Wednesday, 25 November 2020

DESIR ET DEVENIR, MINI ART FESTIVAL ON DESIRE AND BECOMING OR on EPITHIMIA KE EGINA (stin Aegina) by Haris Metaxa & WICCAN A.C Paris (Yes!)15/4/21 to 15/5/21



DESIR ET DEVENIR,  or EPITHIMIA KAI EGINA (stin Aegina) 

WICCAN Association Culturelle Paris and Haris Metaxa, Commissaire d'Expo et Presidente de Wiccan A.C Paris have the pleasure of officially launching this MINI ART FESTIVAL in Greece, at the lovely Aegina Island, close to Athens yet so far away!


more to follow soon!


 

Sunday, 10 May 2020

Alice Pechriggl (Autriche) : Dénégation et agir d’exception / How to transform the pandemic dystopia into a universal utopia for truth, beauty and freedom

Alice Pechriggl (Autriche) : Dénégation et agir d’exception



My lovely friend, Austrian Philosopher Alice Pechriggl uses generosity and lucidity of heart and mind to tell us how we can transform the recent pandemic dystopia into a future utopia for truth, beauty and freedom for all.
Philosophy is not dead yet and we dearly need it to stay alive!
Adelante tutta, amici e amiche allora!

Paris, 10th of May, 2020

Friday, 8 May 2020

Το έργο Φελίτσε και Λίλυ στην Αθήνα, από την σκηνοθέτρια Κατερίνα Πολυχρονοπούλου και τις συνεργάτιδές της (Greek version of Felice & Lily Play)



