2

 / contents

 / greetings > / page 13

/ curatorial articles > / page 25
/ pre-histories > / page 37
- / theory-praxis > / page 89
& / participating artists & projects > / page 147
/ participating educational institutions > / page 437
credits > / page 553

10

11

 / greetings

12

13

14

. 1951


.

The Hellenic Centre of the International Theatre Institute has long proved, by its successful actions, the ability to function as a channel of communication between Greek
and International Theatre. Since 1951, has continually acted as a vehicle of expression
and aspired values for all the Greek theatre professionals and essentially contributed to
the international collaboration and to the evolution of the art of theatre.

,

.
, ,
UNESCO
: /
.

.
,
,
.

Greece has already successfully participated five times at the Prague Quadrennial of
Performance Design and Space, the most significant international exhibition for performance space, scenography and theatre architecture. This years national participation, organised by the Hellenic Centre of the International Theatre Institute, under
the auspices of the Greek Ministry of Culture, Education and Religious Affairs and the
National Committee for UNESCO, is entitled New Spetialities: design for outdoor /
open performance space. It continues the tradition of showcasing the exquisite quality
of the work of Greek artists and establishes the position of Greece within the international artistic status quo. This exposition is exploring a rather bold and emerging
issue, which focuses on reinvestigating the artistic space with new meanings, utilizing
scenographic elements and re-addressing theatrical questions.

, ,
/
,
, .

UNESCO, , 1945
,
, ,
,
.

UNESCO, the International Organization of the United Nations struggles, since its inception in 1945, for the development of culture, the advancement of multicultural
dialogue, the dissemination of education, the strengthening of sciences and the promotion of an effective communication between the nations, with respect for the values
of each culture and civilization.

, UNESCO
,
,
.

At the same time, UNESCO functions as a laboratory of ideas, promoting international

cooperation through coordination of local and international Networks for the development of research, lifelong learning and training.

UNESCO, ,
,
13
,
,
,
,
, ,
, .

The Hellenic National Commission for UNESCO supporting educational, cultural and
scientific actions and initiatives welcomes the Greek Participation to the Prague Quadrennial of Performance Design and Space, as it constitutes a powerful message for
the redefinition of spatial and mental interactions between performance and audience
in contemporary theatre. Moreover, the Greek Participation strengthens the creation of
a platform for exploring contemporary scenography and theatrical architecture, while
promoting research and experimentation in the field of the Arts.

This new spatial awareness and expansion of the notion of scenography marks the
shift towards the dynamic of the real, open, outdoor and public/shared space and
renegotiates the relations among the artistic event, the artist, the space and the participating audience.

,
1967,
,
,
UNESCO.

The Prague Quadrennial of Performance Design and Space, which takes place since
1967, forms a unique opportunity for artistic dialogue and exchange of ideas and best
practices, which surpass the limits of theater, encouraging multicultural dialogue and
rapprochement of civilizations, which lie at the heart of UNESCOs mission.

,
,

.
,
.

Using the public space as a stage for artistic expression in order to gain collective consciousness and at the same time promote polymorphous and heterogeneous singularities, is a rather challenging effort which answers the demands of nowdays. The core
of the Greek participation questioning is to enhance the hybridity of the Mediterranean
cities where mixed land use is characteristic.

, UNESCO
,
,

,

,
,


.

Once again, with this cutting-edge national participation at the Prague Quadrennial,
the Hellenic Centre of the International Theatre Institute has managed to embody
the visions of the Greek artistic community and showcase them in the best way on a
global level.

In an era, when many people are highlighting the elements that separate cultures,
UNESCO stands against this confrontational logic and strongly endeavors to promote
those elements which unite cultures. Committed to its vision, UNESCO offers a unique
international platform to governmental agencies, international organizations and representatives of civil society, by facilitating new partnerships and encouraging concrete
initiatives in the sphere of cross-cultural and intercultural dialogue. This constructive
dialogue however requires substantial knowledge of the different cultures and their
traditions with a view to giving the opportunity to all peoples to co-exist harmoniously,
to prosper, to create and to dream.

UNESCO

Ekaterini Tzitzikosta
President of the Hellenic National Commission for UNESCO

Nikos Xydakis
Alternate Minister for Culture

15

16

,
.


.
- , ,
, .
,
, .

In the recent years we have entered a very promising era in theatre making. We begun
to challenge the efficiency of the structures and structural types that have evolved to
facilitate theatrical forms of the past as well as the scenography that was influenced
from them. It seems that our practices have been held in partial captivity within the
Italian operas, proscenium arch theaters, concert halls, black and white boxes etc. for
far too long and their limiting properties, not only in design but in the act of creating
theatre in general, are now being questioned, to say the least.

13
.

The Hellenic Theatre Studies Association greets the Hellenic Centre of the International Theatre Institute effort and the Greeces participation at the 13th Prague Quadrennial
of Performance Design and Space.

This international meeting that takes place in Prague every four years proves the importance to channel cultural products outside geographic boundaries and gives the
opportunity to exchange cultural ideas.

,

.

Perhaps we came full turn, back to the origins of theatre, where the theatrical space
was only considered to be the spatial manifestation of the coexistence of the performers and spectators and scenography was the sum of the intentional gestures for
facilitating the action involved in time and space.

, ,
.

, ,
.

The theme of this years participation, proves how much the field of performing arts
has changed over the last ten years. Artists and organizers are interested in daily cultural events that take place outside theatre halls, marking that art cannot be confined
to the established boundary halls.

The works constituting the Hellenic National Submission to the Prague Quadrennial of
Performance Design and Space are a strong sample of the Greek theatre practitioners sensitivity and ingenuity in letting the theatrical space and design to manifest as
a result of the theatrical event.

, ,


. ,
,

, .

As the creators of the physical vehicles and vessels in which and with which, the
theatrical characters and events can come into existence, Greek theatre & performance designers were always keen on orchestrating the physical attributes involved in
a performance with the disposition that theatre is not a place but, first and foremost,
a decision to delve into the human psyche. In this light rather than providing irrelevant
provocation devices, we prefer to create laboratories and training grounds for the
spectators senses in which the human condition can be reproduced, challenged and
studied.

H
,

, ,
.

The Greek Theatre Designers Association salutes the Hellenic Centre of the International Theatre Institute for assembling, organizing, and sharing this meaningful sample
of the Greek designers ability in creating contemporary, relevant and hopefully engaging work with the global theatre making community.

2014
,

.



.

The Greek Theatre Designers Association was founded in 2014 and it is the first and
only association of the professional set and costume designers residing in Greece
who work in theatre, performance and theatre or performance related events. GTDA is
a strong union whose mission is to protect and support its members rights and to
ensure proper working conditions for providing their high quality services in theatre ant
theatre-related events.

Paris Mexis
Scenographer Director Educator
President of the Greek Theatre Designers Association

We wish that this participation will stand worthy of our expectations and reveal once
more that the natural and urban field of our country is as fertile for the performing arts
as well.

()

.

The Hellenic Theatre Studies Association (H.T.St.A.) is the organization that represents
and upholds the rights of graduates of Theatre Studies in Greece.

,


.

The association aims to the study of theatre, the spread of theatre studies as a science and its motivation in Modern Greek society as a new scientific potential along the
parallel absorption of its members in various working fields.

,
,
( ,
, ..).

Its activities cover various scientific, artistic and pedagogic fields while the associations steady activities include working committees that its members are taking part
(Working Affairs Committee, Culture Committee, Education Committee etc).

, 1995
.
, , .
.

It is a non-profit organization, which operates since 1995 on a voluntary basis. The

H.T.St.A.s financial resources derive from the annual subscriptions of its members,
from donations, events and activities. H.T.St.A. is not consistently receiving grants from
any public or private institutions.

Hellenic Theatre Studies Association
www.pesyth.gr

17

 2013

.
,
,

.
,
, ,
, ,
,
.

NEON works to bring contemporary culture closer to everyone. As a non-profit organization it aims to create new conversations and a larger, informed society around the
arts. It aspires to change perceptions and introducea culturally relevant and cosmopolitan activity in Greece.
Founded by art collector and entrepreneur Dimitris Daskalopoulos, and under the Directorship of Elina Kountouri, NEON breaks with the convention of a permanent space
as the home of activities for a collector and instead acts on a multi-locality of initiatives, spaces, civic and social contexts, where activities are developed and public accessibility is encouraged.
This constitutes a diverse and open space within society, where information is disseminated and the relationship between the city, the arts and its inhabitants is reflected.
www.neon.org.gr

. ,
,

. ,
13
.

The J. F. Costopoulos Foundation, having collaborated in the past with the Hellenic
Centre of the International Theatre Institute, is aware of the Centres multifaceted work
and its key role in promoting the performing arts. In this context, we welcome and
actively support the Centres undertaking of the Greek National Representation in the
13th Prague Quadrennial of Performance Design and Space.

,
,

,
,
.

With this initiative the Hellenic Centre of the International Theatre Institute assumes
responsibility for the Greek participation, providing the necessary theoretical and practical foundation for the successful coexistence of the various forms of expression
in performative events, according to the currently prevalent trend, as well as for the
indispensable, continuous communication between Greek and international theatre.

, ,

.

We congratulate in advance the Greek artists and students of educational institutions

who will represent our country, as well as the Centres Board of Directors and all contributors to the certain success of the Greek participation.

The J. F. Costopoulos Foundation

www.costopoulosfoundation.gr

18

19



Info Quest Technologies
.

Our collaboration with the Hellenic Centre of the International Theatre Institute constituted a challenging field regarding the implementation of our products for the personnel of Info Quest Technologies, and we believe that this has been a substantial
contribution and support for the Hellenic Centre of the International Theatre Institute.

,
,


.

Being the conveyers of Technological Services in the Information and Communications sector, providing solutions and products that contribute in many ways in the
development of the society, we are especially gratified when our contribution relates
with the community as a whole, through the creation and the communication that is
conducive to the artistic development and the amelioration of the living standards.

,
.

At the same time, this constructive collaboration has offered to us the ability to associate our activities with a cultural event of international caliber, that constitutes promotion for our country as well as for Greek artists.

.. Quest
Quest
2015

Efi Koutsoureli
Member of Board of Directors Quest Holdings
President of the Corporate Social Responsibility Quest Holdings
May 2015
www.quest.gr

20

,
Prague Quadrennial of Performance Design and Space
(PQ) 2015,

.


.

The Hellenic Centre of the International Theatre Institute, representing Greece at the
International Exhibition Prague Quadrennial of Performance Design and Space (PQ)
2015, aims to contribute to the support of contemporary culture and to highlight
both the achievements and the potential of domestic stage design and architecture.
We believe that by highlighting and promoting the high quality work created by Greek
artists we will dynamically help to expand the role of the performing arts both in Greek
and international community.

-
,
. , , ,
,
,
.

The current European political and economic circumstances create a feeling of uncertainty, which often wrongly leads to questioning the value of the arts and to regard
them as expensive luxury. We believe, though, that, as in so many times in the past
during times of crisis, so now, arts can be a counterweight and a place of meaning,
while operating as a shelter for both the soul and the mind.

Prague Quadrennial of Performance Design

and Space (PQ) 2015,
,
.
.
.

By participating in the International Exhibition Prague Quadrennial of Performance Design and Space (PQ) 2015, we have confidence that we reinforce the dialogue of this
fruitful international debate on the arts, as well as the wider range of education and
culture. Each of us can and deserves to offer in building culture. Each of us can and
deserves to benefit from the edifice of culture.

..

Emmanouil Koutsourelis
President of the Board of Directors
of the Hellenic Centre of the International Theatre Institute

21

22

23

 / curatorial articles

24

25

New Spatialities: Performing Arts and Outdoor Space

By changing space, by leaving the space of ones usual sensibilities,
one enters into communication with a space that is psychically innovating.
[] For we do not change place, we change our nature.
Gaston Bachelard -The Poetics of Space1
Exploring the core theme of PQ 2015 SharedSpace: Music Weather Politics, the Hellenic Participation revolves around the theme: New Spatialities: Performing Arts and
Outdoor Space.
The quest for new spatialities shaped by diverse negotiations and the dynamics of the
physical, open, outdoor and public space constitutes part of the driving force behind
some of the more recent developments in the field of performance space.
The concept that any space is potentially a stage is of great importance. Space is thus
regarded as an open territory, an open system for the performance event, a boundless
space in continuous process of emergence and metamorphosis.
The projects selected for the Hellenic Participation at PQ 2015 follow upon this expanded understanding of the spatialities of outdoor/open spaces.
Projects do not just recreate given spatial conventions of interior space or utilize conventional and fixed frameworks of outdoor performance architecture. Each performance event has been created specifically for the outdoor space.
The shifting from indoor to open and outdoor space has been accompanied by an
increased demand for site-specificity. Exiting from indoor space has also been linked
to the political signification of the utilization of outdoor and public space and to new
awareness of shared space.
Using outdoor or public space as performance space is a crucial step towards reclaiming public space, which nowadays is challenged, degraded and under constant diminution due to its commercialization and privatization.
The spectators relationship to the performance event has also acquired greater importance, as it has moved towards a more active and engaged participation.
Moreover, the shifting from indoor to outdoor space has been accompanied by the
gradual rejection of the ideologies of representation that have shaped the majority of
the western indoor performance spaces since the Renaissance.
The spaces of the performing arts have mostly been constructed around a highly hierarchized auditorium (which radically redefined the way the audience was accommodated during western modernity), the invention of the architectural barrier of proscenium arch and the art of scenography.
These spaces were organized in such a way as to create separation and distance
between the stage and the auditorium and, most importantly, to enhance the scenic
illusion and to create representation; that is, a field of artificiality not based on the rules
of the original thing represented but on a simplification of the World.
These performance spaces expressed, through systems of visual ordering as scale,
proportion, geometry, monumentality and perspective, the representational spatial
ideal of western modernity.
They were formed by and corresponded to the subjectification processes that preconceived and pre-configured the autonomous and sovereign subject of the era; a
subject with his own unique and stable identity at the centre of a coherent reality and a
knowable world, driven by the belief in a set of supposedly universal and eternal truths,
and the profound wish for a rigorous control of signification. As Allan Megill puts it,
excellent demonstrations of the vain desire to impose arbitrary structures or order on
the world hence participating in the corruption of all that is present.2
Audiences and performers with predicable bodily movements, controlled within the
limits of the striated3 indoor performance spaces, worked towards avoiding the contagious and destabilizing aporias of the chaotic and non centered physical world.
Nonetheless, the rigorous control on form has been an important aspect of many of
26

20th centurys historical avant-gardes. Some other artistic and performance movements, such as dada and surrealism, evolved towards randomness, unpredictability
and emergence, articulating the destabilization of the autonomous subject.
he performance events selected for the Hellenic Participation at PQ 2015 have transgressed the representational space of scenography and its conventions towards the
dynamics of the real, open, outdoor, and public space.
By doing so, they mark a transition towards the elements of unpredictability and improvisation, triggered by the inherent randomness, ambiguity and chaotic complexity
of the visuality of the outdoor space.
In addition, the inevitable influence of the weather, of the transient fluid environmental conditions and the constant transformations of the outdoor soundscapes, create
performance events that viscerally affect the bodies, the mind as well as the space
perception of the audience.
If we consider spaces as sites of subjectification4 then the following questions have
been an important driving force for the curatorial work:
What kind of potentialities do the open outdoor performance spaces offer as sites of
subjectification, or rather as components of subjectification?5
What does it mean for the mobile and nomadic bodies of the performers and the audience to move in heterogeneous spaces that lack metric regularity?
What kind of relations are created by sharing physical experiences of increased and
vibrant sensorial perceptions that involve all the senses and transcend visuality?
These are questions and aporias that may form the basis for a future conference,
creating the opportunity for a new phase in the ongoing dialogue with the participating
artists.
The caleidoscopic structure of the Hellenic participation corresponds to the multiformity of the artistic works and the multitude of artists selected to take part in the
Prague Quadrennial 2015. In accordance with the curatorial concept that promotes
heterogeneity, ambiguity, multifocality, complexity and chaotic self-organizing as distinctive elements of spectating in open spaces, the exhibition has the form of an
assemblage: a juxtaposition of disparate and mixed ideas, aspects and works that are
gathered together but not interlocked.
Acknowledging the nuances, differences and singularities of each project, the curatorial concept follows a fragmentary pattern and moves in various directions, opening
up opportunities for possible correspondences and the development of interactions
of meaning.

ing to the level of collective consciousness this novel performance paradigm that has
recently evolved in our country. This paradigm features extraordinary dynamics, based
on producing new forms, emphasizing innovation and personal artistic identity and
facilitating adaptation in a constantly changing environment.
My wish is that the Hellenic participation will lead up to the formation of an ephemeral
collectivity, composed of exceptional, polymorphous and heterogeneous singularities,
almost on the verge of no cohesion, freed from the aesthetic categories of the past
but instead able to truly invest in exploring the demands of the present and of the
society we live in.
Is this, then, a moment of kairological time? Is this the proper temporality for gestating
ideas and initiatives? Is this the proper Kairos? Only time will tell!
Thanos Vovolis
Scenographer
Curator of the Hellenic National Participation, PQ 2015

https://independent.academia.edu/ThanosVovolis

Notes
1

Allan Megill: Prophets of Extremity: Nietzsche, Heidegger, Foucault, Derrida, University of California Press, 1987, p. 197.

3
Gilles Deleuze & Felix Guattari A Thousand Plateaus. Capitalism and Schizophrenia, Plateau
1440: The Smooth and the Striated. Translation and foreword by Brian Massumi. The University
of Minnesota Press, 1987.
4

Foucault M, 1980 Power/Knowledge: Selected Interviews and Other Writings.

Edited by C. Gordon Harvester Wheatsheaf, Hemel Hempstead, Herts. 1980, p. 149.

The curatorial concept has provided the form of the exhibition. In order to create the
installations of the Hellenic participation, the creative team, consisting of the architects George Parmenidis, Christine Longuepee, Ifigenia Mari and assisted by the curator, worked on the great differences of visuality and spectating between indoor performance spaces or architecturally shaped outdoor theatre constructions (both having as
their basic mode of operation the control of audiences gaze and its spatial positioning)
on one side, and the multifocal polyvocality of a 360 degrees vision of the outdoor
space spectatorship on the other.
The installations aim to recreate the basic premises of spectatorship in open/outdoor spaces, and to create a chaotic visuality where effort, commitment and active
participation is needed by the spectator in order to view the works of the artists and
experience the installations.
Furthermore, in the case of the exhibition space of the Clam-Gallas Palace, the installation is intended to work in synergy with the complexity, extravagance, impetuousness
and dynamism of 18th century baroque aesthetics of the Palace; affective aesthetics
which seek to stir the senses in a continuous folding, unfolding and refolding of form.
Of course, in notable contrast to the historical baroque palace is the contemporary
technological form of the installation; its dynamism is expressed in guises that are
technologically and visually different from those of the 18th century building.
Finally, I hope that the Hellenic participation will provide the necessary frame for rais-

Bachelard, G. 1969. The Poetics of Space. Boston: Beacon Press.

Felix Guattari: The Three Ecologies. New formations, nr 8, Summer 1989, p. 131

Thanos Vovolis is a Scenographer, Masking designer and Artistic Researcher. His work
comprises more than 80 theatre productions in Greece, Sweden, Iceland, Spain, Romania, etc. His artistic research is on the mask in Ancient Greek Theatre and in the
European Theatre of the 20th Century. Appointed Visiting Professor at the Dramatic
Institute, Stockholm 2007-2010, he is currently the Curator for the Hellenic National
Participation at the Prague Quadrennial of Performance Design and Space, 2015. Exhibitions on his theatre works have been shown in London, Berlin, Stockholm, Gothenburg, Athens, Madrid, Merida, Sevilla, Delph.

https://independent.academia.edu/ThanosVovolis
27

28

PQ 2015

THEME OF THE HELLENIC NATIONAL PARTICIPATION IN PQ 2015

X: /

New Spatialities: Performing Arts and Outdoor Space

PQ 2015 SharedSpace: Music Weather Politics

N X: /
.

Exploring the core theme of PQ 2015 SharedSpace: Music Weather Politics, the National Participation of Greece is centered around the following theme: New Spatialities:
Performing Arts and Outdoor Space.

,
PQ 2015,
.
PQ 2015 ,
projects ,

.

The quest for new spatialities shaped by diverse negotiations of the open, outdoor and
public space consists in effect part of the central theme of PQ 2015 and the driving
force behind some of the more recent developments in the field of performance space.
The projects selected for the Hellenic National Participation in PQ 2015 follow upon
this novel and expanded understanding of the spatialities of outdoor / open spaces.

,
/
-
, , , .


.
: , , performance,
, , , .


, , ( ,
, ).

More specifically, each performance event has been created for the specific circumstances of outdoor space and shaped primarily in dialectic relation to its distinct characteristic features as well as its spatial and human-geographical classification as urban, industrial, rural, historical or natural landscape. Projects do not just recreate given
spatial conventions of interior space or utilize conventional and fixed frameworks of
outdoor performance architecture. The performance event is regarded as human action that can take shape in a plethora of aesthetic forms and genres: theatre, dance,
performance, happening, action, intervention, hybrid forms, etc. All projects have addressed the social and political structures weaved by human interactions and the complex interrelations between art event, artist, space and participating audience (be it
targeted or random, broad or specific, privileged or excluded).

-

, ,

.
20

.

Over a long period of time, the modernist era included, performing arts have been defined by the dominant notion of indoor space, along with the various representational
systems that shaped it; their main axis has been a strict visual and spatial formalism
consolidating a given primary focus on morphological and structural elements. The
rigorous control on form used to be the exemplary rule for many of 20th centurys
historical avant-gardes that favoured subordination of space and visual composition to
specific aesthetic systems and codes of each avant-garde movement.

21 ,
,
1960. , ,
. ,
, .


.

,
.
-
(site-specificity) -
-
.

,
,

During the first decade of the 21st century a new, more flexible and open paradigm
has been widely spread, expanding previous artistic formulations of the avant-gardes.
In the post-war era and especially since the 1960s strict definitions of forms and genres like theatre, dance, opera, etc. started blurring, and boundaries between different
expressive forms have been transgressed and broadened. The spectators relationship to the performance event acquired greater importance, towards a more active
and demanding participation as to the signification of the performance event. One
fundamental aspect of this development has been the shift from the conceptual or
more abstract space of scenography towards the dynamics of the real, open, outdoor,
and public space. This departure from indoor to open and outdoor space has been
accompanied by an increased interest for site-specificity and for the distinct physical features of the surrounding environment which could contribute to the realisation of the performance event in an organic way. What all this shifting denotes is, on
one hand, the gradual rejection of representational conventions and their supremacy
over meaning-making in art and, on the other, the transition towards the elements
of randomness and improvisation, triggered by the inherent ambiguity and complexity of outdoor space. This new spatial awareness contributes to performance events
becoming primarily site-specific and site-related.

.
.


,

/ / / (found
space / text / sound / object).


, ,
, ,
.

Exiting from indoor space and locating the performance event within a broader artistic
field, often leads to its liminal position in the realm of external reality, of everyday life
and the course of daily activities; furthermore, this is often connected with concepts
and complex formulations of found object / space / sound / text. This dialectical relationship with the realm of the everyday and the collective has also been closely linked
to the increasing and targeted socio-political-cultural signification of the performance
event, particularly through utilisation of outdoor and public space; concepts, formulations, presentations and participatory viewing are all centrally linked to this new public/
shared space awareness.

: H (: site-specificity) :

Areas of investigation and research in site-specificity may characteristically include:

1.

1. Performance Events in Urban Landscapes

, , , ,
, , .

Examination of various forms of public space and its urban configurations: public, architecturally structured, historical, social, lived and experienced, imaginary and mythical
space.

The claim to the city and its public space is an extremely urgent call, for nowadays
public space appears fragmented and under diminution via aggressively globalized
socio-political and financial strategies for cultural production and consumption.

