We would like to start introducing our showcase with two paradoxes.
a) Greece’s financial predicament has been accompanied by a considerable increase (instead of decrease) in the number of theatre productions offered each year, with Athens now holding a record high of 1400 (sic) productions annually, and thus almost tripling its pre-crisis volume of productions.
b) and yet, contemporary Greek theatre still does not exhibit the kind of export impetus and outreach one would probably expect. Its international presence is scarce. Although there are several noteworthy initiatives and relevant actions undertaken, mainly by private bodies toward this direction in recent years, there are still no organized and well targeted policies and measures that could push domestic theatre beyond Greece’s borders.
Most unfortunate for local theatre practitioners who really fight against all odds to stay alive and create good and lasting art.
This is precisely the “void” that Dimitria Festival is attempting to address (and hopefully fill) in conducting, this year for the first time, a showcase of selected Greek theatre productions (most of them chosen from the 2017-18 season) which will be presented in Thessaloniki’s various stages, from October 5 to 10.
From the first moment this idea sank into our head, we decided to avoid imposing a single thematic axis to the performances that we would select. Our primary concern was rather to lend prominence to the ideological and aesthetic diversity marking Greek theatre at present.
We are, then, happy to introduce our very first theatrical showcase with the following performances:

— Oedipus
A bold, challenging, approach to the Sophoclean masterpiece, shedding bright new light to the play’s many folds, directed by Christos Sougaris, in collaboration with the “EOS” [UNTIL] theatre ensemble and the Municipal Regional Theatre of Kozani.

— Frida Kahlo
A multimedia performance that pays tribute to the life and work of Mexican artist and iconic figure of Modernism, Frida Kahlo (1907-54), in which everything can happen! A narrative spun around her life, all storm, tumult, and passion—the very life that gave her art its distinct shape. Α brisk and brilliant work by director Katerina Damvoglou and the up-and-coming “FLY” theatre troupe.

—Mute
An up-to-date, sinewy and acute, play by Giorgos Adamantiadis which deals with modern Greece. In this work, the latter is seen through the life of two brothers, two bandits who leave the city and take to the mountains. There, they regress to early forms of social order and interaction, and they engage in their own distorted game of power and justice. Stelios Patsias’ direction functions so as to highlight the ills and the corruption, the rivalries and the contradictions that continue to plague the country.

—You: The “Elements”
A literary performance by Vassilis Amanatidis which feels its way searchingly through the familiarity (or lack thereof) of erotic separation – and any other kind of separation – as well as through the plunge into a love that is as powerful as it overwhelming.
In this performance reading, or literary performance, directed by Sophia Karkantza, we become witnesses of Amanatidis’ relationship with the hybrid, deeply affective written text which assumes a visual dimension in front of the audience. The poetic work itself has recently been honored with the “Poetry Prize 2017” by the Ouranis Foundation of the Athens Academy.

—Waiting for Godot
A new take on the now classic play of Beckett, by the Zero Point group, under the direction of Savas Stroumbos. A performance that takes place amidst the ruins of our world, in a future more or less close to us, in which all of humanity’s wounds, past and present, keep on bleeding.
Yet, this is also a time and a place where our expectations, much like are wounds, are kept wide open. What is the minimum of possible conditions for restarting life, a life worth living? The nuances elicited from Beckett’s play are conveyed through the group’s unique aesthetic style, a mixture of physical theater drawing on Antonin Artaud, Jerzy Grotowski, and Theodoros Terzopoulos.

—The Mother’s Ring
This is a work by Yiannis Kambysis, from the “C for Circus” theatre troupe—one of the newest and most promising groups of contemporary Greek theatre. It brings onto the stage a farewell story, written in charming dialect, that draws inspiration from the life of the Greek author and poet, Kostas Krystallis (1868-94), whose work is representative of nineteenth-century Greek pastoral literature. Music, poetry, creative “madness” and the (postmodern) imagination set up and breathe life into a touching farewell ceremony, thus rewriting the last pages Krystallis was to ever write.

—Relic
A dance performance by the great performer Euripides Laskaridis and the “Osmosis” ensemble. Laskaridis is offering a performance steeped into magic and embracing the paradoxical in the world and in human existence. This work becomes a means by which he reaches deep into the powers of metamorphosis and ridicule; deep into a dark existential core where a strange hide-and-seek game feeds into and off sober research, and where the search for meaning feeds into and off utter meaninglessness. The Latin root of the word “relic” (Relinque) alludes to what remains: faces, languages, histories. The piece unravels as a journey made up of transformations and its hi-story is as much that of a person as that of a land. Humor alternates with restlessness, the absurd with the familiar. In this world, the otherworldly seems disarmingly human.

— «After the Campsite: Henceforward»
A production of the National Theatre of Northern Greece, in the direction of Michalis Sionas, which some would characterize as post-dramatic. A performance-project that draws inspiration from the material that has been gathered at the annual art workshop for young refugees organized by the NTNG. The work does not focus melodramatically on the past, on lost homelands and what was left behind. On the contrary … Its purpose is to highlight the ways in which young refugees adapt to the new reality/ies they face and to bring to the foreground their hopes and dreams for the future.

— Revolutionary Methods for Cleaning the Pool
A performance which comes to us from the Experimental Stage of the National Theater of Greece, and through the well-tempered and quite imaginative direction of Sarantos – Yiorgos Zervoulakos. This new work, written by Alexandra K*, is swirling, furiously and yet skillfully, about the perennial conflict between the old and the new generation. In the eye of the cyclone, as it were, Antonis Tade [Someone] is struggling to save his illegitimate vacation house against all odds. The performance dramatizes a conflict between the individual and the State which opens up many subterranean and revealing paths for the contemporary spectator, whether Greek or non-Greek.

–Bacchae
It is with great pleasure that this year we will also play host to a special screening at the hall of the Macedonian Museum of Contemporary Art as part of the showcase program. The video of the Bacchae performance which was mounted at the Onassis Cultural Centre, in Aris Biniaris’ “rock” and refreshing direction, will be presented to the Festival’s audiences. This is a performance whose approach to the ancient play is as bold as it is “odd” and has thus left distinct and beneficial traces on the Greek stage.

October

04Oct(Oct 4)21:0005(Oct 5)18:00OEDIPUS by SophoclesEOS GROUP & KOZANI REGIONAL THEATRE21:00 - 18:00 (5) ‘AVLAIA’ THEATRE

Price

Ticket prices €13 Regular, €8 Concessions Unemployed Students, €5 Actor concessions

Event Details

The story
At the outset of the play, Oedipus is the beloved ruler of the city of Thebes, whose citizens have been stricken by a plague. Consulting the Delphic oracle, Oedipus is told that the plague will cease only when the murderer of Queen Jocasta’s first husband, King Laius, has been found and punished for his deed. Oedipus is determined to find Laius’s killer. His investigation turns into an obsessive reconstruction of his own hidden past when he discovers that the old man he killed when he first approached Thebes as a youth was none other than Laius. At the end, Jocasta hangs herself in shame, and the guilt-stricken Oedipus blinds himself.

THE EOS GROUP
The EOS GROUP  has been active for the last 4 years. The group works under the direction of Christos Sougaris. So far, three theatrical plays have been presented: Moliere’s Don Juan,  Sophocles’ Ajax and Sophocles’ Oedipus Tyrannus.  The plays directed by Christos Sougaris have been presented at the National Theater of Northern Greece, the Dimitria Festival, the Aeschylia Festival, Municipal Theatre of Kozani, Katerina Vasilakou Theater, Theseum Theater, Apo Michanis Theater, etc

CREDITS
Text: Vasilis Papavasiliou
Director: Christos Sougaris
Music: Giorgos Christianakis
Set & Costume Designer: Aristotelis Karananos – Alexandra Siafkou
Lighting Designer: Tasos Palaioroutas
Movement: Faidra Soutou
CAST
Oedipus: Dennis Makris
Jocast: Niki Sereti
Kreon: Samuel Akinola
Teiresias: Betty Vakalidou
Chorus (Young Man): Nikos Gelia
Chorus (Old Man): Kostas Laskos
Shepherd: Giorgos Psichogios
Messenger: Grigoris Pimenides
Second Messenger: Michalis Moulakakis
Eteoklis: Aris Kritikos
Ismini: Despoina Martseki
Polinikes: Ion Dimitriades
Antigone: Siamaka Akabuog

  • Directors note

  • Reviews

    Oedipus is not a Christian drama; it is a tragedy of archetypes. The “sin” of Oedipus does not have an actual moral aspect; it is mainly the violation of a “taboo” (…) It is not a psychoanalytic guilt test, but an earthly tragedy of flesh, semen, and blood. The direction of Christos Sougaris was earthen, a continuation of last year’s direction of “Ajax”. The heroes were not abstract symbols, but common people, flesh and blood”.
    Leandros Polenakis | avgi.gr

    “…The direction had a cinematic essence, with emphasis on rhythm and atmosphere and managed to make the spectator part of the tragic story. The direction was accompanied by high quality performances that betrayed teamwork and deep understanding of the particularities of all characters”.
     George Christopoulos | onlytheater.gr

    (…)what makes this work special is the penetrating direction, the proper chemistry of all the actors and, of course, their luscious performances.”.
    Zoe Toli | culturenow.gr

