O Cáucaso é no Egeu

mulheres em Trikeri

Even though the Prometheus production [na ilha de Trikeri, campo prisional a céu aberto para mulheres que haviam apoiado, directa ou indirectamente, os comunistas na Guerra Civil Grega] did not go beyond the dress rehearsal stage, the tragedy itself warrants a closer look in the light of its reception by the Greek Left, or of some of the older uses of the hero as symbol. Hariati-Sismani [uma das prisioneiras que colaborou na peça] left no doubt as to how she and her fellow inmates read Prometheus' character and condition:

For us, Prometheus was he who does not sign a 'declaration' [of repentance], who accepts to stay nailed to his rock and to remain in his martyrdom, just like us, rather than yield to violence... Prometheus was us and all the words of the drama fit us like a glove. We called Hermes 'the errand boy'. Hephaestus was the worker who forges his own bounds. And Oceanus? That was my uncle, who had written to me, a few days earlier, to urge me to repent. (1975: 24).

Hariati-Sismani had intentionally dressed the Prometheus of the play in a deep red chiton (1975: 25). This 'red' Prometheus did not succomb to the pressure to sign a 'declaration of repentance'. [...] Sucessive Greek right-wing governments coaxed or terrorized political prisoners into signing a recantation or renunciation of their ideological beliefs, called a dílosi metanoías [δήλωση μετανοίας]; or, short, a dílosi. [...] Many detainees, especially on Makronisos, caved in under psychic and/or bodily torture to sign such a declaration and became 'dilosíes', which often opened up a whole new set of requirements: from composing hideous confession statements to denouncing their former comrades, to assisting in the process of 'breaking' others (to translate the modern Greek expression for 'torturing').

Gonda Van Steen, Theatre of the Condemned. 

Classical Tragedy on Greek Prison Islands. Oxford 2011: 119-120.