÂÚÁ¿ÛıËÎÂ ˆ˜ ÎÚÈÙÈÎfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙËÓ ∞ı‹Ó·, ÂÓÒ ð·Ú¿ÏÏËÏ· ¿Ú¯ÈÛÂ Ó· Î¿ÓÂÈ
ÙÈ˜ ðÚÒÙÂ˜ ÙÔ˘ Ù·ÈÓ›Â˜, ðÚÒÙ· ÌÂ ÙÔ ËÌÈÙÂÏ¤˜ «Forminx story», ÙÔ 1965, ÎÈ ¤ðÂÈÙ· ÌÂ ÙË
ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ «∂ÎðÔÌð‹», ÙÔ 1968. ∏ ðÚÒÙË ÙÔ˘ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ ·ðfiðÂÈÚ· ‹Ù·Ó Ë
«∞Ó·ð·Ú¿ÛÙ·ÛË» ÙÔ˘ 1970, ÌÈ· Ù·ÈÓ›· ðÔ˘ Ê·ÈÓÔÌÂÓÈÎ¿ ·ðÔÙÂÏÂ› ÈÛÙÔÚ›· ÂÁÎÏ‹Ì·ÙÔ˜, ·ÏÏ¿
Ô˘ÛÈ·ÛÙÈÎ¿ ÌÂÙ·Ê¤ÚÂÈ ÌÂ ˙ÔÊÂÚ‹ ÌÂÏ·Á¯ÔÏ›· ÙËÓ ÂÁÎ·Ù¿ÏÂÈ„Ë ÙË˜ ÂÏÏËÓÈÎ‹˜ ˘ð·›ıÚÔ˘ Î·È
ÙËÓ ÂÚ‹ÌˆÛË ðÔ˘ ¤¯Ô˘Ó ÂðÈÊ¤ÚÂÈ Ù· ÌÂÙ·Ó·ÛÙÂ˘ÙÈÎ¿ ÚÂ‡Ì·Ù· ÙË˜ ÂðÔ¯‹˜ ðÚÔ˜ ÙÔ ÂÍˆÙÂÚÈÎfi.
Ÿðˆ˜ ÎÈ Ô ›‰ÈÔ˜ ·Ó¤ÊÂÚÂ: «Ë «∞Ó·ð·Ú¿ÛÙ·ÛË» Â›Ó·È ÌÈ· Ù·ÈÓ›· ðÔ˘ Á˘Ú›ÛÙËÎÂ ÛÙËÓ ◊ðÂÈÚÔ
Î·È ÎÔ˘‚·Ï¿ÂÈ, ðÂÚÈÛÛfiÙÂÚÔ ·ðfi ÙÈ˜ «ª¤ÚÂ˜ ÙÔ˘ ’36», fiÏ· Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎ¿ ÙˆÓ Ù·ÈÓÈÒÓ
ÌÔ˘: ÙË ‚ÚÔ¯‹, ÙËÓ ÔÌ›¯ÏË, ÙÔ ÌÂÙ·›¯ÌÈÔ, Î·È Â›Ó·È Ì›· Ù·ÈÓ›· ðÔ˘ Û·ÊÒ˜ ÌÂ ÛËÌ¿‰Â„Â ð¿Ú·
ðÔÏ‡. ¢ÂÓ ı· ÙËÓ ¤ÏÂÁ· ·Á·ðËÌ¤ÓË, ı· ÙËÓ ¤ÏÂÁ· ·˘Ù‹ Ë Ù·ÈÓ›·, Ë ÔðÔ›· Â›Ó·È ÙÔ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ ÌÔ˘, ÁÈ·Ù› Â›Ó·È ÙÔ ðÚÒÙÔ ‚Ï¤ÌÌ·”.
AGGELOPULOS
20/7/09
12:56
Page 2
ÙÔ˘ ¡›ÎÔ˘ ∆Û·ÁÎ·Ú¿ÎË
Written by Nikos Tsagkarakis
Theodoros Aggelopoulos is perhaps the most “anti-conformist” film director in the
Greek film industry. His origins are from the village Gavalochori of Chania but he was
born in Athens in April 1935. He studied law in the University of Athens and in Paris and
attended cinema classes in Sorbonne and in IDHEC in Paris. From 1964 to 1967, he was
employed as a film critic in Athens, while at the same time he started making his first
films. In 1965 he directed the film “Forminx story”, which was never completed,
followed by his first short film “Broadcast” in 1968. In 1970 he made his first full-length
feature film “Reconstruction”, a film that seemingly narrates the chronicle of a crime
but in essence illustrates the unbearable melancholy of the twilight of rural Greece, the
abandonment of villages brought during the migration of populations abroad during this
period. Talking about his films, Aggelopoulos once said: “‘Reconstruction’ is set in
Epirus and bears all the motifs of my films: the rain, the mist, the border and the
transition; it is a film that greatly marked my life. I wouldn’t say it is my favorite,
however, I would say it is a point of reference in my career, because it is the first gaze”.
MINOAN WAVE
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AGGELOPULOS
20/7/09
12:57
Page 3
£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ / Theodoros Aggelopoulos
∞
032
∞ðfi ÙËÓ ðÚÒÙË ÙÔ˘ ÎÈfiÏ·˜ Ù·ÈÓ›·, Ô
£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜, Î·Ù¿ÊÂÚÂ fi¯È
·ðÏÒ˜ Ó· ÙÚ·‚‹ÍÂÈ Ù· ‚Ï¤ÌÌ·Ù· ÛÙÔ
ÊÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔÓ›ÎË˜, ·ÏÏ¿ Ó· ÎÂÚ‰›ÛÂÈ Ù¤ÛÛÂÚ· ·ðfi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ‚Ú·‚Â›·: ∫·Ï‡ÙÂÚË˜ ∆·ÈÓ›·˜, ™ÎËÓÔıÂÛ›·˜,
ºˆÙÔÁÚ·Ê›·˜ Î·È ∞’ °˘Ó·ÈÎÂ›Ô˘ ƒfiÏÔ˘.
◊Ù·Ó Ë ðÚÒÙË Î·È ÌÔÓ·‰ÈÎ‹ ·ÛðÚfiÌ·˘ÚË ðÚÔÛı‹ÎË ÛÙË ÊÈÏÌÔÁÚ·Ê›· ÙÔ˘ ÛÎËÓÔı¤ÙË Ì¤¯ÚÈ Û‹ÌÂÚ·, Î·ıÒ˜ ·ðfi ÙÈ˜
«ª¤ÚÂ˜ ÙÔ˘ ‘36», ðÔ˘ ·ÎÔÏÔ˘ıÔ‡Ó ÙÔ
1972, ðÂÚÓ¿ÂÈ ÛÙÔ ¯ÚÒÌ· Î·È ÛÙ·‰È·Î¿
·Ú¯›˙ÂÈ Ó’ ·ðÔÎÙ¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎ¿
ðÔ˘ ·Ó·ÁÓˆÚ›˙ÔÓÙ·È ðÏ¤ÔÓ ˆ˜ «·ÁÁÂÏÔðÔ˘ÏÈÎ¿» ·Ó¿ÌÂÛ· ÛÂ ÎÔÈÓfi Î·È ÎÚÈÙÈÎÔ‡˜, fiðˆ˜ Ù· ÌÂÁ¿ÏË˜ ‰È¿ÚÎÂÈ·˜ ÌÔÓÔðÏ¿Ó·, Ë ·Ê·ÈÚÂÙÈÎ‹ ‰Ú¿ÛË, Ë ÌÈÓÈÌ·ÏÈÛÙÈÎ‹ ðÏÔÎ‹, ÔÈ
ÂÏ¿¯ÈÛÙÔÈ ‰È¿ÏÔÁÔÈ, Ë Î˘Ú›·Ú¯Ë ÂÈÎ·ÛÙÈÎfiÙËÙ·, Ë ·ðfiÛÙ·ÛË ·ðfi Ù· ÁÂÁÔÓfiÙ·, ðÔ˘ ‰Â ÛËÌ·›ÓÂÈ ·Ó·ÁÎ·ÛÙÈÎ¿ Î·È
·ðÔÛÙ·ÛÈÔðÔ›ËÛË.
∏ ÈÛÙÔÚÈÎÔ-ðÔÏÈÙÈÎ‹ ıÂÌ·ÙÔÏÔÁ›· ð·›˙ÂÈ ðÏ¤ÔÓ ðÚˆÙÂ‡ÔÓÙ· ÚfiÏÔ, ÌÂ Ù· ÛÂÓ¿ÚÈ¿ ÙÔ˘ Ó’ ·Ó·Ê¤ÚÔÓÙ·È ÏÈÁfiÙÂÚÔ ‹
ðÂÚÈÛÛfiÙÂÚÔ ¿ÌÂÛ· ÛÂ Û˘ÁÎÂÎÚÈÌ¤ÓÂ˜ ÈÛÙÔÚÈÎ¤˜ ðÂÚÈfi‰Ô˘˜, ÙÈ˜ ÔðÔ›Â˜ ÂÍÂÙ¿˙ÂÈ Ì¤Û· ·ðfi ðÚÔÛˆðÈÎ¤˜ ‹ ÔÌ·‰ÈÎ¤˜ Ô‰‡ÛÛÂÈÂ˜. ∏ ðÂÚÈðÏ¿ÓËÛË, ˆ˜ ÎÂÓÙÚÈÎfi ıÂÌ·ÙÈÎfi
ÌÔÙ›‚Ô, ı· ÂÈÛ¤ÏıÂÈ ÛÙÔÓ ÎfiÛÌÔ ÙÔ˘ ∞ÁÁÂÏfiðÔ˘ÏÔ˘ ÛÙËÓ
ÙÚ›ÙË Ù·ÈÓ›· ÙÔ˘, ÙÔ «£›·ÛÔ», ðÔ˘ Â›Ó·È ›Ûˆ˜ Ë ðÈÔ ÈÛ¯˘Ú‹ ÛÙË ÌÓ‹ÌË ÙˆÓ ðÂÚÈÛÛÔÙ¤ÚˆÓ, ÙfiÛÔ ÙˆÓ Ê·Ó·ÙÈÎÒÓ
Ôð·‰ÒÓ ÙÔ˘, fiÛÔ ÎÈ ÂÎÂ›ÓˆÓ ðÔ˘ ÙÔÓ ·Ó·ÁÓˆÚ›˙Ô˘Ó, ·ÏÏ¿
ÛÙËÓ ðÔÚÂ›· ÙÔÓ ÂÁÎ·Ù¤ÏÂÈ„·Ó. ∂›Ó·È Ë Ù·ÈÓ›· ÌÂ ÙËÓ
ÔðÔ›· ·Ú¯›˙ÂÈ ðÈ· Ó· Î¿ÓÂÈ Ù’ fiÓÔÌ¿ ÙÔ˘ ÁÓˆÛÙfi ÛÙÈ˜ ðÈÔ
·ðÔÌ·ÎÚ˘ÛÌ¤ÓÂ˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ¤˜ ·›ıÔ˘ÛÂ˜ ÙÔ˘ ðÏ·Ó‹ÙË Î·È ÌÂ ÙËÓ ÔðÔ›· ı· Î·Ù·ÎÙ‹ÛÂÈ Âð¿ÍÈ· ÌÈ· ı¤ÛË ÛÙË
‰ÈÂıÓ‹ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ‹ ÈÛÙÔÚÈÔÁÚ·Ê›·. Ÿðˆ˜ Ô ›‰ÈÔ˜
Ï¤ÂÈ: “√˘ÛÈ·ÛÙÈÎ¿ Ô «£›·ÛÔ˜» ‰ÂÓ Î¿ÓÂÈ Ù›ðÔÙ· ¿ÏÏÔ ·ðfi
ÙÔ Ó· Î·Ù·ÁÚ¿ÊÂÈ Ù· ¯ÚfiÓÈ· ÙË˜ ˙ˆ‹˜ ÌÔ˘. ™’ ·˘Ù¿ Ù·
¯ÚfiÓÈ· ðÔ˘ ÂÁÒ ˙ˆ ÙÈ ¤ÁÈÓÂ, Î·È ›Ûˆ˜ ÛÂ Ì·ÎÚÈÓfiÙÂÚÂ˜
ðÂÚÈfi‰Ô˘˜, fiðˆ˜ Â›Ó·È ·˜ ðÔ‡ÌÂ Ë Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ’22, ÌÂ
ÙÔÓ ðÂÚ›ÊËÌÔ ÌÔÓfiÏÔÁÔ ÙÔ˘ ™ÙÚ¿ÙÔ˘ ¶·¯‹».
ŒÎÙÔÙÂ, ¤¯ÂÈ Á˘Ú›ÛÂÈ ·ÎfiÌË ‰¤Î· Ù·ÈÓ›Â˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜,
Already from his first feature film, Theodoros
Aggelopoulos managed to impress the audience in the
Thessaloniki Film Festival, winning four of the most
important awards: Best Feature Film, Direction,
Photography and Actress on a Leading Role. It is the first
and only black-and-white feature in his Filmography until
√ ªÂÁ·Ï¤Í·ÓÙÚÔ˜ / Alexander the Great
Since then, Aggelopoulos has made ten more feature films,
two documentaries, while he also participated in two
anthology films, establishing himself as one of the most
respectable and highly acclaimed European directors. He
has worked with very important actors and actresses, such
as Vaggelis Kazan, Manos Katrakis, Marcello Mastroianni,
Jeanne Moreau, Harvey Keitel, Erland Josephson,
Thanassis Veggos, Maia Morgenstern; while he has kept the
‰‡Ô ÓÙÔÎÈÌ·ÓÙ¤Ú, ÂÓÒ Û˘ÌÌÂÙÂ›¯Â Âð›ÛË˜ ÛÂ ‰˘Ô ÛðÔÓ‰˘ÏˆÙ¿ ÊÈÏÌ, ‰È·ÙËÚÒÓÙ·˜ ÙË ı¤ÛË ÙÔ˘ ˆ˜ ¤Ó·˜ ·ðfi ÙÔ˘˜
ðÈÔ ÛÂ‚·ÛÙÔ‡˜ Î·È ‰È·ÎÂÎÚÈÌ¤ÓÔ˘˜ Â˘Úˆð·›Ô˘˜ ÛÎËÓÔı¤ÙÂ˜, ÌÂ ·Ó·ÁÓÒÚÈÛË ÎÚÈÙÈÎ‹˜, Û˘Ó·‰¤ÏÊˆÓ Î·È ÎÔÈÓÔ‡.
™˘ÓÂÚÁ¿ÛÙËÎÂ ÌÂ ðÔÏ‡ ÛËÌ·ÓÙÈÎÔ‡˜ ËıÔðÔÈÔ‡˜, fiðˆ˜ Ô
µ·ÁÁ¤ÏË˜ ∫·˙¿Ó, Ô ª¿ÓÔ˜ ∫·ÙÚ¿ÎË˜, Ô ª·ÚÙÛ¤ÏÔ
∆Ô ÌÂÙ¤ˆÚÔ ‚‹Ì· ÙÔ˘ ðÂÏ·ÚÁÔ‡
The Suspended Step of the Stork
today, as since his following film “Days of ‘36” in 1972 and
on, he makes color films and starts to develop his unique
thematic and stylistic constants, known as “aggelopoulian”
amongst film critics and the audience; such characteristics
include the long takes, the symbolic action, the minimalist
plot, the few dialogues, the memorable artistic images and
the distance from the events, without suggesting alienation.
Historical and political themes play a leading role in his
films, as the scenarios focus directly or indirectly to specific
time periods, through which he narrates his personal
odysseys. The wandering, as a central thematic motif, will
enter the world of Aggelopoulos in his third film, “The
Travelling Players”, which is probably his most memorable
film for most people, including his fans. It is the film that
made Aggelopoulos famous internationally and rightly gave
him a place in the international cinematographic history.
Aggelopoulos stated that “essentially, the film ‘The
Traveling Players’ does nothing more than recording the
years of my life. It records the events of my lifetime, and
perhaps even of older periods, such as, for example, the
disasters of 1922 with the famous monologue of Stratos
Pachis”.
AGGELOPULOS
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ª·ÛÙÚÔÁÈ¿ÓÓÈ, Ë Jeanne Moreau, Ô Harvey Keitel, Ô
Erland Josephson, Ô £·Ó¿ÛË˜ µ¤ÁÁÔ˜, Ë Maia
Morgenstern, ÂÓÒ ‰È·Ù‹ÚËÛÂ ÁÈ· ðÔÏÏ¿ ¯ÚfiÓÈ· ·Ó¤ð·ÊË
ÌÈ· ‰ËÌÈÔ˘ÚÁÈÎ‹ ÔÌ¿‰· ·ðÔÙÂÏÔ‡ÌÂÓË ·ðfi ÙÔÓ ¶¤ÙÚÔ
ª¿ÚÎ·ÚË Î·È ÙÔÓ Tonino Guerra ÛÙÔ ÛÂÓ¿ÚÈÔ, ÙÔÓ °ÈÒÚÁÔ
same production team for many years, which is comprised
by Petros Markaris and Tonino Guerra in the script,
Giorgos Arvanitis and more recently Antreas Sinanos in
photography direction, Loukianos Kilaidonis and for the
past twenty five years Eleni Karaindrou in music score
composition. In 1998 he won the Palme d’Or award in the
Cannes Festival with his film “Eternity and a Day”, starring
German actor Bruno Ganz, who also appears in his last
feature “the Dust of Time”, Willem Dafoe, Irène Jacob and
Michel Piccoli. This achievement represents the peak of the
director’s film career.
Despite the fact that Theodoros Aggelopoulos has been
highly acclaimed in many countries, such as in Japan, he
remains a controversial personality in Greece; the cause for
that may be that he is much more famous than any other
director that lives and works in Greece.
√ ı›·ÛÔ˜ / The Travelling Players
∞Ú‚·Ó›ÙË Î·È ðÈÔ ðÚfiÛÊ·Ù· ÙÔÓ ∞ÓÙÚ¤· ™ÈÓ¿ÓÔ ÛÙË ‰ÈÂ‡ı˘ÓÛË ÊˆÙÔÁÚ·Ê›·˜, ÙÔÓ §Ô˘ÎÈ·Ófi ∫ËÏ·Ë‰fiÓË Î·È Ù·
ÙÂÏÂ˘Ù·›· Â›ÎÔÛÈ ð¤ÓÙÂ ¯ÚfiÓÈ· ÙËÓ ∂Ï¤ÓË ∫·Ú·˝Ó‰ÚÔ˘
ÛÙË ÌÔ˘ÛÈÎ‹. ∫ÔÚ‡ÊˆÛË ÙË˜ Ì¤¯ÚÈ ÙÒÚ· ðÔÚÂ›·˜ ÙÔ˘
Theodoros Aggelopoulos belongs to a generation of
directors that many believe are “too attached to the past”,
persistent to maintain their established cinematographic
identity, avoiding any kind of deviation and
experimentation. The younger audience finds the work of
Aggelopoulos extremely abstract, overburdened with
symbolisms and historical remarks that are hard to
decipher. They view the stoicism of the camera as an
unjustified leisure and feel that they identify better with the
cinema of new directors who use a direct – but not
necessarily simple - language and easy to understand
narrative structures. The issue lies then, on the creative
deadlock of the director, or on the inability of the public to
interact with a type of cinema that refuses to compromise
to the established “visual codes” of our times?
As always, the truth lies somewhere in the middle and that
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˘ð‹ÚÍÂ Ë ‚Ú¿‚Â˘Û‹ ÙÔ˘ ÌÂ ÙÔÓ ÃÚ˘Ûfi ºÔ›ÓÈÎ· ÛÙÔ ÊÂÛÙÈ‚¿Ï ∫·ÓÓÒÓ ÙÔ 1998, ÁÈ· ÙÔ «ªÈ· ·ÈˆÓÈfiÙËÙ· Î·È ÌÈ·
Ì¤Ú·», ÌÂ ðÚˆÙ·ÁˆÓÈÛÙ‹ ÙÔÓ ÁÂÚÌ·Ófi Bruno Ganz, ðÔ˘
Û˘ÌÌÂÙ¤¯ÂÈ Âð›ÛË˜ ÛÙÔ ÙÂÏÂ˘Ù·›Ô ÙÔ˘ ÂÁ¯Â›ÚËÌ·, «∏ ÛÎfiÓË
ÙÔ˘ ¯ÚfiÓÔ˘», Ì·˙› ÌÂ ÙÔÓ Willem Dafoe, ÙËÓ Irène Jacob
Î·È ÙÔÓ Michel Piccoli.
¶·ÚfiÙÈ ¯ÒÚÂ˜, fiðˆ˜ Ë π·ðˆÓ›·, ðÂÚÈÏ·Ì‚¿ÓÔÓÙ·È Û’ ÂÎÂ›ÓÂ˜ ÌÂ ÙÔ˘˜ ðÈÔ Ê·Ó·ÙÈÎÔ‡˜ ı·˘Ì·ÛÙ¤˜ ÙÔ˘, ÛÙËÓ ∂ÏÏ¿‰·
Ô £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ ð·Ú·Ì¤ÓÂÈ fiÏ· ·˘Ù¿ Ù· ¯ÚfiÓÈ·
ÌÈ· ·ÌÊÈÏÂÁfiÌÂÓË ðÚÔÛˆðÈÎfiÙËÙ·, ›Ûˆ˜ ÂðÂÈ‰‹ Â›Ó·È
ÙfiÛÔ ÂðÈÙ˘¯ËÌ¤ÓÔ˜, ðÂÚÈÛÛfiÙÂÚÔ ·ðfi ÔðÔÈÔÓ‰‹ðÔÙÂ
¿ÏÏÔÓ Û˘Ó¿‰ÂÏÊfi ÙÔ˘ ðÔ˘ ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È ÛÙË ¯ÒÚ·
Ì·˜. √È ð·ÏÈfiÙÂÚÔÈ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ðÂÚÙÈÌËÌ¤ÓÔ, ÔÈ ÓÂfiÙÂÚÔÈ ÙÔÓ Î·ÙËÁÔÚÔ‡Ó ÁÈ· Û˘ÁÎÂÓÙÚˆÙÈÛÌfi, ÔÈ ðÂÚÈÛÛfiÙÂÚÔÈ
ıÂ·Ù¤˜ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ÂÍÂ˙ËÙËÌ¤ÓÔ Î·È ÁÂÓÈÎÒ˜ fiÏÔÈ ¤¯Ô˘Ó
Ó· ðÚÔ‚¿ÏÔ˘Ó ÙË ‰ÈÎ‹ ÙÔ˘˜ ¤ÓÛÙ·ÛË.
