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At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. It was within this multi-layered world that sound recording and sound reproduction was invented. Cosmopolitanism in large urban centers favored polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography had already provided important tools in understanding the relationships that developed between "national" repertoires. Within these networks, already existing tendencies and aesthetic currents are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. A typical example is exoticism, as manifested in its various representations.
It has been found in the European vocabulary since the end of the 16th century, although its widespread prevalence as a trend was associated with the colonial imperialism of the 19th century (Netto, 2015: 13). Since then, the term has incorporated various levels of reading and interpretating anything “Other”. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary.
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
Imaginary Spain is borderline medieval, a cultural amalgam of Gypsies, Christians, Moors and Jews. It constitutes the absolute exotic place where one meets almost all the characteristics of the East, the Latin world and the Gypsies. Spain is represented as a permanent spring and blooming landscape, often nocturnal, in which cities that are symbols of "Spanishness", such as Granada, Valencia and Seville, are usually placed. The popularity of Gioacchino Rossini's opera The Barber of Seville probably played a role in its extensive use in exotic performances. The Spanish are represented as a pre-modern and semi-exotic people motivated by honor, and an archaic way of life, different from the materialism and progress of the Western world. Their life is characterized by an unconventional freedom dominated by passion and nostalgia. The musical instruments in Spain, mostly guitars and castanets, are not played to accompany a feast, as is the case in the East, but to express amorous passion.
On the musical level, one can find the typical characteristics of European musical exoticism, such as the use of the Phrygian mode. The use of the chordal progression that is usually called "Andalusian cadence" is also extensive: iv-III-♭II-I, which is undoubtedly one of the most common stereotypes of "Spanishness" in exoticism. A guitarist today can easily and quickly suggest "Spanish" music by playing the Andalusian cadence with a vigorous rhythmic pattern (Scott, 2003: 166).
In 1925, Theofrastos Sakellaridis composed original music and songs, "Stin trela tou chorou" and "Xero ena vasilia", for the screening in Greece of the silent American film "Rosita", produced in 1923, directed by Ernst Lubitsch and starring Mary Pickford (see newspaper Skrip, issue no. 7908, January 19, 1925, page 3).
The film falls into the trend of exoticism: it takes place in Seville, where the Spanish king is charmed by the poor singer Rosita (for the plot, see here). Exoticism is also present in the song "Stin trela tou chorou" with the Spanish atmosphere being introduced through the use of the Andalusian cadenza, the castanets and the reference to the "slender Seville girls".
According to the musical score of the song, which was published in Athens by Zacharias Makris’ "Mousiki" publishing house, it was sung for the first time by Lyda Berg on January 19, 1925 at the Pantheon Cinema, during the first screening of the film in Greece.
Taking advantage of the success of the film and the appeal of the songs that accompanied its screening, as can be witnessed from relevant publications in the Athenian press (see newspaper Athinaiki, issue no. 107, August 22, 1925, page 3, newspaper Skrip, issue no. 7911, January 23, 1925, page 3, and issue no. 7914, January 26, 1925, page 3), Theofrastos Sakellaridis created the three-act operetta "Rozita" in which he included the songs he had composed for the film "Rosita". The libretto was written by Spyros Potamianos and was based on the film's script. The operetta, which completed 47 performances, premiered on August 24, 1925 at the Ideal Theater by the Laoutari - Patrikios - Filippidis troupe (see newspaper Athinaiki, issue no. 109, August 24, 1925, page 3 and newspaper Empros, issue no. 10344, August 24, 1925, page 2).
The newspaper Athinaiki writes about the operetta in the article "Methavriani proti, Rozita – Laoutari" (Premiere the day after tomorrow, Rosita – Laoutari) (no. 107, August 22, 1925, page 3):
"Its amazing success at the 'Pantheos' movie theater has piqued the curiosity of those who saw it, and it is estimated that more than 80,000 spectators watched it after it was screened for 5 weeks.
Everyone wants to compare Laoutari with Mary Pickford. Those who have seen the rehearsals believe that she surpasses her in the portrayal of Rozita with her grace, agility and dances. Add to that her wonderful singing. As far as appearance is concerned, Mrs. Laoutari will portray a true Spanish woman.
Moreover, Mr. Filippidis as king, Mr. Kamvysis as Count Don Diego, Mr. Ploutis as prime minister, the Damaskou couple as Rozita's parents and Miss K. Kofina as queen will portray accomplished characters, similar to those of the cinema.
The popular composer Mr. Sakellaridis and the playwright Mr. Sp. Potamianos collaborated for 'Rozita'. Mr. Sakellaridis added to the two well-known songs from the film 'Rosita' ('Xero ena vasilia' and 'Stin trela tou chorou') about fifteen new songs with sweet Spanish rhythms. Choruses, duets, orchestra, dances are all full of enthusiasm and lyricism. Some are cheerful, some are fast and fun, and others are passionate and touching.
The play, as presented by Mr. Potamianos, is a lyrical drama, with alternating comic and dramatic scenes. He managed to condense the scenes of the film into three acts by omitting the unnecessary and excessive ones and by creating new scenes where stage economy required it."
The cinema, much like the theater, traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It builds a special network that communicates with discography and incorporated very early and very effectively the mechanisms of exoticism, acting as a multiplier of the diffusion of the musicians who served it. Theater and cinema interact: popular plays are adapted as film scripts, but also vice versa, as in the case of "Rozita".
Apart from this one, another cover of the song (Polydor 4641 ar – V 45142), recorded in 1927, in Athens, can be found in Greek-speaking historical discography.