Μια βροχερή και κρύα μέρα του Φεβρουαρίου του 2020 ξεκίνησα μαζί με μια φίλη (που με είχε καλέσει να πάμε και υποτίθεται ήξερε τη διεύθυνση για το μικρό θεατράκι Vault) στην περιοχή του Κεραμεικού στο κέντρο της Αθήνας. Το βρήκαμε τελικά και περιμέναμε απ' έξω μέχρι να ανοίξουν οι πόρτες για να πάμε στον β' όροφο όπου θα παρουσιαζόταν το έργο «Φελίτσε και Λίλυ» μια παράσταση φτιαγμένη από γυναίκες, πάνω σε ένα κείμενο γραμμένο στα ελληνικά από την Ελένη Καρασαββίδου και το οποίο με τη σειρά του βασίζεται στο βιβλίο που η Λίλυ προς το τέλος της ζωής της υπαγόρευσε σε μία συγγραφέα. 
Και τα δύο αυτά κείμενα διηγούνται την αληθινή ιστορία του έρωτα μεταξύ δύο πολύ διαφορετικών μεταξύ τους γυναικών στην ναζιστική Γερμανία καθώς ο πόλεμος έβαινε προς το τέλος του. Είναι η ιστορία της Λίλυ, μιας αφελούς γερμανίδας μητέρας και συζύγου ενός ναζί στρατιωτικού και της Φελίτσε, μιας ιδιόρρυθμης Εβραίας η οποία αντιμετωπίζει θαρραλέα και αποδιώχνει τον φόβο της κατάδοσης και του επικείμενου θανάτου της. Είχα διαβάσει τα απομνημονεύματα της Λίλυ και είχα δει το κινηματογραφικό έργο «Aimée and Jaguar» πολλά πολλά χρόνια πριν, σε κάποιο από τα φεστιβάλ γυναικείου κινηματογράφου, δεν θυμάμαι αν ήταν στη Φλωρεντία, στο Κρετέιγ (Παρίσι) ή ίσως στο Λονδίνο, θυμόμουν μόνο ότι ανήκε σε κείνες τις κλασικές ιστορίες που είχα αφομοιώσει τόσο σαν σκέψη όσο και σαν συναίσθημα. 
Ήμουν περίεργη να δω αυτή την ελληνική εκδοχή του έργου σε μια αποκλειστικά γυναικεία δημιουργία, στο κουκλίστικο θεατράκι σε απόσταση αναπνοής από την Ακρόπολη, στην καρδιά μιας περιοχής της Αθήνας με απομεινάρια από τα σπίτια με κόκκινα φανάρια, όπου τώρα αφθονούν καφέ και ταβέρνες.
Δεν είχα μεγάλες προσδοκίες καθώς δεν περίμενα καθόλου ότι θα προσέθεταν κάτι καινούργιο σε αυτή την κλασική Σαιξπηρική σχεδόν ιστορία απόλυτου έρωτα και αφοσίωσης, πέρα από την τραγικότητα της ιστορικής συγκυρίας και των αποκλεισμών που επέβαλλαν η φυλή και το φύλο. Από τα πρώτα κιόλας λεπτά της σκηνοθεσίας της Κατερίνας Πολυχρονοπούλου, είδα με χαρά να διαψεύδεται η μπλαζέ και κυνική στάση με την οποία είχα έρθει να δω το έργο. 
Η αόρατη αυλαία ανοίγει και έχουμε μπροστά μας την γριά Λίλυ (με τη συγκινητική ηθοποιΐα της νεαρής και εμφανώς εγκύου ηθοποιού Δήμητρας Σύρου) η οποία ανατρέχει στις γλυκόπικρες μνήμες από τα νιάτα της και σ' εκείνο το γεγονός που φαινόταν πέρα από κάθε φαντασία για μια σύζυγο στρατιωτικού Ναζί και μητέρα όπως αυτή υπήρξε: την γνωριμία της, δηλαδή, με την Φελίτσε, μια καλλιεργημένη και σφύζουσα από ζωντάνια γυναίκα, την οποία θα ερωτευτεί παράφορα και επίσης αργότερα θα ανακαλύψει ότι είναι Εβραία. 
Εξαιρετική σύλληψη να τοποθετηθούν στη σκηνή δύο πρόσωπα ως Λίλυ, εκ των οποίων η ηλικιωμένη ανοίγει τη σκηνή με την αναπόλησή της και η νέα (η ντελικάτη Δήμητρα Βαμβακάρη) που δεν υπάρχει πλέον, καθώς και το ενσαρκωμένο και εκρηκτικό φάντασμα της Φελίτσε (στην θαυμάσια πολυεπίπεδη ηθοποιΐα της Έλενας Τυρέα) που μοιραία πέθανε στον πόλεμο. 
Τρεις γυναίκες ηθοποιοί που εναρμονίζονται σαν ένα σώμα που δίνει ζωή στην τραγική ιστορία αγάπης ανάμεσα στις δύο τόσο ανόμοιες ερωμένες, μια εμπειρία τόσο πυκνή ως βίωμα ώστε να παραμείνει καθοριστική για την ύπαρξη της Λίλυ, να γίνει μια ιστόρηση που την αφηγήθηκε άλλοτε μπροστά σε μια κάμερα και άλλοτε απλώς προφορικά, και η οποία έγινε ντοκιμαντέρ, έγινε μια κλασική ταινία έρωτα με τον τίτλο «Aimée and Jaguar», ένα βιβλίο απομνημονευμάτων, και όλα αυτά αφιερωμένα στον έρωτα μιας ολόκληρης ζωής, την Φελίτσε. Εκτός από αυτά, έγινε για όλες εμάς που γνωρίζαμε αυτή την ιστορία, μια νοσταλγική ανάμνηση, μια νοσταλγική κραυγή που ακούγεται ακόμα μέσα στην πολυάσχολη και παρ'όλα αυτά τόσο γεμάτη από πρόσωπα ζωή μας.   