2. / / , &

2. Performance Events in Non-Places/ Heterotopias/ Borderlines, Gaps and Thresholds

-:
. , , , ,
, , .

Non-Places appear communal, but they emphatically daunt occupancy: cemeteries,

outdoor cinemas, airports, train stations, buildings rooftops, hotels, etc.

:
, , , , ,

Heterotopias are institutional spaces sheltering otherness regarded as aberration from

normativity: prisons, brothels, psychiatric asylums, hospitals, old peoples homes, etc.

: ,
, , , ,
, , ...

Landmarks and boundaries in the urban landscape: signs and emblems of urban landscape, intersections, squares, roadways, bridges, secluded and gated areas, pockets
and islets, visible and invisible boundaries, natural pockets (parks and gardens) within
the city environment, etc.

- (wastelands): ,
, ,
, , ,
, , , .

Junk-space and post-industrial wastelands: gaps, breaks, liminal demarcations and

transitional spaces, i.e demolished building sites, urban voids, abandoned and semicompleted building projects and road works, deserted areas and infrastructures, inactive construction sites, dump-sites, etc.

: (,
, ...), ,
.

On the move: promenades, walkabouts, pathways and guided itineraries; mobile performance events -on the road, on buses or utilising other means of transport-, performance routes and walkabouts in the urban environment, personal guide-tours and
mappings.

3.

3. Performance Events in Historical Landscapes

:
, ,
. .

Performance actions and events in historical landscape in its broader sense: archaeological sites, architectural fragments, landscapes bearing traces of mythical or historical presence and memory; mythogeographic approaches.

29

30

4.

4. Performance Events in Natural or Rural Landscapes

,

. , .

Performance/acts in a natural environment, where the performance experience is

linked with physically experiencing nature and where landscape becomes part of the
narrative: biophilic, ecological or environmental approaches.

H .

, ,
,
, ,

.

This multi-faceted and expanded spatial approach has been proved particularly prolific
in Greece for good reasons: firstly, because of the palimpsestuous historic stratification
that is characteristic of Greeces landscapes; secondly, because of its climate that favours creating and viewing activities outdoors; and thirdly, because of the longstanding
tradition of various art forms taking place in the open and outdoor space.

, ,
, , ,

- - .

Besides expanding the specific meaning of a site that is defined by space-time and
by experience, assigning priority to the special parameters of weather conditions and
light, music, sound, physicality, and movement or dance, has a lot of creative potential, since their interaction with particular elements of the space aims at shaping new
-complex and spatially defined- frames of perception and meanings.

SharedSpace: Music Weather Politics

SharedSpace: Music, Weather, Politics

, PQ 2015, SharedSpace: Music Weather Politics

,
.

The main theme of PQ 2015, Shared Space: Music, Weather, Politics, is largely focused on revisiting shared space, via a multiplicity of expressive means that extend
beyond traditional spatial boundaries, thus generating new spatialities and wider interdisciplinarity within theory and practice.

:
,
,
.
-
- .

, ,
. , ,
.

The theme area Politics primarily addresses the socio-political aspects of performance
space, and the making and energizing of shared space with its double interpretation as
a catalyst for fragmentation and exchange. The process of space transformation -and
art in general- into a dynamic political position in the context of turbulent regimes and
power structures could also be examined, since space is always sociopolitically and
collectively defined, transformed into place through lived experience, and all sorts of
interrelations, interactions and negotiations. Moreover, borders and boundaries could
be challenged as territorial traces functioning as communal places or conflict places.

,
,
,
,

.

Other research directions draw emphasis on the out-of-stage space when it takes the
form of a walk or a journey and the underlined political stance of this movement; the
simultaneous crossing of, more or less, fluid trajectories leading to strong and meaningful points of view; movement as a tension-provoking mechanism inside the most
established spatial systems; at the same time, outdoor space, streets and landscapes
could prove to be catalysts for connecting or disconnecting the parts of the whole.

,
, ,
:
,
,
.

The concept that any space is a potential stage is crucial. Space is thus regarded as an
open territory, as an open system for the performance event; it is, in a way, a boundless
space in continuous process of construction and reconstruction, and of deposition
of layers made up from visual material, meanings and narratives of the performance
events.

Performative architecture is also one of the focal points of the SharedSpace theme
as a symbiotic relationship between structured and built environment and performing
arts.

,

,
, , .

The thematic area Weather explores natural environmental conditions and their interactions with space as sources of inspiration, as well as symbolic extensions of the
transient, the uncertain, the fluid and the random.

/,
, -

, ,
.

For the theme Music, which includes sound environments, possible topics of research
are: space as sound generator, acoustic site-specificity, and exploring the qualities of
sound and music that allow a dynamic description of space, or transform it by creating
new spatialities and new soundscapes.

PQ 2015

Curators for Theory at PQ 2015

-

, PQ 2015

Thanos Vovolis
Scenographer
Curator of the Hellenic
Participation, PQ 2015,
Curator for Theory at PQ 2015

-
(.) ,

Maria Konomis
Scenographer - Theorist (Dr.)
Associate Curator for Theory
at PQ 2015
Adj. Ass. Professor
University of Patras

31

32

PRAGUE QUADRENNIAL
OF PERFORMANCE DESIGN AND SPACE

THE PRAGUE QUADRENNIAL

OF PERFORMANCE DESIGN AND SPACE

Prague Quadrennial of Performance Design and Space

(PQ),
, .
1967
&
.

The Prague Quadrennial of Performance Design and Space (PQ) is the most significant
international exhibition for performance space, scenography and theatre architecture.
The exhibition has been organised every four years since 1967 by the Ministry of Culture of the Czech Republic in collaboration with the Arts and Theatre Institute Prague.

.


. PQ
(1991, 1995, 2003, 2007 & 2011)
.

The exhibition constitutes a widely acclaimed international platform and an opportunity for showcasing scenography, performing arts and theatre architecture in Greece,
while establishing a dialectic and critical relationship between greek and other artists
on a global level. Our participation strengthens the position of our country within the
international artistic status quo by both the presentation of its artistic products and the
awards it has won so far. Greece has already participated five times in PQ (1991, 1995,
2003, 2007 & 2011) represented by outstanding prize-winning artists.

1991 ,
.

At the 1991 exhibition, Manos Perrakis was awarded the Gold Medal in the Theatre
Architecture section.

1995
.

In 1995, Giorgos Patsas won the Silver Medal for Publications in Scenography for his
book Costumes and Stage Design.

2003 (
, , , ,
).

.

In 2003, the Greek National Exhibition included a group of scenographers (Ioanna Papantoniou, Giorgos Patsas, Ioanna Manoledaki, Apostolos Vettas, Lili Pezanou and Andonios Daglidis). The Greek exposition stand was awarded with a special medal for its
presentation quality and for the work of its designers, and Giorgos Patsas was awarded
the Silver Medal in Scenography.

2007
( , ,
, ,
)

. ,
UNESCO (Prize for the Promotion of the
Arts- Performing Arts Section)
.

In 2007, Greece participated in the Scenography section with a group presentation

of six young scenographers (Giorgos Gavalas, Kenny Maclellan, Eleni Manolopoulou,
Elli Papageorgacopoulou, Giorgos Souglidis and Mayou Trikerioti) and in collaboration
with the School of Drama of the Aristotle University of Thessaloniki in the Theatre
Architecture and Student sections. The UNESCO Prize for the Promotion of the Arts Performing Arts Section was awarded to Eliza Alexandropoulou, student of the School
of Drama of the Aristotle University of Thessaloniki.

2011
.
: FLUX Office - , 75
- .

In 2011 Greece participated in the Theatre Architecture section and was awarded the
Gold Medal, shared with Mexicos participation; the participants were FLUX Office Eva
Manidaki - Thanasis Demiris, Office 75 Andreas Skourtis - Stefanos Pantos.

Thanos Vovolis

33

34

35

 / pre-histories

36

37

 / Maria Konomis

:

(1977-1982)
Towards genealogies of outdoor performances
in contemporary Greece: the legacy of Yannis
Tsarouchis experimental productions of classical
tragedy (1977-1982)

38

39

40

41

42

1970 1980,
,
,
. T (1977)

, (1982)

,
,
, , .
,
,
.

Two groundbreaking productions of classical tragedy from the mid 1970s to the early
1980s stand out among the post war performances in Greece not only for their iconoclastic view on antiquity, but more and above due to their radical spatial choices: Trojan
Women (1977) were originally presented in an empty urban lot in the centre of Athens
used as a car parking space, while Seven against Thebes (1982) played in a plain
field in the rural outskirts of Thebes. They were put together by seminal artist Yannis
Tsarouchis -painter, theatre designer, as well as director and translator-, according to
his more personal, total-theatre and experimental outlook on Greek tragedy placing
performance space outside conventional venues and given frameworks.

,
.
1970,

,
(site-specific) ,
1990 - .

Although contrastingly different in their aesthetic scope and end staging result, these
two productions have been flag-marked as remarkable exceptions to performing conventions of their time launching new genealogies of outdoor performing space for
Greek theatre; they could also be evaluated as rare, indigenous forerunners of contemporary place-bound theatre which has been growing in popularity since the 1990s.

,

,
.

Our aim is then to re-contextualize these productions as examples of early site-specific sensitivities in Greece which moreover problematize the practice of performing
tragedy as a contemporary genre and exemplify its experimental approach potential.

: -
(, , , ,
).
,

,
(Hamilakis, 2007). , ,

(, 2011, 301 ., 358).

These two productions seem to address aspects of national heritage and the diffusible supremacy of the open and outdoor performance space paradigm with regards
to performing tragedy, away from monument-space: amphitheatre, odeon, stadium,
archaeological site or new ancient-like form. Renegotiating these foundations and
sidestepping its more conventional and historical local spatial typologies, the two
productions escape the systemic construction of the monumental topography of the
nation through monuments and archaeological sites of -mainly- classical antiquity
(Hamilakis, 2007). Furthermore, Tsarouchis eclectic yet personal outlook emphatically
aligns with other avant-garde and more experimental global trends (Konomis, 2011,
301ff., 358).

(Lehmann, 2006).
,
:

(found space). ,
,
,
, . I ,
,
-,
(Kaye, 2000).

It would be historically inept to fully ascribe to these two productions our current notions and complex understanding of site-specificity and mostly post-dramatic theatre
modes (Lehmann, 2006). One the other hand, while keeping the original dramatic text
as their starting point, both productions follow several common place-bound tracks
such as the rejection of permanent and official theatre structures and the relocation
of performance space primarily in found spaces; at the same time they address notions of contemporaneity advocating the primacy of embodied experience and its inevitable interrelation with real, everyday space. In this last part, Tsarouchis particularly
anticipates the vital contribution that reviewing spatialities, place-ing strategies, and
site can make to the signification process in live arts (Kaye, 2000).

His two experimental productions of classical tragedy, escape existing typologies, expand the outdoor stage and set the agenda for found space and site-specificity in

,
,

(site-specificity) (, 2011, 308, 358-59).

Greece (Konomis, 2011, 308, 358-59).

, ,

,

. ,
,
.

A paradox emerges, as in both productions Tsarouchis radical approach to found

space is paired with a more conventional drive to formally demarcate the space as
a temporary theatre venue and to set up an audience space with scaffolding and
wooden stalls; this should most probably be seen as the remains of the influential
normative context of official presentation of ancient drama outdoors.

1970

The radical 1970s in Greece

. ,
1970
,
,
, ,
.

Contextualising Tsarouchis Trojan Women within their wider socio-cultural production

framework makes for another useful thread of analysis, since the mid 1970s clearly
mark the revolutionary post junta period where Greece attempted to make democratic
reforms affecting all its major political, social and cultural institutions, practices and
ideologies.

(, 2005, 233).
1970
-

. ,
/
/. ,
Foucault

(Soja, 2011, 10. Foucault, 1986, 22).

Characteristic of this so called contentious decade is Nikos Kessanlis outlook regarding national ideology and national identity. An influential visual artist, Kessanlis was
part of the cosmopolitan generation of Greek artists of the 1970s rejecting oppressive and exclusive national identity constructions of the past in contemporary arts, i.e.
the fervently articulated Hellenism doctrines of previous generations. He foregrounds
instead the transposition from the national and temporal-historical to the local and
socio-geographical experience (Kessanlis in Papadopoulou, 2005, 233); a view that in
its more global context resonates also with the shift of focus from time and historicity towards space and the epoch of simultaneous interconnections (Foucault in Soja,
2011, 10ff., and Foucault, 1986, 22).

,
(K, 2011, 354.),
.
,
- ,
(M, 2005),

..
, , .

Performing outdoors as a way of contemporary experimentation - and not merely

restoring the ancient outdoor spatial paradigm- has been to some extent another
product of the contentious 1970s in Greece (Konomis, 2011, 354ff.). This happened alongside the boom in new socio-political dramaturgy, the emergence of more
independent theatre companies (Mavromoustakos, 2005) and an overall flourishing of
innovative and critical cultural practices that were suppressed during the rule of the
junta, i.e. Neo kyma (new music), Neos ellinikos kinimatographos (new cinema).

,

(1978).
,
,
, , ,
,
.
,
.
,
, . , ,

Considering in particular outdoor and sitespecific practices of the period, another experimental work stands out: Iannis Xenakis even more unconventional and idiosyncratic Polytopon in Mycenae (1978). Compared with Tsarouchis more drama-centered
ventures Polytopon in Mycenae was a live event loosely composed as an intermedia art
synthesis based on sound, music, lighting, recited and spoken textual fragments and
non conventional narratives, while movement expanded in the surrounding environment. In Xenakis work, the physical presence of the landscape, as well as its mental
and imaginary entities were given a determinant role, becoming essentially both the
artists main inspirational focus and the structural receptor of this unconventional, palimpsest-like synthesis. In any case, both Tsarouchis experimental tragedy productions
and Xenakis Polytopon in Mycenae attest to a renewed interest in a historically longstanding, multifold performance tendency to address the outdoors and incorporate the

43

44

,

,
.

surrounding environment and the landscape.

. ,

,
,
.

Tsarouchis experiments come after many decades of prevalent revival aesthetics in

20th century Greece. In the early post war decades a rigid canonization of performing
conventions of ancient drama took place at the outdoor theatre festivals, and while
the ancient theatres were used regularly, there were viewed predominantly as sacred
monuments and less as contemporary stages.

,

,
, ,

1970. ,

.

Tsarouchis radical ventures in urban and rural found performing spaces, along with his
neorealist sensitivities reflect most aptly the progressive cultural and artistic fermentations of the 1970s. However, these proved directions that were not easily received at
the time in mainstream Greek theatre and came much later to be appreciated.

,
,
:

(, 2011, 296-317). ,

. ,



..
(, 2011, 325., 344.).

It is perhaps indicative, that most reviews of Trojan Women revolve around the radicalism of Tsarouchis neo-realist representational styles: allegedly Tsarouchis failed to
convey the magnitude of tragedy turning it instead into neorealist drama; by contrast,
the reviews just about reflect on Tsarouchis unconventional spatial choices (Konomis,
2011, 296-317).
Regarding the question of space for tragedy, Tsarouchis experimentations appear
concurrently with some other theatre companies efforts experimenting with non-formal theatre venues, and alternative outdoor spaces- e.g. Desmoi and Evdomo Theatro
(nomis, 2011, 325ff., 344ff.).

T (1977)

The Trojan Women at Kaplanon (1977)

1970, ,
,
(K, 2011, 298-300 2015).


,

.

The production of Euripidean Trojan Women at Kaplanon Street is deeply rooted in

the more experimental tendencies of the period, the artists views on modernization
by analogy and his experience of the Paris progressive theatre scene while in self-exile
during the seven-year junta (Konomis, 2011, 298-300, 2015). Tsarouchis dismisses
the monumental festival spaces with their standardized aesthetics, and opts for the
avant-garde formulation of found space, materializing the first experiment with sitespecificity in the ideologically and aesthetically charged genre of classical tragedy.

, , .
,
:

,
, .

The production was placed in a empty urban lot surrounded by demolished buildings
on Kaplanon Street in a densely populated area in the centre of Athens nearby the central Solonos and Sina streets. A prime feature of the use of found space is addressing
the multi-layering of functions in its past, present and even future uses. Tsarouchis
kept intact the dilapidated state of the space associated with its original residential
function. The space was cleared from its current function as a car parking space to
accommodate temporarily the theatrical function.

.
,

Found space was approached with the minimum intervention according to the more
ascetic aesthetics associated with this sort of spatial ventures and Tsarouchis own
dramaturgy: his metaphorical conception of the ruinous front view of the blocks of high

45

46

: / -,

.

rise flats (polikatoikies) as parts of the fallen city of Troy.

,
-,
, ,
: -,
(scaenae frons),
.
,
,
,
.

At the same time, the deformed remains of the walls of the demolished residential
buildings provided Tsarouchis with a new semi-architectural, semi-sculptural, semitextural structure, a back wall and a background, a found scenography of a sort of
urban scenae frons providing also some interesting spatial subdivisions. The contemporary urban Athenian ruins of polikatoikies become during the performance
both a powerful metaphor for the ruins of looted Troy and a metonymic device for
contemporary mid 20th century Greece.

,
,
-
.

()
.
,
,
(, 2005).

The commonly used in scenography metonymic strategy became all the more powerful through its application in the contemporary urban, real space realm. As related to
language this also registers as a deeper evolutionary process of the medium - space
itself; metonymy is founded and thrives in the cognitive and experiential linguistic
function, where the contiguity between two linguistic entities and expressive units
becomes actively reclaimed. In its spatial application too, metonymy allows for any
system to renew its material and to sustain a flourishing practice (Veloudis, 2005).

,
,
. ,
,
-, .
,
.

Eschewing with ancient theatres and festival production framework, monumentalization and high art allusions, Tsarouchis still strives to formally demarcate the found
space as theatre, cutting it off from the adjacent street and partly turning it into an
interior performance space. He also created out of scaffolding a basic viewing tiered
structure, which was in an essentially frontal, yet more intimate relationship to the audience. The result is a more compact version of outdoor courtyard theatre reminiscent
also of the set-up of summertime outdoor cinemas in Athens.

- -

,

.
, .
,

.

In Trojan Women much more than in Seven Against Thebes Tsarouchis essentially
questions the need to use the inherited ancient theatre forms along with their set
tripartite function, and reinvents the politics and aesthetics of chorus on an oblong
stage space.
Overall, Tsarouchis quest is one for a new form and for a new content. As he questions
the means to which conventional forms should be used, he also formulates the need
for a contemporary socio-political reading of the Euripidean play.

,
.. Sartre,
1960
: ,
,
(Sartre, 1967, xii-xiii).

,


, ,
-
. ,
,
,

In this he naturally aligns with other modern European thinkers like Sartre, who was at
first drawn to his mid 1960s Trojan Women adaptation by the contemporary political
significance of the tragedys subject matter, its explicit associations with the Algerian
War, European imperialism and colonials wars, the atomic warfare (Sartre, 1967, xii-xiii).
Tsarouchis post junta Trojan Women, were ambivalently received for their total departure from historicism, the depiction of Greek glorious past and by contrast their
dangerous proximity to Greeces recent life tragedies. Tsarouchis succeeds in extracting contemporary political significance primarily through space and place, the spatial
choices of the production, and the embodied experience and socio-cultural significance of these particular choices; secondly, through his choices of representational
codes- being the first performance to follow a contemporary, experiential, even autobiographical, lead expressed in bold neorealist stylization.

-
.

.
,
. ,
-
, , . ,

.
T
:
, .



,
.

The iconoclastic turn of the Trojan Women is not restricted to the use of urban found
space; the contemporaneity of the space is instead solidly reinforced by the choice of
contemporary language, costume, sound and other visual elements. The tightly woven
nexus of challenging contemporary references marked a shift in representational codes
and conventions, while leaving no scope of interpretation as to Tsarouchis intentions;
interestingly, in many reviews this updating perspective appears as the more contested aspect of the production.
Tsarouchis had previously followed many leads in his work on classical drama: from
folklore or the so-called vernacular expressionism, to downplayed classicism, and poetic realism. From his Iphigenia to the Orestis sketches, Tsarouchis work on tragedy
and ancient myth has been taking him towards contemporary Greece, converging his
theatre idiom with his well known painterly themes and sensitivities. However, this
has been kept at large as his private view and in his 1950s and 1960s collaborations
with other directors he elaborated a more pared-down, less monumental and eclectic
classicism.

,

- . ,

,
, .
A
-
(...), (..T-...)
.


.

-.

In Trojan Women the artists previous formulations of creating an equivalent to the

ancient form and content, take on a strong contemporary socio-political edge. Far
from avant-garde elitism, Tsarouchis addresses his own and the audiences collective
memory, their common experiences and traumas.
Among the productions heavily charged contemporary references are the uniforms of
the military patrol policemen of junta, the naval officers uniforms, as well as Helens
stylish cinematic costume featuring Cte d Azur white beach trousers and an oversized straw hat.

, 74
,

.. A 74:
(1975)

(1971).

More and above, the chorus contemporary realistic dark coloured costumes draw upon
contemporary material: the real life clothes of the women on the electric railway of
Athens-Piraeus that the artist had been closely observing for years; imagery of the real
life war tragedy in Cyprus still fresh by the mid 1970s - bearing more painfully close resemblances to the images of Greek Cypriot women refugees, as presented by Michael
Cacoyannis documentary film Attila 74- The Rape of Cyprus (1975) and differentiated from the more orientalist, stylized costumes designed by Nicholas Georgiadis for
Cacoyannis 1971 influential film Trojan Women (Cacoyannis, 2003).

,
Cte d Azur
.

..

,
.
,
,


.

While much of the contemporary material used in the performance becomes clearly
visible in the photographic documentation of the performance, -as for example the
contemporary costume and the raw, urban character of the found space-, other elements are more culturally specific to the Greek audience.
Thus, the epitafios ritual procession originating from the religious tradition of the
Orthodox church of mourning Christ on Good Friday, -a source frequently used as a
depository of ritual, emotional and community linked elements- was transcribed in a
choral procession, the moving trail of women following Cassandra holding lit candles,
in bold neorealist style. This contemporary-clad epitafios procession scene brings in
the performance space the springtime Easter ambience of community rituals per-

47

48

, ,
.


,
.

formed in the open, urban space.

,

(1985,
ntoine Vitez, ), (1985,
Luca Ronconi, ).

Tsarouchis radical iconographic legacy and socio-political framing has been influential
to later productions such as Antoine Vitez Electra designed by Yannis Kokkos, or Luca
Ronconis production of Ploutos designed by Dionisis Fotopoulos.

(1982)

Seven against Thebes (Mosxopodio, Thebes, 1982)

,
.

.

.
, ,

, 3,5 .

, ,
,
.

Tsarouxis second materialized experiment with found space, Seven against Thebes
(1982), shares common ground with Trojan Women in its fundamental transposition
of performance space for tragedy outside formal theatre architecture. Nonetheless,
there is lso substantial differentiation, as Tsarouchis abides to address found space in
a location set more geographically correct to the dramatic space of Thebes. Another
difference is the transposition from the essentially urban environment of inside the
walls of the city of Thebes under siege to the natural environment of contemporary
rural Greece. The location selected in Mosxopodio, in the outskirts of Thebes, was a
plain field, a clearing in the densely grown agri-forestry periphery of the city, about 3.5
km south east of Thebes.
Tsarouchis sets a temporary tiered viewing structure with scaffolding and wooden
seating in a slightly curved arrangement, while the stage space remains open, keeping
free the horizon line of the surrounding environment and merging into an undifferentiated whole both orchestra and stage configurations and spatial functions.

,
- - . -
..
-.



.

,

, .

Overall less successful than Trojan Women and contradictory in its neoclassical aesthetic venture, this production however entails also interesting elements of an early,
unconsolidated approach to site-specificity, like e.g. Tsarouchis collaboration with
amateurs/ soldiers from a nearby military camp for the silent male group of soldiers,
encircling the female chorus of the play.
The town of Thebes has been spatially and geographically defined for long by agricultural production and by its relation to big military camps; such contemporary overtones
were though undermined in practice by dressing the soldiers to represent ancient
Greeks with chlamydas and chitons (tunics) complete with period armory.

