The multiple “bodies” of the second edition of Dimitria’s showcase 2019

The Greek showcase, introduced last year for the first time, moves on, against all odds, to its second edition with passion and determination.  We strongly believe that running this platform is not a matter of choice but of necessity. It had to be done. The total absence of repertory philosophy from Greek theatre practice has, in more ways than one, kept it at the margins of European theatre, in the sense that it has not helped its international visibility and exposure. Unlike many other theatres in Europe and around the world,  its productions are not stored. Once they run their programmed course they disappear from view, never to be recovered again. Suffice to say that Athens alone averages close to 1300 productions a year. Probably more annual productions than any other theatre city in Europe∙ and yet, very few, if any, from the international theatre community know what is going on there.

With the creation of this platform, Dimitria Festival offers the opportunity to local artists to present their work to invited artistic directors of festivals, curators and critics. For five days the guests of this second edition as well as the general public have the chance to watch nine very fresh, inviting and challenging  productions raging from cyper punk musical theatre to docu drama and physical theatre, signed by eight talented (as well as very different) directors (five women and three men), each with a keen interest on the postmodern body and its various manifestations. In all nine productions the bodies acquire visibility by taking center stage, thus making the very stage itself a topos of revelation, a kind of heterotopia as a counter site to society.

This dual sense of the theatre being at once “an other” space and the space of “others” is strongly felt in the performance The Fan-man or How to Dress an Elephant, by the ensemble En Dynamei whose core theme focuses on the disabled body. How do we look at it? By embracing the deviant, does the performance succeed in rendering it more familiar and intimate?

These are questions also tackled in Herculine Barbin, the first text in history written by a hermaphrodite. Herculine, an emblematic figure of the intersex movement today, during his/her short life desperately struggled to understand and handle the “otherness” of his/her sexual desire. Unable to survive the pressure exercised by society s/he committed suicide at the age of thirty.

The image of the subdued body on the one hand and the domineering body on the other runs through the revisited Greek myth of Phaethon (by Ars Moriendi) in the play of Greece’s leading playwright Dimitris Dimitriadis. A tyrannical pater familias 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 body’s interaction with technology is the focus of  Persona, (by the ensemble Plefsis), a multimedia performance inspired by the work of American poet John Ashbery. While exploring the interrelationships of various art forms it also raises questions like:  What is behind a portrait? How do I look at the other? What is my deepest need for exposure?

Strange Tales is another multimedia storytelling on stage 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, a kind of “third space”. .

The award-winning Revolt Athens by the avant-garde group ODC also explores and exploits the potential of technology and live performance. Combining actors, video footage and music, the performance is a multi-faceted window into the living and breathing reality of a place/cityscape (Athens).

The Cave, the second show by the ensemble ODC, is a cyper punk music theatre performance inspired by Plato’s famous “Cave” allegory, where shadow puppetry, new media, visuals and music are all performed in real time  by a cast of five. 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.

 Amarynthos is a docu drama whose case is based on a true incident that happened few years ago in the Greek provincial town of Amarynthos. 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.

In the dance piece Half the Truth (by Rootlessroot company) the two performers show their belief that the human body has the power to express emotion. The body is not afraid to feel, to perform and to risk. The substance of this performance is the Body we do not know.

All these spectacles carry, each in its own way, an emancipatory promise, in the sense that they provoke destabilizing moments of self-perception and perception of the other.


05Oct(Oct 5)21:0006(Oct 6)23:00PersonasBy Plefsis Performance Ensemble Directed and conceived: Antonis Koutroumbis21:00 - 23:00 (6) LABATTOIR

Event Details

A multimedia performance of body theater, that explores the interrelationships of various art forms as guided by the legacy of American poet John Ashbery.
The theme is the poetic introduction of the viewer into the “world of the self” defined by the concepts, “I notice, I discover, I connect, I carry within my memory.”
The show moves between 2 poles: The virtual reality and the relationship of the performer with the scenery, the objects, and the natural materials used in the show in a direct, handmade way. With a style alternating between seriousness and humorous moods, several questions arise during the performance that act as a guide to the viewer for his introduction to this poetic narrative: “What is behind a portrait? How do I look at the other? What is my deepest need for exposure?”
A composite spectacle that brings together physical theater, contemporary dance, theater of objects, the visual environment, the composition of electro-acoustic landscapes and live electronics, live projections and graphic animations coexist on stage.

Idea, Direction, Stage sets: Antonis Koutroumpis
Performing , Choreography: Olga Gerogiannaki, Antonis Koutroumpis, Tzanos Mazis, Danai Pazirgianidi
Soprano: Kalliopi Aggelopoulou
Music composition, live electronics : Minas Emmanouil
Light design: Elisa Alexandropoulou
Costumes: Olga Gerogiannaki
Video art, Graphic animation: Akrivi Anagnostaki
Teaser, trailer: Eirini Steirou
Stage construction: Dimitris Maroulis
Stage objects: Thenia Koutroumpi
Photos: Nikos Markou

Duration: 65’



  • About the ensemble Plefsis

    For most critics (and theatre goers) this is the best Greek ensemble in the field of mime and physical theatre. Since its foundation in 1996 it has developed a unique stage language that combines contemporary dance, dramatic theatre, mime and technology. It never stops enriching its research into the potential of the body. It has participated in a big number of international Festivals.

