12€ full 10€ reduced
A remarkable and innovative adaptation of the classic tragedy written by William Shakespeare. During Allessandro Serra’s performance, the set is transferred from the United Kingdom and Scotland to Sardinia and
A remarkable and innovative adaptation of the classic tragedy written by William Shakespeare. During Allessandro Serra’s performance, the set is transferred from the United Kingdom and Scotland to Sardinia and its carnival culture and rituals. Driven by the spirit of Elizabethan theatre, all main characters are played by male actors.
The original text is translated into the Sardinian dialect since both the Sardinian music and sound colors remind us something of the past and are so deeply connected to the human soul. The play is performed in great accuracy promoting thus an evocative strength resulting from kinesiology, image, speech and natural sounds.
This adaptation of the ‘Macbeth’ story gained the Italian audience’s and critics’ applause and praise; moreover it received important prizes and was presented at many festivals.
By Alessandro Serra based on motives from ‘Macbeth’ by William Shakespeare
Director, setting, lighting and costume design: Alessandro Serra
Translation into Sardinian and Language consultant: Giovanni Carroni
Stage movement consultant: Chiara Michelini
Sound Sculpture compositions: Pinuccio Sciola
Supported by: Pinuccio Sciola Foundation, CEDAC Sardegna
Sound Stones compositions: Marcellino Garau
Cast: Fulvio Accogli, Andrea Bartolomeo, Leonardo Capuano, Andrea Carroni, Giovanni Carroni, Maurizio Giordo, Stefano Mereu, Felice Montervino
SOCIETY FOR MACEDONIAN STUDIES THEATRE
2 Ethnikis Amynis Street Τ: 2315 200 200
10€ full 8€ reduced
Real Magic creates a world of absurd disconnection, struggle and comical repetition. To the sound of looped applause and canned laughter, three performers take part in an impossible illusion –part
Real Magic creates a world of absurd disconnection, struggle and comical repetition. To the sound of looped applause and canned laughter, three performers take part in an impossible illusion –part mind-reading feat, part cabaret act, often an after midnight nightmare which they are called to revisit for more moments of hope and defeat.
Caught in a world of second-chances, final knowledge, changes and transformations, Real Magic takes the audience on a hallucinatory journey creating a performance that bends over large systems, small traps and the desire for change.
Real Magic sees regular Forced Entertainment Richard Lowdon and Claire Marshall joined by Jerry Killick who has worked with the group on numerous projects and has performed on many international stages.
Conceived and devised by the company
Director Tim Etchells
Devised with and performed by Jerry Killick, Richard Lowdon and Claire Marshall
Created with input from Robin Arthur and Cathy Naden
Lighting Design Jim Harrison
Design Richard Lowdon
Production Management Jim Harrison
Sound Technicians Greg Akehurst, Doug Currie
Project Assistant Anna Krauss
Music Electronics & Sound Editing John Avery
Loops Tim Etchells
‘Grave’, from Telemann Fantasia Number 1 in B-Flat Major Aisha Orazbayeva
In cooperation with Thessaloniki Concert Hall
THESSALONIKI CONCERT HALL
Intersection of 25 Martiou Street & seafront Τ: 2310 895 800
Synopsis The curtain is still drawn when 13 out of the 21 actors come out on stage and perform the prologue in their everyday clothes. A synopsis of what is
The curtain is still drawn when 13 out of the 21 actors come out on stage and perform the prologue in their everyday clothes. A synopsis of what is about to take place∙ a way to prepare the audience for the content of the play, as well as the spirit that permeates the performance, that is, a direct narration of the stories, without the forced emotion that the issues of disability and being different usually bring to the forefront.
A few minutes later, the curtain is drawn and a white setting is revealed, white with colored borders – a place that brings to mind either a nursery room or a sterilized hospital. Wearing children’s clothes, using toys and masks and singing children’s songs, the actors share stories that may seem like children’s stories but really aren’t.
The narration begins with the description of a Childbirth that turned out to be different from what the parents were expecting. The aesthetics of the video that is projected at the same time creates tension, while the use of the microphones and the music shortens the distance and creates a sense of proximity.
Following the Childbirth, there are some brief episodes.