,

.
, 1977
,

(, ).
1980
.

In any case, there seems to be a strong contradiction between the innovative approach
to space and conventional classicist representational codes. Tsarouchis seems to have
been discouraged by dismissive reviews of Trojan Women, thus featuring a more accepted and conventional mix of classicist costume reference and archaic-influenced
scenic elements (totems, wooden fences); by the early 1980s this however had become considerably out-fashioned.

The choice of the location according to the geography of the dramaturgy also resonates with the nations imaginary for the natural environment, the strong desire for

49

50

, ,
. ,

.

- ..
, (K, 2014, 34.).
,


, ,
- .

the landscape, perhaps as an opposite force to the countrys undergoing of intense

urbanization; this desire had been also strongly manifested during the interwar period in several attempts to take classical performance straight out of the ancient amphitheatres, in natural sites close to the Athenian historic city centre, like Filopappou
and Lykabettos (Konstantinakou, 2014, 34ff.). This activity must be evaluated though
mainly as testing ground aiming at eventually building new outdoor theatres that would
keep the basic open-air condition of the ancient theatres, but perhaps with a more
updated architectural form and closer to the densely populated capital city of Athens.

,
, .

1995
,
.

Although, Tsarouchis performance was connected in a much more ephemeral way to

the landscape, in his case also there was the prospect of establishing the potential of
a more permanent open air theatre site in the area. The outdoor theatre Melina Merkouri was only built much later, in 1995, through the government scheme of support
for municipal cultural infrastructure yielding numerous new ancient-like open theatres.

(found space)

On genealogies of found performance space

(Carlson 2014), ,
- , -,
.


,
.

Performances outside proper theatre architecture have a long history (Carlson, 2014),
while place-bound performing arts have been gaining ground and scholarly attention
globally. Therefore, it is perhaps worthwhile to initiate a brief discussion of typologies
and genealogies of found performance space used in site-specific theatre, in order to
evaluate more fully Tsarouchis contribution.

,
, ,
,

.
, ,
,
- ,
(Hamilakis, 2007).
. , ,
,
,

, , (annidou, 2011).

In terms of discussing the physical forms of found performance space we could use
attentively the distinction between urban space and natural land; a distinction destabilized to a large extent in contemporary urban societies, with rural space to accommodate the many hybrid forms of the substantially urbanized natural environments.
Moreover for Greece -as with other countries with a rich archeological heritage-, categorizations based on material functions of the physical space such as historical locale and archeological site, seem fundamental and acquire an added socio-cultural
significance, influencing all physical strata and realms of urban, rural and natural space
(Hamilakis, 2007); this is especially the case for the outdoor amphitheatres of antiquity like Epidaurus. From another viewpoint, the ancient theatre of Epidaurus could be
considered a kind of national heterotopia, where different versions of the nations real
and imaginary aspirations regarding its past and present future get played out in the
open (Ioannidou, 2011).

,

, , ,
, .

,
, ,
,
.
,
. T
: Foucault (1986)
,
, Aug

Being both an ardent admirer of the classical and Hellenistic art and a progressive leftist intellectual, in his visionary productions Tsarouchis eschews these theatre places
as plagued by tourist commodity aesthetics, state festival spectacle, opportunistic
theatre vogues, elitism, nationalism and conservatism, lack of inspiration and vision.
So, avoiding both formally built theatre spaces and sacralized archaeological sites and
monuments, Tsarouchis aspires towards different kinds of urban and rural environments at a less monumental and much more intimate scale. He essentially puts forward his non systemic and more personalized version of heterotopia of found space
grounded in the variables and instabilities of ephemeral everyday reality.
The performance of Trojan Women in Kaplanon opens up to the diversity and richness
of the everyday urban environment. Along spatialities ranging from heterotopias that
house otherness, marginalization and the transgressive (Foucault, 1986) to Augs
transitory and disengaging non-places (1995/2000), or landmark and monumental

(1995/2000),
, - ,
(
, , , ).

sites for tourist spectacle, and borderline places marking visible and invisible boundaries, we come also across spatially oriented categories for mobile and ambulatory performance like walkabouts, pathways and guided itineraries, personal guide-tours and
mappings, derives and performances on buses and other means of transport.

,
, ,
, drives,
.
,
,
, ,
, , ,
, ,
(Vroege et. al., 1992).

Moreover, we could consider wasteland and junk-space one of the most persistent
categories of contemporary urban space: clearances, gaps, breaks, liminal demarcations and transitional spaces, like demolished building sites, urban voids, abandoned
development projects and semi-completed buildings and road-works, deserted areas and infrastructures, inactive construction sites, dump-sites, and so on (Vroege et.
al.,1992).

1970: o .

,
.
,
. ,
, ..
. ,
(Leontidou,
1990/2006).



(, 1993,
10.).

Within the various types and formations of urban spatialities of wasteland space Tsarouchis favours a particularly distinctive one of 1970s post junta Athens: the urban
demolition gap, a commonly found type of small scale wasteland space. Being a clearance, an empty rupture, it acquires a dense signification, symbolizing fundamentally
both the demolition of the past and the hope of its future regeneration; the demolition
gap, awaiting to be undertaken as a development project by building contractors,
in the meanwhile it becomes an unfenced junk-yard, or features an urban garden of
wild flowers; occasionally the space undertakes another function- like the cemented
plot used commercially as a car parking in Kaplanon Street. In this, the generic type
of the urban demolition gap both reflects and actively contributes to the fundamental
condition of Mediterranean spontaneity in the urban planning development of Athens
(Leontidou, 1990/2006).
Tsarouchis was particularly interested in this type of urban sites in search for a performance space for Trojan Women and there is ample photographic and textual documentation of his research of different demolition empty lots used as car parks at the
time (Savvakis, 1993, 10f).

Lefebvre (1991/2000)
,
:
, transit -,
. ,
.
1970


,
(Leontidou, 1990, 209 ., 239 2006, 76).

But since space is always historically and socio-culturally produced (Lefebvre,

1991/2000), this generic space of the demolition clearance is not devoid of locational
identity. This urban gap is by no means an empty space; or a non-place of passing
neutrality, of transient non-placeness. To the contrary, it is closely related to place, it is
place-bound. So, in the context of Athens in the 1970s, this can be seen as a byproduct of urban practices that junta encouraged instigating a deformed sense of progress
by partly abolishing the urban materiality of the past and permitting mass demolitions
of buildings in the city centre and their uncontrolled reconstruction (Leontidou, 1990/
2006, 209 ff., 239 and 2006, 76).

, ,
,
(Leontidou,
1990/2006, 238).

.
, ,
. ,
,
(Leontidou, 1990/2006,
71), ,
, . , , ,
. (ibid.73). A

Performing urban spatialities through an event of performing arts, substantiates then

a significant cultural enterprise, since popular inertia and passivity with respect to
urban issues [] lasted longer than the dictatorship (Leontidou, 1990/2006, 238).
With Trojan Women Tsarouchis creates the potential of a more total critique of the
various urban and cultural practices promoted by junta.
This performance could be associated with yet another layer of signification in the
urban space regarding older, unresolved tensions and specificities, namely the refugee
issue. In the capital city of Athens, the settlement of refugees from Asia Minor in the
early 1920s led to the radical transformation of the human geography of the city
(Leontidou,1990/2006, 71). Refugees were not integrated in the centre and placed
peripherally, in neighborhoods such as N. Ionia, Kokkinia, Byronas, Kaisariani (ibid.73);
in this way perhaps tensions between refugees and the citys permanent inhabitants
were successfully avoided, albeit refugees were intentionally left excluded from the
normality of the city life (ibid. 77).

51

52

53

 ,
(ibid. 77).

54

, ,


.

, ,
,

.

,
.
,
,
.

With Trojan Women strategically placed in a ruinous empty plot in the city centre, the
core refugee thematic is granted visibility and centrality in the urban environment, -if
only ephemerally-, drawing all sort of associations and overtones within the urban history of the city and its collective memory.
For Seven against Thebes, Tsarouchis attempted to create some additional spatial
tension by geographically matching real found space and textual dramatic space.
Leaving the city and reaching for the outskirts of Thebes, Tsarouchis turned to a mixed
natural environment of wild nature and rural space, testifying again to the move from
the historical to the geographical. Yet with his ambivalent choice of classicist costume,
he historicized an innovative production rooted in found outdoor space.

Old formulas and new sensibilities

, ,
-
,
.
,

, .
,



.

, (Patsalidis, S. and Sakellaridou, 1999).

Tsarouchis groundbreaking productions pointed towards a new, experimental spatial

paradigm for staging Greek tragedy and classical repertoire in general. Nonetheless,
Tsarouchis innovative place-ing choices and his quest for an expanded performance
space for tragedy has yet to come to fruition. Although, contemporary site-specific
art could potentially further expand on his legacy, up to now reimagining antiquity has
been largely sought as a neo-formalist theatre enterprise in the proper outdoor theatre
spaces of the open-air festivals.
By contrast in both his productions, Tsarouchis revisits this whole idea of the real/
found vs. constructed/architectural performance space according to his experimental
outlook on mise-en scene and dramaturgy; this undoubtedly draws him closer to other
avant-garde artists, as well as current site-specific practice, while also forerunning the
many transpositions and displacements of Greek tragedy (Patsalidis, S. and Sakellaridou, 1999).

,
.

,
.
, ,

.
, ,
-
-

(ye, 2000, Konomis, 2014).
,

, ,
, .

Although employing a similar radicalism of artistic approach, Tsarouchis explores sensitivities of found space via different conceptual and artistic channels from various historic and post war avantgardes. While both anti-establishment, Tsarouchis approach
to found space and performance place is not defined so much against the indoors,
italianate stage as with avant-garde movements, but rather to the historicized uses
of the outdoors theatres of antiquity, as monuments, rather than contemporary stages.
Furthermore, as becomes evident with Trojan Women, the inherent potential of live
events to perform deeply embedded urban structures and critically and collectively
reflect on urban spatial phenomena consists one of the most innovative aspects of
current site-specific art (ye, 2000, Konomis, 2014). Such performative events could
become core critical urban cultural practices energetically contributing to rethinking
active participation and agency, spontaneity and grassroots creativity in the Mediterranean city in crisis.

Works cited

Aug, Marc. (1995/2000). Non-Places: Introduction to an Anthropology of Supermodernity. John Howe. : Verso.
, . (2005). , . : .
(1990). : . : .
(2009). : 1910-1989. :
.
Carlson, Marvin. (2014). Streets, Squares and Strollers: The City as Performative Space.
, 11.2, 17-28.
Foucault, Michel. (1986). Of Other Spaces. Jay Miskowiec. Diacritics, 16:
22-27.
Hamilakis, Yannis. (2007). The Nation and its Ruins: Antiquity, Archaeology, and National
Imagination in Greece. O: Oxford University Press.
Ioannidou, Eleftheria. (2011). Toward a National Heterotopia: Ancient Theaters and the
Cultural Politics of Performance in Modern Greece. Comparative Drama, special issue on
the Translation, Performance and Reception of Greek Drama 1900-1950: International Dialogues, 385-403.
, . (2003). . : .
aye, Nick (2000/2006). Site-Specific Art: Performance, Place and Documentation.
: Routledge
Ko, . (2011). T :
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Konomis, Maria. (2014). Theatre and the City, Spatial and Performative Perspectives.
, 11.2, 29-45.
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-. (2015). Reclaiming the City: Renegotiating Site-Specific Performance Strategies in
Public Urban Sites, Proceedings: The Viewing of Politics and the Politics of Viewing:
Theatre Challenges in the Age of Globalized Communities,
, . ( )
K, . (2014).
1940: . , No 6, 2-82.
Lehmann, Hans-Thies. (2006). Postdramatic Theatre. K. Jrs-Munby. Abingdon & N : Routledge.
Lefebvre, enri. (1991/2000). The Production of Space. Donald NicholsonSmith. K: Blackwell.
Leontidou, Lila. (1990/2006). The Mediterranean City in Transition: Social Change and
Urban Development. : Cambridge University Press.
, . (2006). :

, , . , . (.)
. : , 70-84
, . (2005). , 1940
2000. . : .
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Patsalidis, Savvas and Sakellaridou, El. (1999). . (Dis)placing Classical Greek Theatre.
: University Studio Press.
Rabinow, Paul. (1984). . The Foucault Reader, N Y: Pantheon Books.
(1967) Sartres Adaptation of Euripides The Trojan Women, Ronald Duncan,
N : Alfred A. Knopf
, A (1993). I . A: K
Soja, Edward M. (2011). Postmodern Geographies, :Verso.
T, (1995). E . A: O
-. (1983). A . A:
Vroege B., F. Giertsberg and J. Hagamn. (1992). . Wasteland: Landscape from now on.
Rotterdam: 010 Publishers.

Aug, Marc. (1995/2000). Non-Places: Introduction to an Anthropology of Supermodernity.

Trans. John Howe. London: Verso.
Cacoyannis, ichael (2003). rilogy. thens: tanos. (in Greek)
Carlson, Marvin. (2014). Streets, Squares and Strollers: The City as Performative Space,
, 11.2, 17-28.
Foucault, Michel. (1986). Of Other Spaces. Trans. Jay Miskowiec. Diacritics, 16: 22-27.
Hamilakis, Yannis. (2007). The Nation and its Ruins: Antiquity, Archaeology, and National Imagination in Greece. Oxford: Oxford University Press.
Ioannidou, Eleftheria. (2011). Toward a National Heterotopia: Ancient Theaters and the Cultural
Politics of Performance in Modern Greece. Comparative Drama, special issue on the Translation,
Performance and Reception of Greek Drama 1900-1950: International Dialogues, 385-403.
aye, Nick. (2000/2006). Site-Specific Art: Performance, Place and Documentation. London:
Routledge.
Konomis, Maria. (2011). Trojan Women on contemporary stage: the contribution of Greek theatre designers. Doctoral Thesis. Department of Theatre Studies, University of Athens. (forthcoming
revised publication)
-.(2014). Theatre and the City, Spatial and Performative Perspectives, , 11.2, 29-45.
-.(2015). Facets of the empty space in postwar productions of Greek tragedy, Proceedings
Postgraduate Conference. Athens: University of Athens Editions.
-.(2015). Reclaiming the City: Renegotiating Site-Specific Performance Strategies in Public Urban Sites, Proceedings: The Viewing of Politics and the Politics of Viewing: Theatre Challenges
in the Age of Globalized Communities, Thessaloniki: Aristotle University Editions. (forthcoming)
Konstantinakou, Panayiota. (2014). Outdoor revival stages up to
1940: the question of space, Skene, No 6, 2-48, 49-82. (in Greek)
Lehmann, Hans-Thies. (2006). Postdramatic Theatre. Trans. K. Jrs-Munby, Abingdon & New
York: Routledge.
Lefebvre, enri. (1991/2000). The Production of Space. Trans. Donald Nicholson-Smith. Cambridge: Blackwell.
Leontidou, Lila. (1990/2006). The Mediterranean City in Transition: Social Change and Urban
Development, Cambridge: Cambridge University Press.
-. (2006). Interculturalism and Heterotopia in Mediterranean Urban Landscape: from Spontaneous Urbanization to the Entrepreneurial City in Gospondini, . and Beriatos, E. (ed.) New urban
landscapes and Greek city. thens: ritiki, 70-84. (in Greek)
avromoustakos, Platon. (2005). Theatre in Greece, 1940-2000.
thens: astaniotis. (in Greek)
Papadopoulou, Bia. (2005). Ed. Contentious years. Art in the 1970s.
Athens: National Museum of Modern Art. (in Greek)
Patsalidis, Savvas and Sakellaridou, El. (1999). Eds. (Dis)placing Classical Greek Theatre, Thessaloniki: University Studio Press.
Rabinow, Paul. (1984). Ed. The Foucault Reader. New York: Pantheon Books.
(1967) Sartres Adaptation of Euripides The Trojan Women, Ronald Duncan, New
York: Alfred A. Knopf.
Savvakis, Alexios (1993). Ioannis Tsarouxis by lexios Savvakis. Athens: Kastaniotis. (in Greek)
Soja, Edward M. (2011). Postmodern Geographies, London: Verso.
Tsarouchis, Yannis (1995). E . Athens: Odos Panos. (in Greek)
- (1983). A . Athens: edros. (in Greek).
(1990). Yannis sarouchis: Painting. thens: Yannis Tsarouchis Foundation. (in Greek)
(2009). Yannis sarouchis: 1910-1989. thens: Benaki Museum and Yannis Tsarouchis Foundation. (in Greek)
Veloudis, Yannis. (2005). Meaning, before, in and after language. Athens: ritiki. (in Greek)
Vroege B., F. Giertsberg and J. Hagamn. (1992). Eds. Wasteland: Landscape from now on. Rotterdam: 010 Publishers.

55

Documentation Archives

,


E (1982)

https://www.youtube.com/watch?v=4ETboOMyvkE
( 25/2/2015)
(1978)
https://www.youtube.com/watch?v=Yzfn_TC9GO0 ( 4/5/2015)

The Yannis Tsarouchis Archive, The Yannis Tsarouchis Foundation

The Stelios Skopelitis Photographic Archive
The Theatre Museum in Athens
Yannis Tsarouchis, Seven against Thebes (1982)
https://www.youtube.com/watch?v=4ETboOMyvkE (accessed last 25/2/2015)
Iannis Xenakis, Polytopon Mycenae (1978)
https://www.youtube.com/watch?v=Yzfn_TC9GO0 (accessed last 4/5/2015)

.B.
.
..

All photos belong to S.V. Skopelitis archive and we thank him for giving us the right to use them.
S. V. Skopeliltis

- Wimbledon School of Art (BA) Central Saint Martins College of Art and Design
(MA) .
, performance,
.
20 21
, , ,
.

Prague Quadrennial 2015.

Maria Konomis has studied scenography at Wimbledon School of Art (BA) and Central
Saint Martins College of Art and Design (MA) and holds a PhD from the University of
Athens. Her field work comprises of more than 60 productions in theatre, performance,
opera and film design. As a scenography theorist and historian her research interests
focus on 20th-21st century scenography, classical receptions, theatre and the city,
site specific live art. She is currently teaching in the Universities of Patras and Athens,
and has co-authored with curator Thanos Vovolis the theoretical theme of Greeces
participation for the Prague Quadrennial 2015.

https://upatras.academia.edu/MariaKonomis
56

57

 / Olga Touloumi
:
*
The Politics of Totality: Iannis Xenakis Polytope de
Mycnes*

58

59

60

61

62

, .
.
, .
- Alain Badiou1

Genuine problems are like that, both necessary and impossible.

And possibility arrives right when you no longer expect it.
That is what an event is.
- Alain Badiou1

9 1978,
, ,
2. ,
666 Aphrodite s Child,
,
: , ,
, walkie-talkie ,
, .
,
, , -

-, :

On September 9, 1978, the Greek Radio Television broadcast Kostas Ferriss hot off
the press documentary on Xenakis Polytope de Mycnes, the fifth of its kind, but the
first and only to take place in Greece2. In the documentary, the director of Rembetiko
and lyricist for Aphrodites Childs 666 introduced Xenakis to the Greek public essentially as a man at work; tanned, in cut-off jeans, half-naked under an unforgiving
bright sun, conducting through his walkie-talkie, rehearsing his script against the ruins
of Mycenae, working the dry Peloponnesian landscape. In between snapshots of this
man and his crew at work, the other Xenakis, Xenakis-the intellectual, the exiled resistance fighter -an image produced and reproduced so excessively that it hardly means
anything anymore- explicated the thinking behind the spectacle:

( )
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3.

Polytope [as a term] stands for a confluence of multiple topoi -I use topos in its general, abstract, or pragmatic meaning: geographic topos, topos of the arts- for example
of music, of the light, topos of history, topos of poetry, especially where we are, and so
on and so forth. I had Mycenae in my thinking and my heart since my visit here when I
was a child, when I was fourteen years old, with my school; and I was impressed. When
I returned to Greece forty years later, my first thought was to visit Mycenae, because, in
the meantime, () Mycenae was found to be one of the first Greek civilizations; and this
civilization was unique and exceptionally beautiful. The magic of this place, the issue
of history, of a special civilization somewhat ignored by tourism -thank goodness- but
also by the Greek historic consciousness, made me think when I returned that it would
be interesting to make the initiative to revive this civilization. There is also an ulterior
motive. It could be that returning to Greece after all these years, close to my old age, I
wanted to emphasize with this [polytope] the number of apexes that exist in Greek history. Among these apexes, this one here is one of the most important and highest and
exists thanks to the courage and creativity of its people. Perhaps this is exactly what
is missing most from Greece today, and this example should become a live event to
maybe lead to the creation of a new apex in Greece in the near future; and I am speaking of the near future because the pressure, both external and in general, of the people,
around () three billion today, is immense, and only with a spectacular uplifting of the
density of creativity, will survival be possible; otherwise foundering awaits3.

The visit that triggered the idea for a new polytope

, , , , 1974,

.
,
,

The Polytope des Mycnes, had actually taken place four years earlier, in 1974, when
the end of the colonels junta provided Xenakis with his first opportunity to visit Greece
after twenty-seven years in exile. At the moment of his return, to his homeland, to the
roots of his personal mythology, Xenakis saw in Mycenae a past that could potentially
become a future, not only for Mycenae per se, but also for Greece, and through the

*
, 2008, :
(
). Pendragon Press,

. , ,
.

* An earlier version of this essay was presented at the conference Reclaiming the Countryside at the University of Thessaly, Greece in 2008, and was published in I DiekdikIsI tis Ipaithrou: Fysi kai Koinonikes Praktikes
sti Sigchroni Ellada (edited by Kostas Manolidis and Theocles Kanarelis). I would like to thank Pendragon Press
for offering me the opportunity to revisit this article and incorporate within it extensive archival research since
pursued in Greece and France. This essay constitutes part of a larger ongoing research project on the design
praxis and thinking of Iannis Xenakis.

, ,
, , ,
.

operations of his own elliptical thinking, why not for the whole world.

.

, .
, ,
, ,
,
,
4.

Xenakis aspiration to partake in the formation of future publics and the writing of
history was contingent on the fertile grounds the politics of metapolitefsi provided.
Transitioning from the colonels junta to parliamentary democracy, Greece excited
the imagination of exiled officials, intellectuals, and the penalized left. Regardless of a
numb, suspicious majority that reduced its expectations to an uneventful transition to
institutional stability, and a diffident in purging deep governmental structure political
elite, hopes for the radicalization of the people, bottomup democracy, and a complete
de-juntification of the state were running high4.

,

,
.
, ,
,

.

At stake in this transition that the colonels themselves had prefaced as metapolitefsi
and that ended up being mostly anticipated and hardly ever actualized, was the formation of new publics. And it is exactly within this context of excitement over the
emerging publics, freedom of speech, and democracy that we need to reconsider the
Polytope de Mycnes, its appeal to the collective imaginary and the position the event
ascribed to the arts in postwar democracies.

1
, 1978.
1978, (:
), VHS .
Figure 1
Iannis Xenakis at The Lion Gate in Mycenae, 1978. Still from the documentary Polytopo Mykenon,
directed by Fotis Psychramis (Athena: Omada Erevnas Athenon, 1978), VHS Fotis Psychramis.

2
1978,
(: ), VHS .
Figure 2
Polytope de Mycnes, 1978. Still from the documentary Polytopo Myke- non, directed by Fotis
Psychramis (Athena: Omada Erevnas Athenon, 1978), VHS Fotis Psychramis.
63

64

,
.
,
,
,
, ,
. , walkie-talkie ,
, , ,
,
,
.

At first, Xenakis proposal reads like a spelling mistake in the efforts made to talk to the
metapolitefsis new publics. Taking place in the ruins of the oligarchic Mycenae, in the
middle of the countryside and away from the celebrated polis of ancient Greece, with
anti-aircraft searchlights scanning the landscape and illuminating the evening sky, the
spectacle to sing the song of democracy, so to speak, was, at the least, self-contradicting. Behind the multi-channel mixing table, with walkie-talkie in hand, conducting
locals, artilleries, choral groups, performers, and loudspeakers, Xenakis seemed more
like a lieutenant than a composer, and the show more like a military operation than a
cultural event.

