Without doubting it no one for the intention of artists to honor creators of different origins and importance regarding their work, can turn a blind eye or overlook injustices being carried out in plain sight with the result that, instead of honor, we have an underestimation and essentially a kind of silencing for the honored creator. The reason is of course the poet, prose writer and lyricist Manos Eleftheriou and the show “Night, stop” last Saturday night which, wanting to honor him, essentially “buried” him, with the help of relatives, friends and acquaintances. What happened;
Of course, this is a music show and it was logical that the exquisite songs of this Renaissance creator should monopolize its duration of two and a half hours, when all of them, or at least most of those who took part in it, knew and know very well the sensitivity and the absolutely no haughty appreciation held by Manos Eleftheriou for his poetic and prose work, there could have been a rudimentary mention of his books. Whether it concerned the poetic (sample) “Synoikismus” and “Penelope’s Door”, or the prose “The Time of Chrysanthemums”, “The Woman Who Died Twice”, “Expedition Pharmacy”, “Men of Blood”.
Not to mention his plays “Foreign doors” and “Hamlet’s father” (with the second staged at the Thision theater, directed by Thodoris Gonis and with Christos Hatzipanagiotis in the title role, he has attended almost all performances of behind a black curtain). Without also making a special reference to his equally valuable and multi-volume work on the theater in Syros. It is therefore impossible to keep silent about all this offer and when at some point it was discussed in the show what was Manos Eleftheriou’s relationship with the theater, we heard that he was an extremely noble man who at the end of every show he saw, congratulated all the actors and not only the protagonists!
These are, at best, impermissible things, all the more so since the host of the show Christos Nikolopoulos and the sister of Manos Eleftheriou (present on the show) know very well how much it “deserved” the creator of “Saint February” the fact that the poetry his work had overshadowed and almost disappeared interest in his poetic and prose work.
He confessed it himself with a broken heart (Nikitas Kaklamanis was a witness among others) so that one cannot help but wonder how much greater his brokenness would be today – if he were alive – to watch a tribute to him and his work and at least two present – the Lina Nikolakopoulou and Kostas Balachoutis -, who would count their participation as extraordinary luck, since as connoisseurs of his work as a whole, they would have been de facto dumbfounded, not to open their mouths to say a related conversation. As a result, his sister’s only reading of a poem from his book “Memories of the Opera” sounded like something completely intrusive. Usually when someone enjoys a lot of publicity, it seems impossible that they can be wronged.
Quite the opposite: he can be wronged to the same or even greater degree as anyone to whom the injustice against him would not be denounced or made known. Precisely because publicity always distorts things to such an extent that it is almost impossible to discern how much an honor is ultimately nothing more than an, if not an insult, at least an understatement as a man of the theater (the novels “The Time of Chrysanthemums” and ” The Woman Who Died Twice’ is directly inspired by the theater) is relegated to a mere theatergoer.
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