The journey to Siberia: a symbolic account of the experience of giving birth to a child that is different,
The picnic: a scene that describes the emotional abuse that a child is subjected to by its parent, due to lack of communication, as well as the abuse a child suffers when it is different from its peers,
Thoughts of an outsider: a scene where two friends are talking – one of them is the father of a disabled child, a man who struggles to appear relaxed when his child is acting strange in the other room. The other tries to hide his unease, while in his thoughts he is constantly asking everything he ever wanted to ask but didn’t dare ask it,
The date and Love: two episodes where, on the one hand, the hero experiences rejection and on the other, he articulates his optimism on the matter of love,
The brain: the “scientific proof” that the brain – here compared to an orange – is indeed the perfect organ but may as well malfunction – a comical scene that ends with the multi-voiced, rebel song People are crazy but they’ve earned that right,
A historical overview of disability: a time-travelling experience where a whimsical tone is used at first to narrate the adventures of people who are different in various periods of time.
Seizures: a true story, where we watch two children play and at the same time we hear the thoughts of the younger one on his relationship with his brother, as well as his fear of the epileptic seizures the latter is suffering from.
Through a process of scenes, images and songs that communicate the dreams, thoughts, nightmares and fears of the heroes, the relationship with the medicalisation of disability, the often condemning attitude of the “experts” towards the potential of people with “special abilities”, the institutionalization, the isolation and the awful conditions we often find in confinement , we finally arrive at the penultimate episode of the performance, where a mother is wondering what will happen to her child now that she is ever closer to leaving this world – in fact, she says “that you’re on your own with the monsters”.
The performance ends on an optimistic note, a cry of acceptance for what is different. In the song-“prayer” we hear the words “Today I’m different, Tomorrow I’ll still be different”, while at the same time there is a wishing session-“prayer” on the part of the heroes, who are in a direct conversation with “God”-the audience. The climax and epilogue of the performance comes with the last hero’s words “I don’t want any more volunteers-I want a real friend”.
The intention of the ensemble’s production is to contribute to a form of Art (in this case the art of drama) that is in conflict with the traditional perception of what is socially acceptable, a form of Art that deliberately dissociates itself from conventional approaches. The play “The Fan-man or How to Dress an Elephant” is the result of the theatre group’s overwhelming need to openly share their personal stories by means of an artistic event.
Cast and crew
The final work is not a readily available theatrical composition but the result of the group’s rehearsals. The final composition and editing was carried out by Eleni Efthymiou.
Director-Music selection: Eleni Efthymiou
Set and Costume designer: Elissavet Antapassi
Lighting: Richard Anthony
Video: Dimitris Zahos
Producer-Assistant director: Eleni Dimopoulou
Kleio Antonopoulou, Vasso Assikoglou, Maria Dahlythra, Eleftheria Drakoulidou, Margarita Kaenada, Dimitris Kalaganis, Kimon Kalaganis, Anna Kalintseva, Anastasia Kariofylli, Evangelina Kariofylli, Maria Koltsida, Vangelis Kosmidis, Yiota Kouintzoglou, Nikos Kyparissis, Parmenion Kyriakoulis, Efterpi Kosta, Loxandra Loukas, Dimitris Mexis, Angeliki Mousiou, Thanos Nanasis, Mihalis Ntolopoulos.
In the play there are excerpts from the work of: Xavier Durringer, Nikiforos Vrettakos, Tellos Filis, J. M. Coetzee
“Normal” is undoubtedly a hopeless word.
It is a word that must be defined by the norm. Then follows the objective reality – what is not “normal” must be “different”, the “other”. Yet, who gave the “other” a negative connotation? And why?
The play “The Fan-man or How to Dress an Elephant”, helps communicate stories that relate to disability. Through these stories, there is an intention to embrace the deviant, in order to render it familiar and intimate. On stage, the stories are narrated by “children” and assume the form of child play. Originally, this may have sprung from people’s insistence on referring to people with disabilities as “children”. In the course of the play, however, this approach reveals the potential of the children’s spontaneous nature, as well as their sometimes cruel disposition, to bring to light hidden secrets, to tell the whole truth, the truth as it really is.
En Dynamei Association
The association “En Dynamei” is seeking to conceive, plan and implement social and cultural events by mixed groups of young people with or without disabilities. By focusing on the recognition of the individual’s personality, freedom of expression, respect for the individual and team work, the group “En Dynamei”, is aiming to promote the growth and development of the abilities of all the people who take part in the events, beyond stereotypes and without discrimination. “En Dynamei” started out in 2008 and became an association in 2014. Its purpose is to help people with potential abilities (people with disabilities) fully integrate into society and assert their right to a dignified and well-rounded life.
