Even if it had been the great antagonist of the shadow theatre, and the one who almost brought its complete disappearance, the Greek cinema – in its first steps – used Karagkiozis as one of its basic sources of inspiration. It was fundamental in its awakening and gave the opportunity to highlight the talent of big actors (Gionakis, Veggos, Logothetidis, etc), that presented one archetype from the shadow theatre through films. Films like “Polytehnitis kai erimospitis” can be considered the continuation of the Karagkiotis with live actors (Thanasis Veggos), while the life of the Karagkiosopektes inspired others films like “O adikimenos tis zois” (1959) or “O drapetis” (1991) [see related Ananidis, Andreas, Apo ton Karagiotzi ston Veggo. Meleti tis epirrois tou Theatrou Skion stin elliniki kinimatografiki komodia kata tin periodo 1950/1969, Athens, ekdoseis Aigokeros, 2007].
Nowadays, Greek cinema uses Shadow Theatre as archival material, given that representations of this folk spectacle of that time were included in the scripts of its films: G. Zervoulakos’ “O megas Alexandros” (1960), films produced by Ioannidis Films of classic comedies [“Karagkiotis” (1962), G. Zervoulakos’ “Lysistrata” (1974), A. Doxiadis’ “Terirem” (1992)] and others.
The Shadow Theatre can also be seen as archival material in various documentaries, which included its thematic. Moreover, it constitutes, until this day, source of inspiration for new artist, many of who come from the Greek educational society.