034
√ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ ·Ó‹ÎÂÈ ÛÂ ÌÈ· ÁÂÓÈ¿ ÛÎËÓÔıÂÙÒÓ ðÔ˘ ¤Ú¯ÔÓÙ·È ·ðfi ÙÔ ð·ÚÂÏıfiÓ Î·È ðÔ˘, ðÔÏÏÔ›
ðÈÛÙÂ‡Ô˘Ó fiÙÈ ð·Ú·Ì¤ÓÔ˘Ó ðÚÔÛÎÔÏÏËÌ¤ÓÔÈ ÛÙÔ ð·ÚÂÏıfiÓ, ÂðÈÌ¤ÓÔÓÙ·˜ ÛÙËÓ È‰ÈfiÙ˘ðË ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ‹ ÙÔ˘˜
Ù·˘ÙfiÙËÙ·, ·ðÔÊÂ‡ÁÔÓÙ·˜ ·ðÔÎÏ›ÛÂÈ˜ Î·È ðÂÈÚ·Ì·ÙÈÛÌÔ‡˜. £Â·Ù¤˜ ÙˆÓ ÓÂfiÙÂÚˆÓ ÁÂÓÂÒÓ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ðÂÚ‚ÔÏÈÎ¿ ·Ê·ÈÚÂÙÈÎfi, ÊÔÚÙˆÌ¤ÓÔ Û˘Ì‚ÔÏÈÛÌÔ‡˜ Î·È ÈÛÙÔÚÈÎ¤˜ ·Ó·ÊÔÚ¤˜ ðÔ˘ Â›Ó·È ‰‡ÛÎÔÏÔ Ó· ·ðÔÎˆ‰ÈÎÔðÔÈËıÔ‡Ó,
‚Ï¤ðÔ˘Ó ÙË ÛÙˆÈÎfiÙËÙ· ÙË˜ Î¿ÌÂÚ·˜ ˆ˜ ·‰ÈÎ·ÈÔÏfiÁËÙË
Óˆ¯ÂÏÈÎfiÙËÙ· Î·È Ù¤ÏÔ˜ ð¿ÓÙˆÓ ÓÈÒıÔ˘Ó fiÙÈ ÂðÈÎÔÈÓˆÓÔ‡Ó Â˘ÎÔÏfiÙÂÚ· ÌÂ ÙÔ ÛÈÓÂÌ¿ ÓÂfiÙÂÚˆÓ ‰ËÌÈÔ˘ÚÁÒÓ, ðÔ˘
¯ÚËÛÈÌÔðÔÈÔ‡Ó ·ÌÂÛfiÙÂÚË - ·Ó Î·È fi¯È ·Ó·ÁÎ·ÛÙÈÎ¿ ðÈÔ
Â‡ÎÔÏË - ÁÏÒÛÛ·. ¶ÚfiÎÂÈÙ·È, fiÌˆ˜, ÁÈ· ‰ËÌÈÔ˘ÚÁÈÎfi
Ù¤ÏÌ· ÙÔ˘ ÛÎËÓÔı¤ÙË ‹ ÁÈ· ·‰˘Ó·Ì›· ÙˆÓ ıÂ·ÙÒÓ Ó· ÂðÈÎÔÈÓˆÓ‹ÛÔ˘Ó Ì’ ¤Ó·Ó ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ðÔ˘ ·ÚÓÂ›Ù·È Ó·
Û˘ÌÌÔÚÊˆıÂ› ÌÂ ÙÔ˘˜ Î·ıÈÂÚˆÌ¤ÓÔ˘˜ ÔðÙÈÎÔ‡˜ ÎÒ‰ÈÎÂ˜
ÙË˜ ÛËÌÂÚÈÓ‹˜ ÂðÔ¯‹˜;
∏ ·Ï‹ıÂÈ·, fiðˆ˜ ð¿ÓÙ·, ›Ûˆ˜ ‚Ú›ÛÎÂÙ·È Î¿ðÔ˘ ÛÙË Ì¤ÛË
Î·È ›Ûˆ˜ ÂÍËÁÂ› ÙfiÛÔ ÙË ‰ÈÂıÓ‹ ÙÔ˘ ·ð‹¯ËÛË fiÛÔ Î·È ÙÔÓ
ÂÁ¯ÒÚÈÔ ÛÎÂðÙÈÎÈÛÌfi. √ ›‰ÈÔ˜ ÂðÈÛËÌ·›ÓÂÈ fiÙÈ “Ì¤Û· ÛÂ
¤Ó· ÌÔÓÔðÏ¿ÓÔ ˘ð¿Ú¯ÂÈ ÌÈ· ÂÁÁÚ·Ê‹ ÙÔ˘ ¯ÚfiÓÔ˘, fi¯È
ÌfiÓÔ ˆ˜ ·ÊËÚËÌ¤ÓË ¤ÓÓÔÈ·, ˆ˜ ð¤Ú·ÛÌ·, ·ÏÏ¿ Î·È ˆ˜
‰È¿ÚÎÂÈ·. ªÂ ÎfiÌÌ·Ù· Î·È fi¯È ÌÂ ÙÂÏÂ›Â˜. Àð¿Ú¯ÂÈ ÌÈ·
∆Ô ÏÈ‚¿‰È ðÔ˘ ‰·ÎÚ‡˙ÂÈ / The Weeping Meadow
ÌÔ˘ÛÈÎfiÙËÙ· ÛÙÔ ÌÔÓÔðÏ¿ÓÔ, Ë ÔðÔ›· ÎÂÚ‰›˙ÂÙ·È ‰È·ÊÔÚÂÙÈÎ¿. ∑Ô‡ÌÂ ÌÈ· ÂðÔ¯‹, fi¯È ÌfiÓÔ ÙÒÚ·, ·ÏÏ¿ ·ðfi ð¿Ú·
ðÔÏÏ¿ ¯ÚfiÓÈ·, fiðÔ˘ Î·È Ë ÌÔ˘ÛÈÎ‹ ¤¯ÂÈ Á›ÓÂÈ ðÈ· ðÂÚÈÛÛfiÙÂÚÔ ÎÔÊÙ‹, ÔÈ ÌÂÁ¿ÏÂ˜ ÌÔ˘ÛÈÎ¤˜ ÊÚ¿ÛÂÈ˜ ¤¯Ô˘Ó Î·Ù·ÚÁËıÂ›, ·ÏÏ¿ Î·È ÛÙË ÏÔÁÔÙÂ¯Ó›· Ù· ðÚ¿ÁÌ·Ù· Á›ÓÔÓÙ·È ðÈÔ
Û˘ÓÙÔÌÂ˘Ì¤Ó·. ¢ÂÓ ˘ð¿Ú¯Ô˘Ó ðÈ· ÔÈ ¶ÚÔ˘ÛÙ Ô‡ÙÂ ÔÈ
ºÒÎÓÂÚ. fiÌˆ˜, ·Ó Ô ‰ËÌÈÔ˘ÚÁfi˜ ðÂÈ fiÙÈ ÌÈ· Î·È ÙÔ ÚÂ‡Ì·
might explain the director’s international popularity as well
as the domestic skepticism. Aggelopoulos once stated:
“Within a long take there is a recording of time, not only as
an abstract definition, not only as a passage, but also as
duration; with commas and not with full stops. There is a
musicality in the long take, which is appreciated in a
√ ÌÂÏÈÛÛÔÎfiÌÔ˜ / The Beekeeper
different way. We live in a time, for many years now, where
even music has become shorter and the long music
“phrases” have been abolished; even in literature, things
become shorter and shorter. There is no more Proust or
Faulkner. However, if the artist decides to follow the flow
no matter where it takes him, he has already denied his
personal route, which is crucial not just for his work, but
above all to himself. When he tries to change it and change
does not occur due to a personal necessity, this is a kind of
betrayal, also visible to the spectator”.
The denial of Theodoros Aggelopoulos to compromise with
the widely used conventional methods of cinema narrative
is a legitimate choice of his; and even though this choice
makes him “inaccessible” to a large number of viewers that
feel more comfortable with conventional narratives, it still
allows him to exhibit a quite special and exciting personal
point of view. This does not mean that all his movies are of
the same value just because of his recurrent cinematic style,
but this is true for every film director, no matter their style,
status or filmography. The debate over the cinematic style
of Aggelopoulos is ongoing, and issues around his recurrent
motifs, such as the beautiful image composition, the
functionality of rhythms, the disruptive plots, the lucidity of
time, the weight of his historical commentary, the artistic
shots, the persistence on the detail and the poetic dialogues
will continue to be raised.
Despite the various opinions on his art, it is still certain that
Theodoros Aggelopoulos has developed an innately
personal style, unique in the Greek film industry,
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demanding and full of meanings, with which he has
managed to visualize sensitive sides of Greek
history and of the human character with a unique
introspective sentiment. The films of Aggelopoulos
are a melancholic gaze in the history of Greece,
capturing the mourning of people over their lost
opportunities and dreams, the failure of the utopia,
the disharmony of human nature. Theodoros
Aggelopoulos is a director who did not stop on the
simple representation of history, but also attempted
to reflect on it in a poetic manner. In this respect he
has succeeded, charming generations of cinema
lovers with his films that brought him into the front
stage of international festivals, film tributes and
discussions. In this way, the films of Theodoros
Aggelopoulos have become an indelible part of the
Greek cinema heritage.
∆·Í›‰È ÛÙ· ∫‡ıËÚ· / Voyage to Cythera
ð¿ÂÈ ðÚÔ˜ Ù· ÂÎÂ› ÂÁÒ ·ÎÔÏÔ˘ıÒ, ¤¯ÂÈ ‹‰Ë Î·Ù·ÚÁ‹ÛÂÈ ÙËÓ ÂÛˆÙÂÚÈÎ‹ ÙÔ˘ ‰È·‰ÚÔÌ‹, Ë ÔðÔ›· Â›Ó·È ÙfiÛÔ ‰ÂÌ¤ÓË fi¯È ÌfiÓÔ ÌÂ ÙÔ ¤ÚÁÔ ÙÔ˘, ·ÏÏ¿ Î·È ÌÂ ÙÔÓ
›‰ÈÔ. ŸÙ·Ó ðÚÔÛð·ı‹ÛÂÈ Ó· ÙËÓ ·ÏÏ¿ÍÂÈ Î·È Ë ·ÏÏ·Á‹ ‰ÂÓ ðÚÔÎ‡„ÂÈ ·ðfi ÌÈ·
ÂÛˆÙÂÚÈÎ‹ ·Ó¿ÁÎË, ÙfiÙÂ ˘ð¿Ú¯ÂÈ ¤Ó· Â›‰Ô˜ ðÚÔ‰ÔÛ›·˜, Ë ÔðÔ›· ÛËÌ·‰Â‡ÂÙ·È
ÎÈ ·ð’ ÙÔÓ ıÂ·Ù‹».
036
∏ ¿ÚÓËÛË ÙÔ˘ £fi‰ˆÚÔ˘ ∞ÁÁÂÏfiðÔ˘ÏÔ˘ Ó· Û˘Ì‚È‚·ÛÙÂ› ÌÂ ÙÈ˜ Û¯ÂÙÈÎ¿ ÁÓˆÛÙ¤˜ Î·È Û˘Ì‚·ÙÈÎ¤˜ ÌÂıfi‰Ô˘˜ ·ÊËÁËÌ·ÙÈÎ‹˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛË˜, Â›Ó·È ÌÈ·
·ðÔÏ‡Ùˆ˜ ıÂÌÈÙ‹, ÏÂÈÙÔ˘ÚÁÈÎ‹ ÂðÈÏÔÁ‹ ðÔ˘, ·ÊÂÓfi˜ Î¿ÓÂÈ ÙËÓ ÔðÙÈÎ‹ ÙÔ˘ È‰È·›ÙÂÚË Î·È Û˘Ó·Úð·ÛÙÈÎ‹, ·ÊÂÙ¤ÚÔ˘ ÙÔÓ ¤¯ÂÈ ·ðÔÍÂÓÒÛÂÈ ·ðfi ÌÈ· ÌÂÁ¿ÏË
ÌÂÚ›‰· ÙÔ˘ ÎÔÈÓÔ‡, ðÔ˘ ÌÂÁ¿ÏˆÛÂ ÌÂ ðÔÏ‡ ðÈÔ ðÚÔÛÈÙ¿ Â›‰Ë ÂÍÈÛÙfiÚËÛË˜,
fiðˆ˜ ÙËÓ ÎˆÌˆ‰›· Î·È ÙÔ ‰Ú¿Ì·, Î·È Û˘ÓÂ¯›˙ÂÈ Ó· ·Ó·˙ËÙ¿ ·ðÔÎÏÂÈÛÙÈÎ¿
·˘Ù¿. ∞˘Ùfi ‰Â ÛËÌ·›ÓÂÈ, ‚¤‚·È·, fiÙÈ fiÏÂ˜ ÔÈ Ù·ÈÓ›Â˜ ÙÔ˘ £fi‰ˆÚÔ˘
∞ÁÁÂÏfiðÔ˘ÏÔ˘ Â›Ó·È ÙÔ ›‰ÈÔ ·ÍÈfiÏÔÁÂ˜ ·ðÏ¿ Î·È ÌfiÓÔ ÂÍ·ÈÙ›·˜ ÙË˜ È‰ÈÔÌÔÚÊ›·˜ ÙÔ˘ ‡ÊÔ˘˜ ÙÔ˘, ·ÏÏ¿ ·˘Ùfi ð¿ÏÈ ÈÛ¯‡ÂÈ ÁÈ· Î¿ıÂ ÛÎËÓÔı¤ÙË˜ ·ÓÂÍ¿ÚÙËÙ·
·ðfi ÙÔ ‡ÊÔ˜, ÙÔ Î‡ÚÔ˜ ‹ ÙËÓ ¤ÎÙ·ÛË ÙË˜ ÊÈÏÌÔÁÚ·Ê›·˜ ÙÔ˘.
∆Ô ·Ó Î·È ðfiÛÔ Û˘¯Ó¿ Âð·Ó·Ï·Ì‚¿ÓÂÙ·È ıÂÌ·ÙÔÏÔÁÈÎ¿ Ë ÔÌÔÚÊÈ¿ ÙˆÓ Û˘Óı¤ÛÂˆÓ, Ë ÏÂÈÙÔ˘ÚÁÈÎfiÙËÙ· ÙˆÓ Ú˘ıÌÒÓ, Ë ‰˘Û·Ó·ÏÔÁ›· ÂÈÎ·ÛÙÈÎfiÙËÙ·˜ Î·È
ðÏÔÎ‹˜, Ë ¯ÚÔÓÈfiÙËÙ· Î·È Ë ÈÛÙÔÚÈÎfiÙËÙ· ÙˆÓ ·ÊËÁ‹ÛÂˆÓ, Ë ‰ÂÍÈÔÙÂ¯Ó›· ÙˆÓ
ðÏ¿ÓˆÓ, ÏÂðÙÔÌ¤ÚÂÈÂ˜, fiðˆ˜ ÙÔ ÓÙÔ˘ÌðÏ¿ÚÈÛÌ·, Ë ·ÊËÁËÌ·ÙÈÎ‹ ð˘ÎÓfiÙËÙ·,
Ë Â˘ÛÙÔ¯›· ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ Û¯ÔÏÈ·ÛÌÔ‡, Ë ðÂÚÈÛÙ·ÛÈ·Î‹ ·ÛÙÔ¯›· ÙˆÓ ‰È·ÏfiÁˆÓ, Â›Ó·È ÌfiÓÔ ÌÂÚÈÎ¿ ·ðfi Ù· ˙ËÙ‹Ì·Ù· ðÔ˘ ı· ÌðÔÚÔ‡ÛÂ Ó· ı›ÍÂÈ Î·ÓÂ›˜,
ÂðÈ‰ÔÎÈÌ¿˙ÔÓÙ·˜ ‹ ·ðÔ‰ÔÎÈÌ¿˙ÔÓÙ·˜ ÙËÓ ·Ó·ÌÊÈÛ‚‹ÙËÙË ÙÂ¯ÓÈÎ‹ ÂðÈ‰ÂÍÈfiÙËÙ· ÌÂ ÙËÓ ÔðÔ›· ð·ÚÔ˘ÛÈ¿˙ÔÓÙ·È.
∞ÓÂÍ¿ÚÙËÙ· ·ðfi ÙÈ˜ ·ð·ÓÙ‹ÛÂÈ˜ ðÔ˘ ı· ¤‰ÈÓÂ Î·ÓÂ›˜ ÛÙ· ð·Ú·ð¿Óˆ ˙ËÙ‹Ì·Ù·, ð·Ú·Ì¤ÓÂÈ ÁÂÁÔÓfi˜ fiÙÈ Ô £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiðÔ˘ÏÔ˜ Î·ÏÏÈ¤ÚÁËÛÂ ¤Ó· ðÚÔÛˆðÈÎfi ‰ËÌÈÔ˘ÚÁÈÎfi ‡ÊÔ˜, ÌÔÓ·‰ÈÎfi ÛÙÔÓ ÂÏÏËÓÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ, ·ð·ÈÙËÙÈÎfi, ·ÏÏ¿ ÓÔËÌ·ÙÈÎ¿ ð˘ÎÓfi Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ¿ Û˘Ó·Úð·ÛÙÈÎfi, ÌÂ ÙÔ
ÔðÔ›Ô Î·Ù¿ÊÂÚÂ Ó’ ·ðÂÈÎÔÓ›ÛÂÈ ðÏÂ˘Ú¤˜ ÙË˜ ÂÏÏËÓÈÎ‹˜ ÈÛÙÔÚ›·˜ Î·È ÙÔ˘
·ÓıÚÒðÈÓÔ˘ ¯·Ú·ÎÙ‹Ú· ÌÂ ÛÙÔ¯·ÛÙÈÎfiÙËÙ·, Â˘ı‡ÙËÙ· Î·È Â˘·ÈÛıËÛ›·, ‰È·ÙËÚÒÓÙ·˜ ÙËÓ Î·ÏÏÈÙÂ¯ÓÈÎ‹ ÙÔ˘ ·ÎÂÚ·ÈfiÙËÙ·. ªÈ· ÌÂÏ·Á¯ÔÏÈÎ‹ ÂÓ·Ù¤ÓÈÛË ÛÙËÓ
∂ÏÏ¿‰· Î·È ÛÙÔ˘˜ ·ÓıÚÒðÔ˘˜ ÙË˜ ðÔ˘ ıÚËÓÂ› ÙËÓ ·ðÒÏÂÈ· ¯·Ì¤ÓˆÓ Â˘Î·ÈÚÈÒÓ, ÙËÓ ·ðÔÙ˘¯›· ÙË˜ Ô˘ÙÔð›·˜, ÙËÓ ÂÁÁÂÓ‹ ‰˘Û·ÚÌÔÓ›· ÙÔ˘ ·ÓıÚÒðÈÓÔ˘
¯·Ú·ÎÙ‹Ú·. ŒÓ·˜ ÛÎËÓÔı¤ÙË˜ ðÔ˘ ‰ÂÓ ·ÚÎ¤ÛÙËÎÂ Ó’ ·ðÂÈÎÔÓ›ÛÂÈ ÙËÓ ÈÛÙÔÚ›·,
·ÏÏ¿ ·ðÔðÂÈÚ¿ıËÎÂ Ó· ÊÈÏÔÛÔÊ‹ÛÂÈ ÁÈ’ ·˘Ù‹, fi¯È ‰ÔÎÈÌÈ·Î¿, ·ÏÏ¿ ðÔÈËÙÈÎ¿.
∆· Î·Ù¿ÊÂÚÂ ÁÔËÙÂ‡ÔÓÙ·˜ ÁÂÓÈ¤˜ ÎÈÓËÌ·ÙÔÁÚ·ÊfiÊÈÏˆÓ ÌÂ Ù·ÈÓ›Â˜ ðÔ˘ ð·Ú·Ì¤ÓÔ˘Ó ÛÙÔ Âð›ÎÂÓÙÚÔ ·ÊÈÂÚˆÌ¿ÙˆÓ Î·È Û˘˙ËÙ‹ÛÂˆÓ ·Ó¿ ÙÔÓ ÎfiÛÌÔ, ÌÂÙ·Ê¤ÚÔÓÙ·˜ ¤ÙÛÈ ¤Ó· ·ðfi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ÎÂÊ¿Ï·È· ÙË˜ ÂÏÏËÓÈÎ‹˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎ‹˜ ÎÏËÚÔÓÔÌÈ¿˜.
ºπ§ª√°ƒ∞ºπ∞
«∂ÎðÔÌð‹» (ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜, 1968)
«∞Ó·ð·Ú¿ÛÙ·ÛË» (1970)
«ª¤ÚÂ˜ ÙÔ˘ ’36» (1972)
«√ ı›·ÛÔ˜» (1975)
«√È Î˘ÓËÁÔ›» (1977)
«√ ªÂÁ·Ï¤Í·ÓÙÚÔ˜» (1980)
«∆·Í›‰È ÛÙ· ∫‡ıËÚ·» (1984)
«√ ÌÂÏÈÛÛÔÎfiÌÔ˜» (1986)
«∆Ôð›Ô ÛÙËÓ ÔÌ›¯ÏË» (1988)
«∆Ô ÌÂÙ¤ˆÚÔ ‚‹Ì· ÙÔ˘ ðÂÏ·ÚÁÔ‡» (1991)
«∆Ô ‚Ï¤ÌÌ· ÙÔ˘ √‰˘ÛÛ¤·» (1995)
«Lumière et compagnie» (ÛðÔÓ‰˘ÏˆÙfi, 1995)
«ªÈ· ·ÈˆÓÈfiÙËÙ· Î·È ÌÈ· Ì¤Ú·» (ÃÚ˘Ûfi˜
ºÔ›ÓÈÎ·˜ ÛÙÔ ÊÂÛÙÈ‚¿Ï ∫·ÓÒÓ, 1998)
«∆ÚÈÏÔÁ›·: ∆Ô ÏÈ‚¿‰È ðÔ˘ ‰·ÎÚ‡˙ÂÈ» (2004)
«Chacun son cinéma ou Ce petit coup au coeur
quand la lumière s'éteint et que le film
commence» (ÛðÔÓ‰˘ÏˆÙfi, 2007)
«∏ ÛÎfiÓË ÙÔ˘ ¯ÚfiÓÔ˘» (2008)
Filmography
“Broadcast” (short film, 1968)
“Reconstruction” (1970)
“Days of 36” (1972)
“The Travelling Players” (1975)
“The Hunters” (1977)
“Alexander the Great (“Megalexandros”) (1980)
“Voyage to Cythera” (1984)
“The Beekeeper” (1986)
“Landscape in the Mist” (1988)
“The Suspended Step of the Stork” (1991)
“Ulysses’ Gaze” (1995)
“Lumière et compagnie” (anthology, 1995)
“Eternity and a day” (awarded with the Palme
d’Or in the Cannes, 1998)
“Trilogy: The Weeping Meadow” (2004)
«Chacun son cinéma ou Ce petit coup au coeur
quand la lumière s'éteint et que le film
commence» (anthology, 2007)
“Dust of Time” (2008
MINOAN WAVE
ñ
tarha
20/7/09
13:01
Page 1
∂ðÈÛÎÂÊÙÂ›ÙÂ ÙÔ
ÂÚÁ·ÛÙ‹ÚÈÔ Á˘·ÏÈÔ‡ ÛÙ·
∞ÓÒÁÂÈ· ª˘ÏÔðÔÙ¿ÌÔ˘
Î·È ÁÓˆÚ›ÛÙÂ ·ðfi ÎÔÓÙ¿
ÙËÓ Ì·ÁÂ›· ÙÔ˘ Ê˘ÛËÙÔ‡
Á˘·ÏÈÔ‡. ∂ÎÂ› ÔÈ
Î·ÏÏÈÙ¤¯ÓÂ˜ ª¿ÚÈÔ˜
Ã·ÏÎÈ·‰¿ÎË˜ Î·È
Once in Crete, visit
the Glass Workshop at
the mountainous village of Anoghia
(Mylopotamos) and
discover the magic of
blown glass. Artists
Marios Chalkiadakis
¡·Ù¿ÛÛ·
¶·ð·‰ÔÁ·Ì‚Ú¿ÎË ı·
Û·˜ Ì˘‹ÛÔ˘Ó ÛÙ·
Ì˘ÛÙÈÎ¿ ÙË˜ ·Ú¯·›·˜
·˘Ù‹˜ ÙÂ¯ÓÈÎ‹˜ Î·È ı·
‰Â›ÙÂ ÙËÓ Î·˘Ù‹ Ì¿˙·
ÙÔ˘ Á˘·ÏÈÔ‡ Ó· ð·›ÚÓÂÈ
¯ÚÒÌ· Î·È Û¯‹Ì· Î·È Ó·
ÌÂÙ·ÌÔÚÊÒÓÂÙ·È ÛÂ
¤ÚÁÔ Ù¤¯ÓË˜.
and Natassa
Papadogamvraki will
initiate you into the
secrets of this ancient
technique, showing
how the hotglass
takes shape and color
and is transformed
into an art object.
∆Ô ÂÚÁ·ÛÙ‹ÚÈÔ ÏÂÈÙÔ˘ÚÁÂ›
·ðfi ¢Â˘Ù¤Ú· ¤ˆ˜ ¶·Ú·ÛÎÂ˘‹ 11.00 - 15.00
The Glass Workshop is open
from Monday to Friday 11.00 - 15.00.
SANTORINI
20/7/09
13:02
Page 1
Santorini
Àð¿Ú¯Ô˘Ó ðÔÏÏ¿ ðÚ¿ÁÌ·Ù· ðÔ˘ ÌðÔÚÂ›˜ Ó· ÛÎÂÊÙÂ›˜ ÁÈ· ÙË ™·ÓÙÔÚ›ÓË Î·È Ó· ÛÂ
Î¿ÓÔ˘Ó Ó· ·Ó·ÚÈÁ‹ÛÂÈ˜ ·ðfi Â˘¯·Ú›ÛÙËÛË. ∆ËÓ √›·, Ù· ºËÚ¿, ÙÔ ËÊ·›ÛÙÂÈÔ, ÙË ı¿Ï·ÛÛ·,
Ù· ËÏÈÔ‚·ÛÈÏ¤Ì·Ù·, ÙÔ Ê·ÁËÙfi, ÙÈ˜ ÏÈ·ÛÙ¤˜ ÓÙÔÌ¿ÙÂ˜, ÙË Ê¿‚·… ∞˘Ùfi ðÔ˘ ¤¯ÂÈ, fiÌˆ˜,
ÎÂÚ‰›ÛÂÈ ÙËÓ Î·Ú‰È¿ Ì·˜ ÔÏfiÙÂÏ·, Â‰Ò Î·È ¯ÚfiÓÈ·, Â›Ó·È ÙÔ ÎÚ·Û› ÙË˜.
ªÂ ¤Ó·Ó ·ðfi ÙÔ˘˜ ÌÈÎÚfiÙÂÚÔ˘˜ ·ÌðÂÏÒÓÂ˜ √ÓÔÌ·Û›·˜ ¶ÚÔ¤ÏÂ˘ÛË˜ ÛÙËÓ ∂ÏÏ¿‰·, Ë
™·ÓÙÔÚ›ÓË ¤¯ÂÈ Î·Ù·Ê¤ÚÂÈ Ó· ÎÂÚ‰›ÛÂÈ ÙÈ˜ ÂÓÙ˘ðÒÛÂÈ˜, Î·È Ì·˙› Ì’ ·˘Ù¤˜ Î·È ðÔÏÏ¿ ‚Ú·‚Â›· Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·. ™ÙÔÓ ðÚfiÛÊ·ÙÔ ‰È·ÁˆÓÈÛÌfi Ô›ÓÔ˘, ÙÔÓ 9Ô ¢ÈÂıÓ‹ ¢È·ÁˆÓÈÛÌfi
√›ÓÔ˘ £ÂÛÛ·ÏÔÓ›ÎË˜, Ù· ÎÚ·ÛÈ¿ ÙË˜ ·ð¤Ûð·Û·Ó ÙÔ ÌÔÓ·‰ÈÎfi ªÂÁ¿ÏÔ ÃÚ˘Ûfi ‚Ú·‚Â›Ô,
6 ÃÚ˘Û¿ Î·È 8 ∞ÚÁ˘Ú¿. ∫·ıfiÏÔ˘ ¿Û¯ËÌ· ÁÈ· ¤Ó· ÙfiÛÔ ÌÈÎÚfi ·ÌðÂÏÒÓ·!
038
The name “Santorini” can bring several pleasant and beautiful things in mind: Oia, Phera,
the volcano, the sea, the sun sets, the sun-dried tomatoes, yellow peas… However, what
has actually won over our hearts for many years now, is Santorini’s wine.