By Savas Patsalidis, Ailing bodies: a study on being different
[….] a theatrical attempt that did not exhaust its topic on the surface of the particular ailment but plunged deeper into the core of the universal human condition thus making the audience experience deep emotion, pleasure and intense introspection, all at the same time.
By Marina Kontou – When you pretend you don’t see it
[…] A performance that hones the blunt words of etiquette and brings all those stories of the invisible other, the different, in the spotlight. “…”
-See more http://www.elculture.gr/elcblog/article/auto-pou-kaneis-oti-de-blepeis-798599#sthash.1fz0tEnU.dpuf
By Thoule Missiroglou / The marvel of an authentic contact
[…]The direction is outstanding, the dramatic language is exceptional and humane (being the result of the experiences shared by the members themselves), the actors, new and novice alike, are amazing: they constantly make you sway among the emotions of a reality, where the simplest thing can become complex, repeated, funny, tragic or even unintelligible, and where the most complex, shocking incident can become mundane. “…”
-See more http://www.exostispress.gr/Article/to-thaima-tis-pragmatikis-sinantisis-0#ixzz2vdImg9q5
5 (Saturday) 21:00 - 6 (Sunday) 23:00
‘ANETON’ MUNICIPAL THEATRE
Corner of 42 Paraskevopoulou Street & Konstantinoupoleos Street Τ: 2310 869 869
Synopsis The play draws on the autobiographical text My Memoirs by the French hermaphrodite Herculine Adélaϊde [and later Abel] Barbin (1838-1868), as well as the findings of medical examinations she
The play draws on the autobiographical text My Memoirs by the French hermaphrodite Herculine Adélaϊde [and later Abel] Barbin (1838-1868), as well as the findings of medical examinations she had undergone for the purpose of determining the “real” sex and the autopsy of the body after his/her death by suicide.
The prologue, set up as a freak show, summarises the main events of his life, to be elaborated upon later in the form of flashbacks. S/he was born in 1838 in a small community in southwestern France and was designated female. Her father died when she was very young and her mother, who struggled to get by, sent her to an orphanage run by nuns. During adolescence, she is sent to an Ursuline monastery where she stood out for her brightness and aptitude for learning. She did not experience menstruation and her body did not appear female. She started falling for her older classmates. She studied to be a teacher and was hired at a girls’ school. She fell in love with the owner’s daughter and they started a relationship. She confessed her secret to the local Abbot who cast her out. She suffered from severe pain, particularly during the night. During the school holidays, she went back to her mother who was worried about her situation and urged her to give an explanation. She confessed to the Bishop of La Rochelle, who showed some understating and advised her to visit his doctor. This doctor ruled that Herculine is actually a man. Another medical examination seconds this opinion and leads to a trial where it is decided that she belongs to the male sex and is given the name Abel Barbin. He is now obliged to dress and behave like a man. He quits his job at the school and abandons his lover. He moves to Paris and starts working at a railway company, but is soon fired. Unable to find another job, he lives in abject poverty. He is hired back, but is in a horrible mental state. He can barely tolerate anyone and no one can tolerate him. He lives in isolation. He commits suicide at the age of 30 after inhaling coal stove fumes.
A dual, weird existence. “Man. Woman. Nothing.” A hermaphrodite designated female at birth, but forced to live with a male identity at adulthood.
The story of Herculine Barbin, as he/she has written in his/her diary, is the first text in history written by a hermaphrodite. This document served as the basis for Michel Foucault’s article “The real gender” (1978), denouncing “the tyranny of society on gender and its inevitable insistence that every person must have one” and opening a new chapter in gender studies. Today, Herculine is an emblematic figure of the intersex movement. However, during his/her short life, he/she desperately struggled to understand and handle his/her sexual desire. An existence doomed to loneliness and isolation, an “impurity” in the eyes of a pious society, the victim of a life that left him/her no choice other than committing suicide.
Translation – Adaptation – Direction: Damianos Konstantinidis
Actors: Antigoni Barmpa, Christos Papadopoulos, Anastasis Roilos
If pain links us all, we must recognize Herculine’s pain as ours. However, my purpose is not to simply discuss how human this person was. I am equally if not more interested in showing how our perspective can marginalize him/her in human society and doom him/her to live as a freak. So, I am staging a “freak show”. And its opposite.