  • Review

    [….] Antonis Koutroubis with his most recent work has offered us a spectacle of supreme stage aesthetics. He has created a multi-form journey with solid materials and surplus of inspiration, discovering the essence of body art within just 65 minutes. Plefsis: an ensemble precious for our theatrescape. Prof. Dimitris Tsatsoulis, Ideodromos


5 (Saturday) 21:00 - 6 (Sunday) 23:00



No 35 26th October Street Τ: 2313 318 203

05Oct(Oct 5)21:0006(Oct 6)23:00THE FAN-MAN , or How to Dress an Elephant21:00 - 23:00 (6) ‘ANETON’ MUNICIPAL THEATRE

Event Details


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

  • Director’s note

    “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.

  • Reviews

    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

    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


5 (Saturday) 21:00 - 6 (Sunday) 23:00



Corner of 42 Paraskevopoulou Street & Konstantinoupoleos Street Τ: 2310 869 869

Sun06Oct21:00Half the TruthBY ROOTLESSROOT Created and performed by Linda Kapetanea and Edivaldo Ernesto21:00 SOCIETY FOR MACEDONIAN STUDIES THEATRE

Event Details

About the performance
It is their brilliance, their virtuosity, and belief that the human body has the power to express emotion. They are not afraid to feel, perform, sweat and risk. The substance of this performance is the Body we do not know. It is not about knowing at all. This Performance is a mapping device for the landscape of the Unknown. It is not what we premeditate, what we conceptualize. It remains rather a mystery. It is about their body on the edge of the Impossible. Where too much is not enough for being on stage..  It is about daring to disagree with the agreement to entertain.

Created and performed by: Linda Kapetanea, Edivaldo Ernesto
Dramaturgy & set design: Jozef Frucek
Original music: Vassilis Mantzoukis
Lighting design: Periklis Mathielis
Sound engineer: Christos Parapagidis
Costumes design: Isabelle Lhoas
Photos & video: Mike Rafail
Distribution by: LIARTEM s.r.o.;

Supported by the Greek Ministry of Culture & Sports

Duration: 60’


Linda Kapetanea, dancer, choreographer and teacher of contemporary dance has been active worldwide for more than 25 years. She graduated from the Greek State School of Dance in Athens and continued for post-graduate studies in New York with a scholarship from the Greek State Scholarship Foundation.
Between 2002- 2006 she collaborated with Ultima Vez Company and Wim Vandekeybus in works such as Blush and Sonic Boom and she also appeared in the movies Puur, and Here After. In 2006 Linda and Jozef Frucek founded RootlessRoot dance company as a vehicle for their own artistic productions, research on human movement and teaching methods and since then they have presented 21 works in more than 30 countries (Europe, Asia, North America) many of them acquiring international distinctions. Together with Jozef Frucek they have developed the research program of Fighting Μonkey Practice which they teach in prestigious educational institutions all over
the world. Since 2006 she has a continuous collaboration as a teacher with the Greek State School of Dance in Athens. Since September 2017 she is the artistic director of Kalamata International Dance Festival.

Edivaldo Ernesto (Mozambique) is an improvisation expert, teacher and choreographer. He began to dance in 1997 Mozambican traditional dances and after attending seminars of contemporary dance he formed as a gifted dancer, teacher and choreographer. For a period of eleven years he worked with David Zambrano in duet improvisations and other performances and touring across the world. He collaborated with Sasha Waltz and Guests Company from 2007 until 2014. Since 2012 he has developed various collaborative projects with Judith Sánchez Ruíz while at the same time focusing on the investigation and development of his own techniques.


(Sunday) 21:00



2 Ethnikis Amynis Street Τ: 2315 200 200

Mon07Oct21:00Herculin Barbin—Memoirs of a HermaphroditeBy Αngelus Novus21:00 BENSOUSSAN HAN

Event Details

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 comment
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

  • Director’s note

    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.

  • Director’s Bio

    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.

  • Director’s note

    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.


(Monday) 21:00



Edessis 6, Thessaloniki 546 25 (2313 318212)

07Oct(Oct 7)21:0008(Oct 8)21:00Revolt-Athens / The CaveBy ODC Ensemble Performance written and directed by Elli Papakonstantinou21:00 - 21:00 (8) THESSALONIKI CONCERT HALL

Event Details

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:

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.

Festival participation:

  • 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.

  • Director’s Bio

    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,
    ★★★★★★ …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,
    ★★★★★ “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



Intersection of 25 Martiou Street & seafront Τ: 2310 895 800

08Oct(Oct 8)21:0009(Oct 9)21:00AmarynthosA DOCU DRAMA BY MARTHA BOUZIOURI21:00 - 21:00 (9) ‘AVLAIA’ THEATRE

Event Details


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.

Director’s Note

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.

Director’s Bio

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

08Oct(Oct 8)21:0009(Oct 9)21:00Strange Talesby Violet Louise 21:00 - 21:00 (9) LABATTOIR

Event Details


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

  • Director’s note

    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.

  • Director’s Bio

    Violet Louise (Louiza Kostoulais 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).

  • Protagonist’s Bio

    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.

  • Selected reviews

    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

Wed09Oct21:00PhaethonWritten by Dimitris Dimitriadis Produced by Ars Moriendi Directed by Thanos Nikas21:00 MUSEUM OF FOLK ART

Event Details

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.

The team
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+)

Duration: 80’

  • 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.

  • Director’s Bio

    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.

  • Playwright’s bio

    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.


(Wednsday) 21:00