Santorini has managed to win several awards during the last few years, despite having one
of the smallest Protected Designation of Origin (PDO) vineyards of Greece. During the
recent international wine competition of Thessaloniki, Santorini’s wines were awarded the
only Great golden award, 6 gold and 8 silver medals. Not bad at all for such a small
vineyard.
ÙË˜ ÔÈÓÔÏfiÁÔ˘ ¢ÚÔ˜ ª·ÚÔ‡Û·˜ ∆Û·¯¿ÎË
by oenologist Dr Maroussa Tsachaki
H
™·ÓÙÔÚ›ÓË
‚Ú›ÛÎÂÙ·È
ÛÙÈ˜
∫˘ÎÏ¿‰Â˜, ÛÙÔ ÓfiÙÈÔ ∞ÈÁ·›Ô.
¢ËÌÈÔ˘ÚÁ‹ıËÎÂ, fiðˆ˜ ÙËÓ Í¤ÚÔ˘ÌÂ Û‹ÌÂÚ·, ·ðfi ÙËÓ ¤ÎÚËÍË ÙÔ˘
ËÊ·ÈÛÙÂ›Ô˘, Á‡Úˆ ÛÙ· 1600 ð.Ã.,
ÌÈ· ¤ÎÚËÍË ðÔ˘ Î·Ù¤ÛÙÚÂ„Â ÙÔ
ªÈÓˆÈÎfi ¶ÔÏÈÙÈÛÌfi ÙË˜ £‹Ú·˜
(™·ÓÙÔÚ›ÓË˜) Î·È ðÈı·ÓfiÙ·Ù· Î·È
ÙË˜ ÎÔÓÙÈÓ‹˜ ∫Ú‹ÙË˜. ∆Ô ·Ìð¤ÏÈ
Î·ÏÏÈÂÚÁÔ‡Ù·Ó ÂÎÂ›, fiðˆ˜ Ì·ÚÙ˘ÚÔ‡Ó Ù· Â˘Ú‹Ì·Ù· ÙˆÓ ·Ó·ÛÎ·ÊÒÓ ÛÙÔ ∞ÎÚˆÙ‹ÚÈ, ·ðfi ÙÔÓ 17Ô
·ÈÒÓ· ð.Ã.
Santorini is located in the Cyclades, in the southern Aegean
Sea. The island took its shape after the violent eruption of its
volcano, circa 1600 B.C. This eruption was what destroyed
the Minoan Civilization of Thera (Santorini) and probably
also the Civilization in Crete. The excavations in the
Akrotiri area have shown that vineyards existed in the island
at least since the 17th century B.C.
Vineyards were amongst the very few plants that could
survive and actually flourish, in the harsh environment of the
island. This is why, when it was occupied by the Ottomans,
sometime during the 16th century A.D., vineyard cultivation
was not banned, as it was the only source of income for the
occupiers.
∞Ó¿ ÙÔ˘˜ ·ÈÒÓÂ˜ ÙÔ ·Ìð¤ÏÈ ‹Ù·Ó
·ðfi ÙÈ˜ ÌÔÓ·‰ÈÎ¤˜ Î·ÏÏÈ¤ÚÁÂÈÂ˜
ðÔ˘ Â˘‰ÔÎÈÌÔ‡Û·Ó ÛÙÔ ÓËÛ›. ∞˘Ùfi˜ ‹Ù·Ó Î·È ¤Ó·˜ ·ðfi ÙÔ˘˜ ÏfiÁÔ˘˜
ÁÈ· ÙÔ˘˜ ÔðÔ›Ô˘˜, fiÙ·Ó ÙÔ ÓËÛ› ðÂÚÈ‹ÏıÂ ÛÙËÓ √ıˆÌ·ÓÈÎ‹
∞˘ÙÔÎÚ·ÙÔÚ›·, Á‡Úˆ ÛÙÔÓ 16Ô ·ÈÒÓ· Ì.Ã., Ë Î·ÏÏÈ¤ÚÁÂÈ· ÙË˜ ·Ìð¤-
The volcanic soil and the harsh Cycladic climate with the
infamous Cycladic gales and the scorching sun, did not
prevent the island from producing some of the best wines in
Greece. The vineyards of Santorini are native and have not
been uprooted or replanted for centuries. Indeed, these
MINOAN WAVE
>>
SANTORINI
20/7/09
13:02
Page 2
i d’Or!
SANTORINI
20/7/09
13:04
Page 3
Santorini d’Or!
ÏÔ˘ ‰ÂÓ ·ð·ÁÔÚÂ‡ÙËÎÂ, ·ÊÔ‡ ‹Ù·Ó Ë ÌÔÓ·‰ÈÎ‹ ðËÁ‹ ÂÛfi‰ˆÓ ÙÔ˘
ÓËÛÈÔ‡ ÁÈ· ÙÔ˘˜ ∆Ô‡ÚÎÔ˘˜.
040
∆Ô ËÊ·ÈÛÙÂÈÔÁÂÓ¤˜ ¤‰·ÊÔ˜ Î·È ÙÔ «ÙÚ·¯‡» ∫˘ÎÏ·‰›ÙÈÎÔ ÎÏ›Ì·,
ÌÂ ÙÔ˘˜ ÁÓˆÛÙÔ‡˜ ‰˘Ó·ÙÔ‡˜ ∫˘ÎÏ·‰›ÙÈÎÔ˘˜ ·Ó¤ÌÔ˘˜ Î·È ÙËÓ
¤ÓÙÔÓË ËÏÈÔÊ¿ÓÂÈ·, ‰ÂÓ ·ð¤ÙÚÂ„·Ó ÙÔ ·Ìð¤ÏÈ Ó·
ð·Ú¿ÁÂÈ Î¿ðÔÈ·
·ðfi Ù· Î·Ï‡ÙÂÚ·
ÎÚ·ÛÈ¿
ÙË˜
∂ÏÏ¿‰·˜. ÿÛ·›Û·, Â›Ó·È ·˘Ù¿
·ÎÚÈ‚Ò˜ ðÔ˘ ‰È·ÙËÚÔ‡Ó ¤Ó·Ó ·ðfi
ÙÔ˘˜ ÂÏ¿¯ÈÛÙÔ˘˜
·ÌðÂÏÒÓÂ˜
ð·ÁÎÔÛÌ›ˆ˜ ÌÂ
·˘ÙfiÚÈ˙· ÎÏ‹Ì·Ù· Î·È ÎÚ·ÛÈ¿ ÌÂ
ÙfiÛÔ È‰È·›ÙÂÚÔ
¯·Ú·ÎÙ‹Ú·.
§fiÁˆ ÙË˜ Û‡ÛÙ·ÛË˜ ÙÔ˘ Â‰¿ÊÔ˘˜,
Ë Ê˘ÏÏÔÍ‹Ú·, ÙÔ
ð·Ú¿ÛÈÙÔ
ÙË˜
·Ìð¤ÏÔ˘ ðÔ˘ Î·Ù¤ÛÙÚÂ„Â Û¯Â‰fiÓ fiÏÔ˘˜ ÙÔ˘˜ ·ÌðÂÏÒÓÂ˜
ð·ÁÎÔÛÌ›ˆ˜ ÙÔ˘˜ ÙÂÏÂ˘Ù·›Ô˘˜ ‰‡Ô ·ÈÒÓÂ˜, ‰Â ÌðfiÚÂÛÂ Ó· ÂðÈ‚ÈÒÛÂÈ ÛÙË ™·ÓÙÔÚ›ÓË Î·È Ó· Î·Ù·ÛÙÚ¤„ÂÈ Ù· ·Ìð¤ÏÈ· ÙË˜. °È’
·˘Ùfi Î·È Ô ™·ÓÙÔÚÈÓÈfi˜ ·ÌðÂÏÒÓ·˜ ·ðÔÙÂÏÂ›Ù·È ·ðfi ·˘ÙfiÚÈ˙·
ÎÏ‹Ì·Ù·, ÂÓ ·ÓÙÈı¤ÛÂÈ ÌÂ ÙÔ˘˜ ðÂÚÈÛÛfiÙÂÚÔ˘˜ ·ÌðÂÏÒÓÂ˜
ð·ÁÎÔÛÌ›ˆ˜ ðÔ˘ ÁÈ· Ó· ÂðÈ‚ÈÒÛÔ˘Ó ¯ÚËÛÈÌÔðÔÈÔ‡Ó ·ÌÂÚÈÎ·ÓÈÎ¿ ˘ðÔÎÂ›ÌÂÓ·. (™ËÌ. ∂Ì‚ÔÏÈ¿˙ÂÙ·È ‰ËÏ·‰‹ Ë ðÔÈÎÈÏ›· ÙË˜
ðÂÚÈÔ¯‹˜ ð¿Óˆ ÛÂ ·ÌÂÚÈÎ·ÓÈÎfi ÎÏ‹Ì· Î·È ¯ÚËÛÈÌÔðÔÈÂ›Ù·È
¤ÙÛÈ ÙÔ ÚÈ˙ÈÎfi Û‡ÛÙËÌ· ÙÔ˘ ·ÌÂÚÈÎ·ÓÈÎÔ‡ ˘ðÔÎÂÈÌ¤ÓÔ˘ ðÔ˘
Â›Ó·È ·ÓıÂÎÙÈÎfi ÛÙË Ê˘ÏÏÔÍ‹Ú·)
√È ‰˘Ó·ÙÔ› ¿ÓÂÌÔÈ Î·È Ô ¤ÓÙÔÓÔ˜ ‹ÏÈÔ˜ ‰ËÌÈÔ‡ÚÁËÛ·Ó Î·È ¤Ó·
È‰È·›ÙÂÚÔ ÙÚfiðÔ ÎÏ·‰¤Ì·ÙÔ˜ ÛÙË ™·ÓÙÔÚ›ÓË. ∞˘ÙfiÓ ÙË˜ ÎÔ˘ÏÔ‡Ú·˜, ÙË˜ "Á˘ÚÈÛÙ‹˜". ∆· ·Ìð¤ÏÈ· ÌÔÈ¿˙Ô˘Ó Û·Ó ¤Ó· Î·Ï¿ıÈ
‹ ÎÔÊ›ÓÈ ÌðÏÂÁÌ¤ÓÔ ·ðfi ·ÌðÂÏfi‚ÂÚÁÂ˜. ª'·˘ÙfiÓ ÙÔÓ ÙÚfiðÔ ÔÈ
ÓÂ·ÚÔ› ‚Ï·ÛÙÔ› Î·È Ù· ÛÙ·Ê‡ÏÈ· ·Ó·ðÙ‡ÛÛÔÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ "ÎÔÊÈÓÈÔ‡" Î·È ðÚÔÛÙ·ÙÂ‡ÔÓÙ·È ·ðfi ÙÔ ‰˘Ó·Ùfi ·¤Ú· Î·È
ÙËÓ ¿ÌÌÔ ðÔ˘ Û˘Ìð·Ú·Û‡ÚÂÈ. √È ·ÌðÂÏÒÓÂ˜ ÙÔ˘ ÓËÛÈÔ‡ Â›Ó·È
ÍËÚÈÎÔ› (‰ËÏ·‰‹ ‰ÂÓ ðÔÙ›˙ÔÓÙ·È), ð·›ÚÓÔ˘Ó fiÌˆ˜ ÓÂÚfi ·ðfi ÙËÓ
˘ÁÚ·Û›· ðÔ˘ Ì·˙Â‡ÂÈ ÙÔ ËÊ·ÈÛÙÂÈÔÁÂÓ¤˜ ¤‰·ÊÔ˜ Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙË˜ Ó‡¯Ù·˜.
™’ ·˘Ùfi ÙÔ ÌÔÓ·‰ÈÎfi ÔÈÎÔÛ‡ÛÙËÌ· Î·È ÌÂ ÙÔ ∞Û‡ÚÙÈÎÔ, ÙÔ
∞ı‹ÚÈ Î·È ÙÔ ∞Ë‰¿ÓÈ, ÙÈ˜ ÙÚÂÈ˜ ÏÂ˘Î¤˜ ðÔÈÎÈÏ›Â˜ ÙÔ˘ ÓËÛÈÔ‡, Ô
ıËÚ·˚Îfi˜ ·ÌðÂÏÒÓ·˜ ð·Ú¿ÁÂÈ ÏÂ˘Î¿ ÎÚ·ÛÈ¿ ÛÂ ‰È¿ÊÔÚÂ˜ ÂÎ‰Ô¯¤˜, ÊÚ¤ÛÎ·, ð·Ï·ÈˆÌ¤Ó· Î·È ÁÏ˘Î¿. ¶·Ú¿ÁÂÈ Âð›ÛË˜ Î·È ÂÚ˘ıÚ¿, ÛÂ ÌÈÎÚfiÙÂÚË ðÔÛfiÙËÙ·, ·ðfi ÙÈ˜ ðÔÈÎÈÏ›Â˜ ª·Ó‰ËÏ·ÚÈ¿
Î·È ª·˘ÚÔÙÚ¿Á·ÓÔ. ºËÌ›˙ÂÙ·È Î˘Ú›ˆ˜ ÁÈ· ÙÔÓ ™·ÓÙÔÚ›ÓË
√¶∞¶ (√ÓÔÌ·Û›· ¶ÚÔ¤ÏÂ˘ÛË˜ ∞ÓˆÙ¤Ú·˜ ¶ÔÈfiÙËÙ·˜) ·ðfi ÙÈ˜
ÙÚÂÈ˜ ÏÂ˘Î¤˜ ðÔÈÎÈÏ›Â˜ (Û˘¯Ó¿ ÙÔÓ Û˘Ó·ÓÙÔ‡ÌÂ ÌfiÓÔ ·ðfi
∞Û‡ÚÙÈÎÔ), ¤Ó· ÍËÚfi ÏÂ˘Îfi Ô›ÓÔ ÌÂ ·ÚÒÌ·Ù· ÂÛðÂÚÈ‰ÔÂÈ‰ÒÓ,
ðÔÏ‡ Î·Ï‹ ÔÍ‡ÙËÙ· Î·È ÌÂÙ·ÏÏÈÎfiÙËÙ·. ∞ðfi Ù· ·Á·ðËÌ¤Ó· ÙÔ˘
™·ÓÙÔÚÈÓÈÔ‡ ·ÌðÂÏÒÓ· Â›Ó·È Âð›ÛË˜ ÙÔ ÁÏ˘Îfi Vinsanto, ·ðfi
ÏÈ·ÛÙ¿ ÏÂ˘Î¿ ÛÙ·Ê‡ÏÈ·, ðÔ˘ ð·Ï·ÈÒÓÂÈ ÛÂ ‰Ú‡ÈÓ· ‚·Ú¤ÏÈ· Î·È
¤¯ÂÈ ÙÂÚ¿ÛÙÈ· ‰˘Ó·ÙfiÙËÙ· ð·Ú·ÌÔÓ‹˜ ÛÙË ÊÈ¿ÏË.
∏ ÔÈÓÈÎ‹ «ÁÏÒÛÛ·» ÙÔ˘ ÓËÛÈÔ‡ Â›Ó·È ÂðËÚÂ·ÛÌ¤ÓË ·ðfi ÙË Î·ÙÔ-
unique characteristics are what give the Santorini wines
their distinctive character. Due to the soil composition,
phylloxera, the insect that destroyed a huge part of the
vineyards around the world during the past two centuries,
was not able to survive in Santorini and thus destroy its
vineyards. That is why the local vineyards are indigenous
and have not been substituted by American varieties, like
most vineyards in the world have, in order to survive
phylloxera.
(note: Elsewhere, the local varieties have been grafted on
American varieties as the roots of the latter are resistant to
the phylloxera insect)
The strong winds and the scorching sun have obliged the
locals to come up with a very particular way of pruning.
The locals call it kouloura or gyristi (coil or turn). They
prune the vineyards so that they resemble a large basket
made of branches. In this way, the newly developed scions
develop in the interior of the “basket” and are protected by
the strong winds and the sand that the wind carries with it.
The island’s vineyards are xeric (anhydrous); that is, they
are not being watered, but absorb the humidity that is
collected in the volcanic soil of the island during the night.
In this unique ecosystem, the Santorini vineyards that
consist of the Asyrtiko, Atheri and Aedani varieties,
produce several white wines with an impressive assortment
of different characteristics. Santorini also produces red
wines, from the Mandelaria and Mavrotragano varieties,
but in smaller quantities. Probably the most famous
Designation of Origin of Superior Quality wine of Santorini
is made of the Asyrtiko variety; it is a dry white wine, with
citrus aromas, of good acidity and brassiness. Another very
popular and famous Santorini wine is the sweet Vinsanto,
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¯‹ ÙÔ˘ ÓËÛÈÔ‡ ·ðfi ÙÔ˘˜ µÂÓÂÙÔ‡˜ Î·Ù¿ ÙÔÓ 13Ô ·ÈÒÓ· Ì.Ã. ·ÏÏ¿ Î·È ÙËÓ
ÂðÈÚÚÔ‹ ðÔ˘ ·˘ÙÔ› Â›¯·Ó Î·Ù¿ ÙÔÓ 14Ô Î·È 15Ô ·ÈÒÓ· Ì.Ã., fiÙ·Ó ÙÔ ÓËÛ›
·Ó‹ÎÂ ÛÙÔ ‰Ô˘Î¿ÙÔ ÙË˜ ¡¿ÍÔ˘. ŒÙÛÈ ÙÔ ÏÈ·ÛÙfi ÎÚ·Û› ÙË˜ ™·ÓÙÔÚ›ÓË˜ ÔÓÔÌ¿ÛÙËÎÂ Vinsanto (Vino Santo, ÏfiÁˆ ÙË˜ ÔÓÔÌ·Û›·˜ ÙÔ˘ ÓËÛÈÔ‡ Santo Erini).
∫¿Ó·‚· Ï¤ÁÂÙ·È ÙÔ ÔÈÓÔðÔÈÂ›Ô, vedemma ı· ðÂÈ ÙÚ‡ÁÔ˜, mezzo ÙÔ ÁÏ˘Îfi
ÎÚ·Û› ðÔ˘ Â›Ó·È Ï›ÁÔ ðÈÔ ‰˘Ó·Ùfi ÛÂ ·ÏÎÔfiÏË ·ðfi ÙÔ Vinsanto ·ÏÏ¿ ÌÂ ÏÈÁfiÙÂÚ· Û¿Î¯·Ú·, Î·È Û›ÁÔ˘Ú· ˘ð¿Ú¯Ô˘Ó ðÔÏÏ¤˜ ¿ÏÏÂ˜ Ï¤ÍÂÈ˜ ðÔ˘ ÔÈ ÓÙfiðÈÔÈ
ÔÈÓÔð·Ú·ÁˆÁÔ› ÁÓˆÚ›˙Ô˘Ó Î·È ¯ÚËÛÈÌÔðÔÈÔ‡Ó.
ÃÚ˘Û¤˜ √ÈÓÈÎ¤˜ πÛÙÔÚ›Â˜ ∂ðÈÙ˘¯›·˜
∆· ÎÚ·ÛÈ¿ ÙÔ˘ ıËÚ·˚ÎÔ‡ ·ÌðÂÏÒÓ·, ·ðfi fiÏ· Û¯Â‰fiÓ Ù· ÔÈÓÔðÔÈÂ›· ÙÔ˘
ÓËÛÈÔ‡, ÎÂÚ‰›˙Ô˘Ó Î¿ıÂ ¯ÚfiÓÔ ðÔÏÏ¿ ‚Ú·‚Â›· ÛÂ ‰ÈÂıÓÂ›˜ ‰È·ÁˆÓÈÛÌÔ‡˜. ∏
È‰È·ÈÙÂÚfiÙËÙ· Î·È Ë ðÔÈfiÙËÙ· ÙÔ˘ Vinsanto ‰ÈÎ·ÈÒÓÂÙ·È Û˘¯Ó¿ ÎÂÚ‰›˙ÔÓÙ·˜
ÙÔ ªÂÁ¿ÏÔ ÃÚ˘Ûfi ÛÙÔ ‰È·ÁˆÓÈÛÌfi Ô›ÓÔ˘ £ÂÛÛ·ÏÔÓ›ÎË˜ ·ÏÏ¿ Î·È ðÔÏÏ¿
¿ÏÏ· ‚Ú·‚Â›· ÛÂ ‰È·ÁˆÓÈÛÌÔ‡˜ ÂÓÙfi˜ Î·È ÂÎÙfi˜ ∂ÏÏ¿‰·˜. ∞ÓÙ›ÛÙÔÈ¯· Î·È Ô
ÍËÚfi˜ ÏÂ˘Îfi˜ ™·ÓÙÔÚ›ÓË √¶∞¶ Â›Ó·È ð¿ÓÙ· Ì¤Û· ÛÙ· ÃÚ˘Û¿ ‚Ú·‚Â›· ÂÏÏËÓÈÎÒÓ Î·È ‰ÈÂıÓÒÓ ‰È·ÁˆÓÈÛÌÒÓ, ‰›ÓÔÓÙ·˜ ð¿ÓÙ· ¤Ó· Ë¯ËÚfi ð·ÚfiÓ ÙÔ˘
Î˘ÎÏ·‰›ÙÈÎÔ˘ ·˘ÙÔ‡ ·ÌðÂÏÒÓ·.
∂›Ó·È ·ÍÈÔÛËÌÂ›ˆÙÔ fiÙÈ ÙÔ ÎÚ·Û› ÙË˜ ™·ÓÙÔÚ›ÓË˜ Â›Ó·È ¤Ó· ·ðfi Ù· ðÈÔ ·Ó·ÁÓˆÚ›ÛÈÌ·, ‰ÈÂıÓÒ˜, ÂÏÏËÓÈÎ¿ ÎÚ·ÛÈ¿, ð·Ú’ fiÏÔ ðÔ˘ ðÚÔ¤Ú¯ÂÙ·È ·ðfi ¤Ó·
ÌÈÎÚÔÛÎÔðÈÎfi ·ÌðÂÏÒÓ· ÙˆÓ 1400 ÂÎÙ·Ú›ˆÓ ðÂÚ›ðÔ˘ Î·È ÙËÓ ð·Ú·ÁˆÁ‹
ÌfiÓÔ ¤ÓÙÂÎ· ÔÈÓÔðÔÈÂ›ˆÓ (ÂÏð›˙Ô˘ÌÂ ðˆ˜ ‰ÂÓ ¤¯ÂÈ ÍÂ¯·ÛıÂ› Î·Ó¤Ó· ÛÙÔ
Ì¤ÙÚËÌ·).
ŸÏ· Ù· ÔÈÓÔðÔÈÂ›· ÙË˜ ™·ÓÙÔÚ›ÓË˜ Â›Ó·È ÂðÈÛÎ¤„ÈÌ· (Î¿ðÔÈ· fiÌˆ˜ ÌfiÓÔ
Î·ÙfiðÈÓ Ú·ÓÙÂ‚Ô‡, ÁÈ’ ·˘Ùfi Â›Ó·È ðÚÔÙÈÌfiÙÂÚÔ Ó· ÙËÏÂÊˆÓ‹ÛÂÙÂ ðÚÈÓ ÙËÓ
Âð›ÛÎÂ„‹ Û·˜) ÁÈ· Ó· ‰ÔÎÈÌ¿ÛÂÙÂ Ù· ÎÚ·ÛÈ¿ ÙÔ˘˜, Ó· ÍÂÓ·ÁËıÂ›ÙÂ ÛÙÔ˘˜
¯ÒÚÔ˘˜ ÙÔ˘˜ Î·È Ó· Ì¿ıÂÙÂ ÏÂðÙÔÌ¤ÚÂÈÂ˜ ÁÈ· ÙËÓ ð·Ú·ÁˆÁÈÎ‹ ‰È·‰ÈÎ·Û›·,
ÙÔÓ ·ÌðÂÏÒÓ· ÙÔ˘ ÓËÛÈÔ‡ Î·È Ù· «¯Ú˘Û¿» ÎÚ·ÛÈ¿ ÙÔ˘.
made from sun-dried white grapes, aged in oak barrels, that can be
preserved in bottles for a very long time.
The “wine terminology” used in the island is heavily influenced by the
Venetians that had their island under their occupation from the 13th
until the 15th century (as part of the Dukedom of Naxos). That is how
this wine took its Venetian name “Vinsanto” (Vino (wine) and Santo
(because of the name of the island, Santo Erini)). Amongst the many
Venetian words that winemakers use are the following: the winery is
called “kanava”, the vine harvest “veddema”, the sweet wine (albeit,
less sweet than the Vinsanto) that is a bit stronger in alcohol content,
is called “mezzo”.
Golden wine stories of success
The wines of Thera, from all the wineries of the island, perform
consistently well whenever they participate in international wine
competitions. The reputation and the high quality of the Vinsanto
variety is often vindicated by winning the Great Golden medal in the
wine competition in Thessaloniki, but also in many other
international competitions all over the world. In the same time, the
white dry Designation of Origin of Superior Quality wine of
Santorini is always amongst the winning wines in Greek and
international competitions.
It is worth noting that the Santorini wines are amongst the most
famous Greek wines in the international stage, despite the fact that
they are produced in a tiny vineyard of a mere 1400 hectares, divided
amongst only 11 wineries.
All the Santorini wineries are open to the public (some of them only
after telephone reservations) where one can perform wine tasting,
tour the vineyards and learn about the wine production of the island
with its “golden” wines.