Damianos Konstantinidis holds a PhD from the Department of Drama at the Paris X- Nanterre University, France. He is an Associate Professor of Acting and Stage Directing at the School of Drama, Aristotle University. He has worked as an actor in Greece and France. In Greece, he has directed plays and theater texts (usually translated and adapted by him) by: de Sade, H. Müller, Fassbinder, Wilde, Homer, Shakespeare, Euripides, Aeschylus, Maeterlinck, Beckett, Rodrigo Garcia, Swift, Strindberg, Dylan Thomas, Molière, Genet.
Savas Patsalidis, theatre professor (Aristotle University), theater reviewer [from his Facebook post on 03/25/2019]
[…] one of the best plays I have seen this year. A daring, imaginative, deeply humane, grotesque, multifaceted, communicative play with excellent acting…
Calliopi Exarchou, theatrologist, poet [from her Facebook post on 03/17/2019]
[…] Konstantinidis has once again staged a play that is an ordeal of Speech and Body. The crucified Pain of the Human becomes a spectacle of pleasure in its finest form. The three actors have striven to sublimate the tragic anguish into a dramatic Act through their fervent acting – and they succeeded. A soul-searching performance that shouldn’t be missed.
Edessis 6, Thessaloniki 546 25 (2313 318212)
Revolt Athens - Synopsis Award-winning Revolt Athens relates criticism and poetry avoiding radical “in-your-face” political discourse. Rejecting the flat, washed out image οf Greece’s capital, it presents istead a
Revolt Athens – Synopsis
Award-winning Revolt Athens relates criticism and poetry avoiding radical “in-your-face” political discourse. Rejecting the flat, washed out image οf Greece’s capital, it presents istead a city (Athens) bursting with life. In Revolt Athens, the three-piece, politically-minded cast offers insights into post-crisis Greece.
In ODC Ensemble’s unique city guide, activist communities are framed in terms of Greece’s wider history; intertwined with figures of Greek mythology, tear gas-choked riots against government austerity cutbacks. Combining actors, video footage and music, the performance is a multi-faceted window into the living and breathing reality of a place.
Performers: Roza Prodromou, Telemachos Mousas, Pantelis Makkas
Awards: First Prize Award for the REP, Birmingham at the BE Festival 201.
Presented for the European Parliament for Culture in 2017
Duration: 1 hr
For more: https://elli.site/projects/revolt-athens/
The Cave Synopsis
The Cave is a cyper punk music theatre performance on a popular theme: The Matrix; a contemporary reinterpretation of Plato’s famous “Cave” allegory, where shadow puppetry, new media, visuals and music are all performed in real time by a cast of five.
In Plato’s allegory people are chained in a cave from where they can only see the shadows of the outside world. In so doing, they interpret “reality” through this optics of the shadows. The cave reveals how the two-dimensional vision of a three-dimensional life translates in today’s realities in misconceptions that we may have regarding what’s going on, as for example in the domains of politics, of society and of course ethics.
In the intersection of reality and fantasy, material & immaterial, with an emphasis on the exploration of self-truth, the Cave draws from a variety of music genres and is performed as a stream of real-time cinematography. The staged transcription of Plato’s philosophical text is interwoven with intertextual adds, Socrates is rendered as a robot’s voice, a sarcastic implication that runs throughout the performance.
- Be Festival for Birmingham Repertory Theatre (UK) 3-7 July 2018
- Copenhagen Opera Festival, Folketeatret (DK) 7 August 2018
- Aalborg Operafestival (DK) Teater Nordkraft 9 & 10 August 2018
- Workshop in Aalborg, School of Art 10 August 2018
- The Athens Concert Hall, Megaron (GR) 9 & 10 October 2018
- Operadagen Festival (NL) 19 May 2019
About the ODC ensemble:
Founded in 2002, ODC Ensemble has made more than 20 works for theatre, dance, film and media, all directed by Elli Papakonstantinou. Among recent artistic achievements, the company has been proud winner of the “Music Theater Now 2018” International competition and also the “First Award Prize at the BE Festival for the REP”, Birmingham, UK. It has been supported by The Greek Ministry of Culture, the Arts Council of Great Britain, Denmark and Sweden.