    “(…)a totally successful, inspirational and groundbreaking effort that connects the present with the past(…).”
    Angeliki Mpatsou | kallitexnes.gr

    “the performance acted as “the acoustics of a consciousness“(…) the director “addresses the needs of the play”. For the first time on the stage, we see colorful actors, (…) making the prophecy to sound as a gadfly”.
    Chara Kiousi | newsbeast.gr

    “(…)The conception of a cinematic Oedipus presented as a detective, a protagonist of crime films in a classical Hollywood period (early 1940s to the late 1950s), such as that of the films noir, is certainly provocative.
    Maria Stella Binikiou | artic.gr

    “Blindness is the main topic of the play from beginning to end; whether it is through the children’s  “Blindfold” game or the pathogenic blindness of the shepherd and the chorus or the self – imposed blindness of Jocasta (her only support to keep herself away from the revelation of the truth that she deeply knew) or the self-induced violent blindness of Oedipus at the end of the play (…). Every character in their own way contributed to this concealment, each one in their own way bear personal responsibility.”.
    George Kougioumtzis | tetragwno.gr

    “Christos Sougaris in an ingenious and accurate way takes us to a place where peace is fragile and emotions manifest in a bizarre but aesthetically effective way. He adopts the form of the thriller in order to get into the inner void of his heroes, seeking the deeper meaning of existence, turning the tragedy into a brain theater. (….).
    Irene Aivaliotou | catisart.gr

    “ (….) Christos Sougari’s  modern direction of Ajax (last year)and now Oedipus made him the maître of “tragedy of the room”. Special mention to the great protagonists: four lively kids and a dog-guide”
    Kostas Zisis | all4fun.gr

  • Biography

    Christos Sougaris
    Christos Sougaris is a professional actor and director.
    He has collaborated with many Greek directors in productions of the National Theater of Northern Greece, the National Theater, the Athens & Epidaurus Festival, the Athens Concert Hall, the Onasis Cultural Centre.
    .The main objective of his work is the rapprochement of classical works through a modern aesthetic that stripes the norms of the past and redefines the relationship of the viewer / citizen with the myth.The works that he has directed have been presented at the National Theater of Northern Greece, the Dimitria Festival, the Aeschylia Festival, the Regional Theater of Kozani, the Deus X Machina Teater among  others.

    Christianakis Giorgos ,composer-musician
    Born in Thessaloniki,Greece in 1961. He graduated from Law School and started his studies in classical piano at the age of 17. Since 1982 he records in studios and plays live with many well known bands of Greece such as Trypes, Apriori, Dacapo, Rodondo Rocks e.t.c.
    He composes music for theater and cinema, video art, installations and dancing perfomances . He has composed music for more than 80 theatre performances since 1994 ,most of them commissioned by The National Theatre of Greece and The National Theatre of Northern Greece , amongst them seven productions of Ancient Drama at The Ancient Theatre at Epidaurus,four at the Ancient Theatre Irodio Attikou and one at the Stadium of Delphi.
    He was awarded the 2000 Theatre Awards Prize for his music for the performance of Lorka’s ” Yerma” with the National Theatre Of Greece. Since 1997 he has released five solo alboums “Templo” (1997), “The doorman” (2001) , “Strange stories ” (2003) and ” The Wave ” Alltogethernow (2013).His fifth solo alboum ” A Season in Hell” based on the writings of Arthour Rimbaud was released on the 20th of December 2013.
    More information on his official site www.christianakis.com

Time

4 (Thursday) 21:00 - 5 (Friday) 18:00

Location

‘AVLAIA’ THEATRE

YMCATH Square (Tsimiski Street) Te;. +30 2310 230 013

Fri05Oct21:00FRIDA KAHLO By Fly Theatre21:00 LAZARISTES MONASTERY

Price

Ticket prices €12 €10 Concessions

Event Details

The Fly Theatre company dramatizes the unpredictable life of Frida Kalho, using its own unique performative aesthetic based on rhythm, the body, the game and the dynamics of space, with the support of projections that beautifully merge with the live body and the semiotics of the stage.

The goal of the production is to explore the personal history of this painter (of mainly own self-portraits), the physical restrictions and the pain she suffered which altogether pushed her to create a world dominated by movement, originality and passion for life.

Katetina Damvoglou, who undertook the enormous task to bring to life this radical, uncompromising  and boldly feminist  personality who loved to join her eyebrows instead of plucking them and emphasize the dark hair on her upper lip, does a wonderful job, by presenting on stage a plethora of emotions, of passionate moments.

Robin Beer creates a cosmos full of sound and images based on Frida’s paintings. Beer’s dexterous manipulation of the potential of technology mixes surrealism and realism to produce together a unique and distinct stage aesthetic that is really captivating.

CREDITS
Text: Katerina Damvoglou
Director: Fly Theatre
Dramaturge: Miranda Vatikioti
Cast: Katerina Damvoglou and Robin Beer

  • Directors note

  • Reviews

    “This is a “handmade”, multi-media venture that cannot be easily described. It has to be experienced”
    Dimitris Tsatsoulis

    “Katerina Damvoglou, with an unsurpassed sense of humor, with stage palpability and sarcasm creates a highly enjoyable portrait of the painter. A real apocalypsis is the space Roby Beer creates with an incredible speed and an impressive synchronization with the lady protagonist. I have rarely seen anything like it traveling abroad”
    Yiorgos Voudiklaris

    “When the lights are out and the actors take their bow, a spontaneous cry for an ‘encore’ is certain”
    Panayiotis Milas

  • Biography

    Katerina Damvoglou
    Katerina Damvoglou graduated from the Theatre Department of the University of Patra. She then attented the London International School of Performing Arts and Royal Holloway (MA in Physical Theatre). In Greece she first appeared as an actress and a director in 2014.

    Robin Beer
    Robin Beer is an actor and a director. He participated in the last two productions of Fly Theatre, “Aggeliki” and “Frida Kahlo”.

Time

(Friday) 21:00

Location

LAZARISTES MONASTERY

Kolokotroni 25-27, Stavroupoli

Sat06Oct11:0014:00“Theater in Crisis, The Crisis in Europe”Round Table11:00 - 14:00 Goethe Institute of Thessaloniki

Event Details

When is the contemporary? What is theatre? What are theatres? Where is
Europe? What is a nation? Who are “we”? We are surrounded by questions
and crises or potential crises. Our systems, political, financial and
artistic, hang by a thread. And this colloquium “Theatre in Crisis and
the Crisis of Europe”, is just an attempt to reflect on the
(im)possibilities of theatre, to think about the worth of theatre as a
vibrant form of public dialogue in an era of “connected” individualisms.

The discussion will be held in Greek, English, German and the attendance will be open to the public.

Hours 11.00 – 14.00

Round Table Programme

11.00
Greetings from the Deputy Mayor of Culture and the Arts Mrs Elli Chrysidou.

11.15
“The Political Theater Nowadays” by Mr Savvas Patsalidis  Professor of Theatrical Studies at the Aristotle University of Thessaloniki and member of the 53rd Dimitria Festival’s artistic committee on theatre cases.

11.30
“The Greek Theatrical Landscape in 15΄” by Mr Prodromos  Tsinikoris Director and Dramatist, co-director of the Pilot Scene of the National Theatre of Greece and member of the 53rd Dimitria Festival’s artistic committee on theatre cases.

11.45 
Presentation on the topic this year’s summit of IETM (Informal European Theater Meeting) input by Mr Axel Tangerding, Director of META Theatre of Munich.

12.00 
“The European Balcony Project” by Mrs Verena Humer.

12.15 
“Multimedia Festival Hidalgo” by Mrs Cordula Gielen, Cultural Manager.

12.30
“Theater for Europe” by Mr Elmar Zorn a consultant on art cases, curator and publisher.

12.45
Coffee Break

13.15-14.00 Positions, Questions, Discussion

Coordinator of the Discussion 
Mrs Catherine Zachou
Assistant Professor of German Literature and Culture at the School of the German Language and Linguistics.

Time

(Saturday) 11:00 - 14:00

Location

Goethe Institute of Thessaloniki

V. Olgas 66, Thessaloniki 546 42

06Oct(Oct 6)21:0007(Oct 7)23:00MUTE by Giorgos AdamantiadesMEMENTO MORI GROUP21:00 - 23:00 (7) ‘ANETON’ MUNICIPAL THEATRE

Price

Admission €12 Regular €8 Concessions

Event Details

“Once upon a time this cloud awoke Zeus.

But Zeus no longer reigns here”.

  1. The Balkans, World War I, the Asia Minor Catastrophe and after that the dictatorship. Blasted earth and open wounds. The newly established state and its vicious enemies.

In the area of Katerini, two brothers, Markos and Dionysis, at the age of fourteen, throw eggs at the gendarmes during a parade. They are arrested and punished in a vulgar and brutal way. They ascend to Mount Olympus and crave for vengeance. By sheer accident they encounter their castigator and bury him alive, disobeying the command of the chieftain Lukas.

In the same area, they capture a refugee who gets there from the depths of the Middle East and bring him to their captain, so as to decide on his fortune. The captain shows mercy and the refugee Yannis, the self-proclaimed “teacher”, becomes a member of their gang. He records their activities and then sends them to the newspapers. On Easter day, Lukas punishes Markos for his previous disobedience in the sight of his brother and his companions. The two brothers decide to take power in their hands.