MINOAN WAVE
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∆Ô πÙ·ÏÈÎfi ı·‡Ì·
The Italian miracle
¶·Ú¿ ÙÔÓ «ÛÎÏËÚfi» ·ÓÙ·ÁˆÓÈÛÌfi, Ô ÎÂÎÏÈÌ¤ÓÔ˜ ð‡ÚÁÔ˜ ÙË˜ ¶›˙·˜
ıÂˆÚÂ›Ù·È ÙÔ ðÈÔ ‰È¿ÛËÌÔ ÂıÓÈÎfi ÌÓËÌÂ›Ô Î·È Ë ðÈÔ ·ÓÙÈðÚÔÛˆðÂ˘ÙÈÎ‹
ÂÈÎfiÓ· ÙË˜ πÙ·Ï›·˜ ÁÈ· ÙÔ˘˜ ÙÔ˘Ú›ÛÙÂ˜. √ ð‡ÚÁÔ˜ ÌÔÈ¿˙ÂÈ Ó· ÓÈÎ¿ÂÈ ÙÔ˘˜
ÓfiÌÔ˘˜ ÙË˜ Ê˘ÛÈÎ‹˜, Î·ıÒ˜ ðÏ·ÓÈ¤Ù·È ÛÙÔÓ ·¤Ú· - ‰›ðÏ· ·ðfi ÙÔ
«Duomo» (¤Ó·˜ ÙÂÚ¿ÛÙÈÔ˜ ÌÂÛ·ÈˆÓÈÎfi˜ Î·ıÂ‰ÚÈÎfi˜ Ó·fi˜), ÙÔ
B·ðÙÈÛÙ‹ÚÈÔ Î·È ÙÔ KÔÈÌËÙ‹ÚÈÔ (Camposanto) - ð¿Óˆ ·ðfi ÙËÓ Ì·ÁÂ˘ÙÈÎ‹
«Piazza dei Miracoli» (¶Ï·ÙÂ›· ÙˆÓ £·˘Ì¿ÙˆÓ). ∏ Î·Ù·ÛÎÂ˘‹
ÙÔ˘ Î·ıÂ‰ÚÈÎÔ‡, ¤Ó· ı·‡Ì· ·Èı¤ÚÈ·˜ ÔÌÔÚÊÈ¿˜ ¯ÈÏ›ˆÓ ÂÙÒÓ
¯ÙÈÛÌ¤ÓÔ ÌÂ Ì¿ÚÌ·ÚÔ ÙË˜ ∫·Ú¿Ú·, ¿Ú¯ÈÛÂ ÙÔ 1063, ¤Ó·
ðÂÚ›ðÔ˘ ·ÈÒÓ· ðÚÈÓ ·ðfi ÙÔÓ ð‡ÚÁÔ. ∏ «Piazza dei Miracoli»
Î·È ÔÈ ıËÛ·˘ÚÔ› ðÔ˘ Ê˘Ï¿ÛÛÔÓÙ·È Ì¤Û· ÛÙ· ðÔÏÏ¿ ÌÓËÌÂ›·
ÙË˜ ·ðÔÙÂÏÔ‡Ó ¤Ó· ÂÍ·ÈÚÂÙÈÎfi ‰Â›ÁÌ· ÌÂÛ·ÈˆÓÈÎ‹˜ Ù¤¯ÓË˜ Î·È
·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜, fi¯È ÌfiÓÔ ÁÈ· ÙËÓ ¶›˙·
·ÏÏ¿ Î·È ÁÈ· ÔÏfiÎÏËÚË ÙËÓ πÙ·Ï›·.
√ ∫ÂÎÏÈÌ¤ÓÔ˜ ¶‡ÚÁÔ˜
¢ÂÎ·Ù¤ÛÛÂÚÈ˜ ¯ÈÏÈ¿‰Â˜ ÙfiÓÔÈ
ÏÂ˘ÎÔ‡
Ì·ÚÌ¿ÚÔ˘,
294
ÛÎ·ÏÔð¿ÙÈ·, 56 Ì¤ÙÚ· ‡„Ô˜
Î·È ÌÈ· ÎÏ›ÛË 5°20’, ‹ 9.6%,
042
Despite the stiff competition, the Leaning Tower of Pisa is the most famous
national monument. The one that most strikes tourists as the favourite
shorthand image for the idea of Italy. The Torre appears to defy the laws of
physics and float magically - next to the duomo, baptistery and Camposanto
- on the meadowy masterpiece that is Piazza dei Miracoli. A miracle of
ethereal beauty built with the solidity of Carrara marble, nearly 1000 years
old: the cathedral was in fact begun in 1063, about a century before the tower. Piazza dei Miracoli and the art
treasures contained within its various monuments constitute a prime example of Romanesque art and architecture, and not only Pisa, but Italy as whole, wouldn't
be the same without it.
The Leaning Tower
14,000 tonnes of white marble, 294 steps, 56 metres in
height and a tilt of 5°20’, or 9.6%, which means it is
about 2.3 metres out of plumb. Impressive statistics, but
they can't convey the excitement of reaching the top
after climbing the six colonnades of the Leaning Tower:
work began on the bell tower of the duomo in August
1173 and continued for around 200 years. Designed to
be straight, the tower started to lean before it was finished when the soil subsided. A series of architects and engineers have struggled to haul it back into the vertical. The most recent measures were adopted in the 1990s and the tilt has been reduced to the same level as a couple
of centuries ago. The experts say it's safe, meanwhile the tower continues
to lean and to attract millions of tourists.
The Cathedral and its treasures
ln the middle of the Miracoli ensemble is the cathedral of
Santa Maria Assunta and its treasures, situated between
the austere baptistery of St John the Baptist and the
Leaning Tower. The Camposanto completes an unrivalled quartet of medieval masterpieces, partly con-
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ÙÔ ÔðÔ›Ô ÛËÌ·›ÓÂÈ fiÙÈ Ô ð‡ÚÁÔ˜ Â›Ó·È ÎÂÎÏÈÌ¤ÓÔ˜ 2.3 Ì¤ÙÚ·. √È ·ÚÈıÌÔ›
Â›Ó·È ÂÓÙ˘ðˆÛÈ·ÎÔ›, ·ÏÏ¿ ‰Â ÛËÌ·›ÓÔ˘Ó Ù›ðÔÙÂ Û˘ÁÎÚÈÓfiÌÂÓÔÈ ÌÂ ÙËÓ
ÂÌðÂÈÚ›· ÙË˜ ·Ó¿‚·ÛË˜ ˆ˜ ÙËÓ ÎÔÚ˘Ê‹. √È ÂÚÁ·Û›Â˜ ÁÈ· ÙËÓ ·Ó¤ÁÂÚÛË ÙÔ˘
Î·Ìð·Ó·ÚÈÔ‡ ÙÔ˘ Î·ıÂ‰ÚÈÎÔ‡ Ó·Ô‡ ÍÂÎ›ÓËÛ·Ó ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1173
Î·È Û˘ÓÂ¯›ÛÙËÎ·Ó ÁÈ· 200 ¯ÚfiÓÈ·. ∞Ú¯ÈÎ¿ Û¯Â‰È·ÛÌ¤ÓÔ˜ ÁÈ· Ó· ¯ÙÈÛÙÂ›
Î¿ıÂÙÔ˜, Ô ð‡ÚÁÔ˜ ¿Ú¯ÈÛÂ Ó· Á¤ÚÓÂÈ ðÚÈÓ ÔÏÔÎÏËÚˆıÂ› Ë Î·Ù·ÛÎÂ˘‹ ÙÔ˘
fiÙ·Ó ÙÔ ¤‰·ÊÔ˜ ˘ðÔ¯ÒÚËÛÂ. ª›· ÛÂÈÚ¿ ·ðfi ·Ú¯ÈÙ¤ÎÙÔÓÂ˜ Î·È ÌË¯·ÓÈÎÔ‡˜
ðÚÔÛð¿ıËÛ·Ó Ó· ÙÔ Âð·Ó·Ê¤ÚÔ˘Ó ÛÙË Î¿ıÂÙË ı¤ÛË ÙÔ˘. ∏ ðÈÔ ðÚfiÛÊ·ÙË
ðÚÔÛð¿ıÂÈ· ¤ÁÈÓÂ ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ ’90, fiÙ·Ó Ë ÎÏ›ÛË ðÂÚÈÔÚ›ÛÙËÎÂ ÛÙÔ
›‰ÈÔ ÛËÌÂ›Ô ðÔ˘ ‚ÚÈÛÎfiÙ·Ó ðÚÈÓ ·ðfi ÌÂÚÈÎÔ‡˜ ·ÈÒÓÂ˜. √È ÂÈ‰ÈÎÔ›
ÂðÈÌ¤ÓÔ˘Ó fiÙÈ Â›Ó·È ·ÛÊ·Ï‹˜, ÂÓÒ Ô ð‡ÚÁÔ˜ Û˘ÓÂ¯›˙ÂÈ Ó· Á¤ÚÓÂÈ Î·È Ó·
ðÚÔÛÂÏÎ‡ÂÈ ÂÎ·ÙÔÌÌ‡ÚÈ· ÙÔ˘Ú›ÛÙÂ˜ Î¿ıÂ ¯ÚfiÓÔ.
√ ∫·ıÂ‰ÚÈÎfi˜ Î·È ÔÈ £ËÛ·˘ÚÔ› ÙÔ˘
√ Î·ıÂ‰ÚÈÎfi˜ Ó·fi˜ ÙË˜ «Santa Maria Assunta» Î·È ÔÈ
ıËÛ·˘ÚÔ› ÙË˜ ‚Ú›ÛÎÂÙ·È ·Ó¿ÌÂÛ· ÛÙÔ
µ·ðÙÈÛÙ‹ÚÈÔ ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘
µ·ðÙÈÛÙ‹ Î·È ÛÙÔÓ ð‡ÚÁÔ ÙË˜
¶›˙·˜.
∆Ô
ÎÔÈÌËÙ‹ÚÈÔ
Û˘ÌðÏËÚÒÓÂÈ
ÙËÓ
ÌÔÓ·‰ÈÎ‹
structed with the profits from Pisa's Golden Age, when the city was one of
the maritime powers of the Mediterranean. The archetype of the Pisan
Romanesque style, the cathedral was begun in 1063, with a tithe from the
Balearic Island booty, and consecrated in 1118.
The duomo is art and atmosphere, with its multicoloured marble and variegated styles and blend of Lombard-Emilia, Byzantine and Islamic cultures.
The impact of the sight
of the tower is unique,
while the baptistery will
be appreciated by the
discerning visitor.
The inside of the cathedral, shown here, is an
interplay of crisp
black and white
marble and the
mighty granite
Corinthian
columns
are
from the mosque
in Palermo, plundered after a Pisan victory in 1063.
Among the many highlights is the apse mosaic of Christ in Majesty,
flanked by the Virgin and St John the Evangelist, completed by
Cimabue in 1302. Behind the high altar are 27 paintings by the
greatest 16th and 17th century Tuscan
artists. Then there is the pulpit, pictured in the foreground, which is a
masterpiece of 14th century
Gothic
sculpture
by
Giovanni Pisano, with
episodes from the life of
Christ depicted in the relief
panels. Also worth a look,
among the 17th century decoration is the bronze crucifix on the
high altar, and the angel candelabras
on the altar of the Chapel of the
Holy Sacrament. The church houses
the relics of San Ranieri, the patron
saint of Pisa, and the tomb of the
Holy Roman Emperor Henry VII of
Luxembourg.
Il Palazzo dei Cavalieri
This was the Palazzo degli Anziani del Popolo
della Pisa Repubblicana, i.e. the town hall in the
Middle Ages, and is called the Palazzo della
Carovana dei Cavalieri (pictured), its façade
entirely covered in 16th century graffiti;
today it is the seat of the Scuola Normale
Superiore, a university founded by
Napoleon and based on the model of the
Ecole Normale Supérieure in Paris. Former
students include the poet Giosuè Carducci
and the physicist Enrico Fermi.
Piazza dei Cavalieri may have been the site
of the Roman forum and was the central civic
square of Republican Pisa. It
was converted by Cosimo I de'
Medici - there's a statue of
him dressed as the Grand
Master of the Order of the
Knights in front of the palazzo
- into the headquarters of the
new military order of the
Knights of St Stephen. The
piazza was remodelled by the
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∆Ô πÙ·ÏÈÎfi ı·‡Ì·
The Italian miracle
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ÙÂÙÚ¿‰· ÙˆÓ ÌÂÛ·ÈˆÓÈÎÒÓ ·ÚÈÛÙÔ˘ÚÁËÌ¿ÙˆÓ, ÂÓ
Ì¤ÚÂÈ ÎÙÈÛÌ¤ÓÔ ÌÂ Ù· ðÏÔ‡ÙË ÙË˜ ÃÚ˘Û‹˜ ∂ðÔ¯‹˜
ÙË˜ ¶›˙·˜, fiÙ·Ó Ë ðfiÏË ‹Ù·Ó Ì›· ·ðfi ÙÈ˜
Ó·˘ÙÈÏÈ·Î¤˜ ‰˘Ó¿ÌÂÈ˜ ÙË˜ ªÂÛÔÁÂ›Ô˘. ∆Ô
·Ú¯¤Ù˘ðÔ ÙÔ˘ Î·ıÂ‰ÚÈÎÔ‡ Ó·Ô‡, ¯·Ú·ÎÙËÚÈÛÙÈÎfi
ÙË˜ ªÂÛ·ÈˆÓÈÎ‹˜ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜ ÙË˜ ¶›˙·˜,
¿Ú¯ÈÛÂ Ó· Î·Ù·ÛÎÂ˘¿˙ÂÙ·È ÙÔ 1063 ÌÂ ÙÔÓ ÊfiÚÔ
ÙË˜ ‰ÂÎ¿ÙË˜ ·ðfi ÙÈ˜ µ·ÏÂ·Ú›‰Â˜ Ó‹ÛÔ˘˜, Î·È
Î·ı·ÁÈ¿ÛÙËÎÂ ÙÔ 1118.
√ Î·ıÂ‰ÚÈÎfi˜ Â›Ó·È ¤Ó· ·ÚÈÛÙÔ‡ÚÁËÌ· ÙË˜
Ù¤¯ÓË˜, ÌÂ Ù· ðÔÏ‡¯ÚˆÌ· Ì¿ÚÌ·Ú· ÙÔ˘ Î·È ÙÈ˜
ðÔÏÏ·ðÏ¤˜ ÂðÈÚÚÔ¤˜ ·ðfi ÙË §ÔÌ‚·Ú‰ÈÎ‹ ∂ÌÈÏÈ·Ó‹, µ˘˙·ÓÙÈÓ‹ Î·È πÛÏ·ÌÈÎ‹ Ù¤¯ÓË. ∆Ô
ı¤·Ì· ÙÔ˘ ð‡ÚÁÔ˘ Â›Ó·È ÌÔÓ·‰ÈÎfi, ÂÓÒ ÙÔ
µ·ðÙÈÛÙ‹ÚÈÔ ı· ÂÎÙÈÌËıÂ› Î·È ·ðfi ÙÔÓ ðÈÔ
·ð·ÈÙËÙÈÎfi ÂðÈÛÎ¤ðÙË.
∆Ô ÂÛˆÙÂÚÈÎfi ÙÔ˘ Î·ıÂ‰ÚÈÎÔ‡, fiðˆ˜ Ê·›ÓÂÙ·È
Â‰Ò, ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·ðfi ÙËÓ ÂÓ·ÏÏ·Á‹ Ì·‡ÚÔ˘
Î·È ÏÂ˘ÎÔ‡ Ì·ÚÌ¿ÚÔ˘, Î·È ÔÈ ÎÔÚÈÓıÈ·ÎÔ‡
Ú˘ıÌÔ‡ ÎÔÏÒÓÂ˜ ·ðfi ÁÚ·Ó›ÙË ðÚÔ¤Ú¯ÔÓÙ·È ·ðfi
ÙÔ Ù¤ÌÂÓÔ˜ ÙÔ˘ ¶·Ï¤ÚÌÔ, ÎÂÈÌ‹ÏÈ· ðÔÏ¤ÌÔ˘ ·ðfi
ÙË Ó›ÎË ÙÔ˘ 1063.
ª›· ·ðfi ÙÈ˜ ·ÍÈfiÏÔÁÂ˜ ÏÂðÙÔÌ¤ÚÂÈÂ˜ ÙÔ˘
ÂÛˆÙÂÚÈÎÔ‡ Â›Ó·È ÙÔ ÌˆÛ·˚Îfi ÙË˜ ·„›‰·˜ ÌÂ ÙËÓ
ÂÈÎfiÓ· ÙË˜ ¶·Ó·Á›·˜ Î·È ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘ ∂˘·ÁÁÂÏÈÛÙ‹, ¤ÚÁÔ ðÔ˘ ÔÏÔÎÏËÚÒıËÎÂ ÙÔ 1302
·ðfi ÙÔÓ πÙ·Ïfi ˙ˆÁÚ¿ÊÔ Cimabue. ¶›Ûˆ ·ðfi ÙËÓ ·Á›· ÙÚ¿ðÂ˙· ‚Ú›ÛÎÔÓÙ·È 27 ˙ˆÁÚ·ÊÈ¤˜ ·ðfi
ÙÔ˘˜ Î·Ï‡ÙÂÚÔ˘˜ ˙ˆÁÚ¿ÊÔ˘˜ ÙË˜ ∆ÔÛÎ¿ÓË˜ ÙÔ˘ 16Ô˘ Î·È 17Ô˘ ·ÈÒÓ·. ªÂÙ¿ ı· ‰Â›ÙÂ ÙÔÓ
¿Ì‚ˆÓ·, ¤Ó· ·ÚÈÛÙÔ‡ÚÁËÌ· ÁÔÙıÈÎ‹˜ ÁÏ˘ðÙÈÎ‹˜ ÙÔ˘ 14Ô˘ ·ÈÒÓ·, ¤ÚÁÔ ÙÔ˘ Giovanni Pisano, ðÔ˘
·Ó·ð·ÚÈÛÙ¿ ÛÎËÓ¤˜ ·ðfi ÙË ˙ˆ‹ ÙÔ˘ πËÛÔ‡. ÕÏÏÂ˜ ·ÍÈfiÏÔÁÂ˜ ÏÂðÙÔÌ¤ÚÂÈÂ˜ ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ Â›Ó·È
Ô ÌðÚÔ‡Ù˙ÈÓÔ˜ ∂ÛÙ·˘ÚˆÌ¤ÓÔ˜ Î·È Ù· ÎËÚÔð‹ÁÈ· ÙË˜ ·Á›·˜ ÙÚ¿ðÂ˙·˜ ÛÙÔ ð·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘
ª˘ÛÙËÚ›Ô˘. ∏ ÂÎÎÏËÛ›· ÛÙÂÁ¿˙ÂÈ Ù· ÎÂÈÌ‹ÏÈ· ÙÔ˘ San Ranieri, ÙÔÓ ðÚÔÛÙ¿ÙË ¿ÁÈÔ ÙË˜ ¶›˙·˜, Î·È
ÙÔÓ Ù¿ÊÔ ÙÔ˘ ¿ÁÈÔ˘ ÚˆÌ·›Ô˘ ·˘ÙÔÎÚ¿ÙÔÚ·, Henry VII ÙÔ˘ §Ô˘ÍÂÌ‚Ô‡ÚÁÔ˘.
∆Ô ¶·Ï¿ÙÈ ÙˆÓ πððÔÙÒÓ (Il Palazzo dei Cavalieri)
∞˘Ùfi ‹Ù·Ó ÙÔ ‰ÈÔÈÎËÙÈÎfi Î¤ÓÙÚÔ ÙË˜ ÌÂÛ·ÈˆÓÈÎ‹˜ ðÂÚÈfi‰Ô˘ Î·È ÔÓÔÌ¿˙ÂÙ·È «Palazzo della
Carovana dei Cavalieri» Î·È Ë ðÚfiÛÔ„Ë ÙÔ˘ Î·Ï‡ðÙÂÙ·È ÂÍ’ ÔÏÔÎÏ‹ÚÔ˘ ·ðfi ÙÔÈ¯ÔÁÚ·Ê›Â˜ ÙÔ˘
16Ô˘ ·ÈÒÓ·. ™‹ÌÂÚ· Â›Ó·È Ë ¤‰Ú· ÙÔ˘ «Scuola Normale Superiore», ¤Ó· ð·ÓÂðÈÛÙ‹ÌÈÔ ðÔ˘
È‰Ú‡ıËÎÂ ·ðfi ÙÔÓ ¡·ðÔÏ¤ÔÓÙ·. ªÂÚÈÎÔ› ‰È¿ÛËÌÔÈ ·ðfiÊÔÈÙÔÈ ÙÔ˘ ð·ÓÂðÈÛÙËÌ›Ô˘ Â›Ó·È Ô ðÔÈËÙ‹˜
Giosuè Carducci Î·È Ô Ê˘ÛÈÎfi˜ Enrico Fermi.
∏ «Piazza dei Cavalieri» (ðÏ·ÙÂ›· ÙˆÓ ÈððÔÙÒÓ) ðÈı·ÓÒ˜ ‹Ù·Ó Î·È Ô ¯ÒÚÔ˜ ÙË˜ ÚˆÌ·˚Î‹˜
·ÁÔÚ¿˜ Î·È ‹Ù·Ó Ë ÎÂÓÙÚÈÎ‹ ‰ËÌÔÙÈÎ‹ ðÏ·ÙÂ›· ÙË˜ ¢ËÌÔÎÚ·ÙÈÎ‹˜ ¶›˙·˜. ¢È·ÌÔÚÊÒıËÎÂ ·ðfi ÙÔÓ
Cosimo I de' Medici – ÙÔ˘ ÔðÔ›Ô˘ ÙÔ ¿Á·ÏÌ· ‚Ú›ÛÎÂÙ·È ÌðÚÔÛÙ¿ ·ðfi ÙÔ ð·Ï¿ÙÈ - ÁÈ· Ó· ÛÙÂÁ¿ÛÂÈ
ÙËÓ ¤‰Ú· ÙË˜ ÛÙÚ·ÙÈˆÙÈÎ‹˜ ‰ÈÔ›ÎËÛË˜ ÙˆÓ ÈððÔÙÒÓ ÙÔ˘ ∞Á›Ô˘ ™ÙÂÊ¿ÓÔ˘. ∏ ðÏ·ÙÂ›·
·Ó·ðÏ¿ÛÙËÎÂ ·ÚÁfiÙÂÚ· ·ðfi ÙÔÓ ºÏˆÚÂÓÙ›ÓÔ ·Ú¯ÈÙ¤ÎÙÔÓ· Giorgio Vasari Î·È ÔÈ ÂÚÁ·Û›Â˜
¿Ú¯ÈÛ·Ó ÙÔ 1562.
√È ð·Ú·ðÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÙÔ˘ ðÔÙ·ÌÔ‡ Arno (Lungarni):
∆¤¯ÓË Î·È æ˘¯·ÁˆÁ›·
Florentine architect Giorgio Vasari; rebuilding
began in 1562.
Lungarni, Art and Entertainment
The Lungarni have always been major thoroughfares for the city. Here, the contamination between
past and present is readily apparent with ancient
palazzi, museums and churches rubbing shoulders
with pubs, restaurants and ice cream shops. The
Arno, which splits Pisa in two, and the Lungarni
streets facing each other on opposite banks of the
river, bear witness to the city's history.
The most well-known is Lungarno Mediceo between the Ponte di Mezzo (pictured) and the
Ponte della Fortezza - named after Palazzo dè
Medici, the Pisan residence of the Florentine family
which now houses the Prefecture; next to it is the
11th century church of San Matteo in Soarta and the
Museo Nazionale di San Matteo with 14th century
works by - among others - Donatello, Masaccio,
Beato Angelico and Gentile da Fabriano. On 16
June, the local patron saint's day, the Lungarni are
lit up by blazing torches for the Luminara di San
Ranieri, a celebration like no other.
√È ð·Ú·ðÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÙÔ˘ ðÔÙ·ÌÔ‡ Arno (Lungarni) ð¿ÓÙ· ‹Ù·Ó ÔÈ
Î˘ÚÈfiÙÂÚÂ˜ Ô‰ÈÎ¤˜ ·ÚÙËÚ›Â˜ ðÚÔ˜ ÙËÓ ðfiÏË. ∂‰Ò, ÙÔ ð·ÚÂÏıfiÓ Û˘Ó·ÓÙ¿ÂÈ
ÙÔ Ì¤ÏÏÔÓ, Î·ıÒ˜ ÂÛÙÈ·ÙfiÚÈ·, ÌÔÓÙ¤ÚÓÂ˜ pubs Î·È ð·ÁˆÙ·Ù˙›‰ÈÎ·
ð·ÚÂÏ·‡ÓÔ˘Ó ‰›ðÏ· ÛÙ· ÈÛÙÔÚÈÎ¿ ÎÙ›ÚÈ·, ÛÙ· ÌÔ˘ÛÂ›· Î·È ÛÙÈ˜ ÂÎÎÏËÛ›Â˜.