Elli Papakonstantinou creates live performances with an emphasis on opera, new dramaturgy and new media. While revisiting the classics in immersive experiences that involve multiple actors of the community, her art connects notions of myth, politics and major narratives of our days. Papakonstantinou has been commissioned by European Capitals of Culture “Valetta18” (Malta), “Eleusis21” (Greece) and ‘Pafos17’ (Cyprus) and has presented her work for the European Parliament for Culture in 2017. Her creations tour internationally, including representing Greece at PQ (official Hellenic participation Prague Quadrennial 2015). Papakonstantinou shaped her ideas from the civic movements that emerged in Greece during the economic crisis. She holds a BA from the School of Arts, University of Thessaloniki (GR) and an MA and M.Phil from Royal Holloway, University of London (U.K.).
Her latest work Oedipus: Sex with Mum premiered at Stanford University, USA in Spring 2019. She is also commissioned a new opera piece to be presented in late 2019 at the Mauthausen Concentration Camp Memorial in Austria.
Selected reviews of The Cave
★★★★★ …A veritable bombardment of all senses. Eye, ear and not least brain fought to keep up. It’s strange and beautiful, ugly and cloudy….like everyone else in the chamber, I was blown away.” Bent Stenbakken, nordjyske.dk
★★★★★★ …the piece redefines the meaning of contemporary musical theatre with a social message away from any reference to prosaic complaints. A substantial aesthetic event.” Dimitris Tsatsoulis, greek-theatre.gr
★★★★★ “An amazing cyber-punk new opera.” LIFO
★★★★★★ “One of the best representatives of Greek avant-garde, Elli Papakonstantinou, never seizes to surprise us.” Maria Kryou, ATHINORAMA
7 (Monday) 21:00 - 8 (Tuesday) 21:00
THESSALONIKI CONCERT HALL
Intersection of 25 Martiou Street & seafront Τ: 2310 895 800
Synopsis Amarynthos is based on a true incident that happened a few years ago in the Greek provincial town of Amarynthos. The quiet town came abruptly under the spotlight when a 15-year-old Bulgarian
Amarynthos is based on a true incident that happened a few years ago in the Greek provincial town of Amarynthos. The quiet town came abruptly under the spotlight when a 15-year-old Bulgarian immigrant appeared at the local police station to report that she had been gang-raped by four of her classmates in the toilets of their high school, while three schoolgirls were allegedly recording the incident on their mobile phones.
Built on extensive archive research and ethnographic fieldwork, Amarynthos sheds light to the mechanisms of truth fabrication and justice, while examining the ways in which public opinion, the media and the local community responded to the case, taking into account the sex, ethnic background, and social class of the victim.
Amarynthos premiered in the framework of Athens and Epidaurus Festival 2018 and run 3+1 sold out shows. The play was selected and will be included in the upcoming American publication An Anthology of Documentary Drama from Greece by Egret Inprint – Laertes Publications, 2019.
What really happened in Amarynthos? Gang-rape crime? Gender violence? Racist attack? Privacy violation? Cyber-bullying? The case, still cited as an “alleged” or “so-called” rape, remains a big question mark. Yet, it brought to the surface multiple and diverse manifestations of violence, following the original events.
The incident received unprecedented dimensions as the public, journalists, politicians and other bodies of public discourse, saw many intriguing elements in it: rape, minors, mobile phones recording sexual encounters, youth in crisis, rural Greece and small, conservative communities, immigrants, racism, prejudice, complicity…
Amarynthos does not attempt to retrial, neither suggests a convenient neutrality. We come to remember what made us shout momentarily, gradually retreat and in the end, forget all about it. The truth we seek signifies the desire to not forget – in Greek the word for truth (‘alētheia’) stands for the opposite of oblivion (‘lēthi’) – the need to return and re-examine the past so as to create a less violent and more accommodating future.
Martha Bouziouri is a theatre maker with a multidisciplinary background. She graduated from the Drama Academy of the Greek Art Theatre Karolos Koun and the Department of Communication and Media Studies of the University of Athens. She received an M.A. in Communication and Cultural Studies and currently completes her PhD in Social Anthropology, titled “Identity and Artistic Expression of Migrant Theatre Makers – Towards an Anthropology of Intimacy”.
As a theatre maker, Martha is primarily involved in the research-dramaturgy direction triptych while she occasionally engages in acting and teaching. The approach of her artistic work focuses on the exploration of documentary theater formats, enriching them with cross-media elements on stage (videos, installations, audio environments) and off stage (exhibitions, open talks, workshops). All of her projects entail an extensive period of fieldwork and reflect on the vigorous transformations and challenges across EuroMENA region.