Το είπα και θα το ξαναπώ, αυτό το έργο είναι ένα «Ρωμαία και Ιουλιέττα» μέσα στη ναζιστική εποχή όπου το αδύνατο να συμβεί παρουσιαζεται με την μορφή του φύλου (δύο γυναίκες) και της φυλής (μία ελεύθερη γερμανίδα και μία υπό καταδίωξη εβραία), δυο απαγορευμένες  να συνυπάρξουν μορφές τόσο ιδιωτικά όσο και κοινωνικά στο δεδομένο ιστορικό πλαίσιο.
Η μινιμαλιστική αλλά και έντονα ιμπρεσιονιστική ηθοποιΐα των τριών ηθοποιών ενισχύθηκε και επαυξήθηκε από τις υπόλοιπες συντελέστριες της παράστασης, τον φωτισμό (υποβλητικός και έντονος, για τη δημιουργία σκιών και έκστασης), την χορογραφία (αυτή η σαρκική ιστορία πόθου και έρωτα δεν γίνεται ποτέ κοινότοπη ή χυδαία), την μουσική (νοσταλγική, πονεμένη ή και χαρούμενη όπου ταιριάζει), τα κοστούμια (Αγγελίνα Παγώνη), τα θεατρικά δραματικά στοιχεία (γράμματα, ιστορικά αντικείμενα, παλιωμένες φωτογραφίες), συμπράττουν όλα θαυμάσια στο να δώσουν ζωή σε δύο φαντάσματα που δείχνουν να είναι πιο ζωντανά από εμάς τις ίδιες που τα παρακολουθούμε με κομμένη την ανάσα στην μιάμιση ώρα που διαρκεί το έργο. 
Μου έκανε ιδιαίτερη εντύπωση αυτή η οργανική συνεργασία από την οποία απουσίαζε η οποιαδήποτε προσωπική ματαιοδοξία και η οποία είχε τεθεί στην υπηρεσία της δραματικής αλήθειας, προσφέροντας στο κοινό μια ολοζώντανη, συγκινητική εμπειρία γεμάτη από ζωτική ένταση και σφυγμο.             
Σχετικά με το περιεχόμενο, εκείνο που μου άρεσε πάνω απ' όλα σε αυτή την ερμηνεία του κλασικού ερωτικού θέματος ήταν το γεγονός ότι δεν επιδίωξε εμφατικά να διαφημίσει ή να υπερασπιστεί την ομοφυλοφιλία, αλλά την προσέγγιζε με φυσικό τρόπο όπως κάνει η ζωή για όλες μας. 
Κάτι ακόμα που εκτίμησα είναι ο τρόπος που προσέγγισαν τον έρωτα· εδώ ο έρωτας θεωρείται ως μια ζωτική δύναμη που κερδίζει τα πάντα και λάμπει μέ το δικό του φως μεταμορφώνοντάς τα όλα στο πέρασμά του, υπερβαίνοντας τον χρόνο, υπερβαίνοντας τον θάνατο, την Ιστορία, την προπαγάνδα κάθε είδους, καθώς ο έρωτας γίνεται ένα είδος μεταφυσικού κριτηρίου αλήθειας και κάθε ηθικής αξίας.  Ο έρωτας (αγάπη) ως μια μεταφυσική γεννήτρια δύναμης που ανάβει την δάδα σε κάθε τι αληθινό, δίκαιο, ωραίο.


Ουτοπία, θα μου πείτε ; 
Προτιμώ την ανθρωπιστική, ερωτική ουτοπία της Λίλυ και Φελίτσε, από την μονόχνοτη, σολιψιστική, καταστροφική δυστοπία σας, που ήρθε τώρα και ο COVID19 να υπογραμμίσει. 
Ένα μεγάλο μπράβο σε όλη τη θεατρική ομάδα και ένα δυνατό κάλεσμα προς τα ευρωπαϊκά θέατρα και φεστιβάλ που πιθανόν θα ενδιαφερόντουσαν να τις καλέσουν. Είναι πρόθυμες και μπορούν να ανταποκριθούν!
Ζήτω η Τέχνη και Ζήτω ο Έρωτας!
Και... ΣΑΣ ευχαριστώ 