Markos becomes the new captain. The area is alarmed and a priest knocks on his door and demands to know who is responsible for this havoc. Markos assures him that he wants a noble collaboration with the Metropolis, by offering donations and charity work. At the same time, he begins a clearing of accounts, with the gendarmerie, the captains and the landlords of the region. Group decapitations and fires, form the legend of Markos and trigger off the intervention of the government that has so far turned a deaf ear to what is happening.

A broken lieutenant of the glorious Asia Minor Camp is recruited and climbs up the mountain with a select body of men to chase the gang until their final conflict.

CREDITS
Director: Stelios Patsias
Stage lighting – Photos – Promo video: Dimitris Logothetis
Music – Drums on stage: Giorgos Karanikolaou
Scenography – Costumes: Maria Palantza
Production management: Androniki Tsatsaroni
Cast (in alphabetical order): Giorgos Adamantiadis, Nikolas Alexiou, Pavlos
Iordanopoulos, Alexandros Siatras, Chronis Barbarian
On-stage drummer: Giorgos Karanikolaou

Duration 100 min
*No children under 18

  • Directors note

    Note from the director (Stelios Patsias)
    In an effort to summarize in a paragraph the senses, the colours and feelings prompted by reading the play, I realize that it is impossible. A significant ‘why’ accompanies my efforts. Why do we always opt for violence and blood? Why are we accustomed to burying corpses? Why are we exhausting our imagination on how to destroy ourselves? Our acts follow and define who we are. Five actors and one musician on stage plant the seed of dialogue and invite us to openly talk about our share of responsibility and the cruel nature and intentions of human deeds.

    Note from the playwright (Giorgos Adamantiadis)
    An awful conspiracy of silence has been smothering this place. As if our true history is locked in a basement; to keep it out of the reach of children, who should never find out the truth. For there is no heroism, wisdom or philosophy in this truth. It is far from the sea, the olive trees and the wine. It is closer to the mountains, the cliffs and the pine trees. All our actions are defined by our history, though we hush up a significant part of it. It is more convenient to present ourselves as victims. This way, it is easier to wash away our crimes; a series of crimes that we have never answered for. And this time history wasn’t our judge.
    By the end of the play, one of the characters asks: “What did you tell them, you fool? That you are a refugee? A victim? An innocent man? A teacher? An enlightened philosopher who attempted to re-write his history? Your history is written in your throat! You’ll never be able to eliminate the beast hiding inside you. It is there. It is breathing. It is waiting to come out. You can’t keep it locked. For the beast is the one holding the key”. This phrase is not addressed to any particular character of the play; it is addressed to Greece instead.

    Note from the Group
    Mount Olympus, 1925. Two brothers, fed up with any form of authority, decide to leave the city and seek refuge to the mountains to live as thieves. Totally cut off from the Western civilization, they organize themselves in teams and return to other forms of social gathering. They oppose all state and “parastatal” structures. Their fight against political corruption glorifies them in the eyes of the local people, and turns them into literary heroes in urban areas.

    The two brothers run a double life. On the one hand they do charity work; they build churches; they provide for the widows and the orphans. On the other hand, they behave as local gang members; they demand a price for their services and threaten to commit mass murders when provoked.

    The play’s objective is to leave the stereotypes behind and present the life of thieves from a different angle which would shed more light on the reasons why these historical facts which describe one of the darkest eras of the Modern Greek history were kept for decades at the margins of the national discourse.

    The play is an attempt to show how  the landmarks and stories of the past can talk about modern sensitivities and define our relationship with culture. Here is an excerpt from the play that sums up the story and its spirt:

    “You know, man, we do not kill defenseless people. We are thieves. We have enemies everywhere. We are cursed. Just like you. We’ve been cursed by society. As if society were flawless. On the contrary, it is full of loan sharks, squires, dealers and slave traders – all thieves – who feed on the blood of the poor. If these are all righteous people, then just let us be the villains in a society of dead souls. So, write down everything we do. Then you may send our achievements to the newspapers, and warn these righteous people about the consequences when they make the unfortunate suffer. Write it all down. As of  now”.

  • Reviews

    …Giorgos Adamantiadis (playwright and member of the cast) did not hesitate to talk about one of the pages of Modern Greek history that people tend to sweep under the carpet and pretend it never existed; it’s the period of thieves and their gangs. In Adamantiadis’ bright and vibrant play, the outcome of an extensive historical research, there are no heroes or villains. No one is innocent.  […] Stelios Patsias’ direction is just as accurate, plain, true and determined. He  [….] has made the best out of his five excellent actors […]. The play places the viewer in the uncomfortable position of introspection. As long as the audience, of course, has the guts to watch something that makes them feel uncomfortable, “forced” to focus on the alertness of the mind and senses…. Do not miss this play.
    Review by Giorgos Myzalis, Ogdoo.gr

    A very interesting performance that brings to the fore issues of opposition to the state apparatus, through the story of two brothers who live in the mountains of Olympus as thieves in 1925. MUTE reads the Greek history of the early 20th century unconventionally. In MUTE, social thievery is not idealized but it is presented as a reaction to the cruel exploitation of the state and the landlords (…).
    Review by Efi Karahaliou, ToPeriodiko.gr

  • Biography

    Giorgos Adamantiadis. A graduate of the Department of History of the University of Ioannina and the Drama School “Dilos”, Athens. In 2009, he received a scholarship and attended the Royal Central School of Speech and Drama (MA Classical Acting). In 2010, he traveled to Moscow in the context of the Moscow Art Theater’s retraining on the Stanislavsky method. He worked as an actor for two years in London, with the Hamstead Theatre. Since 2013, he has been working in Athens as an actor and acting teacher at the Drama School “Dilos”. He is the founder of the theatre company Memento Mori. Mute is his first play.

    Stelios Patsias . Studied acting at Drama School “Dilos”. He works for theatre, television and cinema.

    Giorgos Karanikolaou. Began his drum lessons at the age of sixteen in the State Conservatory. He has worked at the Opéra Conservatoire and the Musical School of Nea Filothei.

    Pavlos Iordanopoulos. After graduating  from Athens Conservatory Drama School, he has  participated in many awarded films and theatrical performances. In 2018 he made his debut as a director in the experimental film People.

    Chronis Barbarian (Chronis Manikas) . Studied History & Archaeology in the National Kapodistrian University of Athens and Theatre in Athens Conservatory Drama School and in the Drama School “Dilos”. He was involved with boxing and other martial arts. He has attended dance seminars (ballet, contemporary dance, butoh)and worked for theatrical performances like Master and Man (Amalia Bennet), Hector Malo, The Last Day of the Year (Cannes 2018 first award), among others.

    Nikolas Alexiou. Graduated from the Department of Theatre Studies of the University of Patras and from the Drama School “Dilos”. He also holds a diploma in Byzantine music .

    Alexandros Siatras. A graduate of the Department of Digital Systems of the University of Piraeus and Athens Conservatory Drama School..

    Dimitris Logothetis. Works mainly on Greek television productions as director of photography.

    Maria Kokou In 2014 she completed her studies in economics at the University of Patras and in 2016 she graduated from the Drama school Dilos .

    Maria Palantza. Graduated from the University of Hull (BA Theatre Studies and attended the Motley Theatre Design Course, under the direction of Alison Chitty. Her work as a set and costume designer for theatre, TV and cinema includes projects for a variety of independent theatre groups in Greece, Spain and England.

    Androniki Tsatsaroni. A graduate of Communication and Mass Media at the National and Kapodistrian University of Athens. Over the last three years, she has been actively involved in the communication and promotion of performances and art venues.

Time

6 (Saturday) 21:00 - 7 (Sunday) 23:00

Location

‘ANETON’ MUNICIPAL THEATRE

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

Sun07Oct19:00‘you: the elements’Performance Poetry Vassilis Amanatidis + ‘Mavros Gantzos’ (Black Hook)19:00 MACEDONIAN MUSEUM OF CONTEMPORARY ART

Price

Free Admission

Event Details

you: the elements is a modular farewell. Its subject: familiarisation with erotic separation – and all other types of separation – and submersion into powerful love. As the four (plus one) elements of nature and the proof and documentation of existence of a relationship are mixed with the romantic elements that reside in between, you: the elements evolves along the way into a quiet declaration of transposition, multiplicity and freedom to the open air of the individual and the different. Poetry like prayer for the absolute minimum still flickering.

Since 2007 Vassilis Amanatidis has been presenting his texts and books through performances that utilise hand-made materials, modern technology, and the synergy of other arts. As performance poetry, you: the elements is the result of a conversation between the poet, director Sophia Karakantza, and the ‘Mavros Gantzos’ (Black Hook) team. Here we observe Amanatidis’ relationship with his moving text, which – in the presence of an audience – takes on a visual dimension, while his poetry is a kind of body and voice in space. Through an overhead projector, an “Emily Brontë” and two reflecting faces, an erotically, religiously tolerant, and hybrid execution takes place, that looks like a mental lecture or a DJ set (but without the songs, with just poems and memory). With intense dedication to the imprint of the fleeting moment and the essence hidden in the fragments.

The poetry work was published by Nefeli Publishers in 2017 and received the Poetry Award of the Academy of Athens.