Polydoros Voyiatzis, Aggeliki Zisoudi, , Yiorgos KIssandrakis, Theano Metaxa
Text – Dramaturgy – Direction: Martha Bouziouri
Research consultant: Athena Athanasiou
Research group – Dpt. of Social Anthropology, Panteion University: Grigoris Gougousis, Nouri Diakaki, Athina Simoglou
Set and costume design: Eleni Stroulia, Zaira Falirea
Sound and visual design: Voltnoi Brege
Lighting design: Olympia Mytilinaiou
Assistant to the director: Paraskevi Lypimenou
Assistant to the set designers: Zois Ikonomou
Communication consultant: Michalis Sarantis
Photos: Elina Giounanli
Executive Producer: PLAYS2PLACE
Media kit – Athens and Epidaurus Festival website:
8 (Tuesday) 21:00 - 9 (Wednsday) 21:00
YMCATH Square (Tsimiski Street) Te;. +30 2310 230 013
Synopsis Strange Tales is a multimedia storytelling on stage, a mixed media spectacle which combines music, theater, sound installation and videos, based on Edgar Alan Poe’s, short stories, poems and
Strange Tales is a multimedia storytelling on stage, a mixed media spectacle which combines music, theater, sound installation and videos, based on Edgar Alan Poe’s, short stories, poems and letters. Devices that produce sound, light and video, give the atmosphere of an audiovisual laboratory and create an organic environment for the spectators. The two performers on stage and the two sound engineers of stage act altogether like a multimedia orchestra.
Strange Tales is a story about the mystery of life and death. A girl visits a woman in a wheel chair and transforms her room into a laboratory of memories. With the use of technology (sound & visuals), the girl acts like a hypnotist. The woman starts to recall her past. Travelling back in time, she prepares herself for the last journey, towards the light of the eternal Life.
Originally presented at Athens/Epidaurus Festival 2018
Direction – Translation – Music – Visual and sound dramaturgy: Violet Louise
Performers: Aglaia Papas and Violet Louise
Sound design – Studio production: Studio19
Lighting design: Sakis Birbilis
Duration : 1h /15
Strange Tales is a multimedia narration on Poe’s short stories and poems based on sound and music. Poe was quite convinced of the connection between music and literature. He experimented with sound and rhythm, using techniques such as repetition, parallelism, internal rhyme, and alliteration. In his essay ―”The Poetic Principle”, he writes: […] And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development.
Violet Louise (Louiza Kostoula) is a stage director, playwright, musician, vocalist and multimedia artist whose research is on the field of multimedia narration. She has graduated from Law School of Athens, studied classical piano at the National Conservatory of Athens and took her diploma in performing arts by the Greek Ministry of Culture. She has worked as a performer and musician at the National Theatre of Greece, Experimental Stage of National Theatre of Greece, Athens and Epidaurus Festival
Since 2012, Violet Louise has been experimenting on multimedia narration, creating each part of her projects (music, sound, visuals, scenery).
Aglaia Papas has graduated from the Aristotle University of Thessaloniki and the National Theatre Drama School of Greece. For the last twenty five years she has been working as an actress in the theatre, with numerous appearances at Epidaurus Festival.
G.Sarigiannis/ 4th bell : Violet Louise, manages to express the world of the American poet ideally. [….] Aglaia Pappa is an actress with marvelous technique: impressive. Her chemistry with Violet Louise, […] leads to a performance not just fruitful but superb.
Leandros Polenakis/Avgi: During the Athens Festival, we watched, a creative composition of Poe’s texts directed by Violet Louise (Louiza Kostoula), tied harmoniously with electronic music, sounds and multimedia, and the intense performance of the two distinguished actors: Louiza Kostoula and Aglaia Pappas. An interactive myth drama, combining theater, concert and visual installation, with the actors acting as narrators, sometimes as rhapsodists, offering a new and at the same time “old” ……that opened for all of us the door to imagination….
8 (Tuesday) 21:00 - 9 (Wednsday) 21:00
No 35 26th October Street Τ: 2313 318 203
The Myth of Phaethon In Greek mythology, Phaethon is the sοn of the Oceanid Clymene and Helios (Sun). With the latter’s reluctant permission, Phaethon drives his father’s chariot for a
The Myth of Phaethon
In Greek mythology, Phaethon is the sοn of the Oceanid Clymene and Helios (Sun). With the latter’s reluctant permission, Phaethon drives his father’s chariot for a day. While driving the wild horses of the sun chariot in the skies, Phaethon sees Scorpio and, terrified, loses control and drops the reins.