© Χάρις Μεταξά, Σομόν συρ Γιον 3.4.2020 
Ελληνική απόδοση από τα Αγγλικά από την Νίκη Σταυριδη

http://harismetaxawritingart.blogspot.com/2020/04/felice-and-lilly-play-by-greek-director.html
https://www.youtube.com/watch?v=StaA-A-rJH0 


FELICE AND LILLY PLAY BY GREEK DIRECTOR KATERINA POLYHRONOPOULOU AND COMPANY

Friday, 3 April 2020

FELICE AND LILLY PLAY BY GREEK DIRECTOR KATERINA POLYHRONOPOULOU AND COMPANY




A cold rainy day of February 2020 I got easily lost 
(together with a friend who supposedly knew how to get to the little multimedia space of Vault theatre and who had invited me there) 
at the Keramikos area of central Athens.
Finally we found the VAULT place and waited outside for the theatre room II to open its doors to the all female production of "FELICE and LILLY" based on a Greek text (by Helena Karasavidou) that was itself based on the book Lilly told to a writer towards the end of her life.
Both texts are telling the real love story of two very different women in Nazi Germany towards the end of the war, the story of Lilly, a naive German mother and wife of a Nazi soldier and of Felice, a sofisticated Jew woman courageously dancing away the fear of betrayal and imminent death.
I have read Lilly's memoir and had seen the cinematic fiction under the tittle of "Aimée and Jaguar"
many, many years ago in one of women cinema festivals either in Florence or Creteil or maybe in London, could not remember where, only that it belonged to the classical stories totally intergrated into my mind and heart.



I was curious to see this all female Greek version at this lovely, tiny, doll like theatre situated 10 min from Acropolis at the heart of what remained of the Athenian red light district full of cafés and restaurants.
My expectations were low as I did not expect them to add anything to this classic, almost Shakespearian tale of absolute love and dedication beyond the tragic spirit of its historical time and the divisons race and gender commanded.
Happily I was to be disappointed in my blasé, quite cynical attitude as I saw very quickly from the first moments of Katerina Polyhronopoulou's production and direction.
The  invisible curtains open and we are in the presence of old Lilly (the touching young actress and very pregnant Dimitra Syrou) reminiscing about her bitter sweet youth and the beginning of what had seemed inimaginable to the naive young Nazi wife and mother that she has been: 
meeting up with a cultivated and full of life woman named Felice with whom she was to fall in love head over heels and later discover that she was also a Jew.
The wonderful idea of placing two Lillies on stage, the old one opening the scene in her day dreaming and the young one (the delicate Dimitra Vamvakari) that does not exist anymore and the carnal and explosive ghost of Felice (in the wonderful multilayered performance of Elena Tyrea) who inevitably died in the war.


Three actresses working in unison as one body giving flesh and bones to the tragic love story between those two so unlikely lovers, an experience so intense that managed to cross Lilly's own existence, become a tale she told on and off camera and then a documentary, a classic fiction film with the title of "Aimée and Jaguar" and a book of memoirs all dedicated to her life long love, Felice.
And also a nostalgic souvenir in all of us who knew about it, a nostalgic void screaming to be heard inside our busy and yet so inhabited lives.
I said it and shall say it again, A Romea and Jiulietta in Nazi times where impossibility was dressed in gender (two women) and race (one a free German and one a persecuted Jew) clothes that were not permitted to exist neither privately nor socially, historically.


The actresses minimalistic and also densily impressionistic performances are greatly helped and enhanced by the rest of this all women crew, the lighting (so suggestive and intense in creating shadows and ecstasis), the choreography (this carnal tale of desire and love never becomes vulgar or banal), the music (so nostalgic, painful and happy when appropriate), the costumes (Aggelina Pagoni), the theatrical dramatic props (letters, historical objects, old looking photographs), all work together wonderfully to bring to life two ghosts that seem more real than ourselves during the hour and a half the performance/play lasts. 