CAST & CREW
– Performance – Performance reading: Vassilis Amanatidis, Sophia Karkantza
– Director: Sophia Karkantza
– Music composer: Katerina Tzedaki
– Musical performance: Mariana Vogiatzi, Katerina Tzedaki
– Visual concept – costume designer: Rania Emmanuilidou
– Visual communication designer: Apostolos Rizos
– Photographer: Sofia Camplioni Photography

Starting time 19:00

Collaboration Macedonian Museum of Contemporary Art

REVIEWS:

The masterfully weaved “super-poem” is seductive as it achieves what initially seems paradoxical: despite its fragmented nature, it does not allow for anything to be removed from it. The poems that comprise it are breaths that must be taken in succession, with no back-and-forths, regularly, in order for the super-poem to retain its in-progress life. These poem-breaths speak, tell the story of the erotic phenomenon, and in it reflected an entire encased universe of images, sounds, and, very often, touches.
At the very depth of all poems, between the vertigo of the you-me contradiction, through the fragmented, in-progress formation of the poetic subject, we see the pureness of physicality. Because, besides and beyond its continuous experimentation, its technical and morphological uniqueness, its inexhaustible imagination, the book (as well) highlights the poet-performer, as he flourishes through his physicality. And this is perhaps the most important aesthetic history behind poems: the disappearance of the poetic I, and the architectural construction of its corporeal existence. Amanatidis’ poems are often, and collectively, audiovisual, dramatic, and typographic extravaganzas, which create an ad infinitum, interchanging, and evolving synaesthesia, and which only live in the context of a performance, only in the body of the performing poet.
Eno Agolli, ‘Entefktirio’ magazine, 2018

This is a poetry of clever subversion, where a work and an identity in progress keep being constructed. The poet as performer, within the performance of his poetry, directs himself and gradually transforms the initial monologue into a dialogue, calling for the incorporation of the audience into his actions. Amanatidi’s body succeeds in achieving a new dimension. That of the ritual subject balancing between the text and the poet himself. Persistently equipping the subject narrated with autobiographical elements, he moves and speaks inter-subjectively, in conquering alienation from the self and with the body as the subject that moves and gestures deliriously, ultimately participating in a linguistic, inter-textual, and supra-textual game. Standing on and participating in the events consecutively as a thing, as a body, and as “another”. Thus, while subtracting his structural and content façade, he bears himself identifying with the fluid and existing other as a body, and in feeling pain and compassion, he is transposed, changing roles and positions.
Petros Golitsis, Efimerida ton Syntakton, 2017

Time

(Sunday) 19:00

Location

MACEDONIAN MUSEUM OF CONTEMPORARY ART

Egnatias 154 (TIF-Helexpo) T: +30 2310 240002

07Oct(Oct 7)21:0008(Oct 8)23:00WAITING FOR GODOT by Samuel BeckettSEMEIO MEDEN ENSEMBLE21:00 - 23:00 (8) ‘AVLAIA’ THEATRE

Price

Admission €12 Regular €8 Unemployed Students

Event Details

Our performance is played on the ruins of the world, in a future more or less close to us, where all the wounds of the present and the past of humanity are open … But also the expectations … At this marginal point of humanity’s existence, which are the few possible conditions for restarting life, a life that is worth living for? In “Waiting for Godot” we found two possible answers and there we based our work:

The effort to communicate and coexist with the Other, with the one we have before us, despite all obstacles, even when these look unsurpassed! But also the effort of communicating with the Other within us, with this unknown and dark area of repressed desires and fears, of forgotten senses and instincts, the area of the animal and the divine, where madness and dreams are born.

This is the journey we tried to take to the Other within and to the Other outside, in front of us (…)

Savvas Stroumpos, Director

CREDITS
Translation: Thomas Symeonidis
Direction: Savvas Stroumpos
Stage installation: Elias Papanikolaou
Light design: Costas Bethanis
Performers:
Vladimir: Christos Kontogeorgis
Estragon: Konstantinos Gogoulos
Pozzo: Evelyn Assouad
Lucky: Ellie Ingli

PHOTO GALLERY AND VIDEO
Trailer: https://www.youtube.com/watch?v=N_5X14CYjcI
Website: http://simeiomiden.gr/performances/
Vimeo channel: https://vimeo.com/simeiomiden/videos
Trailer of the performance: https://www.youtube.com/watch?v=N_5X14CYjcI
English website of the performance:  http://simeiomiden.gr/performances/waiting-for-godot/

vimeo channel of the group’s performances: https://vimeo.com/simeiomiden/videos

  • Directors note

    Our performance is played on the ruins of the world, in a future more or less close to us, where all the wounds of the present and the past of humanity are open … But also the expectations … At this marginal point of humanity’s existence, which are the few possible conditions for restarting life, a life that is worth living for? In “Waiting for Godot” we found two possible answers and there we based our work:

    The effort to communicate and coexist with the Other, with the one we have before us, despite all obstacles, even when these look unsurpassed! But also the effort of communicating with the Other within us, with this unknown and dark area of repressed desires and fears, of forgotten senses and instincts, the area of the animal and the divine, where madness and dreams are born.

    This is the journey we tried to take to the Other within and to the Other outside, in front of us (…)

    Savvas Stroumpos, Director

  • Reviews

    It is an art, paraphrasing Grotowski, which violates our limits, extends our boundaries, fills our void, and contributes to our completion. By exploring and evolving this art, the Semeio Meden Ensemble (Zero Point), surprises you, calling you in each of its performances to put aside the established perspective and to look for a different way of living in the theatre.”

    “Prin”, Kiriaki Agapitou

    “Waiting for God” (…) finds its perfect application in the bold, directorial attempt of Savvas Stroumpos, based on the excellent translation by Thomas Simeonidis. (…) With a fresh postmodern look and with the stage installation of Elias Papanikolaou, Savvas Stroumpos penetrates the existential agony of the heroes. Without exaggerations, he produces a theatrical act of dramatic depth, where the main characteristics of the protagonists unfold. The actions are created at a level of vigor and in a somewhat “gothic” atmosphere in some parts, which excite the spirit of the spectator.

    “Culturenow.gr”, Zoi Toli

    Savvas Stroumpos confronts the textual beast which Beckett created in the image and likeness of the deformity and dysfunction of the imperfect human being. […] the director did not fear his explosive, “insane” (“We are all born mad, some remain”) material. On the contrary, with care, boldness and measure, based on the excellent translation by Thomas Simeonidis, he reveals  its labyrinthial philosophical and literary polysemy, guiding his exceptional actors away from obvious and hidden obstacles.

    “Nea Selida”, Ioanna Blatsou

    The actors do not play their roles; they experience them, which is one of the most dynamic features of the group. They are excellent at all levels, with a stunning body movement that not only produces actions but also emotions and exerts their interpretive means. They have rare chemistry, a product of harsh, long-time, systematic teamwork and they move perfectly tuned to the inner rhythms of the performance.

    “episkinis.gr”, Maria Kiriaki

    The performance transfers the spectator to an undetermined landscape after the disaster, replacing the mid-hats (perhaps the most stable element of the project) with military boots. True to the directorial line of a “poor theater”, the director takes full advantage of the physical and vocal skills of the actors. “O dromos tis aristeras”, Spyros Kakouriotis The performance of Savvas Stroumpos has something rare: it is a consciously “Shakespearean” reading of Beckett through the genius of Albert Camus, which rightfully justifies him. (…)

    “Avgi”, Leandros Polenakis

  • Biography

    Savvas Stroumpos

    Savvas Stroumpos was born in 1979 in Athens. He graduated from the Drama School of the National Theatre of Greece (2002). He holds an MA with Merit from the Department of Theatre Practice, University of Exeter, UK, where he studied with Phillip Zarrilli (2003).

    As an assistant director, he collaborated with Theodoros Terzopoulos in the following performances: Aeschylus’ The PersiansMeyerhold Center, Moscow (2003), Sophocles’ Oedipus RexAlexandrinsky Theatre, St. Petersburg (2006), Aeschylus’ Prometheus BoundState Academy of Dramatic Art, Beijing, China (2008), Sophocles’ Antigone, State Academy of Dramatic Art, Beijing, China (2011), Samuel Beckett’s EndgameAlexandrinsky Theatre, St. Petersburg (2014), Euripides’ The BacchaeElectro Theatre, Stanislavski (2015), Sophocles’ AntigoneWilma Theatre, Philadelphia, USA (2015), Euripides’ The Bacchae, National Theatre of Taiwan (2016), Euripides’ The Trojan Women, Cultural City of Pafos, Cyprus (2017).

    As an actor of Attis Theatre, he participated in the following performances: Boris Pasternak’s Hamlet a Lesson (2003), Aeschylus’ Prometheus Bound (2003), Aeschylus’ Epigone (2004), Samuel Beckett’s Ohio Impromptu (2004), Ajax – the Madness  (2004), Costas Logaras’ The Last Mask (2006), Aeschylus’ The Persians (2006), Marios Pontikas’ Cassandra (2007), Ajax – the Madness, 2nd version (2008), Aeschylus’ Prometheus Bound (2010).

    With Semeio Meden Ensemble (Zero Point) he has directed: Franz Kafka’s  In the Penal Colony (2009), William Shakespeare’s  As You like It (2010), Albert Camus’ The Justs (2011), Franz Kafka’s  Metamorphosis(2012),  Georg Buchner’s Woyzeck (2013), Franz Kafka’s In the Penal Colony (2014 – 2nd version), Yevgeny Zamiatin’s We (2015), Heiner Müller’s The Mission: A Memory of a Revolution (2016), Dimitris Dimitriadis’ Troas (2017), Gyorgy Kurtag’s Kafka Fragments (2018), Samuel Beckett’s Waiting for Godot (2018).