√ ðÔÙ·Ìfi˜ Arno, ðÔ˘ ¯ˆÚ›˙ÂÈ ÙËÓ ¶›˙· ÛÙ· ‰‡Ô, Î·È ÔÈ ð·Ú·ðÔÙ¿ÌÈÔÈ
‰ÚfiÌÔÈ ÙÔ˘, Â›Ó·È ·ðfi ÙÔ˘˜ ð·Ï·ÈfiÙÂÚÔ˘˜ Ì¿ÚÙ˘ÚÂ˜ ÙË˜ ÈÛÙÔÚ›·˜ ÙË˜
ðfiÏË˜. √ ðÈÔ ‰È¿ÛËÌÔ˜ ð·Ú·ðÔÙ¿ÌÈÔ˜ ‰ÚfiÌÔ˜ Â›Ó·È Ô «Lungarno Mediceo»
- ·Ó¿ÌÂÛ· ÛÙÔ «Ponte di Mezzo» (ÂÈÎfiÓ·) Î·È ÙÔ «Ponte della Fortezza» –
ðÔ˘ ð‹ÚÂ ÙÔ fiÓÔÌ· ÙÔ˘ ·ðfi ÙÔ «Palazzo dè Medici», ÙËÓ Î·ÙÔÈÎ›· ÙË˜
ºÏˆÚÂÓÙÈ·Ó‹˜ ÔÈÎÔÁ¤ÓÂÈ·˜ ðÔ˘ ÙÒÚ· ÛÙÂÁ¿˙ÂÈ ÙËÓ ¡ÔÌ·Ú¯›·. ¢›ðÏ·
·ÎÚÈ‚Ò˜ ‚Ú›ÛÎÂÙ·È Ë ÂÎÎÏËÛ›· ÙÔ˘ ∞Á›Ô˘ ª·Ùı·›Ô˘ (San Matteo) ðÔ˘
Î·Ù·ÛÎÂ˘¿ÛÙËÎÂ ÙÔÓ 11Ô ·ÈÒÓ· Î·È ÙÔ ∂ıÓÈÎfi ªÔ˘ÛÂ›Ô ÙÔ˘ ∞Á›Ô˘
ª·Ùı·›Ô˘ (Museo Nazionale di San Matteo) ÌÂ ¤ÚÁ· ÙÔ˘ 14Ô˘ ·ÈÒÓ· ·ðfi
‰È¿ÛËÌÔ˘˜ Î·ÏÏÈÙ¤¯ÓÂ˜, fiðˆ˜ ÙÔ˘ Donatello, Masaccio, Beato Angelico Î·È
ÙÔ˘ Gentile da Fabriano. ™ÙÈ˜ 16 πÔ˘Ó›Ô˘, ÙË Ì¤Ú· ðÔ˘ ÁÈÔÚÙ¿˙ÂÙ·È Ô
ðÚÔÛÙ¿ÙË˜ ¿ÁÈÔ˜ ÙË˜ ðfiÏË˜, ÔÈ ð·Ú·ðÔÙ¿ÌÈÔÈ ‰ÚfiÌÔÈ ÊˆÙ›˙ÔÓÙ·È ÌÂ
·Ó·ÌÌ¤ÓÔ˘˜ ð˘ÚÛÔ‡˜ ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï «Luminara di San Ranieri», Ì›· ÂÓÙ˘ðˆÛÈ·Î‹ ÁÈÔÚÙ‹ ÛÙÔ
ÈÛÙÔÚÈÎfi ðÔÙ¿ÌÈ ÙË˜ ðfiÏË˜.
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∏ ˘ÁÂ›· ÛÙ· ¿ÎÚ·
∆· ðfi‰È· Ì·˜ Ù·Ï·ÈðˆÚÔ‡ÓÙ·È Û˘¯Ó¿ ·ðfi ‰È¿ÊÔÚÂ˜ ð·ı‹ÛÂÈ˜, ðÔ˘ Ó·È ÌÂÓ
‰ÂÓ ¤¯Ô˘Ó ÙÚ·ÁÈÎ¤˜ ÂðÈðÙÒÛÂÈ˜, Â›Ó·È fiÌˆ˜ ÂÍ·ÈÚÂÙÈÎ¿ ÂÓÔ¯ÏËÙÈÎ¤˜ ÛÙÈ˜
Î·ıËÌÂÚÈÓ¤˜ Ì·˜ ‰Ú·ÛÙËÚÈfiÙËÙÂ˜. ™›ÁÔ˘Ú· ¤¯ÂÈ Ù‡¯ÂÈ ÛÂ fiÏÔ˘˜ Ì·˜ Ó·
ð·Ú·ðÔÓÂıÔ‡ÌÂ ÁÈ· ¤ÓÙÔÓÔ ðfiÓÔ ÛÙ· ð¤ÏÌ·Ù·, Ù· ÁfiÓ·Ù· ‹ ÙË Ì¤ÛË, ÌÂÙ¿
·ðfi Ì›· Ó˘¯ÙÂÚÈÓ‹ ¤ÍÔ‰Ô, Ì›· ÌÂÁ¿ÏË ‚fiÏÙ· ÛÙËÓ ·ÁÔÚ¿ ‹ ÌÂÙ¿ ·ðfi
ðÔÏ‡ˆÚË ÔÚıÔÛÙ·Û›· ÏfiÁˆ Âð·ÁÁÂÏÌ·ÙÈÎÒÓ ˘ðÔ¯ÚÂÒÛÂˆÓ. ¶fiÛÔÈ ·ðfi
ÂÌ¿˜ fiÌˆ˜ ¤¯Ô˘ÌÂ ·ÓÙÈÌÂÙˆð›ÛÂÈ ‰Ú·ÛÙÈÎ¿ Ù¤ÙÔÈÔ˘ Â›‰Ô˘˜ ‰˘Û¿ÚÂÛÙÂ˜
ÂÓÔ¯Ï‹ÛÂÈ˜;
∆o Î·Ïfi Ó¤Ô Â›Ó·È ðˆ˜ ÙÔ Ó· ðÚÔÊ˘Ï·¯ıÔ‡ÌÂ ‹ Ó·
·ð·ÏÏ·ÁÔ‡ÌÂ ·ðfi ¤Ó·Ó Âð›ÌÔÓÔ ðfiÓÔ ÛÙÔ ÌÂÙ·Ù¿ÚÛÈÔ ‹ ÛÙÔ ÎfiÙÛÈ Â›Ó·È
ðÔÏ‡ Â‡ÎÔÏÔ, ·ÚÎÂ› Ó· Í¤ÚÔ˘ÌÂ ðÔ˘ Ó·
·ðÂ˘ı˘ÓıÔ‡ÌÂ.
Àð¿Ú¯Ô˘Ó ¿ÓıÚˆðÔÈ ðÔ˘ ðÂÚÈÁÚ¿ÊÔ˘Ó ÙËÓ
“ðÙÒÛË ÌÂÙ·Ù·ÚÛ›Ô˘” Û·Ó ðÂÚð¿ÙËÌ· ð¿Óˆ
ÛÂ ‚fiÙÛ·ÏÔ Î·È ¿ÏÏÔÈ ðÔ˘ ·Ó·Ê¤ÚÔÓÙ·È
ÛÙËÓ “¿Î·Óı· ðÙ¤ÚÓ·˜” ÌÈÏÒÓÙ·˜ ÁÈ· ÔÍ‡
ðfiÓÔ ÛÙË Ì¤Û· ÌÂÚÈ¿ ÙË˜ ðÙ¤ÚÓ·˜ Î·Ù¿ ÙËÓ
ðÚˆÈÓ‹ ¤ÁÂÚÛË ·ðfi ÙÔ ÎÚÂ‚¿ÙÈ. ∂ð›ÛË˜,
ðÔÏÏ¤˜ Î˘Ú›Â˜ Î¿ÓÔ˘Ó ÏfiÁÔ ÁÈ· ÙÔ ÁÓˆÛÙfi
ÛÂ fiÏÔ˘˜ “ÎfiÙÛÈ”, ÙfiÛÔ ·ðfi ðÏÂ˘Ú¿˜
·ÈÛıËÙÈÎ‹˜ fiÛÔ Î·È ÁÈ· ÙÔ Î¿„ÈÌÔ Î·È ÙË
‰˘ÛÎ·Ì„›· ðÔ˘ ðÚÔÎ·ÏÂ› ÛÙÔ ÌÂÁ¿ÏÔ
‰¿¯Ù˘ÏÔ ÙÔ˘ ðÔ‰ÈÔ‡
Î·Ù¿ ÙË ‚¿‰ÈÛË.
∆¤ÏÔ˜, ðÔÏÏÔ› ÂÓ‹ÏÈÎÂ˜, ·ÏÏ¿ Î·È ð·È‰È¿
ÌÂÙ·Í‡ 5 Î·È 15 ÂÙÒÓ, ð·Ú·ðÔÓÈÔ‡ÓÙ·È ÁÈ·
ðfiÓÔ˘˜ Î·È ðÈ·Û›Ì·Ù· ÛÙÈ˜ Á¿ÌðÂ˜ Î·È ÙË
Ì¤ÛË, ÌÂÙ¿ ·ðfi ·ıÏËÙÈÎ¤˜ ‰Ú·ÛÙËÚÈfiÙËÙÂ˜.
∫·È ÙÔ ðÈı·ÓfiÙÂÚÔ Â›Ó·È ðˆ˜ ‰ÂÓ ÁÓˆÚ›˙Ô˘Ó
fiÙÈ ÌÈ· ·ðÏ‹ ðÏ·Ù˘ðÔ‰›· ‹ ÙÔ ÁÂÁÔÓfi˜ ÙÔ˘
fiÙÈ ÙÔ ¤Ó· ÙÔ˘˜ ðfi‰È Â›Ó·È ÂÏ¿¯ÈÛÙ· ðÈÔ
ÎÔÓÙfi ·ðfi ÙÔ ¿ÏÏÔ, ÌðÔÚÂ› Ó· Â˘ı‡ÓÂÙ·È ÁÈ·
Û˘Ó‰Â‰ÂÌ¤ÓÔ˜ ÌÂ ¤Ó·Ó ËÏÂÎÙÚÔÓÈÎfi ˘ðÔÏÔÁÈÛÙ‹. ªÂ ·˘Ù¿ Ù· ÛÙÔÈ¯Â›· Ô
ðÔ‰›·ÙÚÔ˜ ·Ó·Ï‡ÂÈ ÙËÓ Î·Ù·ÓÔÌ‹ ðÈ¤ÛÂˆÓ ÛÙ· ð¤ÏÌ·Ù·, ÙÔ˘˜ ¿ÍÔÓÂ˜
·Ó·‚ËÌ·ÙÈÛÌÔ‡, ÙÔ Î¤ÓÙÚÔ ‚¿ÚÔ˘˜ ÙÔ˘ ÛÒÌ·ÙÔ˜ Î·È ÙËÓ ÂÌ‚ÈÔÌË¯·ÓÈÎ‹
ÏÂÈÙÔ˘ÚÁ›· ÙÔ˘ Î¿Ùˆ ¿ÎÚÔ˘. ŒÙÛÈ, ÌðÔÚÔ‡Ó Ó· ·ÍÈÔÏÔÁËıÔ‡Ó ðÚÔ‚Ï‹Ì·Ù·
ðÏ·Ù˘ðÔ‰›·˜, ÎÔÈÏÔðÔ‰›·˜, ·ÓÈÛÔÛÎÂÏ›·˜ Î·È ðÔÏÏ¤˜ ¿ÏÏÂ˜ ð·Ú¿ÌÂÙÚÔÈ
ðÔ˘ ¯ÚÂÈ¿˙ÂÙ·È Ó· ÏËÊıÔ‡Ó ˘ð’ fi„Ë ÁÈ· ÙËÓ ÔÏÔÎÏËÚˆÌ¤ÓË ·ðÔÎ·Ù¿ÛÙ·ÛË
Î¿ıÂ ðÚÔ‚Ï‹Ì·ÙÔ˜.
ŒÙÛÈ,
Î·ÙfiðÈÓ
ðÂÏÌ·ÙÔÁÚ·Ê‹Ì·ÙÔ˜,
Î·Ù·ÛÎÂ˘¿˙ÔÓÙ·È ÂÈ‰ÈÎ¿ ÔÚıˆÙÈÎ¿ ð¤ÏÌ·Ù·
ÁÈ· ÙËÓ ðÚfiÏË„Ë ‹ ÙË ıÂÚ·ðÂ›· Î¿ıÂ
ðÂÚÈÛÙ·ÙÈÎÔ‡. ∆· ð¤ÏÌ·Ù· Î·Ù·ÛÎÂ˘¿˙ÔÓÙ·È
Û‡ÌÊˆÓ· ÌÂ ÙÈ˜ ð·Ú·ð¿Óˆ ÌÂÙÚ‹ÛÂÈ˜ Î·È
Ï·Ì‚¿ÓÔÓÙ·˜ ð¿ÓÙ· ˘ð fi„Ë ÙËÓ ËÏÈÎ›·, ÙÔ
‚¿ÚÔ˜ Î·È ÙÈ˜ ‰Ú·ÛÙËÚÈfiÙËÙÂ˜ Î¿ıÂ ·ÛıÂÓ‹.
ªÂ ¿ÏÏ· ÏfiÁÈ·, ÙÔ ÂÈ‰ÈÎfi ˙Â‡ÁÔ˜ ÔÚıˆÙÈÎÒÓ
ðÂÏÌ¿ÙˆÓ Î·Ù·ÛÎÂ˘¿˙ÂÙ·È ÁÈ· ÙÔÓ Î¿ıÂ
·ÛıÂÓ‹ ÍÂ¯ˆÚÈÛÙ¿, ðÚÔÎÂÈÌ¤ÓÔ˘ Ó· ¤¯ÂÈ
¿ÚÈÛÙË ðÚÔÛ·ÚÌÔÁ‹ Î·È ·ðÔÙ¤ÏÂÛÌ·. ∆Ô Â›‰Ô˜ ÙÔ˘ ÔÚıˆÙÈÎÔ‡ ‰È·Ê¤ÚÂÈ
·Ó¿ÏÔÁ· ÌÂ ÙÔ ÛÙ¿‰ÈÔ ·ðÔÎ·Ù¿ÛÙ·ÛË˜ ÙÔ˘ ðÚÔ‚Ï‹Ì·ÙÔ˜. ™˘¯Ó¿
¯ÚËÛÈÌÔðÔÈÂ›Ù·È Û˘Ó‰˘·ÛÌfi˜ Ì·Ï·ÎÒÓ Î·È ·ðÔÚÚÔÊËÙÈÎÒÓ ˘ÏÈÎÒÓ ÁÈ· Ó·
ËÚÂÌ‹ÛÂÈ Ë ÊÏÂÁÌÔÓ‹, ÂÓÒ ÛÙË Û˘Ó¤¯ÂÈ· Á›ÓÂÙ·È ðÚÔÛı‹ÎË ÛÎÏËÚfiÙÂÚˆÓ
˘ÏÈÎÒÓ, ÌÂ ÛÎÔðfi Ó· ıÂÚ·ðÂ˘ÙÂ›, ·ÏÏ¿ Î·È Ó· ÛÙËÚÈ¯ÙÂ› ÔÏfiÎÏËÚÔ ÙÔ
ð¤ÏÌ· ÛÂ ı¤ÛË Ù¤ÙÔÈ· ðÔ˘ Ó· ‰È·ÛÊ·Ï›˙ÂÙ·È Ë ÛˆÛÙ‹ ÏÂÈÙÔ˘ÚÁ›· fiÏÔ˘ ÙÔ˘
Î¿Ùˆ ¿ÎÚÔ˘, ·ÏÏ¿ Î·È ÙË˜ ÛðÔÓ‰˘ÏÈÎ‹˜ ÛÙ‹ÏË˜.
∞˜ ÌËÓ ÍÂ¯Ó¿ÌÂ ðˆ˜ ‰ÂÓ ˘ð¿Ú¯ÂÈ ÙÔ “Ù¤ÏÂÈÔ ðfi‰È”. ¶Ú¿ÁÌ· ðÔ˘ ÛËÌ·›ÓÂÈ
Ù· ð·Ú·ð¿Óˆ Û˘ÌðÙÒÌ·Ù·.
™Â fiÏ· Ù· ð·Ú·ð¿Óˆ, ÛËÌ·ÓÙÈÎfi ÚfiÏÔ ð·›˙ÂÈ ÂÎÙfi˜ ·ðfi ÙËÓ Î·Ù·ÛÎÂ˘‹
ÙÔ˘ Ì˘ÔÛÎÂÏÂÙÈÎÔ‡ Ì·˜ Û˘ÛÙ‹Ì·ÙÔ˜ Î·È Ë ÂðÈÏÔÁ‹ ð·ðÔ˘ÙÛÈÔ‡. ∆· ðÔÏ‡
„ËÏ¿ Î·È Ì˘ÙÂÚ¿ ð·ðÔ‡ÙÛÈ·, Î·ıÒ˜ Î·È Ù· ð·ðÔ‡ÙÛÈ· ÌÂ ÛÎÏËÚ‹ ÛfiÏ·,
ðÔ˘ ‰ÂÓ ðÚÔÛÊ¤ÚÔ˘Ó ÛˆÛÙ‹ ÔÚıÔðÂ‰ÈÎ‹ ‚¿ÛË ÁÈ· ÙË ÛÙ‹ÚÈÍË ÙÈ˜ Î·Ì¿Ú·˜,
·ÏÏ¿˙Ô˘Ó ÙÔÓ ÙÚfiðÔ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÛÒÌ·Ùfi˜ Ì·˜. ∞˘Ùfi Û˘Ì‚·›ÓÂÈ, ÁÈ·Ù›
ÙÔ ‚¿ÚÔ˜ ÙÔ˘ ÛÒÌ·ÙÔ˜ ‰ÂÓ Î·Ù·Ó¤ÌÂÙ·È ÛˆÛÙ¿, ÌÂ ·ðÔÙ¤ÏÂÛÌ· Ó·
‰ËÌÈÔ˘ÚÁÔ‡ÓÙ·È ÛÎÏËÚ‡ÓÛÂÈ˜, Î¿ÏÔÈ Î·È ¿ÏÏÔÈ ÙÚ·˘Ì·ÙÈÛÌÔ›.
∏ Ï‡ÛË ÛÂ fiÏ· Ù· ð·Ú·ð¿Óˆ ÔÓÔÌ¿˙ÂÙÂ ¶Ô‰È·ÙÚÈÎ‹. ª›· Û¯ÂÙÈÎ¿ Ó¤·
ð·ÓÂðÈÛÙËÌÈ·Î‹ ÂÈ‰ÈÎfiÙËÙ· ðÔ˘ ·ðÂ˘ı‡ÓÂÙ·È ÛÂ Î¿ıÂ ¿ÓıÚˆðÔ,
·ÓÂÍ·ÚÙ‹Ùˆ˜ ËÏÈÎ›·˜. ªÂÙ·Í‡
¿ÏÏˆÓ, Ë ðÔ‰È·ÙÚÈÎ‹ ·ÊÔÚ¿
ðÚÔ‚Ï‹Ì·Ù· Î·È ÙÚ·˘Ì·ÙÈÛÌÔ‡˜
ÙÔ˘ ð¤ÏÌ·ÙÔ˜ Î·È ÙÔ˘ Î¿Ùˆ ¿ÎÚÔ˘,
ðÔ˘ ÂðÈ‚·Ú‡ÓÔ˘Ó ÙË ÛˆÛÙ‹
ÏÂÈÙÔ˘ÚÁ›· ÙË˜ ÛðÔÓ‰˘ÏÈÎ‹˜
ÛÙ‹ÏË˜.
∆Ô ‚·ÛÈÎfi “ÂÚÁ·ÏÂ›Ô” ÂÓfi˜
ðÔ‰›·ÙÚÔ˘ ÁÈ· ÙË ‰È¿ÁÓˆÛË fiÏˆÓ
ÙˆÓ
ð·Ú·ð¿Óˆ
Â›Ó·È
Ô
ðÂÏÌ·ÙÔÁÚ¿ÊÔ˜.
√
ðÂÏÌ·ÙÔÁÚ¿ÊÔ˜
Â›Ó·È
Ì›·
ðÏ·ÙÊfiÚÌ·
ÌÂ
¯ÈÏÈ¿‰Â˜
„ËÊÈ·ÎÔ‡˜
·ÈÛıËÙ‹ÚÂ˜,
fiÙÈ Î¿ıÂ ð¤ÏÌ· ¤¯ÂÈ ÙËÓ ‰ÈÎ‹ ÙÔ˘ È‰ÈÔÌÔÚÊ›· Î·È ðÈı·ÓfiÓ Ó· ¯ÚÂÈ¿˙ÂÙ·È
ÔÚıˆÙÈÎ‹ ˘ðÔÛÙ‹ÚÈÍË. ªËÓ ·ÁÓÔÂ›ÙÂ, ÏÔÈðfiÓ, ÙÔÓ ðfiÓÔ Î·È ÌË Û˘ÓËı›˙ÂÙÂ
Ó· ˙Â›ÙÂ ÌÂ ·˘ÙfiÓ. √È ¯ÚfiÓÈÂ˜ ð·ı‹ÛÂÈ˜ ¯ÚÂÈ¿˙ÔÓÙ·È ðÔÏ‡ ðÂÚÈÛÛfiÙÂÚÔ
¯ÚfiÓÔ ıÂÚ·ðÂ›·˜ Î·È Â›Ó·È ðÈÔ ‰‡ÛÎÔÏÔ Ó· ·ÓÙÈÌÂÙˆðÈÛÙÔ‡Ó. ∫·È ‚¤‚·È·,
·˜ ı˘ÌfiÌ·ÛÙÂ ð¿ÓÙ· ðˆ˜ ‰ÂÓ ˘ð¿Ú¯ÂÈ Î·Ï‡ÙÂÚË ıÂÚ·ðÂ›· ·ðfi ÙËÓ
ðÚfiÏË„Ë.
Our feet usually suffer from different conditions, which on one hand are not
very serious, but on the other hand interfere with our everyday activities. At
some point we have all experienced a sharp pain to the soles of the feet, the
knees or the low back after a late night out, a long shopping day or a very
busy day at work. But, how many of us have actually tried to deal with these
unpleasant complains? The good news is that preventing or relieving the pain
from the metatarsals, the heels or the bunions is simple, providing that we
know who to speak to.
Some people describe "metatarsal prolapse" like walking on pebbles and oth-
∂˘¿ÁÁÂÏÔ˜ ¢‹ÌÔ˘ - ƒÔ˘ÛÔ˘Ï¤ÓÙÛË˜
Evagelos Dimou - Rousoulentsis
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∆Ô˘ ðÔ‰È¿ÙÚÔ˘ ∂˘¿ÁÁÂÏÔ˘
¢‹ÌÔ˘ - ƒÔ˘ÛÔ˘Ï¤ÓÙÛË
Health and the
extremities
By Evagelos Dimou Rousoulentsis, Podiatrist
ers refer to "plantar fasciitis" as an extremely sharp pain in the heel especially when getting out of bed in the morning. In addition, many women talk
about the "bunions" both from an aesthetic perspective and the burning and
stiffness it causes in the big toe during walking. Finally, adults and children,
between 5 and 15 years of age, often complain for stiffness in the calf muscles of the legs and the low back pain, especially after exercising or sports.
But they probably do not know that the dropped arches of the feet or the fact
that one leg may be slightly shorter than the other can be responsible for the
above mentioned symptoms.
Of course our body type as well as the choice of footwear is closely related
to the general picture above. Narrow shoes with high heels and hard insoles
do not provide appropriate arch support and consequently change the way
our body functions. This is because there is not equal distribution of weight
throughout the feet, which in turn causes blisters, calluses, corns and other
injuries.
The solution is Podiatry; a new academic specialty which applies to every
person, despite their age. Amongst others, Podiatry deals with injuries and
musculoskeletal problems of the feet, the lower limb and the correct function
of the spine.
The basic "tool" for the diagnosis of the above mentioned conditions is the
gait analysis platform. This platform is a foot scanner with thousands digital
sensors, which is connected to a computer. The information from the static
and the dynamic examination allow the podiatrist to analyse the distribution
of weight, the pressure points, the centre of gravity of the body and the biomechanical function of the lower limb. With this method, problems like flat
feet, high arch feet, leg length discrepancies and many others can be identified and addressed accurately with the use of orthotics.
The next step is the manufacturing of the special made orthotics for the prevention or the treatment of each case. The orthotics are manufactured
according to the readings from the foot scanning examination and according
to the age, the weight and the activities of each patient. In other words, the
appropriate corrective orthotic for each patient is made to ensure excellent
fit and correction of the problem. The type of orthotics differs according to the
rehabilitation stage. Usually a combination of soft and shock absorbing materials is used until the inflammation subsides. Later on, the materials may be
substituted with harder ones in order to support the foot in a position that
ensures adequate biomechanical function of the whole lower limb and the
spine.
In conclusion, do not forget that "perfect feet" do not exist.
Hence, every foot is unique and may require special
support. Do not ignore the pain and do not get
used to live with it. Consult your podiatrist
immediately as chronic conditions
require longer treatment and are
more difficult to address. Always
remember that prevention is the
best cure.