I was very impressed by this organic collaboration where all personal vanity was exiled and put into the service of the dramatic truth making the experience for the audience so vivid, so touching, so full of organic tensions and spasms.

Concerning the content, what I liked most in this interpretation of the classical love theme was the fact that did not wish to polemically underline and promote or defend homosexuality, it was so matter of fact in its approach as life is to all of us.
Another element I appreciated is the way they approched love; love is seen as a life force that wins everything and shines with its own light transfiguring everything in its passage, going beyond time, beyond death, beyond history, beyond propaganda of any kind to become a sort of universal test of truth and of value.
Love as a metaphysical power house lighting up the torch of what is true and of what is right and beautiful.



Utopic, you say?
I prefer their humanistic, lovers utopia to your single, solipsistic, apocalyptic dystopia that the COVID19 just came to undeline.

A big bravo to all the cast and a shout out to European theatres and festivals 
that might be interested to invite them over.



They are able and willing!

Eviva Art and Eviva Love!

And Thank YOU...

(c) Haris Metaxa, Chaumont sur Yonne, 3/4/2020




music theme by Maria Voumvaki https://www.youtube.com/watch?v=iKz26PSKyHI




Original documentary https://www.youtube.com/watch?v=DySvcj3wZU4&t=14s


Fiction Aimée and Jaguar here: https://www.youtube.com/watch?v=lSen_TP1DoQ

My English Translation of Greek Poet Titos Petropoulos from "Magnetic Fields"; MAGNETIC FIELDS POEM


IMAGE SEEN THOUGH MAGNETIC FIELDS


The fire was being extinguished
By the movements
Of the dancers

The resonance,
Strong in the ears 
Of the guards

Wood, vertical 
Will catch fire

The path is large,
Filled with kids

Opaque youth
In old age,
In bronze bodies

Opaque youth
In strong minds

Once again,
In what was hidden,
In thin clouds
How many jokes we made!

You remember,
In spite of the suffocation
We were managing to breathe

You remember so well
That you must have been here
`
Tell me
You exist
Under this tropical winter sun

The images passed on,
With the smell of a living being,
With the ashes of a killed one

In the planet of the weak,
In the planet of the strong

They knew!
We understood

Pity founds
The numbers of dead

The fight of surprises
Inside the treacherous fields
Has started

Actions and ways
Were suggested
By the mouths of the losers

Souls!
They visit often
The wounds of despair

In the country of temples
In the country of the law
The sounds of weapons echoed

Sarcastic laughs were heard

Heavily armed
They attacked the children

Simplicity was a void,
`no meaning left in it

And the children,
Wet swords,

They managed to endure everything

The decadence,
The glory 
of a new era has come

Loud sounds of moving chains,
Anger followed unformulated accusations
In therapeutic melancholy

Gazes filled with guilt
Ride separated in this euforia with no end

Everything comes to an end

In the mausoleum 
Of the winners
The corpses of the losers

A new beginning
Was dawning in the survival
Filled with songs
We could hear

Placed on the path
Of the breeze

Seduced by the shadows of spring

Introspection and souvenirs,
The throne of the Ego
The power of the You

We archive the years
We name the dedication

After the dark,
Before the dawn,
In a midnight fertile ecstasy
For what once existed,
Even if remaining in the shadows

BIRTH
DEATH
ETERNITY

(C) Haris Metaxa for English Translation, in Paris 27/3/2020

Dedicated to the spirit of CORONAVIRUS Apocalyptic times



My English Translation of Greek Poet Titos Petropoulos from "Magnetic Fields"; TRANSCENDANCE POEM



Transcendance

WITH NO MAKE UP ON,
CONCORDE
WAS FILLING OUT OUR EXISTENCE

KLOWLEDGE
WAS POURING DOWN
INTO THE INFINITE CREATION

THERE,
IN THE LONELY, CONNECTION SEEKING
PLENITUDE

SPOKEN AND WRITTEN WORDS
TRY TO EXPRESS

TRANSITION,
WONDERINGS
OF THE RESEARCHERS


(C) English Translation by Haris Metaxa, Paris 27/3/20

Saturday, 15 June 2019

Lesbian Ghosts on a Road Trip, from Paris to Palermo and Istanbul at the beginning of the new century (A Love Journey of Discovery or Drifting from Sexual to Cultural Invisibility.)