, , .
.
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. .
. ,
; ,
; , ,
;

.
- ,
-,
.
, , , ,
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, ,
.
1970, saka Expo
, .
, Expo 67,

Philips Expo 585.

Irony, however, was not what the Greek composer was after. There was no place for
humor in the mind of this orthodox Marxist. Xenakis was dead serious when the discussion came to politics, and dead serious when it fell into the realm of music. Nothing
was par hasard. Even hasard per se had to be determined and calculated. So, was
this meeting of military thinking with public art accidental? If not, what kind of public
did Xenakis strategy assume? What kind of effect, if any, did this paradoxical polytope
strive to achieve? This essay considers the politics of Xenakis work in his infusion
of cultural practices with military operations and the kind of publics this infusion assumes and produces. My story aspires to look beyond Xenakis-the-megalomaniac,
the tyrant of consistency, to retrieve some of the specificity of the work, and examine
the synthesis that Xenakis was actually after. My essay is eventually unapologetically
contemporary, since it points to the myth of democracy, discussions of emerging and
disappearing publics, history and modernity, the politics of art, and ultimately the imaginary constitution of society within them, to remember here Cornelios Castoriadis
expression.
In 1970, Xenakis returned from the Osaka Expo in Japan with brochures on lasers and
sound systems, and a new idea. He would revisit the Polytope de Montral he created
for Expo 67, from the perspective of the total environment he had realized with Le
Corbusier for the Philips Pavilion in Expo 585.

xpo ,

- -
: ,
,
,
Hibiki-Hana-Ma 6.

The overabundance of technology at the Osaka Expo must have been mind-blowing
and the Space Theater of the Iron and Steel Federation Pavilion there -a toy for the big
boys of electronic music- was surely an infrastructural dream come true: around one
thousand loudspeakers, three lasers, and hundreds of moving mirrors reflecting the
lasers, all centrally controlled by computers and multi-channel consoles, with Xenakis
in charge of the programming for the premiere of his Hibiki-Hana-Ma6.

,
,
7. , , -
Gesamtkunstwerk
.
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, .
.
,
, ,
9. ,
,
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, , John Cage
43310. , ,

The idea of a centrally programmed environment to produce the experience of unification while obscuring the structure that brings and holds together the parts must have
struck a chord in the decolonized France of the Fifth Republic7. Soon thereafter, the
Xenakean reappropriation of the Wagnerian Gesamtkunstwerk became a vital component of the Gaullists cultural program. In the decade following Osaka, Xenakis received
commissions for the majority of his total environments, most of them realized in Paris8. There was nothing assuaging and reassuring about these environments. For the
prophet of insensibility, as Milan Kundera has very accurately characterized Xenakis,
human feelings and sentiments were irrelevant to his music9. His environments were
the product of pure calculation and engineering, challenging the limits and limitations
of perception, bombarding the sensus communis with masses of sounds and lights
and asking nothing in return, not even silence, as Xenakis rival par excellence, John
Cage, did with his 43310. Within this bombardment of effect, electronic or not, the
audience of Xenakis work was a public in confrontation with and not submerged in the
artwork and the world it represented, namely the world of math and military science.

,
.

, Festival dAutomne Paris
Pompidou, ,
Centre Pompidou

11. ,
, ,
.
, ,

, ,

, ,
, .

The idea for the Polytope de Mycnes matured in the aftermath of Xenakis Polytope
de Cluny marathon that inaugurated Pompidous Festival dAutomne Paris, while he
was working on the Diatope, a total environment for the festivities surrounding the
opening of Centre Pompidou and in dialogue with the politics of the centralization of
cultural production in France11. Yet, the polytope he proposed to celebrate his return
to Greece differed radically from both in its claims to history, ceremonial undertones,
and appropriation of the public in its production. With no envelope to contain it, this
total environment was spilling over to open air, territorializing the landscape for as far
as the sounds and their echoes could reach, putting ruins and technologies in agonistic dialogues, collapsing the past and the future into a spatio-temporal continuum
of hermeneutics within which animals, humans, and their tools formed new ecologies
that reclaimed their habitat and culture anew.

, ,
(1971).
, --, Shiraz Arts Festival, ,

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,
, Mohammed Reza Shah Pahlavi, ,
13. , , ,
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,
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,
,
.

Maybe this time not by accident, the only other open-air polytope to take place in ruins
was the Polytope de Perspolis (1971). Similarly to Mycenae, Xenakis set a strong
dialogue between Persepolis as-preserved ruin and the Shiraz Arts Festival as a force
of modernization, between the unassailable rocks and the assault of the waves of
civilization12. Children with torches, projectors, fires, and loudspeakers were all choreographed to invent light trajectories, to create signs, to produce a visual symbolism
that would attribute this fragment of Zoroastrianism and the Archaemenid Empire,
not back to Mohammed Reza Shah Pahlavi, but to the worlds history, where it belonged for the Greek composer13. Mycenae differed, however, from Persepolis where
Xenakis, infuriated by discussions of his polytope as being a validation of the Shahs
oppressive regime, claimed democracy to be a lie, a fallacy, an artificially sweetened
mythology in the mouths of all regimes, be they under the influence of overt dictators
or camouflaged ones, throughout the world14. Instead, the Polytope de Mycnes found
the militant composer not only revisiting this very fallacy, but also implicating the Homeric legacy of Mycenaean Greece in democracys history of origins.

3
,
, : , , , ,
. .
Figure 3
Table categorizing material culture unearthed by the archaeological dig in ancient Mycenae into
six groups: military, hunting, cult, vessels, architecture, and others. Collection Family Xenakis.
65

66

, ,
. ,
,


15. ,
,
A, .

Indeed, Xenakis initially proposed his spectacle having in mind a centennial celebration of the excavations in Mycenae. Based on the Aeschylus trilogy of Oresteia, the
celebration would be built around the dialectics in the transition from blood-for-blood
divine justice to the emergence of the legal system that co-produced the polis and
its democracies15. In a way Xenakis polytope would re-invent the origins of democracy,
this time not in Athens of the Golden Era, but in Mycenae of the Bronze Age.

, , ()
.
,
: -
,
(...)
, ,
. ,
, ,
() ,
, 16.

The extraordinary civilization of the Mycenaeans is, along with that of the Minoans ()
the first manifestation of high-level European life. Its deeper nature has two faces,
which reflect the virtues and miseries of the Olympian gods: one face is incarnated
by the magnificence of the individual hero-king in an imperfectly hierarchized society,
the other by the multiplicity and the fragmentation of the kingdoms that contest each
other interminably (). These two aspects led, a thousand year later, to the original
societal structures, the democracies of Greek cities. Dialectically opposing each other,
they determined, since the millennia until today, the realities of the Indo-European
civilizations (). The source of Europe, then of the entire world, is to be found in what
was initiated by the Mycenaeans16.

,
.
,
17. , 1953, Michael Ventris
Cambridge John Chadwick
,
,
, 18.
,
,
.
,
, .

In fact, Mycenae has been the center of archaeological debates for a long time. Archaeologists have been debating the Hellenization of the peninsula on the grounds
of linguistics since the discovery of the Linear B tables17. When in 1953 the British
architect Michael Ventris and the University of Cambridge philologist John Chadwick
announced the deciphering of Linear B, the dominant theory of a Dorian Invasion from
the depths of Europe that eradicated pre-Hellenic populations and established the
dialects of the classical Greece was called into question18. The myth of Europe as the
civilizing democratic force was now to be reconciled with the other upon which it developed, the tyrannical East. In the face of Greeces entering negotiations for the second enlargement of the European Economic Community, Xenakis not only alluded to
these uncomfortable couplings, but was also willing to make a spectacle out of them.

,
.
19
, ,
,


, 20. ,
,
,


,
, ,
[] 21. ,
(HACM),
,
--22,
, , , 23.

Even though the festivities for the centennial of Schliemanns excavations were never realized, Xenakis continued preparing the grounds and working his connections
in Greece. The invitation to compose the music for the production of Oedipus at
Colonus19 got Xenakis thinking about his polytope in terms of ancient Greek drama,
and soon enough he proposed to Alexis Minotis a production overhaul, with the choral
parts in the Attic dialect and the dramaturgy organized around his music; a collaboration that grew tense pretty quickly and got cancelled immediately thereafter20. When
the Minister of Culture and Science, Constantinos Trypanis, invited him to participate
in an international forum on theater the following year, Xenakis again repeated his position on the revival of ancient Greek drama; he called for a revival that would restore the
text on the scientific grounds of historical and linguistic research and reinvent the rest
of the tragedy on the grounds of modern artistic interpretation using as an archetype
the Japanese Noh and Kabuki theater as an archetype and not [Western] opera21.
With Yannis Papaioannou, an old confidant and member of the board of the Hellenic
Association of Contemporary Music (HACM), in the role of deus ex machina, Xenakis
convinced the Ministry of Culture and Science and the Greek Organization of Tourism
to get on board with the production of his polytope-as-ancient-Greek-theater22, a production that saw the deep involvement of prefectural and state authorities, institutions,
and above all the public23.

24.
,

The arrival of Xenakis in Greece in early July confirmed the forthcoming polytope in
the Greek newspapers24. With only two months for the entire preparation, the production became an experiment in bending state bureaucracies, mobilizing officials beyond

,
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, ,
26.

the call of duty, and coordinating the production25. The Greek National Theater was to
provide loudspeakers and sound equipment; the military, anti-aircraft searchlights and
troops; the Athens State Orchestra, the National Opera, and the Greek Radio Television, musical instruments. Choirs and ensembles travelling from Lorraine, Provence,
and Paris were to be accommodated; additional local choirs of children and women
had to rehearse their parts. Stages and platforms needed to be constructed; customized goat bells, fireworks, gas canisters, and torches fabricated and tested; the sound
system and screens installed; and the children and troops choreographed. To respond
to the task, Xenakis organized the population of experts, technicians, workers, and
performers into subgroups deployed onto the landscapes and managed by a network
of commanders, ordered by the commander-in-chief himself26.

4
, 1978.
.
Figure 4
Locals assembling the bells and flashlights for the goats, August 1978.
Collection Family Xenakis.

5
, 1978.
.
Figure 5
Unidentified man setting the gas canister during the performance, September 1978.
Collection Family Xenakis.
67

 6
,
1978. .
Figure 6
Unidentified men managing an army searchlight during the performance, September 1978.
Collection Family Xenakis.

, 197827, , - ,
, , 28.
, ,
,
,
,

29.

For four consecutive nights in September 197827, out of sight, Xenakis-as-conductor

rewrote his hermeneutics of history, ancient Greek drama, and the role of the arts within it against the ruins of the newly contextualized Mycenaean civilization from behind
the multichannel console28. Locals and soldiers with torches, children with lanterns,
goats with bells around their necks, would march down the hills of Mycenae and across
the valley in ceremonial processions sketching in the fields or on the Acropolis shapes
loved by the Mycenaeans, shapes that Xenakis himself had extracted from excavated
artifacts and reintroduce onto the hillside by means of light events set against the dark
landscape29.

7
, 1978.
1978,
(: ), VHS .
Figure 7
Soldiers and locals carrying torches during the Polytope performance, 1978. Still from the documentary Polytopo Mykenon, directed by Fotis Psychramis (Athena: Omada Erevnas Athenon,
1978), VHS Fotis Psychramis.
68

, , ,

,
A , ,
,
, ,

,
30.

Choirs of children, women and men, foreigners and locals, with the actress Olga Tournaki and the baritone Spyros Sakkas in the role of the narrators, performed at the foot
of the Acropolis fragments in the language of the Achaeans and the Attic dialect,
bringing together two languages that until very recently had been perceived by archaeologists as unrelated, thereby setting in dialogue the forces in the evolution of the
Greek language itself from the dark ages of Homeric Mycenae to the Golden Age of
classical Greece; for Xenakis, only a stage and not the beginning in the development
of his democracy30.

,
CEMAMu:
31. ,
son et lumiere
,
, Unit Pedagogique Informatique
du CEMAMu (UPIC). .
,
, ,
, , ,
:
32. - ---
, UPIC,
33. UPIC,

,
34.

, ,
: ,
, - ,

35. , ,

,
, ,
.
,
, , , ,
.

Along with the vocalization of the ancient text, Xenakis brought to Mycenae the synthetic sounds he was experimenting with at the CEMAMu; the sounds of the electronic
age31. To be more precise, the whole narrative the composer set with his son et lumire production was structured around the eight parts of Mycenae Alpha, the first piece
to be entirely composed with his machine for drawing music, the Unit Pedagogique
Informatique du CEMAMu (UPIC). The score of Mycenae Alpha reads almost
like a map. Unusual in its function as an index of a past event and not a guide to the
future, this map presented multitudes of lines, straight and curved, organized in valleys and mountains, rhizomes and branches, grottos and plateaus: a fully developed
landscape deployed in the eight separated sheets of the score32. Between Mycenae
Alphathemap and Mycenae Alpha-the-sonic-event lurked a cybernetic organism,
the UPIC, a communication and computational system that translated drawings to
sounds33. Behind the UPIC lay Xenakis convinction that, essentially, music is not a
language with fixed syntax and grammatical rules that one needs to follow and adhere
to, but rather the result of the system that the composer each time programs and
designs34. With the introduction of Mycenae Alpha to his revival of ancient drama,
Xenakis placed in the position of a historical continuity the dialectics that for him
catalyzed modernization: the new against the old, the computational against instrumental, the after language against before language, with no intention to organically
connect and present as continuous that which is not35. And this multitude of voices,
synthetic sounds, and languages, this drama of modernization took place within a wellrehearsed battle between shadows and light, timed to accelerate from total darkness
to total light, in a landscape set on fire by gas canisters, searchlights, and fireworks.
From military troops to local fauna and from virtuosos to cicadas, everybody participated in Xenakis script not exactly to vocalize, but rather to put to work the dialectics
of modernization for the publics of metapolitefsis.

, . 1956
,
Abraham Moles, ,


36. ,
,
,
,
. Moles

Claude Shannon
, .
1960, Michel Philippot
Groupe des Recherches Musicales, o Moles MYAM,
o-
.

Rather than being a spectacle, for Xenakis, the Polytope de Mycnes was an event,
albeit a cybernetic one. Around 1956 and while dealing with the problem of organizing the multitude of sounds that made up his music, Xenakis was introduced to
Abraham Moles, a French acoustician later turned sociologist who had it taken upon
himself to open the world of information theory to composers and turn information
theory into an aesthetic project36. For Xenakis, who already understood his music as an
organized mass of sounds, the nascent epistemology of cybernetics with its view of
nature in terms of thermodynamic systems accelerating toward chaos might as well
provide him with the means to control and organize his sonic events. Moles was more
than willing to indulge Xenakis aspirations to bring the information theory of Claude
Shannon into music composition and start discussing music in terms of events, patterns, and noise. By 1960, along with Michel Philippot and the rest of the gang from
the Groupe des Recherches Musicales, Xenakis and Moles formed MYAM, a group of
cybernetics-curious composers researching information theory. During the informal
meetings of The Ministry of Stochastic Businesses, as Pierre Barbaud jokingly called
the group37, MYAM composers discussed music in terms of messages of the Umwelt
(environment) to the individual and the individual as the receiving end of a transmission channel () placed in a sphere of situations38. Shannons information theory and

69

 ,
Pierre Bardaud37,
Umwelt ()
(...) 38.
Shannon o
, IBM
39.

definition of stochastic processes became their bible and IBM France the next stop in
making their dreams of algorithmic music come true39.

8
,
. . .
Figure 8
Xenakis sketches of ornamental motives found in Mycenaean artefacts and vessels. Sketch with
pencil on paper. Collection Family Xenakis.

Musiques Formelles 1963,

La Revue Musicale
, ,
- 40.
,
,
, , ,
41.

70

With the publication of Musiques Formelles in 1963, Xenakis was ready to claim
himself the kybernetes of this cybernetic take on music and to introduce stochastics
to the audience of La Revue Musicale as the more general causality to replace the
strict, deterministic causality which the neo-serialists postulated in the making of
music40. At the heart of these processes was a new understanding of music as a
mass event, a multitude made out of thousands of isolated sounds, seen as a
totality that moves from complete order to total disorder in a continuous or explosive
manner41.

9, &
.
. .
Figures 9a, b & c
Examples of Xenakis diagrams for the deployment of light on the hillside. Sketch with pencil on
paper. Collection Family Xenakis.
71

72

.
. ,
,
. , , .
,
.
.
.
,
. , ,
.
, , , ,
, , 42.

Everyone has observed the sonic phenomena of a political crowd of dozens or hundreds of thousands of people. The human river shouts a slogan in a uniform rhythm.
Then another slogan springs from the head of the demonstration; it spreads towards
the tail, replacing the first. A wave of transition thus passes from the head to the tail.
The clamor fills the city, and the inhibiting force of voice and rhythm reaches a climax.
It is an event of great power and beauty in its ferocity. Then the impact between the
demonstrators and the enemy occurs. The perfect rhythm of the last slogan breaks up
in a huge cluster of chaotic shouts, which also spreads to the tail. Imagine, in addition,
the reports of dozens of machine guns and the whistle of bullets adding their punctuations to this total disorder. The crowd is then rapidly dispersed, and after sonic and
visual hell follows a detonating calm, full of despair, dust, and death42.

Ludwig Boltzmann
J. Willard Gibbs,
,
- , , , -
43.
--
.

Found in Ludwig Boltzmanns Second Law of Thermodynamics and J. Willard Gibbss

entropy formula, the telos of Xenakis universe, both in the sense of the lan vital
toward which it accelerates and the endof music, of events, of time, of historyis
inevitably chaos; a chaos ignited by non-determined events43. It is these non-determined events-as-entropic-catalysts that Xenakis hoped to introduce in his music with
stochastic processes.

,
:
Claude Shannon,
, S. S. Steven ,
Norbert Wiener,
,
: , .
E , ,
, , ,
,

, 44.
MIT:
. Norbert Wiener,

.
.
,

. ,
o Wiener
45.

For the most part, the epistemologies Xenakis referred to emerged from military research during World War II: Claude Shannons information theory, game theory, S. S.
Stevens treatise on hearing and psychoacoustics, Norbert Wieners cybernetics, and
ultimately stochastic processes and the laws of large numbers, not to mention the
technology itself: transducers, filters, and computers. Initially under the auspices of the
National Defense Research Committee, and later the Office of Scientific Research and
Development, mathematicians, physicists, engineers, and psychologists in the USA
collaborated on research, developing new weapons and methods to coordinate the
coupling of machines and humans into communication organisms of organic continuity44. Among them was the anti-aircraft predictor project at MIT: the project to condition the emergence of cybernetics. The master mind behind the project was Norbert
Wiener, a mathematician researching ways to document and ultimately foresee the
actions of the enemy fleets. The thinking behind the operation of the AA predictor
was pretty straightforward. Radar followed enemy aircraft and collected information
on the route of the flight, with the goal of predicting future moves and incorporating
this prediction into the calculations of ballistic weapon operations. In this closed communication system, Wiener proposed the development not of a machine, but rather of
an entire organic system45.

- , -
46.
,
. , ,
, ,
.

, , ,
47.
-
, ,
, .

Since the major objective was the organicity of any system -a communication system,
information system, or calculation system- the focus shifted again towards nature46. At
the heart of this epistemology that reads patterns and stochastic processes in nature
lay an enemy. For Norbert Wieners anti-aircraft predictor this enemy was the pilot; for
the communication systems, noise; for cybernetics as the overruling epistemology of
the postwar period, the chaotic function of nature. Against this entropy, the human
organism, not quite organic in its essence, was trying to codify, foresee, and control
the unpredictable; to tame chance. These stochastic processes that were structured
around and structuring the cybernetic ontology of the enemy as a fundamental otherness, Xenakis turned to the culturing device, the method, the scientific device to
produce his sonic events47. The enemy this time was not the non-determined variants that bring events about, but rather the order that canonizes their behavior, what
precedes them, i.e. the canon itself. It was exactly this uninhibited enemy with its
non-determined variants that Xenakis introduced to the publics of metapolitefsi with

his Polytope de Mycnes.

,
Gesamtkunstwerk,
, , ,
. , Alain Badiou Five Lessons on Wagner,

48.

.
,
. ,
. ,
,
,
49.
: ,
.
.
, James Harley Jean Lacouture, ,
50. ,

,
.

And here is where Xenakis Polytope de Mycnes diverges from the Wagnerian Gesamtkunstwerk, the ghost that keeps haunting European modernism, and, in doing
so, also opens up the possibility to revise it. For as Alain Badiou has argued in Five
Lessons on Wagner, the act of totalization in and of itself does not directly translate
to anything other than the presence of a desire to totalize48. The political ideologies
associated with this act of totalization are to be found in the questions that the work of
art attempts to address and in the form that these questions take. In this sense, what
Xenakis polytope totalizes is the possibility for dialogue. The end of his spectacle, the
moment of light, is set in the midst of the darkest night. Rather than submerging the
audience in his narrative, presenting neo-Greeks as the organic continuation of Achaeans, Xenakis aims for detachment, a radical dissociation between the contemporary
moment and the past49. The narrative of his tragedy is structured around a dialogue
spoken in languages incomprehensible to the audience: the Attic dialect, Linear B, and
the language of the computer. The effect of this agonistic dialogue, Xenakis amplifies
with sounds and music. The harsh sonorities of the polytope, to use James Harleys
words, or for Jean Lacouture, Xenakis music of aggression and defiance, reinforce
the dissociation between the world of the polytope and the audience50. Essentially, the
polytope presented to the publics of restored democracies the possibility of which
they had yet to partake; in fact the very distance between the contemporary moment
and this possibility.

10
, 1978.
.
Figure 10
Children and Women Choirs at the foot of the Acropolis, September 1978.
Collection Family Xenakis.

,
.
, .
,

.
.

. .

Xenakis is one of those controversial figures, whose work defies efforts to contain its
message. Rather than indulging illusions of democracy, he points at the inconsistencies that imbue them. Rather than inviting interpretation and participation, he fortifies
his work with even more structures; systems that he willingly exposes and against
which he expects his music to be held accountable. His conquest belongs to the realm
of an Adornian negativity. He does not trust in the subjects ability to escape the structures of its own formation and to produce something original and new. He does
not even trust in himself. The struggle of freedom, of the ability to escape myself in
producing a point genuinely independent from my own will, has no ending. It is merci-

73

,
, .
,
1975 Cendres,
51. , ,
,

,
. , ,
,
, . , ,
,

/,
.

less and hopeless, Xenakis admitted to the Greek audience that gathered in 1975
to listen to Cendres, the piece he dedicated to the political struggles of the Portuguese51. And yet, the subject of his own paradoxes, paradoxes that he does not fail to
acknowledge in discussions, Xenakis does not open up his work to anything other than
the calculated chance of stochastics. This is for him the last bastion of modernism,
the only possibility for newness. After all, for Xenakis only professional dilettanti can
leave a task unfinished for someone else to complete at another time, not a composer
at work. And perhaps this is the lesson of the Polytope de Mycnes, a lesson Xenakis
addressed to the publics of a restored democracy; that the artist reserves the right to
the totality of his/her work even when the ultimate telos is to undermine the very act
of totalization.

11
, 1978.
1978, (:
), VHS .
Figure 11
Percussionist during rehearsals, 1978. Still from the documentary Polytopo Mykenon, directed by
Fotis Psychramis (Athena: Omada Erevnas Athe- non, 1978), VHS Fotis Psychramis

12
1978. ,
(: ), VHS .
Figure 12
Polytope de Mycnes, 1978. Still from the documentary Polytopo Mykenon, directed by Fotis
Psychramis (Athena: Omada Erevnas Athenon, 1978), VHS Fotis Psychramis.
74

75

Notes

Alain Badiou, Five Lessons on Wagner, Verso, London, New York 2010, . 159.

