Ἰωσὴφ Βιβιλάκης, Αὐξεντιανὸς μετανοημένος (1752). Ἐρευνητικὸ Πρόγραμμα: Tὸ ἑλληνικὸ θέατρο στὴν ἐποχὴ τοῦ Mεσαίωνα, τῆς Ἀναγέννησης καὶ τῆς Tουρκοκρατίας [5], Ἀκαδημία Ἀθηνῶν, Ἀθήνα, 2010. Σελ. 601, Eἰκ. 22. ISBN 978-960-404-192-3

Ὁ τόμος αὐτὸς περιλαμβάνει τὴν ἔκδοση τῆς ἀνέκδοτης δραματικῆς σάτιρας Κωμῳδία ἤτοι Ἔργα καὶ καμώματα τοῦ μιαροῦ ψευδασκητοῦ Αὐξεντίου τοῦ ἐν τῷ Κατιρλίῳ καὶ τῶν ἀσεβεστάτων καὶ ἀθέων ἐκείνου μαθητῶν, ὀπαδῶν καὶ διδασκάλων ἢ Αὐξεντιανὸς μετανοημένος, ἑνὸς πολὺ σημαντικοῦ ντοκουμέντου γιὰ τὸν δημόσιο βίο καὶ τὸν πολιτισμὸ τοῦ 18^ου αἰώνα. Ὅπως δηλώνεται στὸν τίτλο τὸ θέμα τοῦ ἔργου εἶναι ἡ δράση ἑνὸς μοναχοῦ, τοῦ Αὐξεντίου, ὁ ὁποῖος εἶχε ἐγκατασταθεῖ στὸ παραθαλάσσιο χωριὸ Κατιρλί (σημερινὸ Esenköy) στὴν περιοχὴ τῆς Βιθυνίας καὶ ἦταν διάσημος ὡς ἅγιος καὶ θεραπευτής. Ὁ σκοπὸς τῆς σάτιρας εἶναι ἡ ἐξουδετέρωση τῆς λατρείας τοῦ καλόγερου, ὁ ὁποῖος καταγγέλεται ὡς τσαρλατάνος καὶ αἱρετικός. Ἡ ὑπόθεση τοῦ ἔργου δομεῖται γύρω ἀπὸ τὸν σχηματισμὸ τοῦ δικτύου ὑποστήριξης τοῦ Αὐξεντίου, τὸν μηχανισμὸ τῶν οἰκονομικῶν τῆς ὁμάδας του, τὶς τεχνικὲς τῆς θαυματοποιΐας μὲ τὴν ἐπιστράτευση μισθωμένων «ἀρρώστων», τοὺς ἐξορκισμοὺς καὶ τὴν ἐμφάνισή του ὡς χαρισματούχου πνευματικοῦ πατέρα ποὺ βλέπει ὁράματα ἀλλὰ ἔχει καὶ τὸ προορατικό, τὴ διδασκαλία του, στὴν ὁποία κεντρικὴ θέση ἔχει ὁ ἀναβαπτισμὸς τῶν Καθολικῶν καὶ Ἁρμενίων. Στὸ τέλος τοῦ ἔργου, τὸν Σεπτέμβριο τοῦ 1752, ἀποκαλύπτεται ἡ ἀπάτη, ὁ Αὐξέντιος συλλαμβάνεται ἀπὸ τοὺς Τούρκους καὶ στὴν Κωνσταντινούπολη προκαλοῦνται ταραχὲς ποὺ ἔχουν ὡς ἀποτέλεσμα τὴν ἐπιστροφὴ στὸν πατριαρχικὸ θρόνο τοῦ ἐξορίστου Κυρίλλου Ε´, τὸν ὁποῖο προπαγάνδιζε στὸ κήρυγμά του ὁ Αὐξέντιος. Ὁ σκοπὸς τῆς εἰσαγωγῆς ποὺ συνοδεύει τὴν ἔκδοση τοῦ ἔργου εἶναι νὰ παρουσιάσει καὶ νὰ συζητήσει τὰ ζητήματα ποὺ συνδέονται μὲ τὸ κείμενο ἀπὸ φιλολογική, ἱστορική, θεολογικὴ καὶ θεατρολογικὴ ἄποψη.