MSc DC Chiropractic, BSc (Hons) Podiatry MSh SRCh, DPodM
ÃÂÈÚÔðÚ¿ÎÙË˜ - ¶Ô‰ÔÏfiÁÔ˜
∂£ÓÈÎ‹˜ ∞ÓÙÈÛÙ¿ÛÂˆ˜ 121 - ∫·ÈÛ·ÚÈ·Ó‹
∆ËÏ: 210-9604260 ÎÈÓ: 6947640462 www.rousoulentsis.gr
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∆·ÍÈ‰¤„ÙÂ
ÛÙËÓ ∂˘ÚÒË
ÌÂ ÙÔ ·˘ÙÔÎ›ÓËÙfi Û·˜
Î·È ÙË
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∏ ðfiÏË ÙË˜ ÌÔ˘ÛÈÎ‹˜
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µÈ¤ÓÓË, ›Ûˆ˜ ÙËÓ ·ÚÈÛÙÔÎÚ·ÙÈÎfiÙÂÚË ðfiÏË ÙË˜ ∂˘ÚÒðË˜,
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ÂÎ‰ÚÔÌ¤˜ ðÔ˘ ðÚÔÙÂ›ÓÂÈ Ë
Minoan Lines. ∏ µÈ¤ÓÓË Â›Ó·È
Ô È‰·ÓÈÎfi˜ ðÚÔÔÚÈÛÌfi˜ ÁÈ· fiðÔÈÔÓ ¤¯ÂÈ ÚÔÌ·ÓÙÈÎ‹ ðÚÔ‰È¿ıÂÛË ‹ ÂÓ‰È·Ê¤ÚÂÙ·È ÁÈ· ÙËÓ ÈÛÙÔÚ›·. √ ÂðÈÛÎ¤ðÙË˜
ÌðÔÚÂ› Ó· ðÂÚÈðÏ·ÓËıÂ› ÛÂ ÛÙÂÓ¿, ÌÂÛ·ÈˆÓÈÎ¿ ‰ÚÔÌ¿ÎÈ· ‹ ÛÂ ·˘ÙÔÎÚ·ÙÔÚÈÎ¤˜ ðÏ·ÙÂ›Â˜, ÛÙ· ‚‹Ì·Ù· ÙË˜
·˘ÙÔÎÚ¿ÙÂÈÚ·˜ ™›ÛÛÈ Î·È ÙÔ˘ ·˘ÙÔÎÚ¿ÙÔÚ· ºÚ·ÓÙ˜
∆˙fi˙ÂÊ, Ó· ‰ÂÈ Ù· ð·Ï¿ÙÈ· Schönbrunn Î·È Hofburg Î·È
Ó· ı·˘Ì¿ÛÂÈ ÙË ÌÂÁ·ÏÂÈÒ‰Ë ·Ú¯ÈÙÂÎÙÔÓÈÎ‹ ÙÔ˘ Ring
Boulevard. ∏ ðÚˆÙÂ‡Ô˘Û· ÙË˜ ∞˘ÛÙÚ›·˜ Â›Ó·È Û˘ÓÒÓ˘ÌË ÌÂ ÙË ÌÔ˘ÛÈÎ‹ ÁÈ· ·ÈÒÓÂ˜. ∂ÎÙfi˜ ·ðfi ÙÔ ªfiÙÛ·ÚÙ
Â‰Ò ¤˙ËÛ·Ó Î·È Û˘Ó¤ıÂÛ·Ó Ô ªðÂÙfi‚ÂÓ, Ô ™Ô‡ÌðÂÚÙ Î·È
Ô °Èfi¯·Ó ™ÙÚ¿Ô˘˜. ∏ ºÈÏ·ÚÌÔÓÈÎ‹ ÙË˜ µÈ¤ÓÓË˜ Î·È Ë
¶·È‰ÈÎ‹ ÃÔÚˆ‰›· ·ðÔıÂÒÓÔÓÙ·È fiðÔ˘ Î·È Ó· ÂÌÊ·ÓÈÛÙÔ‡Ó ÛÙÔÓ ÎfiÛÌÔ. ŸÌˆ˜ Ë µÈ¤ÓÓË Â›Ó·È Âð›ÛË˜ ÁÓˆÛÙ‹ Û·Ó ðfiÏË ÙÔ˘
ðÓÂ‡Ì·ÙÔ˜ Î·È ÙË˜ Ù¤¯ÓË˜, ÂÎ·ÙÔÓÙ¿‰Â˜ Â›Ó·È ÔÈ ðÔÏÈÙÈÛÙÈÎ¤˜ ·ÙÚ·ÍÈfiÓ ÙË˜. ∞Ó ÙÒÚ· ı¤ÏÂÙÂ Î¿ÙÈ ‰È·ÊÔÚÂÙÈÎfi ·ðfi Ù¤¯ÓË Î·È
ðÔÏÈÙÈÛÌfi, Ë ðfiÏË Â›Ó·È Âð›ÛË˜ ‰È¿ÛËÌË ÁÈ· Ù· Î·Ê¤ Î·È ÙÈ˜ «ÎÚ·ÛÔÙ·‚¤ÚÓÂ˜» (Heurige) ÙË˜. ∂‰Ò ÁÂÓÓ‹ıËÎÂ ÙÔ ÛÓ›ÙÛÂÏ (Wiener
Schnitzel, fiðˆ˜ Â›Ó·È ÁÓˆÛÙfi ÛÙËÓ ∂˘ÚÒðË), Â‰Ò ı· Ê¿ÙÂ ÛÙËÓ Î·Ï‡ÙÂÚË ÂÎ‰Ô¯‹ ÙÔ˘˜ Ù· Apfelstrudel, Sachertorte Î·È
Vanillekipferl.
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ðÚÔÁÚ·ÌÌ·Ù›ÛÂÙÂ ¤Ó· Ù·Í›‰È
ÌÂ ÙÔ ·˘ÙÔÎ›ÓËÙfi Û·˜ Î·È ÙË
Minoan Lines
ÛÙÔ ¶·Ú›ÛÈ. ∆· ·ÍÈÔı¤·Ù· Â›Ó·È ÙfiÛ· ðÔÏÏ¿
ðÔ˘ ·ÎfiÌË Î·È ÔÈ ÌfiÓÈÌÔÈ Î¿ÙÔÈÎÔÈ ÙË˜ ¶fiÏË˜
ÙÔ˘ ºˆÙfi˜ Û˘ÓÂ¯Ò˜ ·Ó·Î·Ï‡ðÙÔ˘Ó Ó¤Â˜
ÁˆÓ›Â˜, Ó¤· ÌÔ˘ÛÂ›· Î·È ÁÎ·ÏÂÚ›, Ìð·Ú Î·È
ÂÛÙÈ·ÙfiÚÈ·, Ó¤Â˜ ÂÛÙ›Â˜ ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·˜ Î·È
¤ÓÙÔÓË˜ ÎÔÈÓˆÓÈÎ‹˜ ˙ˆ‹˜. ∆Ô ¶·Ú›ÛÈ Â›Ó·È ÌÈ·
ÌÂÁ·ÏÔ‡ðÔÏË, fi¯È ÏfiÁˆ ÙÔ˘ ðÏËı˘ÛÌÔ‡ ÙÔ˘,
˘ð¿Ú¯Ô˘Ó ðÔÏÏ¤˜ ðfiÏÂÈ˜ ÛÙÔÓ ÎfiÛÌÔ ðÔ˘ Â›Ó·È
ÌÂÁ·Ï‡ÙÂÚÂ˜ ·ðfi ·˘Ù‹ ÙËÓ ¿ðÔ„Ë, ·ÏÏ¿ ÁÈ·Ù›
Â‰Ò ÁÂÓÓÈÔ‡ÓÙ·È È‰¤Â˜, Ù¿ÛÂÈ˜ Î·È Ìfi‰Â˜ ðÔ˘
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Âð›ÛÎÂ„Ë ÂðÈÙÚ¤ðÂÈ ÙËÓ Âð·Ê‹ ÌÂ ·˘Ùfi ÙÔ ðÔÏ‡
È‰È·›ÙÂÚÔ «ð·ÚÈÛÈÓfi» ðÓÂ‡Ì·: ÌÈ· ‚fiÏÙ· ÙÔ
ËÏÈÔ‚·Û›ÏÂÌ· ÛÙ· ∏Ï‡ÛÈ· ¶Â‰›·, ÙÔ ‰Â‡ÙÂÚÔ
·ÎÚÈ‚fiÙÂÚÔ ÎÔÌÌ¿ÙÈ ÁË˜ ÛÙÔÓ ÎfiÛÌÔ (ÌÂÙ¿ ÙËÓ
¶¤ÌðÙË §ÂˆÊfiÚÔ ÙË˜ ¡¤·˜ ÀfiÚÎË˜), ÌÂ Ù·
ðÔÏ˘ÙÂÏ‹ Î·Ê¤, ÂÛÙÈ·ÙfiÚÈ· Î·È Î·Ù·ÛÙ‹Ì·Ù·.
ŒÓ· ð¤Ú·ÛÌ· ·ðfi ÙÔ §Ô‡‚ÚÔ Î·È Ù· ¯ÈÏÈ¿‰Â˜
·ÚÈÛÙÔ˘ÚÁ‹Ì·Ù· ÙË˜ ð·ÁÎfiÛÌÈ·˜ Ù¤¯ÓË˜ ðÔ˘
ÂÎÙ›ıÂÓÙ·È ÂÎÂ›. ∆· ·ð·Ú·›ÙËÙ· „ÒÓÈ· ÛÙËÓ
ðÂÚÈÔ¯‹ ÙË˜ ŸðÂÚ·˜. ¢Â›ðÓÔ ÛÂ ¤Ó· ·ðfi Ù·
ÂÛÙÈ·ÙfiÚÈ· ÙÔ˘ ™ÂÓ ∑ÂÚÌ¤Ó ÓÙÂ ¶ÚÂ, ÌÂÙ¿ ÙËÓ
«ðÚÔÌÂÓ¿ÓÙ» ‰›ðÏ· ÛÙÔÓ ™ËÎÔ˘¿Ó· Î·È ÙËÓ
Âð›ÛÎÂ„Ë ÛÙËÓ ¶·Ó·Á›· ÙˆÓ ¶·ÚÈÛ›ˆÓ. √
¶‡ÚÁÔ˜ ÙÔ˘ ÕÈÊÂÏ Ê˘ÛÈÎ¿, ¤Ì‚ÏËÌ· ÙË˜ ðfiÏË˜
ÁÈ· ÁÂÓÂ¤˜ ÙÔ˘ÚÈÛÙÒÓ. ∆· ÛÙÂÓ¿ ÙÔ˘ ª·Ú¤, ÌÂ
ÂÓ·ÏÏ·ÎÙÈÎ¿ ÂÛÙÈ·ÙfiÚÈ· Î·È Î·Ê¤, ·ÏÏ¿ Î·È
ÁÎ·ÏÂÚ› ‹ Î·Ù·ÛÙ‹Ì·Ù· ÌÂ Â›‰Ë design. ∆Ô Ó¤Ô
ÌÔ˘ÛÂ›Ô Orsay ÌÂ ÙË ÌÔÓ·‰ÈÎ‹ Û˘ÏÏÔÁ‹ ÈÌðÚÂÛÈÔÓÈÛÙÒÓ ˙ˆÁÚ¿ÊˆÓ. ∂ð·Ê‹ ÌÂ ÙËÓ Û‡Á¯ÚÔÓË
Ù¤¯ÓË ÛÙÔ ∫¤ÓÙÚÔ ∑ˆÚ˙ ¶ÔÌðÈÓÙÔ‡ Î·È ÌÂÙ¿
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ÛÙËÓ ·˘Ï‹ ÙÔ˘. §›ÁÔ ðÈÔ ¤Íˆ, Ù· ·Ó¿ÎÙÔÚ· ÙˆÓ
µÂÚÛ·ÏÈÒÓ, ÌÂ ÙËÓ ·ðÂÚ›ÁÚ·ðÙË ¯ÏÈ‰‹, ðÔ˘ ÙfiÛÔ
ð·Ú·ÛÙ·ÙÈÎ¿ ð·ÚÔ˘ÛÈ¿ÛÙËÎÂ ÛÙËÓ Ù·ÈÓ›·
«ª·Ú›· ∞ÓÙÔ˘·Ó¤Ù·»…
∂ÎÙfi˜ ·ðfi Ù· «ð¿ÁÈ·» ·ÍÈÔı¤·Ù· ÙË˜ ðfiÏË˜, ÙÔ ¶·Ú›ÛÈ ÊÈÏÔÍÂÓÂ› ðÔÏÏ¿ ÛËÌ·ÓÙÈÎ¿ ðÔÏÈÙÈÛÙÈÎ¿ ‹ ·ıÏËÙÈÎ¿ ÁÂÁÔÓfiÙ·
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ÂÍÂ˙ËÙËÌ¤ÓÂ˜ ðÚÔÙ¿ÛÂÈ˜ ÙÔ˘˜ haute couture, ÙÔ ÙÔ˘ÚÓÔ˘¿ Ù¤ÓÈ˜ ÙÔ˘ ƒÔÏ¿Ó °Î·Úfi˜, ÙË «§Â˘Î‹ ¡‡ÎÙ· ÙˆÓ ªÔ˘ÛÂ›ˆÓ»,
fiðÔ˘ Ù· ÌÔ˘ÛÂ›· ÙË˜ ðfiÏË˜ ·ÓÔ›ÁÔ˘Ó ÙÈ˜ ðfiÚÙÂ˜ ÙÔ˘˜ ÁÈ· fiÏÔ˘˜ ÙÈ˜ Ó˘ÎÙÂÚÈÓ¤˜ ÒÚÂ˜, ÙË ªðÈÂÓ¿ÏÂ ÙˆÓ ¶·Ï·ÈÔðˆÏÒÓ,
ÙË FIAC (¢ÈÂıÓ‹˜ ∂ÎıÂÛË ™‡Á¯ÚÔÓË˜ ∆¤¯ÓË˜), ÙÈ˜ ÈððÔ‰ÚÔÌ›Â˜ ÛÙÔ Longchamp ÌÂ ÙÔ ÊËÌÈÛÌ¤ÓÔ ÛÙÔ˘˜ Î‡ÎÏÔ˘˜ ÙˆÓ
ÊÈÏ›ððˆÓ “∆Úfið·ÈÔ ÙË˜ ∞„›‰·˜ ÙÔ˘ £ÚÈ¿Ì‚Ô˘”…
ÙË MINOAN LINES
ÛÙÔ ¶·Ú›ÛÈ
ŒÓ·˜ Î·Ù¿ÏÔÁÔ˜ ÌÂ Ù· ·ÍÈÔı¤·Ù· ÙÔ˘ ¶·ÚÈÛÈÔ‡ Î·È ÙÈ˜ ÂÎ‰ËÏÒÛÂÈ˜ ðÔ˘ Ï·Ì‚¿ÓÔ˘Ó ¯ÒÚ· Î·ıËÌÂÚÈÓ¿ ÂÎÂ› ðÔÙ¤ ‰ÂÓ ı·
‹Ù·Ó ðÏ‹ÚË˜ Î·È ÌÈ· Âð›ÛÎÂ„Ë ÛÙËÓ ðÚˆÙÂ‡Ô˘Û· ÙË˜ °·ÏÏ›·˜ ð¿ÓÙ· Î¿ÙÈ Î·ÈÓÔ‡ÚÈÔ ¤¯ÂÈ Ó· ‰ÒÛÂÈ… ªÂ Ù· Î·ÏÔÛ¯Â‰È·ÛÌ¤Ó· ð·Î¤Ù· ðÔ˘ ðÚÔÙÂ›ÓÂÈ Ë Minoan Lines ÌðÔÚÂ›ÙÂ ÙÒÚ· Ó· ÊÙ¿ÛÂÙÂ ÛÙÔ ¶·Ú›ÛÈ ÌÂ ÙÔ ‰ÈÎfi Û·˜ ·˘ÙÔÎ›ÓËÙÔ Î·È Ó·
ÁÓˆÚ›ÛÂÙÂ ·ðfi ÎÔÓÙ¿ ÙËÓ - ÙfiÛÔ È‰È·›ÙÂÚË - ð·ÚÈÛÈÓ‹ ÎÔ˘ÏÙÔ‡Ú·.
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ŸÏÔÈ ÔÈ ‰ÚfiÌÔÈ Ô‰ËÁÔ‡Ó ÛÙË ƒÒÌË
∏
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ÂðÔ¯‹ ÙË˜ ƒˆÌ·˚Î‹˜ ∞˘ÙÔÎÚ·ÙÔÚ›·˜, ‹Ù·Ó Ë ÛËÌ·ÓÙÈÎfiÙÂÚË ðfiÏË ÙÔ˘ ‰˘ÙÈÎÔ‡ ðÔÏÈÙÈÛÌÔ‡ Î·È Ë
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ÙfiÙÂ ÎfiÛÌÔ (Ô ðÚÒÙÔ˜
·ÓıÚÒðÈÓÔ˜ ÔÈÎÈÛÌfi˜ ðÔ˘
¤ÊÙ·ÛÂ ÙÔ 1.5 ÂÎ·ÙÔÌÌ‡ÚÈÔ Î·ÙÔ›ÎÔ˘˜). ªÂ ÙËÓ
¿ÓÔ‰Ô ÙÔ˘ ÃÚÈÛÙÈ·ÓÈÛÌÔ‡
Ë ƒÒÌË ¤ÁÈÓÂ ÙÔ Î¤ÓÙÚÔ
ÙË˜
ƒˆÌ·ÈÔÎ·ıÔÏÈÎ‹˜
ÂÎÎÏËÛ›·˜ Î·È Ë ¤‰Ú· ÙÔ˘ ¶¿ð·. ∏ ðÙÒÛË ÙË˜
ƒˆÌ·˚Î‹˜ ∞˘ÙÔÎÚ·ÙÔÚ›·˜ Û‹Ì·ÓÂ ÙËÓ ¤ÏÂ˘ÛË ÙÔ˘
ªÂÛ·›ˆÓ·, fiÌˆ˜ Ë ƒÒÌË ‚Ú¤ıËÎÂ ÛÙÔ Âð›ÎÂÓÙÚÔ ÙË˜
∞Ó·Á¤ÓÓËÛË˜ ÛÙ· ÁÚ¿ÌÌ·Ù· Î·È ÙÈ˜ Ù¤¯ÓÂ˜.
∆Ô ¤Ó‰ÔÍÔ ð·ÚÂÏıfiÓ ÙË˜ ·ÈÒÓÈ·˜ ðfiÏË˜ ·ðÔÙ˘ðÒÓÂÙ·È ÛÂ Î¿ıÂ ÁˆÓÈ¿, ÛÂ Î¿ıÂ ‰ÚfiÌÔ: Ô Î·ıÂ‰ÚÈÎfi˜ Ó·fi˜
ÙÔ˘ ∞Á›Ô˘ ¶¤ÙÚÔ˘, ÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi ÊfiÚÔ˘Ì, ÙÔ
∫·ðÈÙÒÏÈÔ, ÛÙÔÓ ÔÌÒÓ˘ÌÔ ÏfiÊÔ, ÙÔ µ·ÙÈÎ·Ófi ÌÂ Ù·
ÂÓÙ˘ðˆÛÈ·Î¿ ÌÔ˘ÛÂ›· ÙÔ˘, ÙÔ ¶·Ï·Ù›ÓÔ, ÙÔ
¶¿ÓıÂÔÓ, Ë µ›Ï· ªðÔÚÁÎ¤˙Â, Ë ∞Á›· ª·Ú›· ÙˆÓ
∞ÁÁ¤ÏˆÓ, ÔÈ Î·Ù·ÎfiÌ‚Â˜, Ë ¶È¿ÙÛ· ÓÙÈ
™ð¿ÓÈ·, Ë ð‡ÏË ÙÔ˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ë ¶È¿ÙÛ· µÂÓ¤ÙÛÈ·, Ù· ÏÔ˘ÙÚ¿ ÙÔ˘ ∫·Ú·Î¿Ï· Î·È ÙfiÛ· ¿ÏÏ· ÌÓËÌÂ›· ðÔ˘ ‰ÂÛðfi∆·ÍÈ‰¤„ÙÂ ÌÂ ÙÔ
˙Ô˘Ó ÛÙÔ ÈÛÙÔÚÈÎfi Î¤ÓÙÚÔ.
¶·Ú¿ÏÏËÏ·, ÛÙË ƒÒÌË Â›Ó·È Â‡ÎÔÏÔ Ó· ·ÊÂıÂ›ÙÂ ÛÙË dolce vita, ÈÎ·ÓÔðÔÈÒÓÙ·˜ ÙÈ˜ ·ÈÛı‹ÛÂÈ˜ Û·˜ ÌÂ ¤Ó· gelato ÌÂ
ÙË MINOAN LINES
ÁÂ‡ÛË Î¿ÛÙ·ÓÔ ‹ ÌÈ· Ì·Î·ÚÔÓ¿‰· ala romana ‹ ·Ó·ÓÂÒÓÔÓÙ·˜ ÙË ÁÎ·ÚÓÙ·ÚfiÌð· Û·˜ ÛÙÈ˜ ð·ÁÎÔÛÌ›ˆ˜ ÔÓÔÌ·ÛÙ¤˜
ÛÙË ƒÒÌË
ÌðÔ˘Ù›Î ÙË˜ Via Condotti Î·È ÙË˜ Via Frattina. ∫·È Ê˘ÛÈÎ¿ Ë Ó˘ÎÙÂÚÈÓ‹ ˙ˆ‹ ÙË˜ Â˘Úˆð·˚Î‹˜ ·˘Ù‹˜ ÌËÙÚfiðÔÏË˜ ‰ÂÓ
ı· ·Ê‹ÛÂÈ Î·Ó¤Ó·Ó ‰˘Û·ÚÂÛÙËÌ¤ÓÔ. ¶ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· ·ðfi ÙÈ˜ Ï›ÁÂ˜ ðfiÏÂÈ˜ ÙË˜ ËðÂ›ÚÔ˘ Ì·˜ fiðÔ˘ Û˘¯Ó¿ Û˘Ó·ÓÙ¿˜
ÌðÔÙÈÏÈ¿ÚÈÛÌ· ÛÙÈ˜ 4 ÙÔ ðÚˆ› ÎÔÓÙ¿ ÛÙÈ˜ ðÂÚÈÔ¯¤˜ ÙË˜ ‰È·ÛÎ¤‰·ÛË˜!
MINOAN WAVE
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ªÈÏ¿ÓÔ
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∏ ðÚˆÙÂ‡Ô˘Û· ÙÔ˘ Â˘Úˆð·˚ÎÔ‡ ÛÙÈÏ
∆
Ô ªÈÏ¿ÓÔ Â›Ó·È Ë ÔÈÎÔÓÔÌÈÎ‹ ·ÙÌÔÌË¯·Ó‹ fiÏË˜ ÙË˜ πÙ·Ï›·˜, Â‰Ò Â‰ÚÂ‡ÂÈ ÙÔ ÈÙ·ÏÈÎfi ¯ÚËÌ·ÙÈÛÙ‹ÚÈÔ Î·È ÔÈ ÌÂÁ·Ï‡ÙÂÚÂ˜ ÂÙ·ÈÚÂ›Â˜
ÙË˜ ¯ÒÚ·˜. ŸÌˆ˜ ‰ÂÓ ðÂÚÈÛÙÚ¤ÊÔÓÙ·È Ù· ð¿ÓÙ· ÛÙÔ ªÈÏ¿ÓÔ Á‡Úˆ ·ðfi ÙÔ ¯Ú‹Ì·. ∞˘Ù‹ Ë ÛÙÈÏ¿ÙË ðfiÏË Â›Ó·È Âð›ÛË˜ Ë ‰ÈÂıÓ‹˜
ðÚˆÙÂ‡Ô˘Û· ÙÔ˘ design Î·È ·ÓÙ·ÁˆÓ›˙ÂÙ·È ÙÔ ¶·Ú›ÛÈ ˆ˜ ð·ÁÎfiÛÌÈÔ Î¤ÓÙÚÔ ÙË˜ Ìfi‰·˜. ∆Ô shopping Â‰Ò ·ÓÙÈÌÂÙˆð›˙ÂÙ·È ÌÂ Û¯Â‰fiÓ ıÚËÛÎÂ˘ÙÈÎ‹ ÛÔ‚·ÚfiÙËÙ·, ·ðÂÚÈfiÚÈÛÙË ðÔÈÎÈÏ›· ðÚÔÛÊ¤ÚÂÙ·È ÛÙË Ó˘ÎÙÂÚÈÓ‹ ‰È·ÛÎ¤‰·ÛË Î·È ÛÙÔ ªÈÏ¿ÓÔ Â‰ÚÂ‡Ô˘Ó ÔÚÈÛÌ¤Ó· ·ðfi Ù· Î·Ï‡ÙÂÚ· ÂÛÙÈ·ÙfiÚÈ· ÙÔ˘ ÎfiÛÌÔ˘, ÌÂ ðÈÔ ÁÓˆÛÙ¿ ðÈ¿Ù· Ù·
ÚÈ˙fiÙÔ ·Ï¿ ÌÈÏ·Ó¤˙Â Î·È ÎÔÙÔÏ¤Ù· ·Ï¿ ÌÈÏ·Ó¤˙Â, ·ÏÏ¿ Î·È ÙÔ ¯ÚÈÛÙÔ˘ÁÂÓÓÈ¿ÙÈÎÔ Î¤ÈÎ panettone. ∫¤ÓÙÚÔ ÙË˜ ðfiÏË˜ ÁÈ· ÙÔÓ ÂðÈÛÎ¤ðÙË Â›Ó·È
Ë ðÏ·ÙÂ›· ðÔ˘ ‚Ú›ÛÎÂÙ·È ÌðÚÔÛÙ¿ ÛÙÔ Duomo, ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Î·ıÂ‰ÚÈÎfi Ó·fi ÁÔÙıÈÎÔ‡ Ú˘ıÌÔ‡ ÛÙÔÓ ÎfiÛÌÔ, ðÔ˘ ¿Ú¯ÈÛÂ Ó· ÎÙ›˙ÂÙ·È ÙÔ
1386 Î·È ÙÔ ÎÙ›ÛÈÌfi ÙÔ˘ ÎÚ¿ÙËÛÂ 500 ¯ÚfiÓÈ·!