Research and text: George Evangelou, Leonardos Kounadis and Nikos Ordoulidis
At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. It was within this multi-layered world that sound recording and sound reproduction was invented. Cosmopolitanism in large urban centers favored polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography had already provided important tools in understanding the relationships that developed between "national" repertoires. Within these networks, already existing tendencies and aesthetic currents are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. A typical example is exoticism, as manifested in its various representations.
It has been found in the European vocabulary since the end of the 16th century, although its widespread prevalence as a trend was associated with the colonial imperialism of the 19th century (Netto, 2015: 13). Since then, the term has incorporated various levels of reading and interpretating anything “Other”. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary.
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
Imaginary Spain is borderline medieval, a cultural amalgam of Gypsies, Christians, Moors and Jews. It constitutes the absolute exotic place where one meets almost all the characteristics of the East, the Latin world and the Gypsies. Spain is represented as a permanent spring and blooming landscape, often nocturnal, in which cities that are symbols of "Spanishness", such as Granada, Valencia and Seville, are usually placed. The popularity of Gioacchino Rossini's opera The Barber of Seville probably played a role in its extensive use in exotic performances. The Spanish are represented as a pre-modern and semi-exotic people motivated by honor, and an archaic way of life, different from the materialism and progress of the Western world. Their life is characterized by an unconventional freedom dominated by passion and nostalgia. The musical instruments in Spain, mostly guitars and castanets, are not played to accompany a feast, as is the case in the East, but to express amorous passion.
On the musical level, one can find the typical characteristics of European musical exoticism, such as the use of the Phrygian mode. The use of the chordal progression that is usually called "Andalusian cadence" is also extensive: iv-III-♭II-I, which is undoubtedly one of the most common stereotypes of "Spanishness" in exoticism. A guitarist today can easily and quickly suggest "Spanish" music by playing the Andalusian cadence with a vigorous rhythmic pattern (Scott, 2003: 166).
In 1925, Theofrastos Sakellaridis composed original music and songs, "Stin trela tou chorou" and "Xero ena vasilia", for the screening in Greece of the silent American film "Rosita", produced in 1923, directed by Ernst Lubitsch and starring Mary Pickford (see newspaper Skrip, issue no. 7908, January 19, 1925, page 3).
The film falls into the trend of exoticism: it takes place in Seville, where the Spanish king is charmed by the poor singer Rosita (for the plot, see here). Exoticism is also present in the song "Stin trela tou chorou" with the Spanish atmosphere being introduced through the use of the Andalusian cadenza, the castanets and the reference to the "slender Seville girls".
According to the musical score of the song, which was published in Athens by Zacharias Makris’ "Mousiki" publishing house, it was sung for the first time by Lyda Berg on January 19, 1925 at the Pantheon Cinema, during the first screening of the film in Greece.
Taking advantage of the success of the film and the appeal of the songs that accompanied its screening, as can be witnessed from relevant publications in the Athenian press (see newspaper Athinaiki, issue no. 107, August 22, 1925, page 3, newspaper Skrip, issue no. 7911, January 23, 1925, page 3, and issue no. 7914, January 26, 1925, page 3), Theofrastos Sakellaridis created the three-act operetta "Rozita" in which he included the songs he had composed for the film "Rosita". The libretto was written by Spyros Potamianos and was based on the film's script. The operetta, which completed 47 performances, premiered on August 24, 1925 at the Ideal Theater by the Laoutari - Patrikios - Filippidis troupe (see newspaper Athinaiki, issue no. 109, August 24, 1925, page 3 and newspaper Empros, issue no. 10344, August 24, 1925, page 2).
The newspaper Athinaiki writes about the operetta in the article "Methavriani proti, Rozita – Laoutari" (Premiere the day after tomorrow, Rosita – Laoutari) (no. 107, August 22, 1925, page 3):
"Its amazing success at the 'Pantheos' movie theater has piqued the curiosity of those who saw it, and it is estimated that more than 80,000 spectators watched it after it was screened for 5 weeks.
Everyone wants to compare Laoutari with Mary Pickford. Those who have seen the rehearsals believe that she surpasses her in the portrayal of Rozita with her grace, agility and dances. Add to that her wonderful singing. As far as appearance is concerned, Mrs. Laoutari will portray a true Spanish woman.
Moreover, Mr. Filippidis as king, Mr. Kamvysis as Count Don Diego, Mr. Ploutis as prime minister, the Damaskou couple as Rozita's parents and Miss K. Kofina as queen will portray accomplished characters, similar to those of the cinema.
The popular composer Mr. Sakellaridis and the playwright Mr. Sp. Potamianos collaborated for 'Rozita'. Mr. Sakellaridis added to the two well-known songs from the film 'Rosita' ('Xero ena vasilia' and 'Stin trela tou chorou') about fifteen new songs with sweet Spanish rhythms. Choruses, duets, orchestra, dances are all full of enthusiasm and lyricism. Some are cheerful, some are fast and fun, and others are passionate and touching.
The play, as presented by Mr. Potamianos, is a lyrical drama, with alternating comic and dramatic scenes. He managed to condense the scenes of the film into three acts by omitting the unnecessary and excessive ones and by creating new scenes where stage economy required it."
The cinema, much like the theater, traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It builds a special network that communicates with discography and incorporated very early and very effectively the mechanisms of exoticism, acting as a multiplier of the diffusion of the musicians who served it. Theater and cinema interact: popular plays are adapted as film scripts, but also vice versa, as in the case of "Rozita".
Apart from this one, another cover of the song (Polydor 4641 ar – V 45142), recorded in 1927, in Athens, can be found in Greek-speaking historical discography.
Research and text: George Evangelou, Leonardos Kounadis and Nikos Ordoulidis
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