It was the 14th of July, 2000.
I was flying from Paris to Palermo.
I was to visit Sicily for the first time. Years before I had graduated in Philosophy in Florence. When I was living in Italy I had often thought of Sicily but I had never seriously considered actually visiting the place. I liked to travel on my own and in my head, Sicily was full of Mafiosi and their friends and accomplices, the whole population of the island, in fact. A small island, cramped full with Mafiosi falling from the rim of the gigantic cup that Sicily was.
     Not my cup of tea, really!

I cherished choice, the opportunity to disagree, to be different and to change things. I also objected viscerally to women's’ subordination and oppression. I was obsessed with the ideals (and ideas) of Freedom, Choice, Dignity. The Dream was my attack line. My main belief was that you can force reality to respect you and to take into consideration your (female) wishes.
No, Sicily didn’t seem to allow all that.
So I have never been there.

This perfectly balanced picture of a world of freedom against a world of doom was to change soon.
As soon, in fact, as my plane touched the ground.
I was going to discover this hidden island, forgotten from history. Sicily. The whole island placed in a dark corner of our western world, suffocating under the weight of stereotypesDiscovery was awaiting me.

During that time, my first Sicilian lover was also waiting for me at the airport. She was the reason I was undertaking this adventure.
I had met her in Paris a few months earlier and I had been very surprised to discover that she was gay, professional and honest and, what was an even bigger surprise, she had chosen to remain in Sicily!
To be nourished with what? To be occupying what social space? To be enjoying what visibility and dignity?
And, lastly, paying what price of solitude and social exclusion?
I had wondered all this time and now answers were going to come my way, at last.

I respected her enough to finally act and attempt to clarify the black hole Sicily occupied in my mind.
Up in the sky my brain raced full of contradictory thoughts and feelings. Time was diluted. The flight was lasting forever. I was getting impatient. I couldn’t wait any longer. I longed for Sicily.