The fierce horses, bewildered, veer from their course; the Sun moves up and down; the chariot goes too close to the Earth, scorching it, burning vegetation and drying out the rivers. To save the Earth from total disaster, Zeus intervenes and strikes Phaethon with a lightning bolt. The blazing Faethon plunges into the river Eridanos where his sisters, the Heliades, mourn his loss.
The tyrannical pater familias Hamnet L’ homme harasses the members of his family in every possible way. Constantly alluding to the Holy Scripture, he sanctifies his sick being and practice, presenting himself as the mandatory of a divine task he is asked to carry through. The mother and their three children are tragic figures, totally succumbing to the unquestionable almightiness of the Father-God. The play takes place over one night when Hamnet L’ Homme speaks rakishly like a Gospel preacher, humiliating the manliness of his son, who lives in a baby carriage. He also commits the ultimate hubris, the serial rapes of his three children.
Aim of the performance
In the play everything takes place during one night and unlike the myth it leads to the son’s assumption, not his fall. Patricide here is both a symbol of resistance and rebirth with the killing of the father becoming a regulatory survival mechanism. To foreground this father-son clash, the performance negates theatrical illusion and the spectators become guests –witnesses.
Text: Dimitris Dimitriadis
Directed by: Thanos Nikas
Produced by: Ars Moriendi Theatre Group
With the support of the Hellenic Ministry of Culture
Cast: Stratos Tzorztoglou, Theano Amiridou, Nikos Ramos, Katerina Saynapou, Eleftheria Mavridou
Adult performance (Ages 18+)
Ars Moriendi Theatre Group
Ars Moriendi Theatre Group was created by the director Thanos Nikas and Dr Penelope Chatzidimitriou. Ars Moriendi Theatre Group explores the stage potential of plays from the classical and modern, Greek and foreign theatre repertoire. It places major emphasis on the dialogue of visual aesthetics with the performing body and on the continuous exploration of the connection between stage rhythm and text interpretation. It often creates site-specific performances and stage installations for non- dramatic, poetic texts. It has participated in theatre festivals in Greece and abroad with performances in theatre houses but also former military camps, museums, mosques and deserted factories.
Thanos Nikas is the co-founder and artistic director of Ars Moriendi Theatre Group in Thessaloniki. He has directed, among others, Sarajevo 1914. This Grave is too Small for Me by Biljana Srbljanović, The Masterpiece by Christian Lollike, Salome by Oscar Wilde, Seven a play for GAZA by Carryl Churchill, Heartbreak Hotel (based on A Streetcar Named Desire by Tennessee Williams), Faidra’s Love by Sarah Kane, Hamlet by William Shakespeare, Dying as a Country by Dimitris Dimitriadis.
Dimitris Dimitriadis was born in Thessaloniki, Greece, in 1944. He studied theatre and film in Brussels where he wrote his first play The Price of Resistance in the Black Market in 1966. It was directed by Patrice Chéreau in 1968 at Theatre d ‘ Aubervilliers, Paris. The French Odéon Theatre paid tribute to his work in the 2009-2010 season, as did the Onassis Cultural Centre in 2013 with performances, directed readings, presentations and discussions. His play The Circle of the Square was presented at the Festival D’Avignon in 2014. He has translated works by Jean Genet, Georges Bataille, Witold Gombrowicz, Maurice Blanchot, Gerard de Nerval, Balzac, Bernard-Marie Koltes, Molière, Euripides, G. Courteline, Tennessee Williams, William Shakespeare.
MUSEUM OF FOLK ART
12 € full 10€ students, unemployed, over 65
Musical-theatre on the value of freedom. In 1941, at Hill 731, the small-scale Greek army manages a convincing victory over Mussolini's large-scale army in the latter's attempt to conquer Greece.
Musical-theatre on the value of freedom. In 1941, at Hill 731, the small-scale Greek army manages a convincing victory over Mussolini’s large-scale army in the latter’s attempt to conquer Greece. In the battle that took place, the facts and numbers seem to enter the realm of the absurd in regards to the numbers of the Greek foot soldiers and the methods they used to combat an Italian offensive of mythical proportions.
In the performance, with narration of the facts as the key, the battle is referenced on an existential and spiritual playing field of humans; in a place where the illogical way of thinking prevails; that often goes against common sense and comes into conflict with the accepted beliefs or common logic; there where the paradoxical way of thinking consists of freedom as its key meaning, against an adversary which at first seems impenetrable and attempts by force to establish in the existential and spiritual playing field of humans a model of regularity and homogeneity which in the end detaches us from life itself.