Alain Badiou. Five Lessons on Wagner (London; New York: Verso, 2010) 159.

: 10, . , 9.9.1978.

Polytopo ton Mykenon stin EPT: Ora 10 Ta Nea, September 9, 1978.

.
,
. , ,
.
places, ,
locus.
,
, , 9 1978.

3
This quotation has been excerpted from the television documentary Polytopo Mykenon and has
been transcribed from oral speech and translated from Greek by the author. Unless otherwise
stated, the author is responsible for the translations included in this article. Xenakis extensive use
of pronouns can obscure the meaning of his already elliptical thought. In order to help the reader,
I have used brackets to specify content and the subject of his pronouns. Even though as a noun
topos could be translated into places, here Xenakis uses it in its more abstract sense that can
only be conveyed by the latin term locus. The citation of Iannis Xenakis interview was found in:
Iannis Xenakis, Polytopo Mykenon, directed by Kostas Ferris, aired in Greek Radio Television September 9, 1978 (Athens: ERT, 1978), film.

, -,


. : George Kassimeris, Junta by Another Name? The 1974
Metapolitefsi and the Greek Extra-Pariamentary Left, Journal of Contemporary History, vol.
40, no 4 (2005), . 745-762 Kevin FeatherstoneDimitrios K. Katsoudas, Political Change
in Greece: Before and after the Colonels, Croom Helm, London 1987 Beate Kohler, Political Forces in Spain, Greece and Portugal, Butterworth Scientific, London, Boston 1982
Guillermo A. ODonnel et al., Transitions from Authoritarian Rule. Southern Europe, Johns
Hopkins University Press, Baltimore 1986 Takis Spyros Pappas, Making Party Democracy in Greece, Mac Millan, St Martins Press, New York 1999 Geoffrey Pridham, The New
Mediterranean Democracies: Regime Transition in Spain, Greece and Portugal, Frank Cass,
London, Totowa, NJ 1984 Harry J. PsomiadesStavros B. Thomadakis, Greece, the New
Europe, and the Changing International Order, Pella, New York 1993.

4
Meaning change of regime, literally speaking post-regime, metapolitefsi constitutes the term
used in Greek to describe the historic period that followed the fall of the colonels junta and the
restoration of democracy in Greece. See: George Kassimeris. Junta by Another Name? The
1974 Metapolitefsi and the Greek Extra-Parliamentary Left in Journal of Contemporary History 40, no. 4 (2005) 745-62; Kevin Featherstone and Dimitrios K. Katsoudas. Political Change
in Greece : Before and after the Colonels (London: Croom Helm, 1987); Beate Kohler. Political
Forces in Spain, Greece, and Portugal (London, Boston: Butterworth Scientific, 1982); Guillermo
A. ODonnell et al. Transitions from Authoritarian Rule. Southern Europe (Baltimore: Johns Hopkins University Press, 1986); Takis Spyros Pappas. Making Party Democracy in Greece (New York:
MacMillan; St. Martins Press, 1999); Geoffrey Pridham. The New Mediterranean Democracies:
Regime Transition in Spain, Greece, and Portugal (London, Totowa, NJ: Frank Cass, 1984); Harry J.
Psomiades and Stavros B. Thomadakis. Greece, the New Europe, and the Changing International
Order (New York: Pella, 1993).

5
O Philips Expo
.
Expo
1967,
. Expo 1970,
HibikiHana-Ma,
. To 1977, o ,
Centre Pompidou,
1979, .
.
, : Olivier Revault DAllonnesannis Xenakis, Les Polytopes, Balland,
Paris 1975 Iannis XenakisSharon Kanach, Music and Architecture: Architectural Projects,
Texts, and Realizations, Pendragon Press, Hillsdale 2008 James Harley, The Electroacoustic Music of Iannis Xenakis, Computer Music Journal, vol. 26, no 32 (2002), . 33-57
Maria Anna Harley, Music of Sound and Light: Xenakiss Polytopes, Leonardo, vol. 31, no 1
(1998), . 55-65 Philipp Oswalt, Iannis Xenakis Polytopes, Contemporary Music Review,
vol. 21, no 2/3 (2002), . 35-44 Sven Sterken, Towards a Space-Time Art: Iannis Xenakis Polytopes, Perspectives of New Music, vol. 39, no 2 (2001), . 262-273 Iannis Xenakis (et al.), Le Diatope: Geste de Lumiere et de Son, Centre Georges-Pompidou, Paris 1977.

Hibiki-Hana-Ma, : Toru Takemitsu, Steel Pavilion: Space
Theater, Archives of the Commemorative Association for the Japan World Exposition,
Osaka, Japan (n.d.) Japan Electron Optics Laboratory Co., LTD-Laser Equipment for Steel
Pavilion (booklet), Fonds Iannis Xenakis, Oeuvres Musicales Bote 12, Dossier 5, Bibliothque Nationale de France, Paris Nihon Bankoku Hakurankai Kykai, Steel Pavilion,
Japan World Exposition, Osaka, 1970: Official Report, vol. 3 (Suita City, Osaka Prefecture:
Commemorative Association for the Japan World Exposition 1970, 1972), . 420 The
Japan Steel Federation Pavilion, The Japan Architect, no 151 (1969), . 76 Toru Takemitsu, Basic Concept of the Space Theater, Space-Theater (booklet, L.P.), RCA Seal, Yokohama, Japan 1970 Mikako Mizuno, On the Idea and the Technology of Spatialization
of Music in Tekkokhan, Osaka Worlds Fair 1970, Journal of Architecture, Planning, and
Environmental Engineering, no 527 (January 2000), . 116 Sharon Kanach, From Hand to
Ear (or Seeing is Hearing). Visualization of Xenakis Creative Process: Methods and Results,
: Ralph PalandChristoph von Blumroder (ed.), Iannis Xenakis: Das elektroakustische

76

Xenakis refers to the Philips Pavilion at the Brussels Expo in 1958 as his first experiment in the
direction of the polytopes. Xenakis used the term for the first time for the audiovisual installation
inside the French Pavilion at the Montreal Expo in 1967, so as to replace previous titles like void
sculpture or audiovi-event for the void. Apart from the Osaka Expo in 1970, where he solely
programmed the audio environment for the performance of his Hibiki-Hana-Ma, he used the
term again for the Polytope de Perspolis, and the Polyrope de Cluny. In 1977, Xenakis realized
the Diatope, a one of a kind polytope for the festivities to accompany the opening of Centre
Pompidou, which he managed to reinstall in Bonn in 1979, after a long correspondence with vari
ous institutions. The Polytope de Mycnes is his last original audiovisual event to be realized. For
more on the polytopes see: Olivier Revault DAllonnes and Iannis Xenakis. Les Polytopes. (Paris:
Balland, 1975); Iannis Xenakis and Sharon Kanach. Music and Architecture: Architectural Projects,
Texts, and Realizations. (Hillsdale: Pendragon Press, 2008); James Harley. The Electroacoustic
Music of Iannis Xenakis in Computer Music Journal vol. 26, no.32 (2002) 33-57; Maria Anna
Harley. Music of Sound and Light: Xenakiss Polytopes in Leonardo, vol. 31, no. 1 (1998) 55-65;
Philipp Oswalt. Iannis Xenakis Polytopes in Contemporary Music Review vol. 21, no. 2/3 (2002)
35-44; Sven Sterken. Towards a Space-Time Art: Iannis Xenakis Polytopes in Perspectives of
New Music vol. 39, no. 2 (2001) 262-273; Iannis Xenakis (et al.). Le Diatope: Geste de Lumiere
et de Son. (Paris: Centre Georges-Pompidou, 1977).

For information on the idea behind the Space Theater and the programming and performance
of Hibiki-Hana-Ma see: Toru Takemitsu. Steel Pavilion: Space Theater, Archives of the Commemorative Association for the Japan World Exposition, Osaka, Japan (n.d.); Japan Electron
Optics Laboratory Co. LTDLaser Equipment for Steel Pavilion (booklet). Fonds Iannis Xenakis.
Oeuvres Musicales Bote 12, Dossier 5. Bibliotheque Nationale de France, Paris; Nihon Bankoku
Hakurankai Kykai. Steel Pavilion, in Japan World Exposition, Osaka, 1970: Official Report. 3 vols.
Vol. 3 (Suita City, Osaka Prefecture: Commemorative Association for the Japan World Exposition
1970, 1972) 420; The Japan Steel Federation Pavilion in The Japan Architect no. 151 (1969)
76; Toru Takemitsu. Basic Concept of the Space Theater in Space-Theater (Yokohama, Japan:
RCA Seal, 1970), booklet, L.P.; Mikako Mizuno. On the Idea and the Technology of Spatialization
of Music in Tekkokhan, Osaka Worlds Fair 1970 in Journal of Architecture, Planning, and Environmental Engineering, no. 527 (January 2000) 116; Sharon Kanach. From Hand to Ear (or Seeing is Hearing). Visualization of Xenakis Creative Process: Methods and Results in Iannis Xenakis
: Das Elektroakustische Werk : Internationales Symposion Musikwissenschaftliches Institut Der
Universitt Zu Kln, 11. Bis 14. Oktober 2006: Tagungsbericht, (ed. Ralph Paland and Christoph

Werk. Internationales Symposion Musikwissenschaftliches Institut der Universitt zu Kln,

Apfel, Wien 2009, . 83-97 Emmanuelle Loubet, The Beginnings of Electronic Music in
Japan, with a Focus on the NHK Studio: The 1970s, Computer Music Journal, vol. 22, no
1 (1998), . 49-55.

von Blumrder) (Signale Aus Kln. Beitrge Zur Musik Der Zeit; Bd. 14. Wien: Apfel, 2009) 8397;
Emmanuelle Loubet. The Beginnings of Electronic Music in Japan, with a Focus on the NHK
Studio: The 1970s in Computer Music Journal 22, no. 1 (1998) 49-55.

: Kristin Ross, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, MIT Press, Cambridge 1995, Ross
,

,
.

8
1971-78,
( I [1972-73], II [197374], [1977-78]) (
[1979]).

9
Milan Kundera, Xenakis, Prophete de lInsensibilit, : Hugues Gerhards (ed.), Regards sur Iannis Xenakis, Stock Musique, Paris 1981, . 21-24.

9
Milan Kundera. Xenakis, Prophte de lInsensibilit in Regards sur Iannis Xenakis (ed. Hugues
Gerhards) (Paris: Stock Musique, 1981) 21-24.

10

Douglas Kahn Cage.

, han 433
, , ,
: Douglas Kahn, , , : H , MIT
Press, Cambridge 1999. o randon LaBelle Kahn,
433 : randon LaBelle,
Background Noise: Perspectives on Sound Art Continuum International, New York 2006, .
14-16. O Paul Hegarty Kahn LaBelle
: Paul Hegarty, Noise/Music: A History, Continuum, New York 2007.

10

I am indebted to Douglas Kahns analysis of Cages silencing techniques. In recent literature,

Kahn argues that 433 is an attempt to silence the audience and the performer for an all sound
environment. Douglas Kahn. Noise, Water, Meat: A History of Sound in the Arts (Cambridge: MIT
Press, 1999); Brandon LaBelles argument has challenged Kahns position, arguing that 433 is
not silencing the social but rather sets up a new conversation with the audience. See Brandon
LaBelle. Background Noise: Perspectives on Sound Art (New York: Continuum International, 2006)
14-16; Paul Hegarty has supported Kahns position against LaBelles challenge of its validity in
his Noise/Music: A History (New York: Continuum, 2007).

11

Georges Pompidou,
-
, : Georgina Born, Rationalizing Culture: Ircam, Boulez, and the Institutionalization of the Musical Avant-Garde, University of California Press, Berkeley 1995.

11

For an analysis of Georges Pompidous cultural program, particularly in relationship to the musical avant-garde and the institutionalization of the arts in France and especially Paris, see: Georgina Born. Rationalizing Culture: Ircam, Boulez, and the Institutionalization of the Musical AvantGarde (Berkeley: University of California Press, 1995).

12

alinn Grigor
71, Grigor 71
Mohammed Reza Shah
Pahlavi. : Talinn Grigor, Preserving the Antique Modern: Persepolis 71, Future Anterior, vol. 2, no 1 (Summer 2005), . 23-29.
Shiraz, : Robert Gluck, The Shiraz Arts Festival: Western Avant-Garde Arts
in 1970s Iran, Leonardo, vol. 40, no 1 (2007), . 20-28 Pamela KarimiMichael Vazquez,
Ornament and Argument, Bidoun: Art and Culture from the Middle East, vol. 13 (Winter
2008), . 93-97.

12

I borrow the term as-preserved-ruin from Talinn Grigors article on Persepolis 71, where Grigor
discusses the role of Persepolis 71 in the national politics of Iran and Mohammed Reza Shah
Pahlavis agenda of modernization. See Talinn Grigor. Preserving the Antique Modern: Persepolis
71 in Future Anterior vol. 2, no. 1 (Summer 2005) 23-29; For more on the Shiraz Festival see
Robert Gluck. The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran in Leonardo
vol. 40, no. 1 (2007) 20-28; Pamela Karimi and Michael Vazquez. Ornament and Argument in
Bidoun: Art and Culture from the Middle East, vol. 13 (Winter 2008) 93-97.

13

Iannis Xenakis, The Polytope de Persepolis Program Notes, : Music and Architecture, .., . 221-222.

13

14
Iannis Xenakis, Open Letter by Xenakis, . Le Monde, 14.12.1971, : Music and
Architecture, .., . 223-224.

14

15

Iannis Xenakis, Notes au Crayon en Grec: Notes sur lIlliade, Notes sur le Scnario (n.d.),
Fonds Iannis Xenakis, Oeuvres Musicales Bote 19, Dossier 5, Bibliothque Nationale de
France, Paris.

15

16

Iannis Xenakis, Polytope de Mycenes (n.d.), Fonds Iannis Xenakis, Oeuvres Musicales
Bote 19, Dossier 7, Bibliothque Nationale de France, Paris
, : Iannis Xenakis, The Polytope de Mycenes: Presentation 1978, Music and
Architecture, .., . 239-240.

16

Iannis Xenakis. Polytope de Mycnes (n.d.) Fonds Iannis Xenakis. Oeuvres Musicales Bote
19, Dossier 7. Bibliotheque Nationale de France, Paris; for the English version of the text see:
Iannis Xenakis. The Polytope de Mycnes: Presentation 1978 in Music and Architecture, Op.cit.
239-240.

17

, : J. Lesley Fitton, The Discovery of the

Greek Bronze Age, The British Museum Press, London 1995.

17

For a history of the excavations in Mycenae see: J. Lesley Fitton. The Discovery of the Greek
Bronze Age (London: The British Museum Press, 1995).

18

18

, : John Chadwick, The Mycenaean World, Cambridge University Press,
Cambridge 1976, . 1-35 Lord William Taylour, The Mycenaeans, Thames and Hudson,
London 1964
, : A. F. Harding, The Mycenaeans and Europe, Academic
Press, London 1984.

See for example, Kristin Ross. Fast Cars, Clean Bodies: Decolonization and the Reordering of
French Culture (Cambridge: MIT Press, 1995), where Ross argues that in the postwar period
and especially until the end of the French decolonization, France introduced the organizational
systems and governing strategies of the empire to its interior, particularly in the effort to fully
industrialize and modernize its economy.
In the period 1971-1978 Xenakis programmed and produced three total environments in Paris
(Polytope de Cluny I [1972-73], Polytope de Cluny II [1973-74], Diatope [1977-78)]; one in Iran
(Polytope de Perspolis [1971]), one in Greece (Polytope de Mycnes [1978]), and one in Bonn
(re-enacting the Paris Diatope there [1979]).

Iannis Xenakis. The Polytope de Perspolis Program Notes in Music and Architecture, Op.cit.
221-222.
Iannis Xenakis. Open Letter by Xenakis to Le Monde, December 14, 1971 in Ibid. 223-224.

Iannis Xenakis. Notes au Crayon en Grec: Notes sur lIlliade, Notes sur le Scnario (n.d.) Fonds
Iannis Xenakis. Oeuvres Musicales Bote 19, Dossier 5. Bibliothque Nationale de France, Paris.

For a full presentation of the argument regarding the Hellenization of Greece see: John Chadwick. The Mycenaean World (Cambridge: Cambridge University Press, 1976) 1-35; Lord William
Taylour. The Mycenaeans (London: Thames and Hudson, 1964); for an example of scholarship
on the possible relations between the Mycenaeans and the rest of Europe see: A. F. Harding. The
Mycenaeans and Europe (London: Academic Press, 1984).

77

19

,
Colone 1977,
. : James Harley, Xenakis: His Life in
Music, New York 2004, . 106-107.

19

20

M , . , 4.2.1975 : ,
. , 28.3.1975.
. : : , . , 10.4.1975.

20

21

21

Minotis kai Xenakis, Makedonia, February 4, 1975; Ai Synavliai: Festival Xenaki Makedonia,
March 28, 1975; The end of the collaboration was announced in early April of the same year. See:
Ta Theatra: De tha Synergasthe, Makedonia, April 10, 1975.

,
9 1976. : .
, . , 19.7.1976.

The conference was held in Panteion University of Social and Political Sciences in July 9, 1976.
See Gia ton Epistemoniko Provlimatismo. I Idrisi tis Akademias Theatrou stis Protheseis tis
Kyverniseos, Makedonia, July 10, 1976.

22

. 1962,
, ,
, . 1975,
, ,

. : ATI Music Competition: Correspondence (1962-1964), . ATO Cultural Events (1975),
. , .

22

23
ESSYM, :
, 16.3.1978, Fonds Iannis Xenakis, Oeuvres Musicales Bote 19, Dossier 5, Bibliothque Nationale de France, Paris.

23

24

: , . , 4.7.1978
, . , 8.7.1978.

24
Ai Synavliai: Giannis Xenakis in Makedonia, July 4, 1978; To Polytopo tou Xenaki stis
Mykenes in Rizospastis, July 8, 1978.

25

, 4.5.1978, Fonds Iannis Xenakis,

Oeuvres Musicales Bote 19, Dossier 4, Bibliothque Nationale de France, Paris Maurice
Fleuret, Il Teatro Xenakis, : Enzo Restagno (ed.), Xenakis, Edizioni di Torino, Torino
1988, . 184.

25

26

Iannis Xenakis, : : Music and Architecture, ..,

. 244-245.

26

Iannis Xenakis. The Polytope de Mycnes: Credits in Music and Architecture, Op. cit. 244-45.

27

27

Archaies Mycenes Ta Nea, August 25, 1978.

, . , 25.8.1978.

28

Yannis Papaioannou was a close collaborator of the Greek architect Constantinos Doxiadis. In
1962 the Athens Technological Institute organized a competition in music composition, where
Xenakis not only participated but also won the first prizeex aequowith fellow composer Anestis Logothetis. In 1975 the Athens Technological Organization, following Papaioannous recommendation, invited Xenakis to participate with Kornelios Castoriadis and Nikolaos Pentzikis in a
panel on Greek heritage. See: ATI Music Competition: Correspondence (1962 - 1964), Constantinos A. Doxiadis Archives; ATO Cultural Events (1975), Constantinos A. Doxiadis Archives, Athens.

Yannis Papaioannou and ESSYM. Prokatarktiki Protasi Yanni Xenaki: Polytopo Mycenon, March
16, 1978. Fonds Iannis Xenakis. Oeuvres Musicales Bote 19, Dossier 5.
Bibliotheque Nationale de France, Paris.

Letter from Yannis Papaioannou to Iannis Xenakis, May 4, 1978. Fonds Iannis Xenakis. Oeuvres
Musicales Bote 19, Dossier 4. Bibliothque Nationale de France, Paris; Maurice Fleuret. Il Teatro
Xenakis in Xenakis (ed. Enzo Restagno) (Torino: Edizioni di Torino, 1988) 184.

28

, : Fonds Iannis Xenakis, Oeuvres

Musicales Bote 19, Bibliothque Nationale de France, Paris ,
, : , 9.9.1978 , 1978 , : Farko AE, 1978 Maria Anna Harley, Music of Sound and
Light: Xenakiss Polytopes, Leonardo, vol. 31, no 1 (1998), . 62 Robert Fajond, LOrestie
a Mycenes, : Regards sur Iannis Xenakis, .., . 287-289 Brigitte Schiffer, Xenakiss
Polytope de Mycenae, Tempo, no 127 (1978), . 44 Dominic Gill, Le Polytope de Mycenes, : Regards sur Iannis Xenakis, .., . 296-297.

For descriptions of the Polytope de Mycnes see Fonds Iannis Xenakis. Oeuvres Musicales
Bote 19. Bibliothque Nationale de France, Paris; Kostas Ferris. The Polytope de Mycnes, Greek
Radio Television, September 9, 1978; Fotis Psychramis. Politopo Mycenon 1978 - Yannis Xenakis, Farko A.E., 1978; Maria Anna Harley, Music of Sound and Light: Xenakiss Polytopes in Leonardo, vol. 31, no. 1 (1998): 62; Robert Fajond. LOrestie Mycnes in Regards sur Iannis Xenakis
Op. cit. 287-289; Brigitte Schiffer. Xenakiss Polytope de Mycenae in Tempo, no. 127 (1978):
44; Dominic Gill. Le Polytope de Mycnes in Regards sur Iannis Xenakis Op. cit. 296-297.

29
Fonds Iannis Xenakis, Oeuvres Musicales Bote 19, Dossier 6 et 8, Bibliothque Nationale
de France, Paris Xenakis, The Polytope de Mycenes: Presentation 1978, : Music and
Architecture, .., . 240.

29
Fonds Iannis Xenakis. Oeuvres Musicales Bote 19, Dossier 6 and 8. Bibliothque Nationale
de France, Paris; Iannis Xenakis. The Polytope de Mycnes: Presentation 1978, in Music and
Architecture, Op. cit. 240.

30

Fonds Iannis Xenakis, Oeuvres Musicales Bote 19, Dossier 7 et 8, Bibliothque Nationale
de France, Paris.

30
Fonds Iannis Xenakis. Oeuvres Musicales Bote 19, Dossier 7 and 8. Bibliothque Nationale de
France, Paris.

31

Centre dtudes de Mathmatiques et Automatiques Musicales

. CEMAMu
1966 . : Agostino Di Scipio, Compositional Models in Xenakis Electroacoustic Music, Perspectives of
New Music, vol. 36, no 2 (1998), . 203.

31
Centre dtudes de Mathmatiques et Automatiques Musicales was Xenakis studio for the
study of automation and mathematics in music. Founded in 1966, CEMAMu researched new
tools of music composition. See Agostino Di Scipio. Compositional Models in Xenakis Electroacoustic Music in Perspectives of New Music, vol. 36, no. 2 (1998) 203.

32
, , Benjamin Levy
(. ).

32

33

33

CEMAMu Unit Polyagogique Informatique du CEMAMu (UPIC) . UPIC

UNESCO, 1978. : Iannis Xenakis,

78

Even thought Xenakis didnt finally collaborate with Minotis, he received a second chance to
compose Colone in 1977, when the Contemporary Music Festival of Metz commissioned a
choral and ensemble work. See James Harley. Xenakis: His Life in Music (New York: Routledge,
2004) 106-107.

See also Benjamin Levys contribution to this volume for a rendering of this score (ed. note).

Iannis Xenakis with CEMAMu proposed the Unit Polyagogique Informatique du CEMAMu
(UPIC) as a compositional tool. The UPIC was exhibited for the first time within a UNESCO conference organized in Paris in 1978. See: Iannis Xenakis. Music Composition Treks in Composers

Music Composition Treks, : Curtis Roads (ed.), Composers and the Computer, William
Kaufmann, Inc., Los Altos 1985, . 184-187 Joel Chadabe, Electric Sound: The Past and
Promise of Electronic Music, Prentice Hall, New York 1997, . 214.

and the Computer (ed. by Curtis Roads) (Los Altos: William Kaufmann, Inc., 1985) 184-187; Joel
Chadabe. Electric Sound: The Past and Promise of Electronic Music (New York: Prentice Hall,
1997) 214.