We landed with a spectacular turn of the airplane, seconds before it crashed against the black wild rocks standing on the side of the landing corridor.
First image: Blinding light, deep blue sky, earth releasing heat and the impression that something was hiding behind this typically Mediterranean scenery on a hot summer day.
My friend was waiting in her car and I asked her to show me the sea. We drove along the seaside motorway away from the airport and soon she stopped in the middle of the road. We got out and she showed me flowers left against the railing at this quite anonymous spot. She said, indicating the flowers: “This is where the mafia killed Giudice Falcone by placing explosives in his car and blowing the whole thing up”.
“A heritage of death and terror,” I thought with sudden clarity. The heat was suffocating us; the air was heavy with danger, envy, and hatred.
We needed a drink. The rest of the day made up easily for the dramatic start. We visited small seaside villages, nice food, warm sea, busy people shouting and going on with their lives. This was a perfect picture of summer on a Mediterranean island. Just as well: we were on holiday!
We rested a bit and in the evening a surprise welcome party was awaiting us: a garden party in a villa out of town, right in the middle of the countryside, a sort of green and hilly desert with no other houses or people in view outside our party.
A friend of hers, a married politician and mother, was inviting her female friends over, accompanied by her female lover.
“What?” I wondered;
“A married woman with her female lover?
A lesbian party at the house where she lived with her husband?
With her daughter present (a daughter who was a lesbian as her mother was) ?”
The crust of convention was breaking down and behind it, another more original, private and secretive, version was appearing.
OK, I was going to start uncovering the mystery of gay existence in Sicily.
The garden was the image of a luxurious paradise, palm trees, and banana trees opening up their sensual green leaves, touching a grass so well tended it seemed a Sicilian invention!
A buffet covered in immaculate white fabric was installed under the trees and waiters in tuxedos were offering drinks and snacks to the guests. I was missing such a luxurious underground while I was wasting my time in dark smelly bars, lost in the northern capitals of Europe for so many years, an innocent victim of my ignorance!
If this was invisibility, then I preferred it to the seedy visibility I knew, all screams and aggression. Here everything seemed so beautiful, serene and harmonious. I met the host, her daughter and the other women guests (the host’s husband was not there, strangely enough!) and I was informed about their Sicilian ways of being queer: Men and Women got married, somehow negotiated the intimate meaning of such a straight solution and then on they went with their gay lives, in secret of course. Closeted in a golden closet and big enough to contain all Sicilian Queers inside it...
I was told that evening that most of the gay men cruising by the port at night were in fact married!
Well, here you have it!
Then I found out about a great number of secret parties that were taking place at people’s homes where all the women were gay and had been around with almost everybody else in the room, an easy going queer atmosphere that seemed solid and established and which disappeared like smoke in the wind as the party was over and the women were back to their closeted social lives.
This was sheer madness; total schizophrenia; a confusing mental game; and a very fragile one. I almost saw the definitions written on neon lights over the clear sky of the island, perfectly invisible to anyone else but me.
Naturally enough, as soon as a love affair ended, the women fell into the open arms of void and invisibility.
A single gay woman didn’t actually exist; she needed a lover to acquire the secret, private dimension that society denied.

Anyway, after visiting beautiful places all over the island and seeing examples of extreme poverty next to luxury and glory, I and my lover decided to consolidate our newly formed emotional partnership by sharing a love journey of discovery: A road trip!
She wanted to visit Greece as she had her own Greek at her disposal for once (me!) and I wanted to go to Turkey, a country that had always intrigued me and I had never visited. So we made a compromise deciding to go first to Greece and then to Turkey.
As my friend had a problem with her knee it was decided that we would travel by car from Palermo to Brindisi and from there to Patras, Athens and finally to Skopelos and Alonissos, two small Greek islands that were not too touristy and had the vital privilege of wonderful sandy beaches and rich vegetation, an exception in Greece where most of the islands are hot and arid.

And so we did depart for Greece a few days later, traveling by car then ferry and alternating between the two several times before we reached our final destination. The Greek islands were both very beautiful and peaceful and we encountered no problem at all as a gay women's couple.
We performed our romantic rites amongst the most widespread indifference. Nice.
After spending 2 weeks in the islands we drove north to Thessaloniki and from there to Turkey, arriving to Istanbul a few days later.

An anecdote illustrating both the hidden surprises of beautiful Istanbul and the silliness of stereotypes about uncivilized Turks and Turkey: Upon our arrival my friend wanted to offer me some of the beauty and refinement of the town in the form of a romantic evening out. So we looked in our Gallimard Travel Guide that I had brought from Paris for a restaurant with a panoramic terrace. There was a mention of a “small brasserie” but with a magnificent terrace. We set off to discover it. Nothing prepared us either for the magnificence of the venue or the extreme example of French arrogance that was unfolding in front of our surprised eyes: A huge white building made of marble, offering a long water facade and huge parking was standing in front of us.
The “small brasserie” was a huge, marble palace worthy of a Disney princess!