Text: Aris Biniaris
Directed by: Aris Biniaris
Set- costumes design: Paris Mexis
Lighting design: Paris Mexis- Aris Biniaris
Music Composed and performed by: Victor Kouloumpis (bass), Panos Sardelis (drums), Christos Georgopoulos (guitar)
Assistant director: Dora Xagorari
Assistant set designer: Despina faridou
Assistant costume designer: Dafne Iliopoulou
Photography & video by: Patroclos Skafidas
Cast: Aris Biniaris, Konstantinos Serdalis
12 (Saturday) 21:00 - 13 (Sunday) 19:00
YMCATH Square (Tsimiski Street) Te;. +30 2310 230 013
10€ full 8€ reduced
Teatro Delusio creates theatre through theatre. This imaginary theater company is engaged in thrilling battles, deadly intrigues and heartbreaking arias derived from classic plays. From one performance to the other,
Teatro Delusio creates theatre through theatre. This imaginary theater company is engaged in thrilling battles, deadly intrigues and heartbreaking arias derived from classic plays. From one performance to the other, Teatro Delusio enjoys an even wider artistic triumph. On the other side, three technicians are constantly working backstage in the dark. Their lives, usually invisible, suddenly come to light.
Familie Flöz is a small family whose house is the theatre itself. Both stars on stage and their tireless assistants are striving to find happiness, each one in his own particular universe separated by a plain set stage.Teatro Delusio by the most renowned mask theatre company in Germany meets the greatest success and presents a performance that focuses on the art of saying everything without a single word.
Having gained international acknowledgement, Familie Flöz have already performed in 34 countries while their work has captured the attention of the mass media including the Guardian, Le Monde, el Mundo, the Scotsman and Die Welt.
A co-production by Familie Flöz, Arena Berlin and Theaterhaus Stuttgart
A play by Paco González / Björn Leese / Hajo Schüler / Michael Vogel
With Andrès Angulo / Dana Schmidt / Björn Leese / Johannes Stubenvoll / Daniel Matheus / Michael Vogel / Thomas van Ouwerkerk / Sebastian Kautz / Hajo Schüler
Direction and Set Design Michael Vogel
Masks Hajo Schüler
Costumes Eliseu R. Weide
Sound Design Dirk Schröder
Light Design Reinhard Hubert
Sound Technicians Florian Mönks / Thomas Wacker
Lighting Technicians Sylvain Faye / Max Rux
Production Management Gianni Bettucci
Production Assistance Dana Schmidt
No 35 26th October Street Τ: 2313 318 203
12€ full 10€ reduced
In «By Heart», the dramatist and performer Tiago Rodrigues teaches a poem to ten people. These persons have never watched the performance before and are not informed of which poem
In «By Heart», the dramatist and performer Tiago Rodrigues teaches a poem to ten people. These persons have never watched the performance before and are not informed of which poem will have to learn by heart before the audience. While teaching them, the main character unfolds stories blended together including his grandmother’s narrations along with quotes by Shakespeare, Ray Bradbury and Goseph Brodsky while new stories make their appearance involving Portugal chefs, Dutch TV shows and the Nobel laureate Boris Pasternak. While the poem is about to be completed, all those mysterious connections will also be revealed.
“By Hear” is a play about transmission and the meaning of both words and ideas that only memory can safeguard. Being the director of Teatro Nacional D. Maria II in Lisbon since 2015, prizewinner, world traveler and multitasker, Tiago Rodrigues is the most famous Portugal director established as the artist who bridges cities and countries, and as a host and advocate of the live theatre.
Written and performed by Tiago Rodrigues
Text with fragments and quotes by William Shakespeare, Ray Bradbury, George Steiner, Joseph Brodsky, among others
set, props and costumes Magda Bizarro
English translation Tiago Rodrigues, revised by Joana Frazão
Executive production on the original creation Magda Bizarro, Rita Mendes
Executive production Rita Forjaz
A production of Teatro Nacional D. Maria II after an original creation by the company Mundo Perfeito
Co-producers O Espaço do Tempo, Maria Matos Teatro Municipal
17 (Thursday) 21:00 - 18 (Friday) 21:00
YMCATH Square (Tsimiski Street) Te;. +30 2310 230 013