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To Fintanaki (Το Φιντανάκι) by Pantelis Horn is a drama of the Athenean neighbourhood during the Interwar period. The topic is that inspired from the neighbourhood during that time. The economics as much as the common treaties that held, not only in Greece, the whole of Europe, (for example the First World War, the mechanics), it presented substantially and rootly -except for others- the cultural. Greece was hurt by the national crisis after the Asia Minor Catastrophe, as well as disssapointing for the Great Idea and the ground-like clamation. Parallelly, the inconstancy in all fields of life, that effectively for some time in the economic decays, even in series of removing political epilogues. The effectiveness was that imcompatibly important internal problems that said in the civil war

Influences
The naturalism-realism stream, based in important actions in artwork of the time. In the literary volumes it emphasized new stuff, with mostly internal monologs and other common problems It had answers, literary prohibitions and pressure for several times. Those writers of the time tried to combine psychology and romanticism with the realistic descriptions with objective realities and did an encyclopedic, answered the marked hidden human sentiments and everyday drama. Counteractions in exaltation from romantic fantasy impressively photograhically from the world with impartial combinations and awkward appearance. For this, it drew things from everyday and common life, and oncimong for an impersonal artwork. The writers of realstic works did not have anything on heroicism. Opposingly, it is personally accustomed, complicated in granitic in everyday life with the insignificant and tragic containments, human uses, above anything for thoste for the first time turning into glance hardly into literature.

The assorted fields, mostly in other distributive answers, along with the surviving strength, which it exercises important influences openly in new literature streams including Nea Skini (Νέα Σκηνή = New Scene) by K. Christomanou and P. Horn. The most important role that played the whole artistic formation and the popualtion function from the district to the city, in which passed by many stuff acquisitions and the habits, brought to city the base of the culture. The lcity life, is one of another world with dirt, descendants, and low class people. These images that imprints into the stage and the main part, remains of soem that describes A. Terzakis in the critics thta donw for fintanaki: Plaka, the balcony, the commonplace... heroes of the work that press''. It can able to present into a word...''

Acting
In fintanaki during from the Athenean , finds the strongest family and common drama, from which several works that pump up the whole bichronicle value and the lifestyle. As much, it needs to present the height of acting and does not cites due to the essence of the theatrical stage that warranted in the categorizing of dramaturgy espeically comedy or historic drama, it completes relatively in dramaturgic thematic production of that time

In a simple everyday history of Toulas and Master-Antoni in the writing neighbourhood, thinks that it describes a microcosm united peristatically with folk pres from the scope of a photographic portraying of acting. It thinks that the use does onto melodrama, legacy sources from the 19th century with the greatest and worst of foundative comparisons, with the disgraced girl with a bitter father, the poor, the vestibular love. Pantelis Horn not even in folklore surface of the balcony that stands, as well as the ethic-plastic lift in the melodrama serves. Works are marked realistically in marks which begins in a closed human geography, it repeats without prejudice on the common problems, these disturbances pays interests and its faced antithesis, in which not that it does not simplifies preservances, it also steadily finds the bases of the civic commonplace and ideologies

The center of importance of drama cites the ethic  on protagonists that mentions things from common and economic. «Δ''ε βαριέσαι, ο μισθός τιποτένιος. Τα τυχερά πότε είναι και πότε δεν είναι … τι τα θες δεν είμαστε τυχεροί''», are the words from Antonis for the From these words from Frosos, from the other side, words that mentions characteristic icons, the lost ethic, the decline, from the hungriest, materialists and congested humans. Humans that putting aside from the popular restraint, presented for living several fortunate, far from the everyday misery.

P. Horn does not creates the source. Negatively, it presents the different realism, that presents sentimental exaltation that enter the grief with vigourous stuff, mostly the protagonists slowly and fast, they attend the unfortunate.

They are used in several works in the public and hte characteristic type. It cites several folkloric including the Giagkou sentence Silans, baby and the uplifting of Frosos: Silansis eisai kai fenesai. With these types it inflicts that to the written document in ruralism as well as the projection in the common and esthetic behavior of the time. The writings that it was founded, sometimes the comparison with the spirit of other theatrical plays of the time. The part that preserved were the written works with the most fixed words as much as a dull subjective, hearthening in the tradition and the relation in Greek acting and customs. As the literatur ewith the ideal works, Horn had selected - as it related and the same - a cooperation of lingustic freedom and anarchy, without knowing the ideals for the popular critics. It transparently that with the words and its phrases that uses, it prepares the projection for the characters of the works with an authentic kind, without acting fences and artistic restraint. The pragmatic and the genuine registration in which the living and that it where it had mixed up mainly to the interests of Horn

Toula, the centric feature
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It is known that the thing in which Antonis said to the girl Toula that it was only the consolation. Toula was a chaste girl with an honest father. It says the feature of the balcony in a negative way with the bully Giagko, it does not cover the representative that said about chastiness. the acting, the old never romantic time. In those people, Toula lived her dream, she still voted for love, the dedication. There was a prince of novels and the dream every ladies of the low class, that she want to live outside from the dirty water from the balking and several quarreling of the unemployed renters, they need to, when they like it or not, her mother takes them and leave from inside, said Giagko. It is one image, slow and fast, they are proofly utopian. A quote said by Katina in the older part of Giavroussi's balcony, the press which plotted against Toula. These were characteristic situation on pretend realism, which with stretching and explicity use that presented the presidiously direction in the playres.

An analogic icon that used - as the chronicles read in several decades later, as well as the actors, and the expectations remained analogs in the low class residents of Athens, the son of P. Horn Dimitris Horn in the work Dream Street (Οδός Ονείρων = Odos Oneiron).

With the same scene written the final  and in fintanaki as much as Toula took the road with Giavroussis at the end.

Synopsis
In the mixed-up theatre, the work answers of the approaching acting during the Interwar Period and based on the common and cultural characteristics that made itself prolonged. It was an information that happened during the period of the large warlike collision and common agitation. In the Greek scene, a mixed up historic peropd with the art of theatre had presented several popular works that sealed with the manner in that period and was still stocked up for the next shows in artistic theatre.