34
Iannis Xenakis, Le Langage Musical est-il un Langage, 17.12.1980 (
). Fonds Iannis Xenakis, Dossier Ecrits Bote 7, Dossier 24, Bibliothque Nationale
de France, Paris.

34
Iannis Xenakis. Le Langage Musical est-il un Langage Decembre 17, 1980 (manuscript of
lecture). Fonds Iannis Xenakis. Dossier Ecrits Bote 7, Dossier 24. Bibliothque Nationale de
France, Paris.

35

Iannis Xenakis, Mycanea-Alpha 1978, : Perspectives of New Music, no 1/2 (1987),

. 12-15.

35

36
Lettre de Hermann Scherchen Iannis Xenakis, 16.4.1956, Fonds Iannis Xenakis, Oeuvres Musicales Bote 3, Dossier 3, Bibliothque Nationale de France, Paris.

36

37
1960, Abraham Moles, Pierre Bardaud, Roger
Blanchard Michel Philippot
Groupe des Recherches Musicales.
-, , Pierre
Bardaut, , ,
, , , . : Lettre de
Pierre Barbaud au Ministre des Affaires Stochastiques, 17.1.1962, Fonds Iannis Xenakis,
Oeuvres Musicales Bote 16, Dossier 2, Bibliothque Nationale de France, Paris.

37
In 1960, Iannis Xenakis along with Abraham Moles, Pierre Barbaud, Roger Blanchard, and Michel
Philippot created a research group on music and mathematics within the Groupe des Recherches
Musicales. Playing with the idea of a military avant-garde to
usher information theory into music, Pierre Barbaud, in one of the communications found in
Xenakis archives, addresses the members as colonels, generals, lieutenants, and captains. See
Lettre de Pierre Barbaud au Ministre des Affaires Stochastiques, January 17, 1962. Fonds Iannis
Xenakis. Oeuvres Musicales Boite 16, Dossier 2. Bibliothque Nationale de France, Paris.

38
Abraham Moles, Some Basic Aspects of an Information Theory of Music, Journal of
the Audio Engineering Society, vol. 6, no 3 (July 1958), . 184-186.
: Fonds Iannis Xenakis, Oeuvres Musicales Bote 16, Dossier 2, Bibliothque Nationale de France, Paris.

38

39

, : Fonds Iannis Xenakis, Oeuvres Musicales Bote
16, Bibliothque Nationale de France, Paris.

39

40

1963, La Revue Musicale, 253 254

.
o Indiana University Press,
1965 1972, Formalized Music.
, . : Iannis Xenakis, Free
Stochastic Music, : Sharon Kanach (ed.), Formalized Music: Thought and Mathematics
in Music, Pendragon Press, Stuyvesant 1992.

40

41

Kanach, Formalized Music, .., . 8-9. 28 2010, Brian Kane

Xenakis: Past, present and Future
. .
, Brian Kane .

41

42

42

Formalized Music, .., . 8-9.

Iannis Xenakis. Mycanea-Alpha 1978 in Perspectives of New Music, no. 1/2 (1987) 12-15.

Lettre de Hermann Scherchen Iannis Xenakis, April 16, 1956. Fonds Iannis Xenakis. Oeuvres
Musicales Bote 3, Dossier 3. Bibliothque Nationale de France, Paris.

Abraham Moles. Some Basic Aspects of an Information Theory of Music in Journal of the Audio Engineering Society, vol.6 no.3 (July 1958) 184-186. Found in Fonds Iannis Xenakis. Oeuvres
Musicales Bote 16, Dossier 2. Bibliothque Nationale de France, Paris.
For a collection of the letters exchanged and the notes Xenakis took during the meetings of
MYAM, see Fonds Iannis Xenakis. Oeuvres Musicales Boite 16. Bibliothque Nationale de France,
Paris.

In 1963, the music journal La Revue Musicale dedicated issues 253 and 254 to a collection of
essays written by Iannis Xenakis. These articles, translated into English, were published by Indiana
University Press, the press of the University where Xenakis taught between 1965 and 1972, as
Formalized Music. For the purposes of this essay I have used the second edition of the book; see:
Iannis Xenakis. Free Stochastic Music in Formalized Music: Thought and Mathematics in Music
(ed. Sharon Kanach) (Stuyvesant: Pendragon Press, 1992).
Formalized Music, Op.cit. 8-9; On January 28, 2010 Brian Kane argued in the conference
Xenakis: Past, Present, and Future that Xenakis approaches music in terms of controlled mass
events. I am grateful for his presentation. For more, see Brian Kanes contribution in this volume.
Formalized Music, op.cit. 8-9.

43
Cybernetics: or Control and Communication in the Animal and the Machine, o Norbert Wiener MaxwellBoltzmannGibbs
,
:
,
,
,
. , ,
. : Norbert Wiener, Cybernetics: or Control and Communication in the Animal and the Machine, MIT Press, Campbridge 19612, . 37. Katharine Hayles
oltzmann
,
.
: Katharine Hayles, How we became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, University of Chicago Press, Chicago 1999, . 101.

43

44

44
For a history of the National Defense Research Committee and its succeeding Office of Scientific Research and Development in the USA, along with a description of the various research
programs undertaken under the auspices of OSRD during World War II, see: James Phinney Baxter. Scientists against Time (Boston: Little Brown and Company, 1946); Irvin Stewart. Organizing

,
SRD
, : James Phinney Baxter, Scientists against Time,

In Cybernetics or, Control and Communication in the Animal and the Machine, Norbert Wiener
situates the triad Maxwell-Boltzmann-Gibbs and their formula tions of thermodynamics at the
heart of cybernetics since this triad represents a progressive reduction of thermodynamics to
statistical mechanics: that is, a reduction of the phenomena concerning heat and temperature to
phenomena in which a Newtonian mechanics is applied to a situation in which we deal not with
a single dynamic system but with a statistical distribution of dynamical systems. Hence stochastics come to understand, document, and foresee the distribution of these dynamic systems.
See Norbert Wiener. Cybernetics, or Control and Communication in the Animal and the Machine
(Cambridge: MIT Press, 1961 2nd edition) 37; Katharine Hayles argues that Boltzmanns modification of the thermodynamic laws allowed for the connection of entropy as a phenomenon with
systems thinking that acted outside the conventions of combustion engines, hence providing
the groundwork for the development of cybernetics and communication theories. See: Katharine
Hayles. How we became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics
(Chicago: University of Chicago Press, 1999) 101.

79

80

Little Brown and Company, Boston 1946 Irvin Stewart, Organizing Scientific Research for
War: The Administrative History of the Office of Scientific Research and Development (ed.
by Office of Scientific Research and Development), Little Brown, Boston 1948 Frank Baldwin Jewett (Office of Scientific Research and Development and National Defense Research
Committee), The Mobilization of Science in National Defense, Bell Telephone Laboratories
Incorporated, New York 1942.

Scientific Research for War: the Administrative History of the Office of Scientific Research and
Development (ed. by Office of Scientific Research and Development) (Boston: Little Brown, 1948);
Frank Baldwin Jewett (Office of Scientific Research and Development and National Defense Research Committee). The Mobilization of Science in National Defense (New York: Bell Telephone
Laboratories Incorporated, 1942).

45
Norbert Wiener, : Peter Galison:
The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision, Critical Inquiry, no
1 (1994), . 264-266.

45

46

, Cybernetics: or Control and Communication

in the Animal and the Machine (1948), .., The Human Use of Human Beings: Cybernetics and Society (1950), Norbert Wiener
,
. ,
,
. : Norbert
Wiener, The Human Use of Human Beings, Da Capo Press, Boston 1950.

46

47

The Ontology of the Enemy, Peter Galison

, , . : Galison, ..,
. 264-266.

47

48

48

Alain Badiou. Five Lessons on Wagner, Op. cit.

49

Blint Andrs Varga, Conversations with Iannis Xenakis, Faber and Faber, London 1996,
. 164.

49

Blint Andrs Varga. Conversations with Iannis Xenakis (London: Faber and Faber, 1996) 164.

50
James Harley, Xenakis: His Life in Music, Routledge, New York 2004, . 117 Jean Lacouture, Le Polytope de Mycenes: Xenakis chez les Atrides, . Le Monde, 10-11.9.1978.

50

51

, Cendres (1973),
, ,
, . Cendres
, 1975,
.
. Iannis Xenakis, (1975), :
(.), : ,
, 2001, . 128.

51

: Sharon Kanach (.), : , ,

, I 4, Pendragon Press, Hillsdale, New York

The original publication source is: Xenakis Matters, ed. Sharon Kanach (New York, NY: Pendragon
Press, 2012): pp 101-125.

We would like to thank Mrs Machi Xenakis for her kind permission to reprint the photographic
material belonging to the Collection Family Xenakis.

Pendragon Press - New York,

Bob Kessler, Xenakis Matters, Pendragon Press, New
York, NY, 2012, Sharon Kanach
: The Politics of Totality: Iannis Xenakis Polytope de
Mycnes.

We would like to thank the Executive Director of Pendragon Press Mr Bob Kessler, the Editor of
the volume Xenakis Matters, Pendragon Press, New York, NY, 2012 Ms Shanon Kanach and the
author Ms Olga Touloumi for permitting us to reprint the article: The Politics of Totality: Iannis
Xenakis Polytope de Mycnes.

Badiou, Five Lessons on Wagner, ..

For a history of Norbert Wieners anti-aircraft predictor, see Peter Galison. The Ontology of the
Enemy: Norbert Wiener and the Cybernetic Vision, in Critical Inquiry no. 1
(1994) 264-266.
In both his first and second book Cybernetics or, Control and Communication in the Animal
and the Machine (1948), op.cit., and The Human Use of Human Beings: Cybernetics and Society
(1950), Norbert Wiener employs the function of the nervous system in humans and animals as
a metaphor to discuss communication systems that cybernetics theorizes. For him the human
constitutes primarily a communication organism, the study of which can lead to a solution of the
problem of communications both in the machine and its articulation with humans. See Norbert
Wiener. The Human Use of Human Beings (Boston: Da Capo Press, 1950).
In The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision, Peter Galison situates at the heart of cybernetics and its epistemology a dialectic that theorizes on the other not as
the opposite of the self but rather as a very intelligent uninhibited operator. See: Galison, Op.cit.
264-266.

James Harley. Xenakis: His Life in Music (New York: Routledge, 2004) 117; Jean Lacouture. Le
Polytope de Mycnes: Xenakis chez les Atrides Le Monde, September 10-11, 1978.
With the help of the Gulbenkian Foundation, Xenakis composed Cendres (1973), a piece
dedicated to the struggle of the people of Portugal, who, like Greeks, were fighting against political
oppression. Following the performance of Cendres at the Greek National Opera in 1975, Xenakis
lectured on the relationship between scientific thought and music. The quotation is excerpted
from the transcription of this lecture. Iannis Xenakis. Epistemoniki skepsi kai mousiki (1975)
in Keimena peri Mousikis kai Architektonikis (ed. Makis Solomos) (Athena: Ekdoseis Psychogios,
2001) 128.

81


Bard College. Harvard
Massachusetts Institute of Technology.
20
.
, , .

Thresholds, Platform, Culture Machine,
Xenakis Matters Architecture is All Over.
Olga Touloumi is a Visiting Assistant Professor in the Art History program at Bard College. She holds a PhD in Architecture History from Harvard University and a SMArchS
from Massachusetts Institute of Technology. Her work explores architectural constructions of globality in mid-20th century efforts to institutionally reorganize the world. Her
research interests focus on architectural modernism, media theory and sound studies.
She has presented her research internationally and her published work has appeared
in Thresholds, Platform, Culture Machine, Xenakis Matters and Architecture is All Over.

https://bard.academia.edu/OlgaTouloumi

Photo:
, , 02-05.09 1978
Polytope des Mycnes, Mycenae Archaeological site, 02-05.09.1978
. . / S.V.Skopelitis
82

83

84

85

86

87

- / theory-praxis

88

89

 / Lila Leontidou
:


Mediterranean hybrid cityscapes:
New spatialities and assemblages
in the public realm

90

91

92

.
,
.
- .
,
(Williams, 1973), .
:
, , ,
collage (Leontidou, 1993), assemblage.
. , ,
24 ,
, .

New spatialities are rather rare in Mediterranean cities. Spatialities are old. Many of
their aspects date back to centuries or millennia, and are rooted in the magnetism of
the city in the Mediterranean basin and in the hybridity of its landscape. Both of these
dimensions are on the opposite edge of Anglo-American cityscapes. In the latter, the
bourgeoisie has avoided the city and opted for the suburbs or the countryside (Williams
1973), while keeping the cityscape rigidly organized. In this essay we will focus on
these differences and the idiosyncracies of Mediterranean cityscapes: the diverse, the
dissimilar, the palimpsest, the mosaic, what we used to name a postmodern collage
(Leontidou 1993) and now we name assemblage. The Mediterranean city is dominated by mixed land use, the vivacity of movement day and night, but also the stasis
of self-built homes, the small piazzas and public spaces as openings in a compact
urban tissue.

,
,
2010. ,
, ,
,
. 2010
, , ,
. ,

.
, .
,
,
, : (1) , (2)
(3) (Leontidou, 1990,
2012, 2014). , , ,
.

We will argue here that these old spatialities remained in place, but were also transformed in the new millennium, and especially during the 2010s. Their diachronic difference from northern spatialities was maintained, but was also enriched recently, rather suddenly, with the new hybridity of the digital society, and also a cosmopolitanism
which emerged in urban public spaces. These were suddenly expanded in the 2010s
with the movement of the piazzas, while other spaces, especially private ones, were
emptied with the bankruptcies of the financial crisis and opened up towards the public
sphere. In fact, most of the urban surface spread towards the whole world with digital
technology. This expanded the hybrid spatialities of the past and changed their scale
from local to global, at the same time material and digital or even virtual.
We will present these changes here, after first analyzing three central idiosyncracies of
the Mediterranean cityscape over centuries, which diversify it from the Anglo-American
one: (1) urbanism, (2) informality and hybridity, and (3) spontaneity (Leontidou 1990,
2012, 2014). We now attempt a short presentation of the spatialities brought about
by each of these idiosyncracies.

. Three idiosyncracies of Mediterranean cityscapes

(1)

.
, ,
, , , (Williams, 1973 Leontidou, 2001, 2009 , 2011). ,
, (urban sprawl, Couch .., 2007),
o
, .

(1) Mediterranean urban landscapes were created after centuries of urbanism and values of the City as Culture and Civilization in Greek, Polis- Politismos, synonyms
in co-variation. The cityscape originates in civilizations which stress the magnetism
of the city. These values developed at the antipode of Anglo-American civilizations
and their narratives of grey, polluted, congested and sinister cities, as opposed to the
freshness of the countryside, nature (Williams 1973, Leontidou 2001, 2009, 2011).
Large parks, garden cities, urban sprawl (Couch et al. 2007), allow nature to penetrate
the urban tissue of the modern Northern city, and create an illusion of the countryside,
interrupting the dense cityscape.

, ,
, , ,
. , Fried (1973),
, , , .
,
, . ,

,
(Leontidou, 1990 , 2011). ,
, , ,
: , , ,
. , .

By contrast, the Mediterranean attraction to the city has a name in Greek: astyfilia.
This is reflected in compact cities with small parks, small but important piazzas, limited open spaces, and the bourgeois neighbourhoods in the centre. Cement, as Fried
(1973) pointed out for the eternal city, Rome, stands as a symbol of development and
civilization. The affluent social strata opt for life in the centre of the city rather than the
green suburbs, like their Northern counterparts. In Athens, urbanism is stressed with
the middle and upper classes in the centre and along a sector towards the northeast
suburbs, while the working classes and the poor have settled in the urban periphery, in
self-built and illegal settlements, afthereta (Leontidou 1990, 2011). As to parks, they
all but communicate nature and the countryside, vandalized and abandoned as they
are, occupied by the homeless and the addicts: from the largest one, Pedio Areos, until
the smallest one, Alsos Evangelismou. Despite rare interventions, vandalisms reproduce themselves.

(2) ,
, ,
. , assemblage,
, ,
. ,
(zoning)

.

(2) By contrast, vitality in the Mediterranean urban tissue springs from informality,
mixed land use, residence and the informal economy. This hybridity, the assemblage,
fragments the landscape, again in opposition with the rigid organization of urban space
in Northern cities. In the latter, land use zoning and the separation of various activities
in urban space causes the abandonment or closure of certain neighbourhoods in particular times of the day or night in large areas of homogeneous land use. By contrast,
in the quotidian of the Mediterranean city many diverse land uses interpenetrate in a
porose cityscape. Small piazzas are filled with tables which also spill over to streets and

93

94

, ,
.
,
,
,
(, 2011 Leontidou, 2012).

sidewalks, the kiosks paint miniatures of hybridity, the ground-floor houses step on the
sidewalks and seldom confine themselves into their four walls, at least in the popular
neighbourhoods (Leontidou 2011, 2012).

, Walter Benjamin (1979)

,
: siesta
! (Benjamin, 1979, . 175.)
, :
, ,
, , ,
(Benjamin, .., . 174).
(, 1989, 2011).

.

During the interwar period, Walter Benjamin (1979) sounded impressed from the porose landscape of Napoli, from the interpenetration of uses and activities in space and
even time: he saw the siesta as a confluence of day and night! (Benjamin 1979: 175).
The boundaries of space-time were confused as the private became collective in the
narrow alleys of Napoli: Just as the living room reappears on the street, with chairs,
hearth, and altar, so, even much more loudly, the street migrates into the living room
(Benjamin 1979: 174). In the popular neighbourhoods of Athens as well, interaction
on the doorsteps was a traditional everyday habit (Leontidou 1989, 2011). The basic
difference from Napoli is that in Athens this tends to disappear in the densely built
areas of apartment buildings.

, , Benjamin
,
kraal (Benjamin, .., 174), Antonio
Gramsci (1971).

, . -
. Gramsci


(Gramsci, 1971 Allum, 1973 Leontidou, 1990). ,
(Leontidou, 1990 , 2011). .
,
, ,
.

At this point, however, that Benjamin did not sense this peculiar Mediterranean modernity and referred to traditional ways of life, up to the African kraal (Benjamin 1979:
174), his contemporary Antonio Gramsci (1971) interferes. From his prison, he came
to understand the mixture of uses and social classes in the context of the peculiar capitalism of the South, which creates them. The multi-functional or even hybrid
landscape is created by peripheral capitalism. Gramsci was the first to recognize the
mixture of social classes with the vertical social differentiation in the apartment buildings of Napoli, and to reflect on this cohabitation as a factor that strengthened social
cohesion in the city (Gramsci 1971, Allum 1973, Leontidou 1990). We can also recognize vertical differentiation in Athens, with the more affluent residents on top floors
and rtirs, and poorer ones in basements (Leontidou 1990, 2011). Athens does not
have ghettoes. It does have poverty enclaves and dangerous districts, but these are
not ghettoes in the sense of the homogeneous ethnicity enclaves, strictly segregated
from the rest of the city, as found especially in the USA.

. (gentrification)
, , , ,
,
.
(site specific theatre)
-- (Konomis, 2014) ,
, ,
, -, Thtre du Soleil (Konomis, .., 33).
, , , ..
, .
zoning.
, . ,
assemblage, ,
,
.
,
.
, .
,
(installations) . , ,
,
.
, ,
. , ,
. 2011

2013. ,
.
(3) ,
.
(Lefebvre, 1968 Leontidou 2006, 2010, 2012 , 2011 Harvey 2012) , - .
, , .
, (Leontidou, 1990).

.
,
.
, ,
, ,
, .
(installation)
.
,
, . .

(3) This brings us to the third idiosyncracy of the Mediterranean city, namely, spontaneous action. Spontaneity in movements for the right to the city (Lefebvre 1968,
Leontidou 2006, 2010, 2011, 2012, Harvey 2012) has a long history in popular illegal
building, afthereta. However, now these belong to the past. They were controlled by either legalizations or demolitions since the dictatorship in the early 1970s (Leontidou
1990). Now citizens spontaneity has come to meet the social movements and the
new spatialities in the hybrid city material and digital. Citizens and activists demand
the right to the city always spontaneously, but with completely new ways. The Athenian public and open spaces have their own tradition of peddlers and street musicians,
of the laterna, of the walking bands in festive occasions, performances and concerts
of the municipalities, of the puppet theatre in Christmas time. However, spontaneous
artistic creativity and installation in their digital versions are new encounters. They coincide with new spatialities after the Indignados movement, in essence a movement
for the right to the city with new actors, new citizens. Right now a total metamorphosis is being enacted.

. The new hybridity of the piazza in the digital city

, 2011, ,
.
,
, , .
, tablets gadgets
. wi-fi.
, .
, .

In Greece, the metamorphosis unfolded in the summer of 2011, unexpectedly, not the
least because there was little attention to earlier indications. It was suddenly realized
that our Mediterranean palimpsest, the mosaic of interpenetration of activities and
uses, had changed so much with new technology, that it had become unrecognizable.
Illuminated screens of cellphones, tablets gadgets of several kinds had burst to fill
the piazzas. Today some Metro stations offer free wi-fi. Public spaces become hybrid,
simultaneously material and digital. They allow us to wander, travelling from the specific place to the global realm, the global society.

The fragmented urban space constitutes a formidable challenge for interventions and
perfornances, which differ from those of the Northern landscapes of de-industrialization. In Northern cities gentrification appeared, or at times activism, occupation, and
occasionally artistic expression and performative arts, the exit of the theatre form
specially provided buildings toward various urban spaces. This site-specific theatre
appeared in different periods and cities-as-stages (Konomis 2014). In the years of deindustrialization in the cities of the North, it took place in open spaces, but also in large
abandoned establishments, in unitary large spaces and zones industries, warehouses
as in the case of Thatre du Soleil (Konomis 2014: 33).

, ,
.
,
: wi-fi
, internet cafs (, 2011
Leontidou 2012).
, . ,

. (www) ,
, Skype, !
2011 Puerta del Sol:
Skype,
! (Leontidou, 2012).

The urban public space is no longer solely material, neither in the Mediterranean, nor
elsewhere. The Internet marks its presence dynamically and claims the city piazzas,
where citizens and collectivities network with others, at large distances: free wi-fi conversations in cellphones from the two edges of the piazza, of the city of the world
internet cafs (Leontidou 2011, 2012). Digital networking calls for spontaneous assemblies of citizens instantly, in the most unlikely places. Citizens, collectivities and
urban movements communicate digitally, and this is followed by their materialization
in the piazzas. The world wide web (www) materializes in the piazza, which returns to it,
via Skype, in conversation with other piazzas! This happened in 2011 on the screens
of Syntagma and Puerta del Sol: the activists in Athens and Madrid interacted and
discussed via Skype, triumphant on the friction of distance! (Leontidou 2012).

By contrast, few such areas exist in Mediterranean cities, as e.g. Elefsina and Drapetsona on the West of Athens, Lavrio on the southeast. The largest part of the urban
tissue is not subsumed to zoning. It is a fragmented space, a postmodern palimpsest. The assemblage is reproduced, and the challenge here is the alternation of small
empty spaces in the mosaic of mixed land use, some of which closed down with the
unappeasable crisis, and some still endure. The Mediterranean version of deindustrialization creates empty spaces dispersed in the mixed land uses, from bankrupt
small enterprises which were hit by the crisis. Some empty spaces have been at times
occupied by activists, citizens, homeless people. During the years of the crisis, new
forms of artistic expression, performance and installations emerge in these spaces.
In Greece, however, the prospects for artistic expression were not valorized by design,
representational and performative arts, except in few moments in urban histories. Now
there is an innovative prospect of creating such a culture, and not only in public spaces;
private spaces are emptied and, dispersed as they are, can be creatively revived. This
was evident in the summers of 2011 and 2013. Spatial fragmentation in the period of
the crisis is a mixed blessing, with casualties as well as possibilities.