Aὐτὸς ὁ τόμος εἶναι ὁ πέμπτος τῆς ἐκδοτικῆς σειρᾶς, «Kείμενα καὶ τεκμήρια τοῦ προεπαναστατικοῦ ἑλληνικοῦ θεάτρου» τοῦ ἐρευνητικοῦ προγράμματος «Tὸ ἑλληνικὸ θέατρο στὴν ἐποχὴ τοῦ Mεσαίωνα, τῆς Ἀναγέννησης καὶ τῆς Tουρκοκρατίας» τῆς Ἀκαδημίας Ἀθηνῶν, ποὺ σκοπὸ ἔχει τὴ συστηματικὴ διερεύνηση τοῦ ἑλληνικοῦ προεπαναστατικοῦ θεάτρου, μὲ τὴ δημοσίευση πηγῶν τῆς θεατρικῆς ἱστορίας καὶ μὲ τὴ φιλολογικὴ ἔκδοση ἀνεκδότων καὶ ἀγνώστων κειμένων τῆς ἑλληνικῆς δραματολογίας στὴν ἀναφερόμενη περίοδο. Tὸ ἐρευνητικὸ αὐτό πρόγραμμα διεξάγει ἀποστολὲς σὲ ἀρχεῖα καὶ βιβλιοθῆκες τοῦ ἐξωτερικοῦ καὶ στὴν Ἑλλάδα, προκειμένου νὰ ἐντοπισθοῦν ἔγγραφα μὲ πληροφορίες γιὰ τὴ θεατρικὴ ζωὴ παλαιότερων ἐποχῶν καὶ νὰ βρεθοῦν χειρόγραφα μὲ ἀνέκδοτα θεατρικὰ ἔργα. Tὰ σχετικὰ πορίσματα τῶν ἀποστολῶν καὶ τὰ ἄγνωστα δραματικὰ κείμενα ποὺ θὰ προκύψουν ἀπὸ τὶς ἀναζητήσεις θὰ δημοσιευτοῦν στὴ σειρά αὐτή. Ἀνάλογα μὲ τὴ φύση καὶ τὴ δυσκολία τοῦ ἑκάστοτε κειμένου θὰ ἀποφασισθεῖ ἂν ἡ ἔκδοσή του θὰ εἶναι κριτικὴ ἢ ἁπλῶς φιλολογική.

Iossif Vivilakis, Auxentian repentant [1752]. Athens: Academy of Athens, Research Programme: “History of the Greek Theatre and Drama from the Middle Ages and the Renaissance till the Greek Revolution of 1821”, vol. 5, 2010. Pp. 601; Ills 22. ISBN 978-960-404-192-3.

This volume includes the unpublished dramatic satire Comedy, i.e., Works and Deeds of the sordid pseudo-ascetic Auxentios of Katirli and his impious and godless disciples, followers and teachers; or Auxentian repentant, a very important piece of literary documentation of public life and culture in the 18^th century. As stated by the title, the work’s theme focuses on the action of a monk by the name of Auxentios, who had settled in the coastal village of Katirli (today known as Esenköy) in the region of Bithynia, and who had a well known reputation as a holy man and healer. The monk however has been denounced as a charlatan, a fraud and a heretic and the satire aims at nullifying his cult. The plot is structured around the formation of Auxentios’s support network, its financial mechanism, the miracle working techniques made possible via the recruitment of supposedly ill individuals, as well as exorcisms and the monk’s emergence as a charismatic spiritual father who has visions and is a seer. Last but not least comes his preaching, which centers on the issue of anabaptism (“re-baptism”) for Catholics and Armenians. At the end of the play the deception is finally exposed and the Turks arrest Auxentios, while the turmoil that erupted in Constantinople brought about the return of the exiled Cyril V, whom Auxentios had propagandized in his preaching to the Patriarchal throne. The introduction to this work intends to present and discuss the issues pertaining to the play from a literary, historical, theological and theatrological perspective.

This is the fifth volume of the edition series “Texts and documents of the Early Modern Greek Theatre” presenting the findings of a research programme organised by the Academy of Athens and named “History of the Greek Theatre and Drama from the Middle Ages and the Renaissance till the Greek Revolution of 1821”, which focuses on the systematic research of the pre-revolution Greek theatre and drama, via the edition of sources and documents concerning theatre history as well as through the philological edition of unknown and inedited Greek dramatic texts of that period. The aforementioned programme organises investigations and studies in archives and libraries in Greece and abroad, in order to locate documents with unknown pieces of information about the theatrical life in older times or manuscripts with inedited theatrical plays. The results of these expeditions and the unknown dramatic texts that will be brought to light due to them, are going to be published in this series. According to the nature and difficulty of each specific text, it will be decided whether its edition is going to be critical or just philological.

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