∆ÒÚ·, Â›ÛÙÂ ‰ÂÓ Â›ÛÙÂ Ê›ÏÔÈ ÙË˜ fiðÂÚ·˜, ÌÈ· Âð›ÛÎÂ„Ë ÛÙËÓ ðÂÚ›ÊËÌË ™Î¿Ï· ÙÔ˘ ªÈÏ¿ÓÔ˘
ıÂˆÚÂ›Ù·È ÂðÈ‚Â‚ÏËÌ¤ÓË, ·ÎfiÌË Î·È ·Ó ‰ÂÓ ‚ÚÂ›ÙÂ ÂÈÛÈÙ‹ÚÈÔ ÁÈ· Î¿ðÔÈ· ð·Ú¿ÛÙ·ÛË, ÙÔ
ðÔÏ˘ÙÂÏ¤˜ ÂÛˆÙÂÚÈÎfi ðÔ˘ ¯ˆÚ¿ 2000 ¿ÙÔÌ· ı· Û·˜ ÂÓÙ˘ðˆÛÈ¿ÛÂÈ. ∂ðÈ‚¿ÏÏÂÙ·È Âð›ÛË˜ Ó·
ÂðÈÛÎÂÊıÂ›ÙÂ ÙÔ Ó·fi Santa Maria della Grazie fiðÔ˘ ÂÎÙ›ıÂÙ·È Ë ðÂÚ›ÊËÌË ÙÔÈ¯ÔÁÚ·Ê›· ÙÔ˘
§ÂÔÓ¿ÚÓÙÔ ÓÙ· µ›ÓÙÛÈ «∆Ô ÙÂÏÂ˘Ù·›Ô ‰Â›ðÓÔ», ðÔ˘ ‰È·ÛÒıËÎÂ ˆ˜ ÂÎ ı·‡Ì·ÙÔ˜ fiÙ·Ó Ô Ó·fi˜
‚ÔÌ‚·Ú‰›ÛÙËÎÂ ÛÙÔÓ µ' ð·ÁÎfiÛÌÈÔ ðfiÏÂÌÔ Î·È Î·Ù¤¯ÂÈ È‰È·›ÙÂÚË ÛËÌ·Û›· ÛÙËÓ ðÏÔÎ‹ ÙÔ˘
ÌðÂÛÙ-Û¤ÏÏÂÚ «∫Ò‰ÈÎ·˜ ¡Ù· µ›ÓÙÛÈ». ∏ ÛÈÎ Galleria Vittorio Emanuele
II ÂÓÒÓÂÈ ÙÔ Duomo ÌÂ ÙË ™Î¿Ï· ÙÔ˘ ªÈÏ¿ÓÔ˘. ∂›Ó·È ÌÈ· ÂÓÙ˘ðˆÛÈ·∆·ÍÈ‰¤„ÙÂ ÌÂ ÙÔ
Î‹ Á·Ï·Ú›· ÌÂ Á˘¿ÏÈÓË ÔÚÔÊ‹, ðÔ˘ ÎÙ›ÛÙËÎÂ ÙÔ 1867, fiðÔ˘ ‚Ú›ÛÎÔÓÙ·È ÔÚÈÛÌ¤Ó· ·ðfi Ù· ðÔÏ˘ÙÂÏ¤ÛÙÂÚ· Î·Ù·ÛÙ‹Ì·Ù· Ìð·Ú Î·È
ÂÛÙÈ·ÙfiÚÈ· ÙË˜ ðfiÏË˜, ÛÙËÓ Ô˘Û›· ðÚfiÎÂÈÙ·È ÁÈ· ÙÔ ð·Ï·ÈfiÙÂÚÔ ÂÌðÔÚÈÎfi Î¤ÓÙÚÔ ÙÔ˘ ÎfiÛÌÔ˘. ∂ð›ÛË˜ ðÔÏ‡ ÛÈÎ ıÂˆÚÂ›Ù·È ÌÈ·
‚fiÏÙ· ÛÙÈ˜ ÌðÔ¤ÌÈÎÂ˜ ÁÂÈÙÔÓÈ¤˜ Brera Î·È Navigli. §›ÁÔ ð·Ú·ð¤Ú· Ë ðÂÚ›ÊËÌË Via Napoleone, fiðÔ˘ ¤¯Ô˘Ó ÙËÓ ¤‰Ú· ÙÔ˘˜ ÔÚÈÙË MINOAN LINES
ÛÌ¤ÓÔÈ ·ðfi ÙÔ˘˜ ÁÓˆÛÙfiÙÂÚÔ˘˜ ÈÙ·ÏÔ‡˜ Û¯Â‰È·ÛÙ¤˜ Ìfi‰·˜, fiðˆ˜ ÔÈ Giorgio Armani, Dolce & Gabbana, Prada, Gianni Versace
ÛÙÔ ªÈÏ¿ÓÔ
Î·È ¿ÏÏÔÈ ÙÔ˘ È‰›Ô˘ ‚ÂÏËÓÂÎÔ‡˜.
∫ÔÓÙ¿ ÛÙÔ ªÈÏ¿ÓÔ, ÁÈ· ÌÈ· ËÌÂÚ‹ÛÈ· ÂÎ‰ÚÔÌ‹ ÌÂ ÙÔ ·˘ÙÔÎ›ÓËÙfi Û·˜ ‚Ú›ÛÎÔÓÙ·È ÔÈ ð·Ó¤ÌÔÚÊÂ˜ Ï›ÌÓÂ˜ ¶·‚›· Î·È
ªð¤ÚÁÎ·ÌÔ.
MINOAN WAVE
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µÂÓÂÙ›·
058
™Ù· Î·Ó¿ÏÈ· ÙË˜ µÂÓÂÙ›·˜
Ÿ
ÛÂ˜ ðÂÚÈÁÚ·Ê¤˜ ÎÈ ·Ó ¤¯ÂÈ˜ ‰È·‚¿ÛÂÈ, fiÛÂ˜ ÊˆÙÔÁÚ·Ê›Â˜ ÎÈ ·Ó ¤¯ÂÈ˜ ‰ÂÈ, fiÛÂ˜ ÊÔÚ¤˜ Î·È
Ó· ¤¯ÂÈ˜ ð·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙËÓ Ù·ÈÓ›· «£¿Ó·ÙÔ˜ ÛÙË µÂÓÂÙ›·», Ë ðÚÒÙË Âð›ÛÎÂ„Ë ÛÙËÓ
ðfiÏË ÙˆÓ ¢fiÁË‰ˆÓ Â›Ó·È ÌÈ· ÌÔÓ·‰ÈÎ‹, ·ÓÂð·Ó¿ÏËðÙË ÂÌðÂÈÚ›·. ∏ Ûð¿ÓÈ· ÁÔËÙÂ›· ÌÈ·˜
‚fiÏÙ·˜ ÛÙ· Î·Ó¿ÏÈ· ÙË˜ ðÏˆÙ‹˜ ðÔÏÈÙÂ›·˜ ÛÂ ·È¯Ì·ÏˆÙ›˙ÂÈ ·ðfi ÙËÓ ðÚÒÙË ÛÙÈÁÌ‹. ∏
ðfiÏË Â›Ó·È ÎÙÈÛÌ¤ÓË ÛÂ ÌÈ· ÚË¯‹ ÏÈÌÓÔı¿Ï·ÛÛ·, ÌÂ ¤Ó· ·Ú¯Èð¤Ï·ÁÔ˜ 118 ÓËÛÈÒÓ, ðÔ˘
ÂÓÒÓÔÓÙ·È ÌÂ 150 Î·Ó¿ÏÈ· Î·È ðÂÚÈÛÛfiÙÂÚÂ˜ ·ðfi 400 Á¤Ê˘ÚÂ˜! ¶·ÓÙÔ‡ ı· Û˘Ó·ÓÙ‹ÛÂÙÂ ÙÔ ÊÙÂÚˆÙfi Ï¤ÔÓÙ· ÙÔ˘ ∞Á›Ô˘ ª¿ÚÎÔ˘, ÙÔ Û‡Ì‚ÔÏÔ ÙË˜ °·ÏËÓÔÙ¿ÙË˜ ¢ËÌÔÎÚ·Ù›·˜,
fiðˆ˜ ‹Ù·Ó ÁÓˆÛÙ‹ Ë ðfiÏË ÙËÓ ÂðÔ¯‹ ÙË˜
ð·ÓÙÔ‰˘Ó·Ì›·˜ ÙË˜ ÛÙËÓ ·Ó·ÙÔÏÈÎ‹
ªÂÛfiÁÂÈÔ. ¶Ú¿ÁÌ·ÙÈ, ·ðfi ÙÔ 12Ô ·ÈÒÓ·
Î·È ÌÂÙ¿ Ë µÂÓÂÙ›· ÂÍÂÏ›¯ÙËÎÂ ÛÂ ˘ðÂÚ‰‡Ó·ÌË ÙË˜ ÂðÔ¯‹˜ - ¯¿ÚË ÛÙË
‰‡Ó·ÌË ÙÔ˘ ÛÙfiÏÔ˘ ÙË˜ Î˘Ú›ˆ˜ - Î·È Î·Ù¤ÎÙËÛÂ ÌÂÙ·Í‡ ¿ÏÏˆÓ Ù·
ðÂÚÈÛÛfiÙÂÚ· ÓËÛÈ¿ ÙÔ˘ ∞ÈÁ·›Ô˘, ÙËÓ ∫‡ðÚÔ Î·È ÙËÓ ∫Ú‹ÙË, ÊÙ¿ÓÔÓÙ·˜ Ì¤¯ÚÈ ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ðÔÏË, ÙËÓ ÔðÔ›· ÎÚ¿ÙËÛÂ ˘ðfi ÙËÓ Î·ÙÔ¯‹ ÙË˜ ÁÈ· ð¿Óˆ ·ðfi ÂÓ¿ÌÈÛË ·ÈÒÓ·.
°È· ÙÔÓ ÂðÈÛÎ¤ðÙË ·Á·ðËÌ¤ÓÔ˜ ðÚÔÔÚÈÛÌfi˜ ÌÈ·˜ ‚fiÏÙ·˜ ÛÙË µÂÓÂÙ›·
Â›Ó·È Û›ÁÔ˘Ú· Ô ÂðÈ‚ÏËÙÈÎfi˜ ÕÁÈÔ˜ ª¿ÚÎÔ˜ Î·È Ë ÔÌÒÓ˘ÌË ðÏ·ÙÂ›·.
∞ðfi ÂÎÂ› Î·È ð¤Ú· Ù· ‚‹Ì·Ù¿ Û·˜ ‹ Ô gondoliere, ðÔ˘
¤¯ÂÙÂ ÌÈÛıÒÛÂÈ, ı· Û·˜ Ô‰ËÁ‹ÛÔ˘Ó ÛÙÔ Palazzo
Ducale (ÙÔ ð·Ï¿ÙÈ ÙÔ˘ ¢Ô‡Î·), ÙË Á¤Ê˘Ú· ÙˆÓ ÛÙÂ∆·ÍÈ‰¤„ÙÂ ÌÂ ÙÔ
Ó·ÁÌÒÓ, ÙÔ ªÔ˘ÛÂ›Ô ÙË˜ ∞Î·‰ËÌ›·˜, ÌÂ ·ÚÈÛÙÔ˘Ú·˘ÙÔÎ›ÓËÙfi Û·˜ Î·È
Á‹Ì·Ù· ÙÔ˘ ªðÂÏ›ÓÈ Î·È ÙÔ˘ ∆ÈÙÛÈ¿ÓÔ, ÙË Á¤Ê˘Ú·
ÙË MINOAN LINES
ƒÈ¿ÏÙÔ ‹ ÙÔ ªÂÁ¿ÏÔ ∞ÚÛÂÓ¿ÏÈ. ªÈ· ÂÓ‰È·Ê¤ÚÔ˘Û·
ÛÙË µÂÓÂÙ›·
ÎÔÓÙÈÓ‹ ÂÎ‰ÚÔÌ‹ ·ðÔÙÂÏÂ› Ë Âð›ÛÎÂ„Ë ÛÙ· ÓËÛ¿ÎÈ·
Burano Î·È Murano, fiðÔ˘ ı· ðÚÔÌËıÂ˘ÙÂ›ÙÂ Ù·
ÔÌÒÓ˘Ì· ÊËÌÈÛÌ¤Ó· ˘·ÏÈÎ¿.
MINOAN WAVE
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Κεντρική ∆ιάθεση: Οδός Κιλκίς-Ωραιοκάστρου
τκ: 570 13, ΤΘ: 74, Θεσσαλονίκη
τ: 2310 532202, 690786-690788, f: 2310 532205
info@verdefashion.gr, sales@verdefashion.gr
www.verdefashion.gr
Εκθετήριο Αθηνών: Περικλέους 30-32
Αθήνα, τ: 210 3226266, f: 210 3226205
athens@verdefashion.gr
SSSSSSE
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∏ ðfiÏË
ÙË˜ ·Ó·Á¤ÓÓËÛË˜
ª
ºÏˆÚÂÓÙ›·
È· ‚fiÏÙ· ÌÂ Ù·
ðfi‰È· ÛÙÔ centro
storico, ÙÔ ÈÛÙÔÚÈÎfi
Î¤ÓÙÚÔ
ÙË˜
ºÏˆÚÂÓÙ›·˜, Ê·ÓÂÚÒÓÂÈ ·Ì¤Ûˆ˜ ÙË
Û Ë Ì · Ó Ù È Î fi Ù · Ù Ë
ðÔÏÈÙÈÛÙÈÎ‹ ÎÏËÚÔÓÔÌÈ¿ ÌÈ·˜ ·ðfi ÙÈ˜
ˆÚ·ÈfiÙÂÚÂ˜ ðfiÏÂÈ˜
ÙË˜ ∂˘ÚÒðË˜. ∂‰Ò ¤˙ËÛ·Ó Ô Cimabue Î·È Ô Giotto, ÌÂ
ÙÔ˘˜ ÔðÔ›Ô˘˜ Ô˘ÛÈ·ÛÙÈÎ¿ ÁÂÓÓ‹ıËÎÂ Ë ÈÙ·ÏÈÎ‹ ˙ˆÁÚ·ÊÈÎ‹, ÔÈ Arnolfo Î·È Andrea Pisano, ·Ó·ÌÔÚÊˆÙ¤˜ ÙË˜
·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜ Î·È ÙË˜ ÁÏ˘ðÙÈÎ‹˜, Ô ªðÚÔ˘ÓÂÏ¤ÛÎÈ, Ô
ªðÔÙÈÙÛ¤ÏÈ, Ô ¡ÙÔÓ·Ù¤ÏÔ Î·È Ô Masaccio, ÌÂ ÙÔ˘˜ ÔðÔ›Ô˘˜ ·Ú¯›˙ÂÈ Ë ∞Ó·Á¤ÓÓËÛË. ∂‰Ò ÌÂÁ·ÏÔ‡ÚÁËÛ·Ó ÔÈ
«ÔÈÎÔ˘ÌÂÓÈÎÔ› ¿ÓıÚˆðÔÈ» §ÂÔÓ¿ÚÓÙÔ ÓÙ· µ›ÓÙÛÈ Î·È
ªÈ¯·‹Ï ∞ÁÁÂÏÔ˜, ¤ÚÁ· ÙˆÓ ÔðÔ›ˆÓ ÊÈÏÔÍÂÓÔ‡ÓÙ·È ÛÙ·
ðÔÏ˘¿ÚÈıÌ· ÌÔ˘ÛÂ›· ÙË˜ ðfiÏË˜, fiðˆ˜ ÙÔ Uffizzi Î·È ÙÔ
060
Palazzo Pitti. ™ÙË ºÏˆÚÂÓÙ›· ÁÂÓÓ‹ıËÎÂ Ë ÈÙ·ÏÈÎ‹ ÁÏÒÛÛ· ¯¿ÚË ÛÙÔ
¢¿ÓÙË, ·Ó·ÁÓˆÚ›ÛÙËÎÂ
Ë
ÛËÌ·Û›·
ÙˆÓ ÊÈÏÔÏÔÁÈÎÒÓ ÛðÔ˘‰ÒÓ
·ðfi
ÙÔÓ µÔÎÎ¿ÎÈÔ Î·È ÙÔÓ
¶ÂÙÚ¿Ú¯Ë, ‚·Û›ÏÂ„·Ó
ÔÈ ª¤‰ÈÎÔÈ, Â‰Ò ¤ıÂÛÂ Ô
ª·ÎÈ·‚¤ÏÏÈ ÙÈ˜ ‚¿ÛÂÈ˜
ÙË˜ Û‡Á¯ÚÔÓË˜ ðÔÏÈÙÈÎ‹˜
ıÂˆÚ›·˜
Î·È
Ô
°·ÏÈÏ·›Ô˜ ·Ó·ÊÒÓËÛÂ
ÙÔ ðÂÚ›ÊËÌÔ «Î·È fiÌˆ˜
Á˘Ú›˙ÂÈ».
ªÓ‹ÌÂ˜
ðÔÏÈÙÈÛÌÔ‡
fiðÔ˘ Î·È Ó· ÎÔÈÙ¿ÍÂÈ Ô
ÂðÈÛÎ¤ðÙË˜. ∏ ºÏˆÚÂÓÙ›· Â›Ó·È ÎÙÈÛÌ¤ÓË ÛÙÈ˜ fi¯ıÂ˜ ÙÔ˘ ðÔÙ·ÌÔ‡
ÕÚÓÔ, ÙÈ˜ ÔðÔ›Â˜ ÂÓÒÓÂÈ ÙÔ Ponte Vechio, Ë ð·Ï·ÈfiÙÂÚË ÛÎÂð·ÛÙ‹
Á¤Ê˘Ú· ÙË˜ ∂˘ÚÒðË˜. ™ÙËÓ ðfiÏË ‰ÂÛðfi˙ÂÈ ÙÔ
ÙË MINOAN LINES
ÛÙË ºÏˆÚÂÓÙ›·
Duomo, ¤Ó·˜ ÂðÈ‚ÏËÙÈÎfi˜ Î·ıÂ‰ÚÈÎfi˜ Ó·fi˜,
‰›ðÏ· ÛÙÔÓ ÔðÔ›Ô ‚Ú›ÛÎÂÙ·È ÙÔ µ·ðÙÈÛÙ‹ÚÈÔ
ðÔ˘ ðÂÚÈ¤¯ÂÈ ðÔÏÏ¿ ·˘ıÂÓÙÈÎ¿ ÁÏ˘ðÙ¿ ÙÔ˘
ªÈ¯·‹Ï ∞ÁÁ¤ÏÔ˘, fiÌˆ˜ ˘ð¿Ú¯Ô˘Ó Î·È ðÔÏÏ¤˜
¿ÏÏÂ˜ ÛËÌ·ÓÙÈÎ¤˜ ‚·ÛÈÏÈÎ¤˜, fiðˆ˜ ÙÔ Santo
Spirito, Ë Santa Maria Novella Î·È ÙÔ San Lorenzo, ÎÔÓÙ¿ ÛÙÔ ÔðÔ›Ô
˘ð¿Ú¯ÂÈ Î·È Ë ÔÌÒÓ˘ÌË Ï·˚Î‹ ·ÁÔÚ¿ ÌÂ ðÔÏÏ¿ «ÂðÒÓ˘Ì·» ÛÙÔ˘˜
ð¿ÁÎÔ˘˜. ŸÌˆ˜ Ë Î·Ú‰È¿ ÙË˜ ÂÌðÔÚÈÎ‹˜ Î›ÓËÛË˜ ‚Ú›ÛÎÂÙ·È Á‡Úˆ
·ðfi ÙË Via Roma Î·È ÙËÓ Via Calzaiuolli, fiðÔ˘ ÔÈ ·ÁÔÚ¤˜ Û·˜ ı·
Â›Ó·È ÂðÒÓ˘ÌÂ˜, ¯ˆÚ›˜ ÂÈÛ·ÁˆÁÈÎ¿.
°È· ÍÂÎÔ‡Ú·ÛË ·ðfi ÙÈ˜ ðÂÚÈËÁ‹ÛÂÈ˜ Û·˜ ·Í›˙ÂÈ Ó· Î¿ÙÛÂÙÂ ÛÂ Î¿ðÔÈÔ
·ðfi Ù· ÈÛÙÔÚÈÎ¿ Î·Ê¤ ÙË˜ ðfiÏË˜, fiðˆ˜ ÙÔ Giubbe Rosse, ðÔ˘ Ë ÈÛÙÔÚ›· ÙÔ˘ ·ðÏÒÓÂÙ·È ÛÂ ÙÚÂÈ˜ ·ÈÒÓÂ˜, ÙÔ Rivoire, ÙÔ Gilli Î·È ÙÔ
Paskowski ‹ Ó· ‰ÔÎÈÌ¿ÛÂÙÂ ÛÂ Î¿ðÔÈÔ ·ðfi ÂÍ·ÈÚÂÙÈÎ¿ ÂÛÙÈ·ÙfiÚÈ·
ÙË˜ ðfiÏË˜ ÙËÓ ðÂÚ›ÊËÌË ÙÔÛÎ¿ÓÈÎË ÎÔ˘˙›Ó·, ÌÂ Î‡ÚÈ· ÛðÂÛÈ·ÏÈÙ¤ ÙË
ÌðÈÛÙ¤Î· ·Ï¿ ÊÈÔÚÂÓÙ›Ó·, ÌÈ· ˙Ô˘ÌÂÚ‹ Î·È ðÂÓÙ·ÓfiÛÙÈÌË ÌðÚÈ˙fiÏ·
·ðfi ·ÁÂÏ¿‰Â˜ Û˘ÁÎÂÎÚÈÌ¤ÓË˜ Ú¿ÙÛ·˜, ðÔ˘ Û˘¯Ó¿ Ì·ÁÂÈÚÂ‡ÂÙ·È ÌÂ
tartuffo, ÙÔ Ûð¿ÓÈÔ Î·È ð·Ó¿ÎÚÈ‚Ô Ì·ÓÈÙ¿ÚÈ ðÔ˘ Ê˘ÙÚÒÓÂÈ Î¿Ùˆ ·ðfi
ÙÔ ¤‰·ÊÔ˜.
∞ÊÔ‡ fiÌˆ˜ ÂÍÂÚÂ˘ÓÂ›ÙÂ ÙËÓ ∂˘ÚÒðË ÌÂ ÙÔ ·˘ÙÔÎ›ÓËÙfi Û·˜, ¯¿ÚË
ÛÙ· ð·Î¤Ù· ‰È·ÎÔðÒÓ ÙË˜ Minoan Lines, ÌðÔÚÂ›ÙÂ Ó· Î¿ÓÂÙÂ ÌÈ·
‚fiÏÙ· ÛÙËÓ ð·Ó¤ÌÔÚÊË ∆ÔÛÎ¿ÓÈÎË Ê‡ÛË, ÊÙ¿ÓÔÓÙ·˜ Ì¤¯ÚÈ ÙËÓ ¶›˙·
Î·È ÙÔÓ ðÂÚ›ÊËÌÔ ÎÂÎÏÈÌ¤ÓÔ ð‡ÚÁÔ ÙË˜, ‹ ÙË ªÂÛ·ÈˆÓÈÎ‹ ™È¤Ó· ‰È·Û¯›˙ÔÓÙ·˜ ÙËÓ ðÂÚÈÔ¯‹ ÙÔ˘ ∫È¿ÓÙÈ, fiðÔ˘ ð·Ú¿ÁÂÙ·È ÙÔ ðÈÔ ‰È¿ÛËÌÔ
ÈÙ·ÏÈÎfi ÎÚ·Û›.
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™∆∏¡ ∞À™∆ƒπ∞ ª∂ ∆∏ MINOAN LINES
™¿ÏÙÛÌðÔ˘ÚÁÎ
∏ ÁÂÓ¤ÙÂÈÚ· ÙÔ˘ ªfiÙÛ·ÚÙ
∆
ÙË MINOAN LINES
ÛÙÔ ™¿ÏÙÛÌÔ˘ÚÁÎ
Ô ™¿ÏÙÛÌðÔ˘ÚÁÎ, Ë
ÁÂÓ¤ÙÂÈÚ·
ÙÔ˘
ªfiÙÛ·ÚÙ, Â›Ó·È ÌÈ·
·ðfi ÙÈ˜ ðÈÔ fiÌÔÚÊÂ˜ ðfiÏÂÈ˜ ðÔ˘
ÌðÔÚÂ›ÙÂ Ó· Û˘Ó·ÓÙ‹ÛÂÙÂ ÛÙ· Ù·Í›‰È·
Û·˜ ÛÙËÓ ∂˘ÚÒðË.