, , ,
, . ,
,
,
, , ,
, / (installations). ,
. . O

, , joie de vivre! (Leontidou, 2014) ,
.
, parking, !
,
.. (Afouxenidis, 2014),
.

A new hybridity thus emerged with digital communication and solidarity among many
urban movements, local and international, mobilizations, collectivities, stekia. Except
the new forms of political participation, namely direct democracy instead of representative one, the urban public spaces started to acquire new importance, among
others, in representational and performative arts and the expressive realm of artistic
creation, interaction, expression, material and virtual at the same time, especially in the
interactive and/ or digital art installations. Athens is occupied not only by activists, but
also by artists. Activists meet musicians and visual artists; performative acts take to
the streets and the piazzas in a wave of confirmation of creativity which is the source
of joie de vivre! (Leontidou 2014). When mobilizations die down, the movement is still
incubated in youth stekia, which have occupied urban empty spaces. The Navarino park
in Exarcheia, Athens, which was destined to be a car parking space, has been planted
and has become a virtual little forest!
In the piazzas and the stekia, resistance materializes, not only against austerity, the
EU democratic deficit and the neoliberal narratives (Afouxenidis 2014), but against
everything which threatens to undermine spontaneous Mediterranean ways of life and
try to impose their own.

95

96

, , .
, , . .
(Castells, 2012)
, , , .
,
, , , ,
, ,

. .
, .
-
: , , , :
, , 5

The public space of the new millennium is thus of a double substance rather than
dual. It is simultaneously material and digital, even virtual, i.e. hybrid. The urban realm
reaches out from the local to the global (Castells 2012) with its hybrid spatiality, but
it is simultaneously material, local, here. The in-between space of interpenetration
of the public and the private, the material and the digital, the real and the virtual, the
full and the empty, the closed and the open, constitutes the new public space of the
city, its new hybrid piazza, which widens further with cosmopolitanism created by the
alternation and interaction of the material and the virtual. It widens towards the whole
world. Despite its evaporation in the world wide web, the piazza retains its materiality
and significance. Many symbolic piazzas have emerged in the Mediterranean, which
today constitute metonymies for whole social movements: Syntagma, Tachrir, Taksim,
but not Puerta del Sol: in Spain, the movement is named after time rather than space,
5 de Mayo

(Craglia .., 2004 Leontidou, 2014)
, 2010.
, .
, ,
sms, -
. ,
. ,
,
.
.
. ,
, (installations), ,
, , .
,
,
.

Such hybridity constitutes the background for alternative ways of life (Craglia et al.
2004, Leontidou 2014) and new forms of activism and art in the cities of the 2010s.
If the movement of the piazzas now seems to wane, it certainly does not become
a private matter. It rather inhabits the hidden public space of abandoned buildings,
stekia and small piazzas, with the immaterial background of social networks and SMS,
until it re-materializes in other mobilizations in public spaces. Meanwhile, it has won
over commercialization and the topography of fear. On their part, the artists mount
the stage of the city, the open space and its built-up empty parts. They contribute in
a dynamic re-acquisition of the public urban space. They claim the right to the city
together with other citizens and activists. This is a new opportunity for interventions,
performances, installations, concerts, where the material and the virtual, the here and
the beyond interpenetrate as never before. In the piazzas and the empty spaces of the
crisis, old spatialities of postmodern fragmentation meet new spatialities of the hybrid
city, material and virtual at the same time.

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Castells, M. (2012) Networks of Outrage and Hope: Social Movements in the Internet Age, Cambridge: Polity Press

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Fried R.C., Planning the eternal city: Roman politics and planning since World War II, Yale
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Harvey D. (2012) Rebel Cities: From the Right to the City to the Urban Revolution. London: Verso

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Konomis, M. (2014) Theatre and the city: Spatial and performative perspectives Urban space as
theatre place. Parabasis, 12, 1: 29-46

Lefebvre H., Le droit la ville, Anthropos, Paris 1968.

Lefebvre, H. (1968) Le Droit la Ville. Paris: Anthropos

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., :
, , 2011 (. ).

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material and virtual public spaces. City, 16 (3), 299-312

Leontidou L., The crisis and its discourses: quasi-Orientalist attacks on southern urban
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Leontidou, L. (2014) The crisis and its discourses: quasi-Orientalist attacks on Southern urban
spontaneity, informality and joie de vivre. City, 18 (4-5): 546-557
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London

Williams R., The country and the city, Chatto and Windus, London 1973.

Williams R., 1973, The Country and the City. London, Chatto and Windus.

, , , [.
, MSc London School of Economics and Political Science (LSE), PhD University of London],
() senior fellow LSE ( 2012) Johns Hopkins University ( 1986).
4 (Kings College
London) 2 .
. 200
, ,
, , .

Lila Leontidou, architect, planner and geographer [Dipl.Arch National Technical University of Athens, MSc London School of Economics and Political Science (LSE), PhD
University of London], is professor of Geography and European Culture at the Hellenic
Open University and senior fellow at the LSE (since 2012) and at the Johns Hopkins
University (since 1986). She has held permanent lectureships and professorships in
4 greek universities and one british (Kings College London), and has been a visiting
professor in 2 french ones. She has been elected dean and head of department. She
has published about 200 scholarly works in Greek, English and French, and some of her
works have been translated into Spanish, Italian, German and Japanese.

eap.academia.edu/LilaLeontidou
media.eap.gr/images/stories/pdf/CV_Leontidou_Lila_F29298.pdf

Photo:
Theatre du Soleil , , 18.06.2011
Theatre du Soleil at Syntagma square, Athens, 18.06.2011
/ Lila Leontidou
97

 / Angeliki Avgitidou
:
performance art
Walking in the city: performance art
practices in the urban landscape

98

99

1. Performance :

1. Performance in public space: Beginnings and a few examples

performance

1970
.


. ,

,
. performance, ,
, ,
1.
2
, ,

. ,
, performer,
.


1970,

.

Performance artists interest in the public space as a spatial context and place of unwrapping their work begins with the emergence of performance art in the 1970s and
its embrace by the artistic avant-garde of the western world. This emergence takes
place in the midst of conceptual arts questioning of the work of art and its manifestation of the paramount importance of the idea and the ephemeral character of the work
of art. Within the context of conceptual art, artists will search alternative spaces for
exhibiting their work in the industrial zones and the abandoned buildings, promoting
the urban landscape as the new place of receiving and communicating art. For performance, the streets and the squares, as well as the markets and the shopping centres,
will become the ideal scenery of everydayness, which it will aspire to illuminate1. The
public and collective spaces2 will become spaces where the artists will negotiate their
identity, will subvert normality, will create bizarre situations and will look for interaction
and audience participation. The presence of by-standers and passers-by at -as a rule
non programmed- performances, will transform them to unsuspecting viewers in a
non-typical context of viewing art. The subversion of the typical context of art is obviously historically connected to the general attack towards the established principles
and ways which was realised during the 1970s, but it continues to retain a powerful
meaning within an altered public space and a dramatically changed public sphere.

performance
,
,
. 1966, Yayoi Kusama
,
, performance (Walking Piece). ,

, ,
, billboard
.
Whitney, Kusama
,
, 3. ,

,
, ,
.

Many of the performances in the public space are realised as routes in the urban landscape, which mark visible and invisible lines and borders and negotiate identity, political borders and social visibility within this landscape. Already in 1966, Yayoi Kusama
will walk the streets of New York, dressed up in the traditional dress of her homeland,
in the performance Walking Piece. Her kimono, as a traditional dress but also as part
of the stereotypical image of the Japanese female for the westerners, as well as her
floral umbrella, are in direct opposition with the urbanised landscape of the grey skyscrapers, billboards and rough industrial materials. According to the Whitney Museums
audio guide, although Kusama would always dress modern in Japan, she would sometimes use traditional dress in New York in order to declare her status as an outsider3.
The visual declaration of identity, in this specific case through the exaggeration of its
stereotypical reproduction as Other, is realised in the public space where the right of
presence and co-existence of the Other, alien or different, remains a regrettably timely
assertion.

, , performer
,
.
1970, Adrian Pipper, performance
(Catalysis), ,

Since then, the lonely presence, routes and actions of performers will be repeated in
the public spaces of smaller or bigger urban centres, in actions which have frequently
been likened to those of the Situationinsts. In the beginning of the 1970s, Andrian
Piper, in a series that she calls Catalysis, fills her mouth with a towel and rides the bus,
plays loud burbs from a hidden play recorder in the library or wears a freshly painted

1. Francis Als .
(Paradox of praxis. Sometimes making
something leads to nothing), performance , 1997.
Galerie Peter Kilchmann, Zurich.
1. Francis Als Paradox of praxis.
Sometimes making something leads to nothing, performance in the city of Mexico, 1997.
Courtesy of the artist and Galerie Peter Kilchmann, Zurich.
100

101

102

.
, ,
.
, Alicia Framis
performance (Lost Astronaut)4.
1970,
, ,
karaoke , .
Framis ,
, .
Magritte .
, ,
. performance
,
(Blnquez, 2009)
,
. , Francis Als
,
,
:
5.

shirt and walks the streets of New York with a sign that reads wet paint around her
neck. In these actions she subverts the normality of the everyday, she creates unexpected meetings in the city and intervenes in designated procedures. Almost four
decades later, Alicia Framis realises in the same city the performance Lost Astronaut4.
Dressed in a Russian astronauts costume from the 1970s, she walks the streets of
the city during two weeks and she enters various shops or the public library, stations
and karaoke bars, and lives the everyday life of the city. Framiss condition resembles
that of a person in limbo, neither here nor there, out of space and in a her own constant
timeless present. It is the present of dreams where surreal encounters like those in
Magrittes paintings seem utterly normal. The reaction of the people around her ranges
from curiosity, tolerance and acceptance to resentment, rejection and aggression. Although the artist declares that her performance comments on the fact that no woman
has been to the moon, the usual glass ceiling (Blnquez, 2009), you dont have to be
a female to identify with the subject matter of cancelled plans, pursuits and dreams.
Similarly, when Francis Als pushes a block of ice on the streets of Mexico until it disappears in the temperature of the day, we can recognise in the futility of the procedure,
the effort and time of his work something out of our daily lives: that Sometimes doing
something leads to nothing5.

2. Performer :
.

2. Performers in routes within public space: personal and political realities in contemporary Greece.

2005, 7 performances
performance Tama art. (Locus Athens, 2006).

,
, .
.
.
6
(, 2013).
, ,
.

(..: 156). , ,

, performance.
performer

(..: 159). ,
, .

,
: ; ;,

(Locus Athens, 2006). ,
,
,

.
, performer
. performance
,
/ performance.

In 2005, as part of the activities 7 performances and a discussion, Evangelia Basdekis will present the performance Tama art (Locus Athens, 2006). During her performance Basdekis will march on all fours from Michalakopoulou Street in the centre of
Athens to the entrance of the National Museum of Modern Art, at the time housed at
the Concert Hall of Athens. During the performance a small group of people follows
her. Along the way people ask what is happening and some choose to follow. At the
museum she asks permission to enter and is finally allowed to enter the museum
alone6 (Antoniadou, 2013). She descends the staircase on her hands and knees and
in entering the museum she stands still for twenty minutes on her knees, her hands
united in prayer. According to the interview given to Alexandra Antoniadou, people
around her stood silently as in a church and were enthusiastic afterwards. The obvious
association for people living in Greece with the Greek-orthodox believers procession
to the Church of the Virgin Mary at the Greek island of Tinos and the meaning of the
word tama set the context for the interpretation of this performance. According to
Antoniadou the performer discusses the social status and the role of the artist in society and longs for acceptance from the Museum as an institution of art (ibid: 159). In
a different route, Georgia Sagri, with tied-up hands and legs had crawled on her belly
from the Meat Market in the centre of Athens to Omonia square.
Zenakos refers to the reaction of people changing their course in order to avoid her and
the man who was asking her intensely Do you want me to untie you? Do you? not as
an act of kindness as he remarks but as an instinct reaction of a man caught up in a
bizarre situation (Locus Athens, 2006).
The distress and intensity of Sagris performance, her inexplicable constrain, the imminent risk and her vulnerable presence at the level of our pacing, acquire meaning in
the space of the bustling market and the Athenian centre as an incriminated place of
delinquent behaviour and crime. The repugnance and agitation that it creates pushes
passers-by away from the performer and causes them to view her as spectacle. Although Basdekiss performance causes instead respect and a sense of devoutness,
the distance that exists with the viewers/passers-by is a common element of both.

performance

.

Following, I will describe more in detail a performance where the interaction with the
passers-by and users of public space is a structural element of its procedure.

2.1. .

2.1 A drop of water and not a drop of hate.

performance / (
)
7, , 20128
,

, .
:

The performance with the title ODES TO THE ELEMENTARY/TRANSLATING (to get
done once and for all with the doom of the future) was carried out by Nicephor Errantes7, pseudonym of Marios Chatziprokopiou on September 20128, in Thessaloniki,
Greece a a route that begun at the bus stop outside the French Institute at six thirty in
the afternoon and culminated at the offices of the Golden Dawn party at Dodekanisou
Street, after almost 2 hours. Marios was dressed in white and on the back of his T-shirt
he had written:

I GET MY HAIRCUT AT MUSTAFFAS

I SHOP FROM HASAN
I AM IN LOVE WITH SIAMAK
STAB ME IN THE BACK.

.


(10/9/2012, ).

These phrases had reference to racist incidents recorder or not recorded in the media.
Specifically, the barber on his T-shirt is a reference to the at the time recent attack
on a Pakistani owned barbershop and the subsequent arson of his shop in Athens
(10/9/2012, To Vima).

2. , / (
), , 2012. .
.
2. Marios Chatziprokopiou, ODES TO THE ELEMENTARY/TRANS- LATING (to get done once and
for all with the doom of the future), Thessaloniki, 2012. Talking on the stairs of the church.
Angeliki Avgitidou.
103

 :
.

: ;
().
.
.

/
. .

.
. performance 9.


.
.
.

,

: , , ,
. :

.
,
.

;.

On the front of his T-shirt he had written:

A DROP OF WATER AND NOT A DROP OF HATE.
This sentence was his own answer to the question he was posing to the passers-by:
What is it that makes you happy? For anyone who would answer he would return a
receipt from the () a play on words in Greek, between the phonation of the
words euphoria and inland revenue. On the receipt he would write down the name or a
description of the person and their answer. On the receipt he had pre-written quotes
from the Greek philosopher Epicurus, on the pursuit of happiness. Marios would enter
the shops along his route posing the same question and asking them for a glass of
water which almost everyone would provide willingly. The glass of water that he asked
for is a gift of life. In his travels abroad he was surprised to find out that being offered a
glass of water was uncertain. In Italy, alongside the glass of water he was provided with
a receipt. Since then he had had the desire to do a performance about water9.
While we were still at the bus stop it started to rain and he decided to enter the bus
along with our small group of people following him. Within the bus he posed the question to more. An elderly man started yelling at him while a younger woman asked him
to approach. We got off the bus at the Arch stop after less than 10 minutes. Marios
then entered the church and talked to the sacristan who was reserved in answering
him and to people waiting for their date at the Arch and entered a big variety of shops
that line up on Egnatia Street: fast-food places, bakeries, retail shops, souvenir shops,
jewellery shops and cash-for-gold shops. The owners and employees reactions varied.
Some were prejudiced and suspicious but overall peoples reaction was positive. The
artist was worried that the passers-by might not take him seriously but the reaction of
the elderly man on the bus reversed his hypothesis. According to the artist his reaction
was that of a very tired person, as if he were asking, Are you mocking me?

: ; ! .

, .
;
, , ,
.

.
,

. ,
.
, ,
.
.
, .

, ,
performance .

: performer 10.

. , , .

she realised that we were outside of the shop taking photographs she hastily guided
him to the door. In the bakery the employee was very curious to find out what Marios
was doing while at the same time attempting to serve her customers. What did people
respond to What is it that makes you happy? money a lot of them, love less of
them and then travelling, tranquillity health for the children etc.
In the beginning Marios drunk the water he was offered and then started watering the
rare flora of the city. He recounts how he was not tired at all and felt like he could go
on forever but was conscious of the people that were following him. At the end of his
route, at the Golden Dawn headquarters, nobody answered the bell. He waited there for
a little while and then suddenly threw the rest of the water on the door. What did he
intend to do? I ask. Stand, he answers me: his immobile presence as a declaration of
identity, the oldest form of peaceful protest.
For Marios, the tension that is created during a street performance, when he approaches a stranger and engages in conversation is of high importance. He talks about the
bang of life in contrast to the deadly silence of normality and of the histories he
listens to the performer is in the end the other person10. Marios is excited about the
walk in the city as a potential meeting and potential conversation between two persons
unknown to each other. This meeting according to him grounds you in the present.

4. , / (
), , 2012.
. .
4. Marios Chatziprokopiou, ODES TO THE ELEMENTARY/TRANS- LATING (to get done once and
for all with the doom of the future), Thessaloniki, 2012. Marios at the jewellery shop before being
asked to leave. Angeliki Avgitidou.

3. , / (
), , 2012.
. - .
3. Marios Chatziprokopiou, ODES TO THE ELEMENTARY/TRANS- LATING (to get done once and
for all with the doom of the future), Thessaloniki, 2012. A receipt
to Maria with the affectionate umbrella. Maria-Christina Golna.

:

, .
: !.
: ;. , ,

104

The owner of a bookshop in Egnatia street is enthusiastic: I would like to be on the

mountain amidst wild animals and play the saxophone but I cannot do that because
I have a family he responded to the question What is it that makes you happy? He
wanted to help Marios: I want to offer you this block of receipts. Inside the jewellery
shop the owner was quite icy when she asked, What is it that you are doing? When

, ,
performance.
/ (
)
.
:
, stupid!
.

:

The present, our presence and anchoring in the now as a condition of space, time and
relationships is not only the basic condition of performance art. In the current performance ODES TO THE ELEMENTARY/TRANSLATING (to get done once and for all with
the doom of the future) Marios talks about mortgaging the past as a consignment for
an already realised future of prosperity. He copies the format of the exhibition title Its
the political economy stupid! when he writes: Its the future perfect, stupid! Between
promise and warning, commenting in this way on the rhetoric of crisis in Greece. In
the description of his work for the press release he provides the following text with the
gaps between the words intentionally omitted:

WHENYOUWILLHAVEBEENDEPRIVEDOFYOUWILLHAVEWONWHENYOUWILLHAVEBEENSTERILIZEDYOUWILLHAVEFLOURISHEDWHENYOUWILLHAVEBEENDRIEDUPYOUWILLHAVEREAPEDTHEFRUITSWHENYOUWILLHAVEBEENSWEPTYOWILLHAVEBEENSAVED.

105

 , ,

.

This text is uttered all at once and repeated as a mantra as if we want to make believe
that the loss of the present is a promise for the future.

3. performance .

3. Performance as meeting in public space

Alicia Framis performance

. performance
performance 11.
.
performance
,
- .

(, 2013)
, -
(, ..). .
,

.

Alicia Framis talks of performance in public space as a condition where everything

is possible. When she is asked of the most beautiful performance she mentions a
performance where something unexpected happens11. The possibility of meeting with
a stranger in public space is what excites Chatziprokopiou. The proposal of his performance is a proposal for the possibility of this meeting, not as a simultaneous presence
of different identities in space but as a not necessarily pleasant interaction with
the other. According to Stavros Stavridis, if space not only constructs identities but
is also formed as identity by its use then emancipatory spaces will be transit spaces,
the spaces of non-identity (Stavridis, 2013). Stavridis talks of spaces where identities
meet. In this way emancipation is not about establishing a collective identity but more
about establishing the means for a free negotiation of emerging identities.

.

.

, .
performance.
project performance art ,
,
, .
performance
, ,
.
,
, ,
, ,
.

Chatziprokopiou asks us what it is that makes us happy. What is at stake though is not
happiness but the dialogue for the pursuit of happiness in our meeting in public space.
This meeting may perhaps force us to recognize parts of our identity that we were not
able to realize, think about or negotiate. The possibility of this meeting is the meaning
of similar performances.
During this presentation I have referred to projects of Greek artists that have taken
place in the public space as routes that mark visible and invisible lines in the space
of the city, create connections with passers-by, or gather a crowd that follows them.
These performances respond to extreme social and political situations, pose issues
of acceptance, encounter and accessibility and suggest an alternative framework of a
shared life.
In the seemingly uneventful public space where the personal is suppressed, artists
bring to the surface conflicts, demands, memories and symbols of power, not with the
naivety of resolution but with the persistence of involvement in ones life with others.

Notes

performance

2004 ( , 2006: 94).

1
Thanasis Chondros and Alexandra Katsiani speak of performance as the illumination of the
everyday via the everyday in the leaflet of the events Yperdothe in 2004, in Thessaloniki (see
also Chondrou, 2004: 94).

2
Manuel de Sola Morales ,
, .. ,
(, 2011).

http://whitney.org/WatchAndListen/AudioGuides?play_id=692

performance Alicia Framis ,

2009, Performa RoseLee
Goldberg Dafne Ayas (http://per- forma-arts.org/).

106

Errantes .
performance Sao Paulo.

8
performance
Performance now (: ),

Its the political economy stupid! (: Oliver Ressler
Gregory Sholette).

Errantes signifies the wanderer in Spanish. He initially used this alias in a perfor- mance in Sao
Paulo.
The performance was part of the third volume of Performance now called Practices of Engagement (curated by Angeliki Avgitidou), which was a parallel program of the exhibition Its the
Political Economy stupid! (curated by Oliver Ressler and Gregory Sholette) which took place at
the Contemporary Art Centre of Thessaloniki.
Interview to the writer.

10

10

Interview to the writer.

11

Frank Prattle Zefrey Throwell (14.11.2009).

11

Interview to Frank Prattle and Zefrey Throwell (14.11.2009).

Bibliography

, . (2013). :
. . & . (.), Performance now v.1:
in situ (. 153-174). : .

Antoniadou, A. (2013). Participation and creation of meaning: Interventionist actions in the public
shere. In A. Avgitidou & I. Vamvakidou (Eds.), Performance now v.1: Performative practices in art
and actions in situ (pp. 153-174). Athens: Ion. [In Greek]

, . & , . (2012, 11 ).
. . : http://www.tovima.gr

Vythoulkas, D. & Galanis, D. (2012, 11 September). Extreme right-wing beats Greek for entering
a Pakistani barber shop. To Vima. Retrieved from: http://www.tovima.gr [In Greek]

, . (2011). : ,
. . .. (.), ... (. 23-26).
: /.

Chatzisavva, D. (2011). Public space Public sphere: Differences limits and spatial design. In G.
Adilenidou (Eds.), Public space ... Wanted (pp. 23-26). Thessaloniki: TEE/ TKM. [In Greek]

, . (2006). . : .
Locus Athens (.). (2006). 7 performances . : Futura.

Chondrou, D. (2006). Art Actions. Athens: Apopeira. [In Greek]

Locus Athens (Eds.). (2006). 7 performances and a discussion. Athens: Futura.