    Semeio Meden Ensemble (Zero Point)

    Semeio Meden Ensemble (Zero Point) was created in 2009. The group’s work focuses on the research of the performer’s and director’s craft, through a collective creative process, in confrontation with classical and modern texts and writers.

    So far Zero Point has staged, among others, Franz Kafka’s In The Penal Colony (2009), William Shakespeare’s  As You Like It (2010 ), Albert Camus’ The Justs ( 2011-12 ), Georg Buchner’s Woyzeck (2013), Heiner Müller ‘s The Mission: A Memory of a Revolution (2016), Dimitris Dimitradis’ Troas (2017).

Time

7 (Sunday) 21:00 - 8 (Monday) 23:00

Location

‘AVLAIA’ THEATRE

YMCATH Square (Tsimiski Street) Te;. +30 2310 230 013

08Oct(Oct 8)21:0009(Oct 9)23:00RELIC by Euripides LaskaridesOSMOSIS GROUP21:00 - 23:00 (9) LABATTOIR

Price

Admission €10 Regular €8 Concessions Unemployed Students Dimitria card holders

Event Details

In a makeshift room, decorated in a haphazard DIY fashion, a performer puts his notably awkwardly shaped body under the magnifying glass. Magic comes from the mundane and references to cabaret, vaudeville and slapstick abound. Greek artist Euripides Laskaridis is concerned with ideas about ridicule and transformation. By testing the limits of our acceptance of the incongruous and the unfamiliar, the performer and the audience alike will experience a moment of transcendence.

CREDITS
Director, choreographer, performer, set designer: Euripides Laskaridis
Director’s Consultant: Tatiana Bre
Dramaturgy consultant: Alexandros Mistriotis
Costume: Angelos Mendis
Sound design: Kostas Michopoulos
Sound installation & live operation: Nikos Kollias – Kostis Pavlopoulos
Music consultant: Kornelios Selamsis
Lighting consultant: Eliza Alexandropoulou
Light installation: Miltos Athanasiou
Tour & Production Manager 2017-2018: Maria Dourou
Presented in collaboration with  EdM Productions and Rial & Eshelman
A co-production of  the Athens & Epidaurus Festival and OSMOSIS.

CONTACT
Euripides Laskaridis — OSMOSIS Performing Arts Co
+30 694 700 9329 | euripides. info@gmail.com

  • Directors note

  • Reviews

    “A striking show at the Barbican — unexpectedly affecting!”
    LYN GARDNER – THE GUARDIAN

    “…an episode of anarchic, physical theatre that will live long in the memory. Euripides Laskaridis is a Greek exponent of the theatre of the absurd, without inhibition and possessing enormous charisma.”
    GRAHAM WATTS

    “Your own brain keeps thinking what the fuck? and then: what the hell, just go with it. It’s worth it.”
    SANJOY ROY

  • Biography

    Euripides Laskaridis (director, performer) studied acting in Athens’ leading Drama School “Karolos Koun” and directing (MFA) in New York’s Brooklyn College on an Onassis Foundation Scholarship. He has been performing since 1995, working with directors like Dimitris Papaioannou and Robert Wilson. He began directing his own work in 2000, both stage works and, later, award-winning short films. In 2009, he founded the OSMOSIS Performing Arts Co and presented works at various Greek theatres. In 2016, Euripides was awarded one of the inaugural Pina Bausch Fellowships to spend few months alongside the director and choreographer Lemi Ponifasio in New Zealand, Chile and Europe. In August 2017, Euripides was listed in the Hoffnungsträger (Promissing Talent) list of the German magazine «tanz» and was also honored to become associated artist of Portugal’s leading residency organization, O Espaço Do Tempo – Associação Cultural.

    OSMOSIS Performing Arts Co’s first solo work, RELIC, made it to the Aerowaves 2015 list and opened in Barcelona in 2015. Since then it has appeared at twenty international festivals in the UK, France, Austria, Italy, Finland, Ireland, Israel, Slovenia, Switzerland, and is still touring. Euripides’ new work TITANS is an international co-production between Greece, France, Canada, Holland and Portugal. It premiered in 2017 and has been presented at Festival delle Colline Torinesi, the Grec Festival de Barcelona, Julidans Amsterdam and Théâtre de la Ville – Les Abbesses. In 2018 it will be presented in various international festivals.

Time

8 (Monday) 21:00 - 9 (Tuesday) 23:00

Location

LABATTOIR

No 35 26th October Street Τ: 2313 318 203

08Oct(Oct 8)21:0009(Oct 9)23:00THE MOTHER’S RING by Yannis KambisisC FOR CIRCUS GROUP21:00 - 23:00 (9) ‘ANETON’ MUNICIPAL THEATRE

Price

Admission €12 Regular €10 Concessions The unemployed Students Large families Concessions

Event Details

Inspired by an old Greek play about a poet’s death, or rather about his last moments, C. for Circus present The Mother’s Ring by Yannis Kambisis , directed by Pavlos Pavlidis. Constructing a world of music, poetry and fantasy, C. for Circus set up a vivid ritual of farewell, rewriting, for the poet’s sake, his “last pages”. This is their way to celebrate the ten years of their course together in theatre, with the most optimistic play they have ever staged.

THE STORY

It’s Christmas Eve. A little cabin in the woods, the house of a poor family: the mother and her two sons. The older son, the Poet, critically ill, knowing that he does not have enough time left to live, sighs for the untrodden peaks of his homeland, the legends of his family and the Fairies of the Mountain. He imagines travelling to reach them and to enjoy their company in his last moments while he longs to fade in the lap of his beloved one. His mother, to save him, decides to sell the only fortune of the family, the ring that once upon a time was given to her ancestors by the three Fates themselves. Yet, she is aware that a choice like this would invoke a curse.

The Mother’s Ring by Ioannis Kambisis is a play written in a local dialect and inspired by the life of the poet and prose writer Kostas Krystallis. It has been described either as a musical drama or a Christmas dream play. In 1917, Manolis Kalomoiris composed an opera on the play and fifty one years later, in 1968, it was broadcast on the national radio programme “Wednesday’s Theatre”. In  December 2004, The Mother’s Ring was presented at the National Opera, on a libretto by Yorgos Stefopoulos, directed by Spyros Evaggelatos. And now is the turn of C. for Circus ensemble  to face up to the challenge of this so-rarely-told story of farewell.

Credits
Playwright: Yannis Kambisis
Direction: Pavlos Pavlidis
Dramaturgy: Pavlos Pavlidis, Athina Sakali
Setting construction: Spyros Doukeris
Costumes: Lina Stavropoulou, Gina Iliopoulou
Lighting design: Ioanna Zerva
Music teaching: Valeria Dimitriadou
Director’s assistant: Athina Sakali
Photo shooting: Nikos Pantazaras, Christos Symeonidis
Video: Maria-Elisavet Kotini
CAST: Panagiotis Gavrelas, Xrysa Kottarakou, Athanasia Kourkaki, Irene Makri, Nikolas Papadomichelakis, Natasa Roustani, Spyros Chatziangelakis

Contact
Communications manager: Panagiotis Gavrelas
Telephone: 0030 6973346070
email: cforcircus@gmail.com

Trailer: https://www.youtube.com/watch?v=2dTcCmYP1so

  • Directors note

    The Mother’s Ring, written in an informal local dialect, talks about a version of Greece where faith in God and Orthodox Christian customs coexist with the faith in Fairies and pagan elements, poetry, the wild beauty of nature, the purity of the people as well as poverty and death. There is no “wrong” in this story and there is no villainy in these heroes, only the longing of people for life. What aroused my interest is the panhuman tendency that at the moment when reality gets tough, one turns to fantasy as a temporary answer. The meaning and interpretation of this could either be the act of surrender in front of death, or the prolongation of life. What else is fantasy but the continuation of life in a different environment and in more varied ways? What else is Death, other rather than the continuation of Life?

    The viewer of the play may see it as a remembrance, as something that happened sometime, somewhere in Greece. For me though, it is not a memory; it is something that we have unfortunately forgotten and should be recalled in order to be inspired and let ourselves look at life through this forgotten simplicity.

