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Like her own characters, Loula Anagnostaki has often suppressed political memory and political awareness when talking about her plays. Yet underneath the veneer of psychological drama that focuses on the relations of the individual with the self and the other, there always looms a historical inquiry that accounts for everything. Political amnesia or apathy or indifference are only a stance that camouflages the material forces shaping the life and behavior of the characters. Like a cultural historian, Anagnostaki deconstructs the official history of dates, events, and periodization in order to explore that history's effect on the personal lives of people. Ranging from an absurdist to a social realist aesthetic that finds its finest form in The Victory and The Cassette, her plays transcend the obvious level of a deadly interpersonal struggle to reveal other levels of victimization, where national legacy, class, gender, age, and culture constitute the nexus of her material analysis.

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