The following days we visited more sites and markets, ate at very good restaurants, didn’t manage to talk to local people at any meaningful length and so in the middle of our stay we decided to explore the gay dimension of the town looking for secrets and ways to understand its people. We didn’t have the “Lonely Planet” Guide where there is always a gay section and we didn’t want to buy one. No mention of gays in our hip Gallimard guide, of course. So we followed two Italian guys who happened to cross our street one sunny day and naturally enough they did carry the object of desire, Lonely Planet and they also offered us personal accounts of the Turkish scene. We wrote it all down and we were ready for adventure the very same evening. We chose a mixed disco, a place where both boys and girls went, close to the center, in a large back street. We found the place quite easily as a long queue of young Turkish people was formed outside, noisily chatting and joking. The guys were more gay looking than the girls and the girls were all extremely good looking. A beautiful young girl with long black hair came over to us, Susheila, a gay girl who worked as a model and who confessed to us that she was forced to get married to calm social and family violence down. Be a gay girl was unthinkable, she explained, you actually put your life at risk. You had to behave like a straight woman, embrace all conventions, husband included and then you were left alone to your secret and worthless life. Society was like a stone sitting on gay people’s heart and suffocating them. Reality was especially violent against girls as a society allowed men to do what they liked as far as they had, or exhibited, a woman.
We had a great time as the whole disco was dancing together and people came to talk to us, smoke a cigarette and share a drink, all were friendly and smiling and no power and punishment games were played openly as is the case in Western gay discos. Later Susheila offered to show us the town at night as we had our car waiting outside and the weather was warm and inviting. We were driving on a busy street very late at night when a police car stopped us. The three policemen peered inside our car and asked Susheila to show them her I.D. Then they let us go after asking her a few questions about her address and her profession. They were not aggressive but they emanated the sure confidence of people who could abuse you if they so wished. The danger I had anticipated outside the disco earlier this evening was showing a small corner of its ugly face.

Next evening we discovered for ourselves how overbearing police presence could become, even for foreigners.
We were sitting in the car parked not far from the Casino by the water edge and were looking at the dark outline of the city emerging over a straight line of water and preparing to act romantic thoughts when we heard a loud metallic knock against the closed window and we came quickly back to reality, seeing fully armed policemen that had surrounded our car and were asking us questions about what we were doing there.
We pulled quickly away from each other and explained that we admired the beauty of the landscape and they let us go away, banging their guns over the opened windows.
We did so and we drove away from the town looking for more time and new images to catch our breath and recover from our shocking surprise.
Soon we discovered that we were not far from a huge military camp. We started laughing thinking about what would have happened if they had come a few seconds later and found us kissing!
Two Western women in an Italian car kissing, what would the police do?
Beat us up or smile and pretend nothing happened?
A mystery destined to feed on suppositions!
After two weeks spent in Istanbul, we left for Ismir, the Greek Smirni and a very important town for the Greek Diaspora.
Entering what now was called Ismir on all maps, our most urgent problem was to find the appropriate hotel for my friend who had special requirements to impose on the local tourist industry.
I asked my ritual question and the kind reception staff answered in a chorus that “...Yes, Madam, we do have a king-size bed for you”.
I smiled in thanking them and asked my friend to come in.
She came; white-haired with a pearl necklace around her neck dressed in elegant sportive Italian style. Her arrival caused quite a disturbance that I couldn’t explain till I was addressed by the reception clerk as he was handing me our key. Then I immediately understood. “Here you are, Sir,” he told me with a timid smile.

Next day more theatrical enjoyment was awaiting us when we visited the swimming pool.
We were both wearing flowery swimming suits as we laid down on our chairs asking for a chilled drink. When the waiter came with our drinks we had the right to more “thank you, Sir” for me and “thank you, Madam” for her.

So our trip ended on this surrealistic image, two women sipping their drinks by a Turkish swimming pool, one hiding an invisible Gentleman inside her.
Social prejudice and deeply buried homophobia gave us a phantomatic company that transformed reality to suit its deformities.
That didn’t stop us from enjoying our trip and the many opportunities it offered us for both cultural and personal discovery for ourselves and others.

(c) Haris Metaxa, Paris 2002