  • Reviews

    Seven actors give everything it takes in a masterpiece of liveliness, energy and passion. They communicate with each other effortlessly, balancing on a large seesaw on stage, singing, playing live music, dancing, allowing us to understand that not only have they really loved this story and text, but that they have also a magnificent agility to create truth on stage. They choose all kinds of art to compose the art of theatre. The play The Mother’s Ring moves us.
    10/6/2018 – Kostas Zisis- https://www.all4fun.gr/

    And then, literally on the last days of the season, in June, C. For Circus perform the play The Mother’s Ring. Their momentum, enthusiasm, thoughts and deep – Kostas Zisis- https://www.all4fun.gr/emotions gave me the best closure I could wish for the season 2017 -18.
    21/6/2018- Giorgos Voudiklaris- https://artivist.gr/

    Pavlos Pavlidis directed the play with great precision. He raised the bar too high, but he passed over it comfortably. He worked hard with the actors and that was clear. He approached this play correctly, he found its rhythm. All of his directions where directly based on the text; he did not try to show off his intelligence and so he proved to be a very clever director.
    8/6/2018-Yannis Tzemis- https://avmag.gr

    Αuthentic emotion with a postmodern fairytale
    Together, they produce good theatre – on their own terms. The entire play is a demonstration of artistic skill, with live music, movement, acrobatics, recitation and interpretations. The scene, where everything is dark and invisible, is wonderfully built. …They all play like one body from which the ability and the transmission of sensitivity overflow.
    Grigoris Ioannidis, http://www.efsyn.gr

    Why you should see the show:
    • Because the way a text written in 1898 comes alive is at least exemplary.
    • For the thrills of emotion that will flood you before the awe of death.
    • It is clear that the new generation can do miracles.
    6/6/2018- Georgia Oikonomou- http://tospirto.net

  • Biography

    1. for Circus

    The C. for Circus theatre group was founded in June of 2008 in Thessaloniki and for the last four years it has been based in Athens. They have participated in various festivals, such as the Aeschylian Festival and the Bob Theatre Festival in Greece, as well as the International Shakespeare Festival in Serbia. They have performed in many theatres in Athens and Thessaloniki, such as Bios, Apo Michanis, Skrow, Avlaia, Blackbox. They have worked with Ryszard Nieoczym, John Britton, Alice Dourmazer and many more artists.

    Chatziangelakis Spyros

    Graduate of the Physics Department of the Aristotle University of Thessaloniki. Co-founder of  C. for Circus. As an actor, he has worked with many directors, such as D. Karatzas, R. Pateraki, P. Dentaki, C. Theodoridi, D. Mylonas, O. Papaspiliopoulos and many others. He has been awarded the leading actor award for his performance in the film Prince of the Hill in the Filmie Festival. He has directed The Birthday of Infanta for C. for Circus.

    Dimitriadou Valeria.

    Graduated from the Law School of the Aristotle University of Thessaloniki. Co-founder of C. for Circus. She studied in the Drama School of the National Theatre of Greece and works as an actress. She plays the piano professionally and composes music for her band “Valsia” and for various theatre productions.

    Gavrelas Panagiotis                     

    Graduated from the Physics Department of the Aristotle University of Thessaloniki and the Athens Conservatoire Drama School. Co-founder of  C. for Circus. He is interested in music and plays the guitar, the trumpet and the ukulele.

    Iliopoulou Gina

    Studied in  the Department of Banking and Financial Management and did her MA in Architectural Design (Theatre Design) in the Vakalo Art & Design College. She has taken part in the Set and Costume Design Workshop of the National Theatre of Greece. She has worked with the National Theatre, the Athens and Epidaurus Festival, the Onassis Cultural Foundation and for many short films, advertisements and videos.

    Kottarakou Chrysa

    A graduate of the School of Mechanical Engineering, Aristotle University of Thessaloniki. She has participated in workshops with A.Trevlia, K.Fioreto, A.Kazazou, D.Lalo, L.Fillipova and many more. She has been a member of C. for Circus since 2009.

    Makri Irene

    A graduate of the Drama School of the National Theatre of Greece and the Civil Engineering Department of the Aristotle University of Thessaloniki. Co-founder of C. for Circus. She has taken part in Mercie & Camier, directed by Y. Kakleas.

    Papadomichelakis Nikolas

    A graduate of the Drama School of the National Theatre of Greece.  He works as an actor.

    Pavlidis Pavlos

    A graduate of the Electrical Engineering Department of the Aristotle University of Thessaloniki and “Dilos” Drama School in Athens. He plays the accordion and he has been a member of C. for Circus since 2008.
    Roustani Natasa

    A graduate of “Dilos” Drama School and the School of Primary Education of the Aristotle University of Thessaloniki. She has also studied opera singing. She has been a member of C. for Circus since 2009. She has worked as a teacher in public schools for children with learning disabilities and refugees.

    Sakali Athina

    Graduated from the Drama School of the National Theatre of Greece and attended the masterclass of the National Theatre of Greece in 2015-2016. She has been a member of the Lykion ton Ellinidon of Larissa (traditional dancing group) for ten years. She has also taken part in the Olympic flame lighting ceremony for the Olympic Games in Rio (2016).

    Stavropoulou Lina

    Graduated from the Faculty of Theatre Studies of the National and Kapodistrian University of Athens.  She has taken part in the Set and Costume Design Workshop of the National Theatre of Greece. She has worked with the National Theatre, the Onassis Cultural Foundation, the Athens Concert Hall and in many short movies and advertisements.

    Zerva Ioanna
    A graduate of the “Dilos” Drama School and the Department of Medical Laboratory of Thessaloniki. She has been the lighting designer in Alpha Steritiko Trio, directed by T. Athanasiou, Othello, directed by the group noStage, Point B, directed by D. Pagonis.

Time

8 (Monday) 21:00 - 9 (Tuesday) 23:00

Location

‘ANETON’ MUNICIPAL THEATRE

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

Wed10Oct12:00THE BACCHAE by EuripidesONASIS CULTURAL CENTER / STEGI12:00 MACEDONIAN MUSEUM OF CONTEMPORARY ART

Price

Free Admission

Event Details

Ancient tragedy as a rock show.

The director Aris Biniaris plugs the Bacchae into the mains and puts the divine Dionysus in front of the mic.

You are not just in a theatre. You are in the house of a god. Because Dionysus is the god of the theatre. This god has been insulted. The god avenged himself on his detractors. In this story, you will see a rock hymn to Dionysus, sung by the mystics of the theatre, the actors.

In Bacchae, Euripides recounts the arrival of Dionysus in Thebes in order to enforce his worship, the bacchic rites. King Pentheus rejects his cult. Dionysus claims his revenge. Pentheus meets a horrible death: he is savaged by his own bacchian mother, Agave.

But let us forget Dionysus for a while. Let us talk of a new god. Instead of Pentheus, we have the King. Instead of Agave, the Mother. Instead of Tiresias, the city’s clairvoyant. Let us not talk about Bacchae. Let us talk about the ritualists. Because you are about to attend a ritual.

Part of the ritual is the presentation of a play that comes from the distant past to talk to us about the familiar and the eternal. This work is Euripides’ Bacchae, the only surviving drama with the god of the theatre as protagonist, the only one that speaks to us in such a vibrant tone about agony and rebirth, about the elimination of all contrasts, about ecstasy and absolute transcendence.

On a subversive premise, Aris Biniaris plugs in the Bacchae and propounds a performance like an electrified ritual, with the actors transformed into Dionysus and his bacchian ritualists who, in front of their microphones, will relate like never before the ordeal of Pentheus, the unbelieving king, who was destined to be mauled by his own mother.

The godfighter king’s death we recall

The godfighter king’s death we extol

Lest we share in his torment

 

(Extracts from the evening programme of The Bacchae at the main stage of the Onassis Cultural Centre/Stegi)

 

Summary

In The Bacchae, Euripides recounts the descent of Dionysus in Thebes, in order to enforce his cult, the Baccheia. King Pentheus repudiates it. Dionysus takes his revenge. Pentheus meets a horrible death at the hands of Agave, his own bacchant mother.

Euripides wrote The Bacchae (407 BCE) in the court of King Archelaus, in the city of Pella in Macedonia, at the advanced age of c. 70. The play was presented after his death by his son or nephew of the same name, and was awarded first prize in the 405 BCE Dionysia.

CREDITS
Direction Aris Biniaris
Produced by  Onassis Cultural Centre Athens (2018)
Adaptation based on Yorgos Chimonas’ translation Aris Biniaris, Theodora Kapralou
Dramaturgy Theodora Kapralou
Sets & Costumes Paris Mexis
Lighting Lefteris Pavlopoulos
Original Music written and performed by:
Victor Kouloumpis (electric bass), Panos Sardelis (drums)
Movement Amalia Bennett
Sound Design/Sound Engineer Harris Kremmidas
Producer Manager Maria Dourou
Cast:
Amalia Bennett, Aris Biniaris, Charis Charalambous, Giorgos Gallos, Anna Kalaitzidou, Karyofyllia Karabeti, Christos Loulis, Onisiforos Onisiforou, Evi Saoulidou, Konstantinos Sevdalis

Trailers
https://youtu.be/LwozkV9FlkI
https://www.youtube.com/watch?v=E8AjRSY2sqo

  • Directors note

  • Reviews

    It is a fervently applauded indisputable artistic success. A remarkably thoughtful approach to the fundamentals of tragedy
    Gregory Ioannidis, The Editors’ Newspaper, 26/03/2018

    (…) anything but conventional version of Euripides’ Bacchae adapted by Yorgos Chimonas’ translation. An impressive ensemble, superbly coordinated by a firm directorial hand.
    Nikos Xenios, bookpress, 22/03/2018
    https://www.bookpress.gr/politismos/theatro-xoros/stegi-baches-aris-biniaris-2018

    Investigative, pulsating, captivating “Bacchae”.
    Maria Kryou, Athenorama, 27/03/2018
    http://www.athinorama.gr/theatre/article/bakxes_se_trans_-2527645.html

  • Biography

    Aris Biniaris (director)
    Between 1999 and 2005, Aris Biniaris was involved in street theatre, where he incorporated contemporary performing techniques (stilts, fire juggling, street acting). After his leading role in Dimos Avdeliodis’ production of Alexander the Great and the Accursed Dragon in  2007, he directs for the first time and acts in  Sophocles’ Antigone (2007-2008) and Euripides’ Bacchae (2010), focusing on the musicality of the ancient Greek language. His production of Yannis Skarimbas’ Holy Goat (2011), a  rock music narrative concert performance, was presented in the Athens and Epidaurus Festival. His next work (2015), a rock narrative concert, was ’21, a pastiche of authentic texts from the 1821 Greek Revolution era. He also directed and acted in The Persians for the Cyprus Theatre Organisation (2017). His productions have been presented in the Athens and Epidaurus Festivals, The Odeon of Herodes Atticus, other ancient theatres of Greece and various cities of Cyprus.
    His work in the theatre showcases poetic works as both theatrical and musical events, where sound, music, the musicality of language and acting become a vehicle for the audience to understand and actively engage with the meaning of the work. In recent years, he has dealt with a kind of dramaturgy that seeks to foreground issues of personal freedom, social dogmatism and historical memory.
    He teaches acting through singing at “Archi” Drama School and in the Quilombo venue.