ªÂ
ðÏËı˘ÛÌfi
145.000 ÌfiÓÈÌˆÓ
Î·ÙÔ›ÎˆÓ, Â›Ó·È ¯ÙÈÛÌ¤ÓË ÛÙÈ˜ fi¯ıÂ˜ ÙÔ˘
ðÔÙ·ÌÔ‡ ™¿ÏÙ˙·¯, ÛÙÔ ‚fiÚÂÈÔ Û‡ÓÔÚÔ
ÙˆÓ ÕÏðÂˆÓ Î·È ‰È¿Ûð·ÚÙË ÌÂ ·ÚÈÛÙÔ˘ÚÁ‹Ì·Ù· ÙË˜ Ìð·ÚfiÎ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜, ‰·ÓÙÂÏ¤ÓÈ· ÎÈÁÎÏÈ‰ÒÌ·Ù· Î·È ÚÔÌ·ÓÙÈÎÔ‡˜ Î‹ðÔ˘˜. √ÚÈÛÌ¤Ó· ·ðfi Ù· Î‡ÚÈ·
·ÍÈÔı¤·Ù· Â›Ó·È Ô Î·ıÂ‰ÚÈÎfi˜ Ó·fi˜
Salzburger Dom, ðÔ˘ ÔÏÔÎÏËÚÒıËÎÂ ÙÔ
1628, ÙÔ µÂÓÂ‰ÈÎÙÈÓfi ÌÔÓ·ÛÙ‹ÚÈ ÙÔ˘
∞Á›Ô˘ ¶¤ÙÚÔ˘, ðÔ˘ È‰Ú‡ıËÎÂ ÙÔ 696, ÙÔ
ÊÚÔ‡ÚÈÔ Hohensalzburg ÌÂ ÙËÓ ˘ð¤ÚÔ¯Ë
ı¤·, Ë ðÏ·ÙÂ›· ªfiÙÛ·ÚÙ Î·È ‚¤‚·È· Ë
Getreidegasse, Ô Î‡ÚÈÔ˜ ÂÌðÔÚÈÎfi˜ ‰ÚfiÌÔ˜ ÙË˜ ðfiÏË˜ ÌÂ ÂÎ·ÙÔÓÙ¿‰Â˜ Î·Ù·ÛÙ‹Ì·Ù· ÁÈ· fiÏ· Ù· ÁÔ‡ÛÙ·. ™ÙÔ ™¿ÏÙÛÌðÔ˘ÚÁÎ ‰ÈÔÚÁ·ÓÒÓÔÓÙ·È Ù·ÎÙÈÎ¿
Û˘Ó·˘Ï›Â˜ ¤ÚÁˆÓ ÙÔ˘ ªfiÙÛ·ÚÙ, ÌðÔÚÂ›ÙÂ Ó· ÂðÈÛÎÂÊıÂ›ÙÂ ÙÔ ÎÙ‹ÚÈÔ fiðÔ˘ ÁÂÓÓ‹ıËÎÂ Ô Û˘Óı¤ÙË˜ Î·È ÌfiÏÈ˜
·Ó·Î·ÈÓ›ÛÙËÎÂ Î·È ðÔÏÏ¿ ¿ÏÏ· ðÔ˘ ÌðÔÚÂ›ÙÂ Ó· ·Ó·Î·Ï‡„ÂÙÂ ÛÙÔÓ ‰ÈÎÙ˘·Îfi ÙfiðÔ
www2.salzburg.info/mozart.html.
MINOAN WAVEñ
ATZENTA 1
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Page 1
¶ÚÔÙ¿ÛÂÈ˜ ðÔÏÈÙÈÛÌÔ‡ 2009
Cultural Events 2009
∂ıÓÈÎfi £¤·ÙÚÔ/ ∞ÈÛ¯‡ÏÔ˘ «¶¤ÚÛÂ˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ðÈ‰·‡ÚÔ˘
31 πÔ˘Ï›Ô˘ - 1 ∞˘ÁÔ‡ÛÙÔ˘
«∞·›, Î·ÎÒÓ ‰Ë ð¤Ï·ÁÔ˜ ¤ÚÚˆÁÂÓ Ì¤Á· ¶¤ÚÛ·È˜»…ªÈ· ÔÎÙ·ÂÙ›· ÌÂÙ¿ ÙË
Ó·˘Ì·¯›· ÙË˜ ™·Ï·Ì›Ó·˜ (480 ð.Ã.), Ô ∞ÈÛ¯‡ÏÔ˜ (ðÔÏÂÌÈÛÙ‹˜ Î·È Ô ›‰ÈÔ˜)
˙ˆÓÙ·ÓÂ‡ÂÈ ÙË Û˘ÓÙÚÈ‚‹ ÙË˜ ðÂÚÛÈÎ‹˜ ·ÚÌ¿‰·˜ - ÙËÓ ‡‚ÚË ÙˆÓ ÈÛ¯˘ÚÒÓ Î·È
ÙÈ˜ Û˘Ó¤ðÂÈ¤˜ ÙË˜ - Î·È ÂÍ·›ÚÂÈ ÙË ‰ËÌÔÎÚ·ÙÈÎ‹ ∞ı‹Ó·, Ì¤Û· ·ðfi ÙÔ ıÚ‹ÓÔ
ÙˆÓ ËÙÙËÌ¤ÓˆÓ. ∆Ô ∂ıÓÈÎfi £¤·ÙÚÔ Î·ÏÂ› ¤Ó·Ó ·ðfi ÙÔ˘˜ ÛËÌ·ÓÙÈÎfiÙÂÚÔ˘˜
ÛÎËÓÔı¤ÙÂ˜ ÙË˜ ÁÂÚÌ·ÓÈÎ‹˜ ÛÎËÓ‹˜, ÙÔÓ ‚Ô˘ÏÁ·ÚÈÎ‹˜ Î·Ù·ÁˆÁ‹˜ ¡ÙÈÌ›ÙÂÚ
°ÎfiÙÛÂÊ – ÔÈ ıÂ·Ù¤˜ ÙÔ˘ ºÂÛÙÈ‚¿Ï ∞ıËÓÒÓ ı· ı˘ÌÔ‡ÓÙ·È ÙÔÓ π‚¿ÓÔÊ ÙÔ˘ –
Ó· ÛÎËÓÔıÂÙ‹ÛÂÈ ÙÔ˘˜ “¶¤ÚÛÂ˜” ÌÂ ÂÎÏÂÎÙÔ‡˜ ŒÏÏËÓÂ˜ ËıÔðÔÈÔ‡˜. ™ÙËÓ
ð·Ú¿ÛÙ·ÛË ð·›˙Ô˘Ó ÔÈ ∞Ì·Ï›· ªÔ˘ÙÔ‡ÛË, ªËÓ¿˜ Ã·Ù˙ËÛ¿‚‚·˜, ¡›ÎÔ˜
∫·Ú·ı¿ÓÔ˜ Î·È ¿ÏÏÔÈ ËıÔðÔÈÔ›.
National Theatre of Greece/ Aeschylus,
«The Persians» Epidaurus Ancient Theatre
31 July - 1 August
062
“Alas! In truth a vast sea of troubles has burst upon the Persians”… Eight
years after the battle of Salamis (480 BC), Aeschylus (a soldier as well as a
poet) brings to life the destruction of the Persian armada – the hubris of
powerful men and its consequences – and lauds democratic Athens through
mourning its fallen heroes.
The National Theatre of Greece has invited one of Germany’s leading men of
the theatre – the Bulgarian-born Dimiter Gotscheff, whose Ivanov Athens
Festival audiences will remember from 2007 – to direct The Persians with a
hand-picked Greek cast. Cast: Amalia Moutousi, Minas Hatzisavvas, Nikos
Karathanos and others.
∫Ú·ÙÈÎfi £¤·ÙÚÔ µÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜/
∂˘ÚÈð›‰Ë «∆Úˆ¿‰Â˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ðÈ‰·‡ÚÔ˘
7 – 8 A˘ÁÔ‡ÛÙÔ˘
«™‹ÌÂÚ·… ™’ ¤Ó· ‚ÔÌ‚·Ú‰ÈÛÌ¤ÓÔ Û¯ÔÏÂ›Ô, ·Ó¿ÌÂÛ· ÛÂ Ûð·ÛÌ¤Ó·
ıÚ·Ó›·, ðÂÙ·Ì¤Ó· ‚È‚Ï›·, ÚËÌ·ÁÌ¤ÓÔ˘˜ ÙÔ›¯Ô˘˜, ÌÈ· ÔÌ¿‰· ð·È‰ÈÒÓ
«ð·›˙ÂÈ» ÙÔ˘˜ £ÂÔ‡˜», ·ðfi ÙÔÓ ¶ÚfiÏÔÁÔ ÙˆÓ ∆Úˆ¿‰ˆÓ ÙÔ˘
∂˘ÚÈð›‰Ë. ™’ ·˘ÙfiÓ ÙÔ ¯ÒÚÔ - ðÚÔÛˆÚÈÓfi ÛÙÚ·ÙfiðÂ‰Ô ¿Ì·¯ˆÓ - ı·
Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ Á˘Ó·›ÎÂ˜ ÙË˜ ∆ÚÔ›·˜ Î·È ÙÔ ÌÔÈÚÔÏfiÈ ÙÔ˘˜ ı· Á›ÓÂÈ
Ô ıÚ‹ÓÔ˜ fiÏˆÓ ÙˆÓ ËÙÙËÌ¤ÓˆÓ Î·È ÂÍÔÚÈÛÌ¤ÓˆÓ ÙÔ˘ ÎfiÛÌÔ˘, ÌÈ·
ð·Ó·ÓıÚÒðÈÓË ÎÚ·˘Á‹ ‰È·Ì·ÚÙ˘Ú›·˜. ∆Ô ∫.£.µ.∂. ð·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ
ð¿ÓÙ· Âð›Î·ÈÚÔ ·ÓÙÈðÔÏÂÌÈÎfi ¤ÚÁÔ ÙÔ˘ ∂˘ÚÈð›‰Ë, ðÔ˘ ‰È‰¿¯ÙËÎÂ ÙÔ
415 ð.Ã., ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ¶ÂÏÔðÔÓÓËÛÈ·ÎÔ‡ ¶ÔÏ¤ÌÔ˘, ÛÂ Ó¤· ÌÂÙ¿ÊÚ·ÛË ÙË˜ ∂Ï¤ÓË˜ µ·ÚÔðÔ‡ÏÔ˘ Î·È Ê¤ÚÓÂÈ ÁÈ· ðÚÒÙË ÊfiÚ·, ÙË §‹‰·
¶ÚˆÙÔ„¿ÏÙË ÛÙËÓ ∂ð›‰·˘ÚÔ, ÛÙÔ ÚfiÏÔ ÙË˜ ∂Î¿‚Ë˜.
National Theatre of Northern Greece/
Euripides, “The Trojan Women”
Epidaurus Ancient Theatre 7 - 8 August
“Trojan Women”, the tragedy of the defeated, presents on stage the life
of the captive Trojan women after the fall of Troy, before they are
taken as slaves by the Greeks. Among them, former mighty “Queen
Hecuba”, tragic seeress “Cassandra” and tender “Andromache” have to
watch powerless as their men are sacrificed one by one, victims of the
inhuman demands of the Greeks. This performance of Euripides’ everrelevant anti-war play – first performed in 415 BC during the
Peloponnesian War – marks Leda Protopsalti’s debut in Epidaurus.
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ATZENTA 1
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The Bridge Project/ √˘›ÏÏÈ·µ ™·›ÍðËÚ
«∆Ô ¯ÂÈÌˆÓÈ¿ÙÈÎÔ ð·Ú·Ì‡ıÈ»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ðÈ‰·‡ÚÔ˘
21 - 22 ∞˘ÁÔ‡ÛÙÔ˘
∆Ô ÊÂÛÙÈ‚¿Ï ÙË˜ ∂ðÈ‰·‡ÚÔ˘ ÔÏÔÎÏËÚÒÓÂÙ·È ÛÙÈ˜ 21 Î·È 22 ∞˘ÁÔ‡ÛÙÔ˘
ÌÂ ÙÔ «ÃÂÈÌˆÓÈ¿ÙÈÎÔ ð·Ú·Ì‡ıÈ», ÌÈ· Û˘Ìð·Ú·ÁˆÁ‹ ÙÔ˘ ıÂ¿ÙÚÔ˘ The Old
Vic ÙÔ˘ §ÔÓ‰›ÓÔ˘, ÌÂ ÙË ªÔ˘ÛÈÎ‹ ∞Î·‰ËÌ›· ÙÔ˘ ªðÚÔ‡ÎÏ˘Ó ÙË˜ ¡¤·˜
ÀfiÚÎË˜ (Brooklyn Academy of Music - µ∞ª) Î·È ÙËÓ ÂÙ·ÈÚÂ›· ð·Ú·ÁˆÁ‹˜ Neal Street Productions, ðÔ˘ ÌÂ ÙÔ ÁÂÓÈÎfi Ù›ÙÏÔ «The Bridge Project»
ÍÂÎÈÓÔ‡Ó ·ðfi ÙË ÊÂÙÈÓ‹ ÛÂ˙fiÓ ÌÈ· ÙÚÈÂÙ‹, ˘ðÂÚ·ÙÏ·ÓÙÈÎ‹ Û˘ÓÂÚÁ·Û›· Ë
ÔðÔ›· Ê¤ÚÓÂÈ ÎÔÓÙ¿ ÌÂÁ¿Ï· Ù·Ï¤ÓÙ· ÙË˜ ıÂ·ÙÚÈÎ‹˜ ÛÎËÓ‹˜ ÙË˜ ¡¤·˜
ÀfiÚÎË˜ Î·È ÙÔ˘ §ÔÓ‰›ÓÔ˘. ŒÙÛÈ, Ô ‚Ú·‚Â˘Ì¤ÓÔ˜ ÌÂ ŸÛÎ·Ú ™·Ì ª¤ÓÙÂ˜
(American Beauty) ÛÎËÓÔıÂÙÂ› ¤Ó·Ó ÌÂÈÎÙfi ·ÁÁÏÔ·ÌÂÚÈÎ·ÓÈÎfi ı›·ÛÔ,
ÛÙÔÓ ÔðÔ›Ô Û˘ÌÌÂÙ¤¯Ô˘Ó ÛðÔ˘‰·›ÔÈ ËıÔðÔÈÔ› ÙÔ˘ ·ÁÁÏÈÎÔ‡ ıÂ¿ÙÚÔ˘,
fiðˆ˜ Ô ™¿ÈÌÔÓ ƒ¿ÛÛÂÏ ªðËÏ, Ë ™ÈÓ¤ÓÙ ∫ÈÔ‡˙·Î Î·È Ë ·ÓÂÚ¯fiÌÂÓË
ƒÂÌð¤Î· ÃÔÏ (Vicky, Christina, Barcelona), Ì·˙› ÌÂ ·ÛÙ¤ÚÂ˜ ÙÔ˘ ·ÌÂÚÈÎ·ÓÈÎÔ‡ ıÂ¿ÙÚÔ˘ Î·È ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, fiðˆ˜ Ô ƒ›ÙÛ·ÚÓÙ ◊ÛÙÔÓ, Ô ∆˙Ô˜
Ã¿ÌÈÏÙÔÓ Î·È Ô ◊ı·Ó ÃˆÎ. ∆Ô «ÃÂÈÌˆÓÈ¿ÙÈÎÔ ð·Ú·Ì‡ıÈ» Û˘ÁÎ·Ù·Ï¤ÁÂÙ·È ·Ó¿ÌÂÛ· ÛÙ· ¤ÚÁ· ÙË˜ ÙÂÏÂ˘Ù·›·˜ Û˘ÁÁÚ·ÊÈÎ‹˜ ðÂÚÈfi‰Ô˘ ÙÔ˘
™·›ÍðËÚ, fiðÔ˘ Ù· fiÚÈ· ·Ó¿ÌÂÛ· ÛÙ· ð·Ú·‰ÔÛÈ·Î¿ ıÂ·ÙÚÈÎ¿ Â›‰Ë Â›Ó·È
ÚÂ˘ÛÙ¿. ∏ ÈÛÙÔÚ›· ÍÂÎÈÓ¿ÂÈ ÌÂ ÛÎÔÙÂÈÓÔ‡˜ ÙfiÓÔ˘˜, ·ÏÏ¿ ÙÔ ¤ÓÙÔÓÔ „˘¯ÔÏÔÁÈÎfi ‰Ú¿Ì· ÙˆÓ ðÚÒÙˆÓ ÙÚÈÒÓ ðÚ¿ÍÂˆÓ ‰›ÓÂÈ ÙË ı¤ÛË ÙÔ˘ ÛÂ ÎˆÌÈÎ¤˜
Î·Ù·ÛÙ¿ÛÂÈ˜ Î·È ÙÂÏÈÎ¿ ÛÂ Â˘Ù˘¯ÈÛÌ¤ÓÔ Ù¤ÏÔ˜.
The Bridge Project/ William Shakespeare,
“The Winter's Tale”
Epidaurus Ancient Theatre
21 - 22 August
The Epidaurus Festival is playing host to the transatlantic Bridge Project,
which brings some of the finest talents from the New York and London
stage to our ancient theatre.
Academy Award-winning director Sam Mendes, the driving force behind
this unprecedented partnership, presents Shakespeare’s rich tragicomedy
“The Winter’s Tale”: a magical testament to the follies of hasty
judgement and the force of love as a means of redemption. Cast: Simon
Russell Beale, Sinéad Cusack, Sinéad Cusack, Richard Easton, Josh
Hamilton, Ethan Hawke and many others.
∞ÚÈÛÙÔÊ¿ÓË «ŸÚÓÈıÂ˜»
∞Ú¯·›Ô £¤·ÙÚÔ ∂ðÈ‰·‡ÚÔ˘
14 - 15 ∞˘ÁÔ‡ÛÙÔ˘
«∂˘‰·ÈÌÔÓ›·Ó, ‚›ÔÓ, ÂÈÚ‹ÓËÓ, ÓÂfiÙËÙ·, Á¤ÏˆÙ·, ¯ÔÚÔ‡˜, ı·Ï›·˜» Û˘Ó ÙÔ˘
ðÔ˘ÏÈÔ‡ ÙÔ Á¿Ï·: fiÏ· ·˘Ù¿ ˘ðfiÛ¯ÔÓÙ·È ÁÈ· ÙËÓ Ô˘ÙÔðÈÎ‹
¡ÂÊÂÏÔÎÔÎÎ˘Á›· Ù· ðÂÚ›ÊËÌ· ¶Ô˘ÏÈ¿ ÙÔ˘ ∞ÚÈÛÙÔÊ¿ÓË. ∂Ó ¤ÙÂÈ 414 ð.Ã.
‰‡Ô ∞ıËÓ·›ÔÈ – Ô ¶ÈÛı¤Ù·ÈÚÔ˜ ÎÈ Ô ∂˘ÂÏð›‰Ë˜– ÂÁÎ·Ù·ÏÂ›ðÔ˘Ó ÙË ÊÈÏÔðfiÏÂÌË ∞ı‹Ó· Î·È Ù· ðÔÏÈÙÈÎÔÎÔÈÓˆÓÈÎ¿ ‰ÂÈÓ¿ ·Ó·˙ËÙÒÓÙ·˜ ÙËÓ È‰·ÓÈÎ‹ ðÔÏÈÙÂ›· ÛÙÔÓ Ô˘Ú·Ófi. √ ™ˆÙ‹ÚË˜ Ã·Ù˙¿ÎË˜ Ì·˙› ÌÂ ÁÓ‹ÛÈ·˜ ÎˆÌÈÎ‹˜ ÊÏ¤‚·˜ ËıÔðÔÈÔ‡˜ ·ðfi ‰È·ÊÔÚÂÙÈÎ¤˜ ÁÂÓÈ¤˜ ÂÛÙÈ¿˙Ô˘Ó ÛÙËÓ «ÙÚ·˘Ì·ÙÈÎ‹ Î·È Û˘Ó·Úð·ÛÙÈÎ‹» ‰ÂÎ·ÂÙ›· ÙÔ˘ ’60 «Î·È ÛÙËÓ ·ÈÛıËÙÈÎ‹ ÙˆÓ
ðÂÚÈðÏ·ÓÒÌÂÓˆÓ ·ÎÚÔ‚·ÙÒÓ, ÙˆÓ ·˘ÙÔ‰›‰·ÎÙˆÓ Û¯ÔÈÓÔ‚·ÙÒÓ, ÙˆÓ
ÂÚ·ÛÙÒÓ ÙË˜ ¿ÚÛË˜ ÙÔ˘ ‚¿ÚÔ˘˜ ÛÙ· Ï·˚Î¿ ıÂ¿Ì·Ù·».
∂ÚµËÓÂ‡Ô˘Ó: °ÈÒÚÁÔ˜ ∞Úµ¤ÓË˜, ∞Ï¤Í·Ó‰ÚÔ˜ ª˘ÏˆÓ¿˜, µ·Û›ÏË˜
Ã·Ú·Ï·µðfiðÔ˘ÏÔ˜.
Aristophanes, “The Birds”
Epidaurus Ancient Theatre 14 - 15 August
“Health and wealth, long life, peace, youth, laughter, songs and feasts” and
everything you’ve ever wished for: that’s what Aristophanes’ famous
“Birds” promise about their utopian Cloud-cuckoo-land. In the year 414
BC, two Athenians, Pisthetaerus and Euelpides, flee warlike Athens and its
socio-political afflictions, seeking the perfect city in the sky. Sotiris
Hadzakis, together with a multigenerational group of genuine comic
actors, promise to highlight in their performance the play’s relevance to
the modern world. Cast: Giorgos Armenis, Alexandros Mylonas, Vasilis
Charalambopoulos
MINOAN WAVE
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ATZENTA 1
21/7/09
13:57
Page 3
Spaghetti Western Orchestra
£¤·ÙÚÔ Badminton 16 - 25
™ÂðÙÂÌ‚Ú›Ô˘
ªðfiÙÂ˜, ÛðÈÚÔ‡ÓÈ· Î·È Î·˘Ù¤˜ Û¤ÏÂ˜ ÛÙÔ Ú˘ıÌfi
ÙÔ˘ Ennio Morricone. ¶ÔÙ¤ ¿ÏÏÔÙÂ Ë ¿ÁÚÈ· ¢‡ÛË
‰ÂÓ ‹Ù·Ó ÙfiÛÔ ‰È·ÛÎÂ‰·ÛÙÈÎ‹. ŒÓ· ·ÊÈ¤ÚˆÌ· ÛÙ·
ÎÏ·ÛÈÎ¿ Ûð·ÁÎ¤ÙÈ ÁÔ˘¤ÛÙÂÚÓ ÌÂ ÙÈ˜ ·ÓÂð·Ó¿ÏËðÙÂ˜ Û˘Óı¤ÛÂÈ˜ ÙÔ˘ Ennio Morricone.
ªÈ· ð·Ú¿ÛÙ·ÛË ðÔ˘ Û·˜ ÙÚ·‚¿ ·ðfi ÙÔ ÁÈ·Î¿ Î·È
¯ÒÓÂÈ ÙË Ì‡ÙË Û·˜ Ì¤Û· ÛÙË ÛÎfiÓË ÙË˜ ÂÚ‹ÌÔ˘.
¶¤ÓÙÂ ·‰›ÛÙ·ÎÙÔÈ ÌÔ˘ÛÈÎÔ› ðÈÛÙÔÏ¤ÚÔ ÊÙ¿ÓÔ˘Ó
ÛÙËÓ ðfiÏË Ì·˜, ·ðÔÊ·ÛÈÛÌ¤ÓÔÈ Ó· ÌÂÙ·ÙÚ¤„Ô˘Ó
ÙË ÛÎËÓ‹ ÙÔ˘ ıÂ¿ÙÚÔ˘ Badminton ÛÂ Û·ÏÔ‡Ó. «∏
Spaghetti Western Orchestra ÌÂÙ·ÙÚ¤ðÂÈ ÙËÓ ·ÍÂð¤Ú·ÛÙË ÌÔ˘ÛÈÎ‹ ÙÔ˘ Morricone ÛÂ ·ÓÂð·Ó¿ÏËðÙË ÂÌðÂÈÚ›·.
Spaghetti Western Orchestra
Badminton Theatre
16 - 25 September
064
“Boots, sperms and saddles” in the music of Ennio
Morricone.
A dedication to classic western movies with the
unprecedented compositions of Ennio Morricone.
Five musical “cowboys” turn the theatre into
saloon. “Spaghetti Western Orchestra” reforms the
incredible music of famous composer into an
unprecedented experience.
“Singin' in the Rain”
£¤·ÙÚÔ Badminton
21 - 25 √ÎÙˆ‚Ú›Ô˘
∆Ô ðÈÔ ÎÂÊ¿ÙÔ, ðÔÏ‡¯ÚˆÌÔ Î·È ¯ÔÚÂ˘ÙÈÎfi ÌÈÔ‡˙ÈÎ·Ï ÙÔ˘
ÃfiÏ˘ÁÔ˘ÓÙ ÍÂÙ˘Ï›ÁÂÈ ÌÂ ¯ÈÔ‡ÌÔÚ Î·È ·ıˆfiÙËÙ· ÌÈ· ÈÛÙÔÚ›· ·ðfi ÙË «¯Ú˘Û‹» ÂðÔ¯‹ ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÂ ÌÈ·
ð·Ú·ÁˆÁ‹ ðÔ˘ ı·ÌðÒÓÂÈ ÙÔ ıÂ·Ù‹ ÌÂ Ù· Ê·ÓÙ·¯ÙÂÚ¿
ÎÔÛÙÔ‡ÌÈ· ÂðÔ¯‹˜, Ù· ðÏÔ‡ÛÈ· ÛÎËÓÈÎ¿ Î·È Ê˘ÛÈÎ¿ ÙÈ˜
·Í¤¯·ÛÙÂ˜ ¯ÔÚÔÁÚ·Ê›Â˜ ÙÔ˘ ∆˙ËÓ ∫¤Ï˘. ™ÙÔ ÚfiÏÔ ÙÔ˘
ðÚˆÙ·ÁˆÓÈÛÙ‹ o ÂÍ·ÈÚÂÙÈÎfi˜ ËıÔðÔÈfi˜ Tim Flavin, ¤Ó·˜
·ðfi ÙÔ˘˜ ðÈÔ ·Ó·ÁÓˆÚÈÛÌ¤ÓÔ˘˜ Î·ÏÏÈÙ¤¯ÓÂ˜ ÙÔ˘
Broadway.
“Singin' in the Rain”
Badminton Theatre
21 - 25 October
The famous dancing musical, back from cinema’s “golden
ages”, unfolds its history in a production that dazzles the
audience with flashy suits and the amazing Gene Kelly’s
choreographies. In the leading part, one of the most famous
Broadway’s actors, Tim Flavin.
MINOAN WAVE
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ZAXARIUDAKI
22/7/09
13:22
Page 1
FOTO: MARIOS MANOUSAKIS
Project2
22/7/09
13:21
Page 1

Minoan Wave 17 - Grimaldi Group

Transcription

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