Time

(Wednsday) 12:00

Location

MACEDONIAN MUSEUM OF CONTEMPORARY ART

Egnatias 154 (TIF-Helexpo) T: +30 2310 240002

Wed10Oct21:00AFTER THE CAMPSITE by The National Theatre of Northern Greece21:00 SOCIETY FOR MACEDONIAN STUDIES THEATRE

Price

Admission €5

Event Details

The play-project After the Campsite is the outcome of the annual workshop which the National Theatre of Northern Greece runs for young refugees. It is not a play about the refugee crisis, but a play about the crisis of European values, now that history has made it clear that Europe is anything but a Union. The project chooses not to focus melodramatically on the past, on lost homelands and all things left behind. Instead, it attempts to highlight the hopes and dreams of young refugees for a better future and the ways in which they adapt to their new life.

The production was selected to participate in the “The Future of Europe—International Theatre Festival”. It was staged at the Schauspiel Stuttgard in June 2018, along with productions from Piccolo Teatro (Milan), Célestins Théâtre (Lyons), the National Theatre of Greece (Athens), the National Theatre of Catalonia (Barcelona) and Vigszinhaz (Budapest). It thus became part of the joint work of several European theatres which created an artistic and discursive space in which international artists explore the topic of the future of Europe and the potential for an “open European society”.

CREDITS
Director-Writer-Set design-Lighting design: Mihalis Sionas
Music Composition: Giannis Tsemperlidis, Mihalis Sionas
Live Performance: Timoleon Papadopoulos, Giannis Tsemperlidis
Movement: Eddie Lame
First Assistant Director: Nikolas Maragkopoulos
Second Assistant Director: Lila Vlachopoulou
Third Assistant Director: Konstantina Vaitsi (IEK Akmi student / intern)
Production Photography: Tasos Thomoglou
Production Coordinator: Eva Koumandraki
Cast: Stefania Zora, Timoleon Papadopoulos, Giannis Tsemperlidis

 

VIDEO
Trailer: https://www.youtube.com/watch?v=P2gyHot2nBQ&t
Teaser: https://www.youtube.com/watch?v=YLzM5-f3PAM

 

  • Directors note

    Note from the director, the first assistant director, the second assistant director, the choreographer and the actors:
    The performance is dedicated to Masoome, Mohadeseh, Aya, Nazanin, Fateme, Daniel, Yunes, Partiman, Elias, Mohammad, Asifa, Atifa, Morteza, Sara, Boshra and all the members of the workshop for the young refugees of the NTNG, their families, and everyone else who is in the same position.

    Sincere thanks go to: Amalia Kontogianni, AlexisTzenos, Christos Broufas, Athina Paraponiari, Anastasia Founta and her students of the 2nd High School of Kalamaria.

  • Reviews

    ‘’ Greek theatre has rarely been as self-aware, lively and indispensable –and even more rarely, with so many perspectives that harmonize in a single context– as during After the Campsite.’’
    Francesco Chiaro, teatro.persinsala.it – Italy

    ‘’In addition to commenting on the tragedy of the refugee crisis, the show is a commentary on a Europe that practices unfair austerity policies to fill the gaps in the pockets of those who conceptualized it, trapping millions of young people in a morbid state of poverty and leading them to self-contradiction and despair.’’
    Eva Tsoukala, parallaximag.gr

    ‘’The show was designed for a modern theatre and an  experienced audience […] The intensity, eagerness and the nerve of the three young actors were felt throughout the performance in their bodies, their movements and their vocal performance[…] ‘’
    Maria Doukaki, artic.gr

  • Biography

    Michalis Sionas

     A graduate of the Drama School of the National Theatre of Northern Greece and founding member of the musical ensemble The Prefabricated Quartet. As an actor, he participated in a number of productions of the National Theatre of Northern Greece, Orestes and Knights, among others. With his own theatre group “Kunst”, he directed Nordost and Orestes. He also directed Midsummer Night’s Dream with the group “Thesis”. In addition to his work as a director, he is now teaching acting in the Drama School of the National Theatre of Northern Greece.

     

    Stefania Zora

    A  graduate (with Honours) of the Drama School of the National Theatre of Northern Greece. She has also trained in dancing and singing techniques. She has thus far participated as an actress in a number of productions, directed by T. Moschopoulos, T. Chanos, M. Sionas, K. Vasileiadou and C. Pechlivanidis.

     

    Timoleon Papadopoulos

    A graduate of the Law School of the Aristotle University of Thessaloniki and the Drama School of the National Theatre of Northern Greece. He has been working as an actor in various performances and films, with directors like M. Sionas, C. Chatzivasiliou, C. Grauzinis, P. Karkanevatos, T. Teguia. He is also a founding member of the metal sculpture and pottery creative laboratory “Teras” in Thessaloniki.

     

    John Tsemperlidis
    A graduate of the Drama School of the National Theatre of Northern Greece. As an actor he has collaborated with a number of directors ( A. Voutsinas, G.Chouvardas, N.Milivoyievits,Ch. Grauzinis, St.Livathinos, A.Karazisis ,G.Kakleas, K. Rigos etc). As a performer, he took part in Reworks Festival, Bienalle Athens Festival, and as a musician he composed the music for the biography play Sevas Chanoum and the original music score for the play Los Topographos. His work as an actor also includes small and lead parts in TV series.

Time

(Wednsday) 21:00

Location

SOCIETY FOR MACEDONIAN STUDIES THEATRE

2 Ethnikis Amynis Street Τ: 2315 200 200

10Oct(Oct 10)21:0011(Oct 11)23:00REVOLUTIONARY WAYS TO CLEAN YOUR SWIMMING POOL by Alexandra K*EXPERIMENTAL STAGE, NATIONAL THEATRE21:00 - 23:00 (11) LABATTOIR

Price

Ticket prices €10 Regular €8 Concessions

Event Details

The first privatization of public land is threatening the illegal beach house of Antonis Doe along with his whole personal mythology. Most importantly, it threatens the future of his children, at least the way Antonis has planned it.
Determined to fight to the very end to save “the investment of his life”, Antonis will have to confront not only the State but his own children as well. Powerless and alone against the State and the foreign capital, he declares the land -which he now owns after trespassing- an independent state. And he becomes an acclaimed hero for one day. But the cause célèbre is now the day after; the future which once belonged to his children.
In the play the old, “rotten” generation clashes with the “spoiled” new generation. The law of one man opposes the law of the State; and the typical Greek family faces the challenge of its own survival.

Dad? Was I cruel? “Families do not speak literally”, remember?

An original, biting and yet hilarious play by the manifold author Alexandra K* is directed by Sarantos Georgios Zervoulakos a young and highly acclaimed director of Greek origin and international background. The performance is a collaboration among young artists from Greece and german-speaking countries in a multi–language play about everyday life in 2018 Greece.

CREDITS
Direction, Set design  Sarantos Georgios Zervoulakos
Set and Costume design  Ilenia Douladiri
Music  Kornilios Selamsis
Dramaturge Stella Rapti
Lighting design  Nikos Vlassopoulos
Video  Nikos Pastras
Cast:
Antonis Doe  Manolis Mavromatakis
Son Doe  first season: Dimitris Passas  second season: Michalis Titopoulos
Daughter Doe  Rosa Prodromou
A German Friend  Eva Maria Sommersberg

Trailers
https://www.youtube.com/watch?time_continue=1&v=au8tjhBHtn0
https://www.youtube.com/watch?v=yzXJUp33fFY

  • Directors note

    The state is (also) me!
    A utopia becomes realism in the theatrical reality

    Son Doe:He thinks he is a folk hero, he thinks he makes a revolution.
    Daugther Doe:     Perhaps he does?

    From the moment Antonis Doe announces his (illegally built) property an (autonomous) state within the state, things go crazy in Alexandra K*’s  Revolutionary Ways to Clean Your Swimming Pool. It is the moment Antonis Doe finally becomes an adult, at the age of sixty, as a citizen, as a human being, as a Greek. Better late than never! The one who always felt “small”, discovers the “hero” within himself. He finally shoulders the responsibility for his future in a rather fatalistic way which could be both right and wrong at the same time.

    “The state is me!” (L’ État c’ est moi!) announces our folk hero and our mind travels back  to the well-known quote of the French King Louis XIV, an  expression well connected with the circumstances of absolutism that led to the French Revolution of 1789. By changing the context of the French King’s quote and transferring it to our days, Greece in particular, a country that suffers from an economic crisis for nearly a decade, and putting it on a stage right in the heart of central Athens, the quote takes new connotations which can be summed up in this rephrasing of the original: “The state is (also) me!”

    During the play, the protagonist’s adventure invites us to work together on the idea that the whole thing might be more of a utopia, which could take us a step further and open up new perspectives. By following his journey, we encounter questions that come straight from the European Enlightenment. Watching our heroes,  we feel close to their personal truth, which could be a way out. If we really want to change a situation, the responsibility is on each one of us!

    The play’s core idea may sound a bit crazy, at the same time, however, by tearing down the limits of reality that make us suffer, it gives us ideas about the possibility of change, albeit imaginary. In its magical way, it is theatre that can give us this gift of overcoming. The stage can transform any utopia into a reality. In our case, an autonomous, crazy and delightful one.

    Sarantos Georgios Zervoulakos
    Athens, 2018

  • Reviews

    The most interesting role of this season is by far played by Manolis Mavromatakis …worth of an award for best performance.
    MATINA KALTAKI monopoli.gr 18/05/2018

    The play depicts the experience of young Greeks through ten years of crisis in a way that is direct, but  also funny and not preachy at all. […] director Sarantos Zervoulakos serves the play without unnecessary bedazzlements, but only with discrete interventions that give more power to it.
    SPIROS KAKOURIOTIS e-dromos.gr

    It is a four-character play, […] which deserves to be seen abroad because it gives the foreign audiences the chance to escape from the stereotype “Greece=Ancient Greek tragedy”.
    KONSTANTINOS PLATIS theatromania.gr, 3/06/2018

    A play about the holy Greek family, about the feeling of a “failed investment”, […] a play written with humor, smart dialogue, suspense, well-built characters, and a firm background of political and social criticism, […] an important contemporary Greek play, the kind Greek dramaturgy needs.
    GIOTA DIMITRIADI texnes-plus.gr  

    I don’t think that there is a political analysis that approaches with such clarity the reasons of the big social defeat that we are experiencing since 2010.
    OLGA MOSCHOCHORITOU kommon.gr, 8/06/2018

  • Biography

    Alexandra K* – author
    Born in 1985 at Corfu, Greece.   A graduate of the Drama School of the National Theatre of Northern Greece and student of the Theatre Studies Department, School of Fine Arts, Aristotle University. She has also studied Playwriting at the National Theatre Writers’ Studio and the International Theatre Institute in Athens as well as Screenwriting at the Gotham Writers, New York. She has been attending workshops and masterclasses on Creative Writing, Theatre and Cinema in Greece, Italy, Romania and New York. She works as a columnist for several Greek magazines, newspapers and websites, and as a copywriter for advertising agencies. She also writes literature for children, YA and adults, screenplays and stage plays. Her first novel How Urchins Kiss was published in 2018. Her latest play Revolutionary Ways to Clean Your Swimming Pool (Experimental Stage of the National Theatre of Greece) was published by Sokolis Publications in Athens and will soon be published in Spain.

    Sarantos Georgios Zervoulakos – director
    Born in 1980 in Thessaloniki, Greece. He first got involved in theatre while studying Medicine in Germany. He started working as a trainee and assistant director, at the Deutsches Theater in Berlin, and then at the Sopehiensaele in Berlin, and the University of Fine Arts in Berlin, among others.  From 2006 to 2010, he studied Theatre-Directing at the Max Reinhardt Seminar in Vienna. During his studies, he took part in many theatrical productions and international festivals in Germany, Austria and France. His work as a director has been presented at the Schauspielhaus in Dusseldorf, the Schauspielhaus in Graz, the Oberhausen Theater in Oberhausen, the Staatstheater in Mainz, the Schauspiel in Leipzig, the National Theatre of Northern Greece in Thessaloniki and the National Theatre of Greece in Athens, among other veues. In 2011 he was nominated for the “Best New Artist” Nestroy Award for his direction of David Greig and Gordon McIntyre’s play Midsummer at the Vestibül of the Burgtheater in Vienna. In 2012 he was nominated in the category “Best New Artist” in a survey of theatre critics conducted by “Theater Heute” magazine. Sarantos Georgios Zervoulakos lives in Vienna and Athens.
    Website: www.sarantoszervoulakos.com

    Ilenia Douladiri – set and costume designer
    Born in 1985 in Volos, Greece. A graduate of the Theatre Studies Department, School of Fine Arts, Aristotle University. Since 2008 she lives in Athens working on several projects as a set and costume designer in theatre, cinema and television. She has collaborated with the directors Levan Tsuladze, Eleni Efthimiou, Konstantinos Markoulakis, Konstantinos Aspiotis, Giannis Kakleas, etc.

    Kornilios Selamsis – Music
    Born in Athens, Greece, in 1981. He has studied piano in Athens and composition in the Koninklijk Conservatorium in Hague. Works of his have been commissioned and performed, amongst others, by the Athens State Orchestra, the Łódz Philharmonic orchestra, the Orchestra of Colours etc. in several venues in the Netherlands, Greece, Canada, France and Switzerland. Since 2007, he has been closely collaborating with the acclaimed Greek theatre director Thomas Moschopoulos, performing a research on the musical aspects of ancient Greek tragedies, collaborating with Greek National theatre, the Athens Festival, the Stratford Shakespeare Festival in Canada and the National Theatre of Northern Greece.

    Stella Rapti – Dramaturge
    Stella Rapti studied acting at Athens Drama School and dramaturgy at Aristotle University of Thessaloniki, Faculty of Fine Arts, Department of Theatre Studies. She collaborated as an actress and dramaturge with the National Theatre of Greece, the National Theatre of Northern Greece, Athens Epidaurus Festival, Documenta 14, Staatstheater Kassel, in plays such as, Trojan Women by Euripides, Mr Puntila and his Man Matti  by B, Brecht, and other plays.  From 2010 to 2015 she was the director, dramaturge and one of the actors of “Theatre at Home”, a social theatre ensemble of the National Theatre of Greece and the National Theatre of Northern Greece, which performed over 800 performances in psychiatric institutions, prisons, rehabilitation centres for all kinds of addiction, hospitals, immigrants’ camps and other places of social interest.

    Nikos Pastras – Video
    Nikos Pastras was born in Athens in 1982. He works as a director and editor of short and feature films, documentaries and adverts as well as a graphic designer and video artist. Since 2011, he has been in charge of video content creation for the film website flix.gr.

    CAST

    Manolis Mavromatakis, actor
    He works in theatre, cinema, TV and radio.  As an actor he has participated in more than fifty theatrical and musical performances, and in more than fifty fiction movies, short films, TV and radio productions. He has also directed two performances for the National Theatre of Greece. For his participation in C. Grauzinis’ Daphnis and Chloe, Pleasure Trip, he was awarded the 2007 “Karolos Koun” Award for Acting.
    He has also received the Best Actor Award in 2014 Nashville (USA) International Film Festival, and in 2015 Tehran (Iran) International Urban Film Festival for his participation in G. Tsemperopoulos’ film The Enemy Within; in 2007 Thessaloniki (Greece) Film Festival for his participation in K. Kapakas’ film Urania; in Athens (Greece) Short Film Festival for his participation in J. Charitidis’ short film Cowboy; and in 2007 Drama (Greece) Short Film Festival for his participation in K. Athousakis’ short film Spinalonga. In 2014 Olympia (Greece) International Film Festival, he was honoured “For his high ethical standards and diligence.”.

    Michalis Titopoulos, actor
    A graduate of the Drama School of the National Theatre (Athens) and the Department of Theatre Studies of the National and Kapodistrian University of Athens. He has collaborated with directors such as A. Azas, I. Voulgaraki, P. Dentakis, N. Milivojevic, G. Paloumpis, G. Perlegkaw, etc.

    Rosa Prodromou – Actress
    An actress/performer of Greek and British origin, living in Athens, Greece. Studied Physical Theatre in Huddersfiled, UK (2000), and completed her MA in Intercultural Studies in Exeter, UK (Zarrilli, 2002). Studied butoh dance with Minako Seki in Berlin (2006).
    Recent theatre performances include: To Findanaki by P. Horn, dir. A.Azas, Experimental Stage of Greek National theatre; Anemos dir. K.Rigos, Greek National Theatre; Re-volt Athens, dir. Elli Papakonstantinou and the ODC Ensemble (Vienna, Acco/Israel, Birmigham/UK etc); Pulsar, solo, dir. John Britton, Bios/ 104 Theatre etc. She is particularly interested in improvisation and interdisciplinary performance projects.

    Eva Maria Solmmerberg, actress
    Βorn and raised in Bonn, Germany. She studied acting at the Drama School of  Max Reinhardt-Seminar in Vienna. Since then, she worked at the Volksbühne Berlin, Burgtheater Vienna, Schauspiel Frankfurt and several other theatres in Germany and Austria. In 2013 she got rewarded with the junior award from the conveyor society Kassel and played Helena in the Midsummer Night’s Dream at the Salzburger Festspiele. Revolutionary Ways to Clean your Swimming Pool is her first work in Greece.

Time

10 (Wednsday) 21:00 - 11 (Thursday) 23:00

Location

LABATTOIR

No 35 26th October Street Τ: 2313 318 203