Prattle, F. & Throwell, Z. (Interviewers). (2009, 14 ). Alicia

Framis. [ ]. : https://frankprattle. wordpress.
com/2009/11/14/alicia-framis-november-14-2009/

Prattle, F. & Throwell, Z. (Interviewers). (2009, 14 November). Alicia Framiss interview. [Audio
archive]. Retrieved from: https://frankprattle.wordpress.com/2009/11/14/ alicia-framis-november-14-2009/

Stavridis, S. (2013). Spatialities of Emancipation and the City of Thresholds. Athens Biennale 2013 Agora / Event as Process. http:// athensbiennale.org/
event-as-process/spatialities-of-emancipation-and-the- city-of-thresholds/?from=ab4

Stavridis, S. (2013). Spatialities of Emancipation and the City of Thresholds. Athens Biennale
2013 Agora / Event as Process. Retrieved from: http://athens- biennale.org/event-as-process/
spatialities-of-emancipation-and-the-city-of- thresholds/?from=ab4

Blnquez, J. (2009, 11 ). Una astronauta perdida en la Gran Man- zana. El Mundo. : http://www.elmundo.es/elmun- do/2009/11/05/barcelona/1257409445.html

Blnquez, J. (2009, 11 November). Una astronauta perdida en la Gran Manzana. El Mundo. Retrieved from: http://www.elmundo.es/elmundo/2009/11/05/barcelo- na/1257409445.html

Whitney Museum of American Art (Anonymous presenter). Audio guide stop for Yayoi Kusama, Walking Piece, 1966. [ ]. : http://whitney.org/
WatchAndListen/AudioGuides?play_id=692

Whitney Museum of American Art (Anonymous presenter). Audio guide stop for Yayoi Kusama, Walking Piece, 1966. [Audio guide]. Retrieved from: http://whitney.org/ WatchAndListen/
AudioGuide?play_id=692

...
Central Saint Martins College of Art and Design, University of the Arts (MA, PhD)
AHRB London Institute.
Performance
Performance Deformes (). Performance
now v.1: in situ ().
. ,
.

Angeliki Avgitidou studied architecture at the Aristotle University of Thessaloniki and

Fine Art at Central Saint Martins College of Art and Design, University of the Arts (MA,
PhD) on scholarships from IKY, AHRB and the London Institute. She participated in all
three Performance Festivals of the Biennale of Contemporary Art of Thessaloniki and
the Performance Biennale Deformes (Chile). She co-edited the book Performance now
v.1: Performative practices in art and actions in situ (ION). She is Assistant Professor
at the School of Fine Arts, Department of Fine and Applied Arts, University of Western
Macedonia.
http://iamartist.info

According to Manuel de Sola Morales collective spaces are private spaces, which nevertheless
house public activity, ex. shopping centres, metros and covered markets (Chatzisavva, 2011).

http://whitney.org/WatchAndListen/AudioGuides?play_id=692

The performance was carried out by Alicia Framis in the city of New York, in 2009, as part of a
the established biennial Performa under the general direction of RoseLee Goldberg and the curation of Dafne Ayas (http://performa-arts.org/).

5
performance 1997: .
(Paradox of praxis. Sometimes making
something leads to nothing).

5
This is the performance Paradox of praxis. Sometimes making something leads to nothing
(1997).

performance .

exchange for an expected miracle.

Believers walk on their hands and knees from the harbour to the Church as an offering (tama) in

107

 / Ariadni Vozani



The reverse look
The poetic representations
of the public space in theatre

108

109

Photo 1

110

. ,
, ,
, , ,
,

In this brief proposal we will attempt a reversal in relation to the broader theme of
the conference. Thus, we are not interested in the mechanisms through which the
performing arts, particularly theater are introduced in the public space redefining it ,
but conversely the representations of the public space on stage according to us reveal
aspects of perception and of our desire for the city

.
.
/ . , ,

.

The public space of the city is undoubtedly the scene of our public life. The environment where a series of identities we bear was formed .The place where we can
continuously rotate the roles of the subject - object / spectator and performer. It is
another one of the dominant reference fields of theatrical art since antiquity and the
Renaissance, up to the modern era.

.
,

.

The theatrical art has been, since the beginning of its birth, inextricably linked with
the city and its structures. This connection is reflected in the position occupied by the
theater building in the history of cities, and in the way public space invades the stage
in the evolution of the history of theater.

,
,
, ,
.
,
,
.
, , ,
,

.

In an attempt to lighten versions of this relationship, between town and theatrical art,
we will comment on the ways in which the city participates in theatrical practice, not
only as a real landscape, but mainly through its representations. We will support that
these representations add one more meaning to public space, remodeling the perception of real and are divided into categories according to the handling limits that
shape the landscape space. Finally, we will support that the characteristics of these
limits, that make both the real city and the theater of representation , are important
parameters in the possibility of public space to invite and provoke incidents.

A. The citys participation in the theatrical experience as a real landscape

.
. , ,

,
. City Space,
Clarissa Bonnet
,
.
.
,
: ,
.

( , , ..).

The theatricality of the city as a concept has been investigated theoretically and attributed to the visual arts through multiple versions. In the art of photography, the
capture of the city has a long history. We spot here, however ,the category that does
not identify in the real city landscape the sense of some theatricality but attempts to
stimulate thinking around the boundaries of the real and of the representation. In the
recent work of City Space , the New Yorker photographer Clarissa Bonnet captures in
nearby framed snapshots of the public space of the city, stating that she sees the city
as a theatrical scene. These images could as well involve theatrical spaces during a
theater performance. Regardless of whether they are fixed photographs or not , the
center of her work reveals the conception of an additional reversal : under certain conditions , places of the city are interior rooms where spectators and performers meet.
Any action is subjected to a large extent on the characteristics of these rooms (the
proportions , textures, lighting conditions, etc.).

,
,


.
,
.
,
. , ,

Starting from this observation, one can argue that the modern output of theatrical art
in the urban landscape , namely the attempts of theatrical events in selected parts of
the city underline just that special sense submitted by the real space as their guest
room. Such recent attempts often require the audience to leave the closed environment of the theater , go out in the town and follow in movement the action reversing
in part the terms of a contractual spectator and actor relationship. The spectators are
transformed into a component of the spectacle, while the city scene unfolds itself
playing its part. The capture, however, of the public space of the city as an environment of preparation for the theatrical experience or as a place that participates in the
theatrical performance, is not as modern.

111


.
( ),

.

, , ,

. ,

. , ,
,
.
, , ,
(.. , ,
). ,

.
,
,

,
, ,
, . .
(2011),
:
.

,
.

112

Since the beginning of Western theater (ancient drama) the public city space was an
active component of the theatrical experience both as a real background and as a
representation space. The course of the spectators to the theater of Dionysus, via the
street of Tripodon, brings them into contact with the public buildings of Athens as they
enter the auditorium the last picture before turning to the scene is that of the Parthenon on the Sacred rock of the Acropolis. Through this course, the spectators undergo a
ritualistic preparation that emphasizes the relationship of the theater experience with
the city and the constitution of Athens. However, the city with all the meanings it bears,
is present ,not only before, but also during the dramatic action. The representation
sites of ancient Greek drama were predominantly public and in many cases, references
to the real city characterize it as to one of the faces of the drama. (Eg Oresteia, Antigone, Oedipus at Colonus). Finally, it is documented that the ancient dramatists involve
the real place and real time in dramatic action. Taking advantage of the extension of
the gaze of the spectators from the scene to the buildings of the immediate or wider
environment, the dramatic poets intelligently add additional levels of meaning in the
events on stage by raising the real city in an active framework for action.

Nowadays remarkable creators seem to seek this extension of gaze at the city, this
central reference albeit artificially, even through words. The center of the performance
MESA (= INSIDE) of Dimitris Papaioannou (2011) is the dialectic of events on the
stage and the depth of the surface: an alternating photographic view of Athens that
could be the view of an apartment. As the glance of the spectators penetrates the
scene, gazing at different images of the citys landscape or the horizon, the naked inner space onstage is charged differently.

B. When the city climbs on the Stage.

)
,


.

a) The city as the ideal setting.

Before commenting on the typologies of representation of the city in the theater, it is
worth mentioning the first historical event that clearly reflected the view that the ideal
setting of the theater can only be the social area of the city.

Sebastiano Serlio (153751)

, o .
Serlio ,

.

, (,
).
,
.

Sebastiano Serlio in his work The five books of architecture (1537-1551), and the
second book About Perspective, devotes a few pages to theatrical art that will strongly
influence the Renaissance theater. The general perception expressed by Serlio, is that
the architecture of the theater, the stage space and the painted parts, should be treated as a whole where constant and ephemeral space are directly dependent on each
other. His opinion on the setting reflects on the drafts for the famous three of his
scenes in line with the three categories of drama (Tragedy, Comedy, and Satyr play)
The Tragic as well as the Comical scene represent aspects of the town of Renaissance,
while that of the satirical drama relates to the representation of a natural landscape.

, ,
,
. ,
. ,
.
,

In his drawings the use of perspective as to yield the depth of the town and the detailed depiction of architectural elements of the facades of buildings are common to
the two different scenes concerning the city. However, the overall composition is different in each of them. At the tragic scene monumental buildings or palaces define with
classificaton the central axis of the road. It is the place of senior noble people, whose
lives are defined by the forces of fate. The comical scene is instead a patchwork of

113

114

. , ,
(
),
.
.


.
:
,
.
, .

future buildings, contradictory to each other (a church in the background and a brothel
on the first level) developing almost anarchically along an axis. It is the environment
of everyday people and banal situations caused mainly by fate. The bucolic landscape
designed for the scene of satirical drama with little hidden buildings, concerns relationships that obey the laws of nature rather than the society of men. The plans of
the three scenes form the representation of a double reference: the ideal, in any case
theatrical scene which in turn represents a snippet of the actual landscape within and
outside the city. The distortions of perspective are repeated in order to give a sense
of reality.

,


.

; ( vs ).

On the one hand, the idea that the city as a representation is the obvious almost
theatrical backdrop of key species, on the other hand the perception that it is the one
city where the scenes of noble life are unfolding and the other that accommodates
the comical routine is indicative of its importance as the dominant social background.
Is the city transformed in our perception depending on the events unfolding there or
do the events arise depending on the characteristics of the city? (Geometric structure
vs labyrinthine structure)

Serlio .
Scamozi
Teatro Olimpico Vicenza (1585).
,
, ,
. ,
,
,
.
,
.

,
.

The first implemented setting influenced largely by the consideration of Serlio is made
almost two hundred years later. It is about the setting of Scamozi perspective viewings
of the streets in a Renaissance city for the first performance of the Teatro Olimpico
in Vicenza (1585). During the Renaissance in parallel with the evolution of the architecture of closed theaters, the art of scenography is being developed as construction
ephemeral space based on art of perspective. So one of the most important theaters of all times through the openings of the majestic appearance of the downstage
spectators are facing the development of seven streets of a city. The buildings that
define these roads are built so that they could give the impression that extend , when
in fact they are constructions of a few meters. The scenery was designed so that each
spectator could have at least the view of at least one of the seven streets but the ideal
viewing is from a certain privileged position in the place of the public opposite the
main axis.

,

.
,

()
: /
/ .

At the development of theater and drama, the city will continue to be a direct or indirect reference and its representations will follow widely different artistic and theatrical
currents. In those representations, depending on the type of theater building, the sense
of the city will be given not so much through the preparation to the horizontal plane
of the stage (floor) , but through the characteristics of the vertical surface constituting
each time the boundary between two worlds: the onstage obvious one / the public and
hidden / private.

) o:
,
collage, ,
.
.

.
(, ..)
( , ..).

,
.

.

b) Grading limits: the absence, at the surface and the spatial structure
One of the most interesting categories scenery of space is that through the strategy of collage, i.e. the composition of seemingly disparate elements, which aims to
activate the associative memory and the spectators imagination. The result is often
very poetic. The reference to a specific place and time is absent and it is difficult for
someone to discern some sense of urbanity in these landscapes. The tanks which
have provided evidence of the composition is either the interior (objects, furniture, etc.)
or the outside world as nature (a tree, the sense of horizon etc). This is a territorial unit
where movement and action constituted mainly in reference to the objects while usually absent surfaces that separate or delimiting differentiated sites. The fact that the
sense of the city is absent even as a hint from these compositions, is directly related
to the absence of surfaces or separating elements the surfaces to be implied spatial
subdivisions.

,
.


.
, ,

( ). ,
.

. , ,
, ,
,
, . ,
,
(
) .

, Day old bread,
. ,

.
, .

If we understand the city as the open public space shown as the rest of the one, then
the streets and our squares are defined by the layout of the buildings. The character of
public spaces is not only defined by their geometrical characteristics or their position
in the urban fabric but also by their ability to communicate or refer to the buildings
that surround them. The proportions of the fronts of the buildings in relation to the
empty space, as well as the number and arrangement of openings bearing will allow or
prevent encounters and relations between the two worlds. (Private and public) Respectively, the conditions of space of the stage action are dictated by the management of
the surfaces that include it. The openings in each case are communication channels
between the public and private life. Whether these surfaces thereby enable visual or
physical intercourse , in what manner and to what extent , depends on how they open
to the public space, the space of theatrical action through the doors or windows. So
at the representation of the facades of the city buildings, more important than the
pictorial style (which can range from the absolute realism to the greatest abstraction)
is what actions dictate. If the ratio between the vacant and complete is such that the
fronts are unable to set limits as in the case of the stage for the show Day old bread
(by Arthur Sainer, directed by Crystal Field, set design by Donald L. Brooks at Theatre
for the New City 1976) the city is presented dilapidated. As a consequence, the public
space is depicted more as sequence of the interior of the buildings rather than as a
distinct territorial entity. This representation refers to other types of social relationships
than those that would define compact, closed fronts with few openings.

,
,
. ,
,

Scamozi Olimpico,
.
,
.
. (: . ),
,
. ,
, .

One could argue that if the activity does not refer to a specific place of the city, but as a
whole, then the attempted performance would be expressed through the proliferation
of the fronts. In one sense , for the not pictorial but a territorial representation of the
city, one should invent the way to respond to contemporary conditions in the respective attempt of Scamozi at the Olimpico theater, when he tried to extend the action
in perspective roads. The answer should therefore set up a kind of extended limit no
longer as a surface but as a spatial structure that incorporates part of the theatrical
action. In the performance of Antigone directed by St. Tsakiris (props: K. Varotsos)
the arrival of the chorus is from the back of the stage through a zone of parallel spaced
transparent surfaces that create a kind of permeable wall. The chorus with the help of
lighting comes from a labyrinthine however transparent city.

-
-
.
,

.
, ,
.
,
,

.
.

In each of the above categories of scenery areas referred indirectly or directly in the city
from the absence of separation limits to the distinction into two-dimensional surfaces and spatial domes- another perception category for the public life is displayed.
If the represented has its own contribution to the shaping of the report, then these
representations offer to the concern on the public space we seek or reject. Referring
always to the theatrical text and its stage interpretation the poetics of scenic cities,
is not only interpretation of reality but capable of activating our desire for another city. If
we are seeking the public area of meetings, the place that allows us to cross with others, then the actual city must regain these meeting conditions through design where
and when remains. And the theater offers , through its own code, interesting elements
towards this direction.

115

Photo 2

Photo 1: Clarissa Bonet, City Space

Photo 2: Woyzeck Robert Wilson, Betty Nansen, Teatret in Copenhagen, 2000

.
(1968)
(), University College London/Bartlett (Arch) Architectural Association School of Architecture (PhD)
.
.
,

(2011-2014).
1998 9
.
20 .
Ariadni Vozani is architect and stage designer. She studied at the School of Architecture of National Technical University of Athens (NTUA), the Bartlett/University College
London (MArch) and the Architectural Association School of Architecture (PhD). She
is assistant professor at the School of Architecture of NTUA. As an architect she has
been involved in various architectural projects concerning private houses and also public and landscape spaces. She has won 9 awards and distinctions in greek and international architectural competitions. Since 1996 she has worked as a stage and costume
designer for 20 theatre productions. She has published articles in architectural reviews,
books, exhibition catalogues and conference proceedings. She has been a member of
the Administration Board of the National Gallery of Greece (2011-2014).

vozaniariadni.com
www.arch.ntua.gr/person/127
116

117

 / Thalia Istikopoulou


The case of an ephemeral scenic space
in an indelible landscape scene

118

119

120

1988
: .
,
.

In 1988 I was invited by Spoleto Festival to participate to an exhibition presenting

trends in contemporary stage design under the title CREATING SPACE FOR IDEAS. For
this exhibition I had to create the stage design for a contemporary Italian theatre play
of my choice without the collaboration of a director.

,
,

, ,
milio Isgr LOrestea di Gibellina. Isgr
1982 1985 ,
Gibellina. ( 1968,
.)

I accepted the invitation enthusiastically because it offered me the chance to put together certain studies, impressions and thoughts referring to the scenic space of the
ancient tragedy an issue that preoccupied me at that time- by using as pretext a
contemporary adaptation of Oresteia by Emilio Isgr, with the title LORESTEA DI
GIBELLINA. Isgr wrote the trilogy between 1982 and 1985 in sicilian dialect, and with
direct reference to the natural landscape of the earthquake-striken Gibellina. (In 1968,
a destructive earthquake tore down the area).

LOrestea di Gibellina,
,
,
.

The choice of LORESTEA DI GIBELLINA, in combination with my intention not to refer

to the place, for which the play was written, scenographically, created an essential
metaphor, and, from a scenic landscape point of view, something that conforms with
the utopian subject of the exhibition.

Villa Eumenidi, (),

, 50.
, - ,
, , ,
, , , ,
..

The plot of VILLA EUMENIDI, third part of the trilogy (Eumenides), on which I was
based for my proposal, takes place in the decade of the 1950s. There appear overtone-characters from the previous two parts, like Clytemnestra, Ifigeneia, Aigistos, and
characters from contemporary sicelian history, discoursing with choruses of generals,
petroleum producers, mariners, fifty mothers etc.

, , Gibellina,
.
,
.

The stage space, as defined in the text, consists in the ruins of Gibellina conceived as
the garden of a madhouse. The wheels of a chariot lie at a remote point of the stage,
after having traversed it during the trilogys two previous parts.

-, ,
-,
.
-, -, -,
,
,
.

Orestis-Eniochos, a figure that wonders through time, is exculpated for his past and
condemned for his future by Pylades-Oracle, who announces the verdict while descending a towering spiral stairway. The roles of Clytemnestra, Orestis, mother, son,
assassin, assassinated, innocent and guilty, are interchanged and continuously transform in a status not of one, but of many tribunals, where each case is once more set
under judgment at the point exactly where you thought it was finalized.

,


R. Chevallier, Roger Agache ,
, ,
,
.

But the event that consisted in the real motive for the formation of the idea for one
more ephemeral scenic space is the emotion and ecstasy I felt the first time I saw
the results of the archaeological surveys of R. Chevallier, Roger Agache and other archaeologists, who, with the use of aerial detection and photography, some years ago,
recorded buried traces of the past that, under appropriate circumstances, emerge from
inside todays landscapes.

Screening and explanation of the method

,
,
,
,

.

Therefore, here we are in front of an unprecedented landscape which is composed

and created by completely diverse elements and events, similar to the ancient edifices
buried by time, the current use of the ground above them, the organization of the aerial
detection and the climatic and weather conditions, of both the current year and the day
and time that the specific detection is carried out.

(, ),
- .
, ,

I believed that a landscape that is shaped in this manner is particularly gifted from every
aspect (aesthetic, conceptual) as to be the appropriate field of action for the system
of scene-stalls for the staging of a tragedy. It is a fact that, nowadays, acoustics and
lighting are not necessarily decisive factors for the choice of the space and time of the

121


, , ,
( )
.

performance, resulting in that concepts like temporary and permanent (in this case I
would say: indelible) acquire a different dimension and a new relation.

Exhibition and description of the scale model

Villa Eumenidi Isgr :

,
. .
. 1500 .
5-7 .
, ,
( ).
, 3-4 ,
. , ,
,
, ..

The scenic design for VILLA EUMENIDI of E. Isgr could be decribed as follows: In
alarge area that is almost flat and uncultivated, tracescan be seen of buried buildings
of the classical era: an ancient theatre and a temple. This area is cut in two by the
furrows left by the wheels of a chariot-plough. The tiers for 1,500 spectators consist
in a mobile iron construction. The first row of seats is in a height of 5-7 meters from
the ground. From the lower part of this construction, lengthwise its central axis, there is
a climbing corridor up to the semi-circular scene (Chorus entrance). The scenes floor,
3-4 meters from the ground, is engraved as if by a free, filamentous development. In
reality, below the scene, integrated in the upper shapes, there are crypts wherefrom
Aigistos, Ifigenia and others will emerge in the plays fifth scene.

, ,
. ,
,
.
-

.
,
, .
-, , -
.
.

In the background of the scene, along the circumference, we see pillars in regular
distances. These will multiply in the third scene, as additional pillars will rise from the
scenes floor in order to form the cages of Orestis and Clytemnestra. The corridor continues upward, along the central axis, and goes over the furrows of the chariot-plough,
bridging the distance between the scene and a seven-floor spiral construction. This
construction is perceived as a drilling tower and is situated at the center of the orchestra of the buried theatre, which is the point where the axes of all edifices, visual and
conceptual, converge. This tower-well, which I call navel, is used by Pylades-Oracle
and the Chorus. Along the initial part of the chariots furrows, vegetation is noticed.

Villa Eumenidi,
-,
.
, ,
.

In my scenic proposal for VILLA EUMENIDI, borderline possibilities of the use of a

piece of land/landscape are put in action and in dialogue; this which landscape acquires a tragic essence thanks to indelible points of life that emerge through the earth/
time and which we discover only in flight. It is a new scale of observation that, via technology, positions us face to face with an unprecedented view of the past.

Yiannis Ritsos poem under the title Perspective provoked me a similar sense:

,
.
, .
, , , ,
, , , ,
,
,
, ,
,
, , .

Our houses are built on other, straight lined houses, made of marble, and these on
other houses. Their foundations
are supported on the heads of upright armless statues.
And so, no matter how much lower our huts roost in the fields under the olive trees,
small, grimy with smoke, with only a water pitcher by the door,
you imagine you are living high up, that all about you the air shines,
or at times you imagine you are outside the houses, that you have no house at all, that
you are walking naked,
alone, under a sky startlingly azure or white,
and a statue, now and then, leans his hand lightly on your shoulder.
(poem translated by Kimon Friar)

27/10/2014

122

Thalia Istikopoulou
27/10/2014

123

 -.
.
Politecnico di Milano
Piccolo Teatro di Milano. 40 .
Teatro dellElfo-Teatridithalia 25
. 150
, ( :
Mediterraneo, 1992).

( 100 ,
2000, , , ).

.
Thalia Istikopoulou is a set and costume designer. She was born in Athens and her
parents originated from Greek Asia Minor. She has lived in Milan for about 40 years and
she studied Architecture (at Politecnico di Milano) and Theatre (at Piccolo Teatro di
Milano). She co-founded the Teatro dellElfo-Teatridithalia in which she worked for 25
years. She divided her time between Greece and Italy working on designing stage sets
and costumes for more that 150 theatre, dance and opera productions alongside with
films (Mediterraneo, Academy Award winner for Best Foreign Language Film in 1992
etc). She has taught stage design at the School of Architecture in Milan and the School
of Architecture of the University of Thessaly.
Photo: Roger Agache
124

125

 / Dimitris Bambilis
gps drama

Creating a gps drama
in Patision Ave

126

127

128

Reformers ()
2014 , ,
, ,
Computer Programming.
.

The Reformers is a multidisciplinary group that was formed in 2014, in Athens, Greece,
by Eleni Arapostathi, Xenia Vlachou-Koghilaki, Elisavet Xanthopoulou and Dimitris
Bampilis, unifying the fields of Architecture, Performing Arts and Computer Programming. Its main goal is to reform the relation that is developed with the urban environment.

project ( ) gps-drama,
multi-media ,
, -- (;) ,
. ( ,
, ).

.

With the project Patission (working title) we create a gps drama, meaning a multimedia route through Patission Ave, one of Athens longest and oldest ones, that each
spectator-visitor-walker-maybe co-creator will experience alone, following a series of
different narratives. (For example, personal stories of its habitants and its users, as well
as narratives of historical, social and political interest.)
And all these, through a smart device and headphones, that will provide the previous
information as well as all the necessary directions for the route.

,
,
.

Our objective is to broaden the perception of those who will travel the path, without
intervening materially in space, but by simply revealing parts of the avenues identity
we often escape.

, ,
, , ,
.
,

, .
, project
,

.

Starting from the belief that every facet of the public undergoes a subtle dramaturgy,
we perceive public space, not only as a physical and spatial category, but more importantly, as a dialectical social network. In the midst of a period in which Athens public
space is transformed by economic and political mechanisms, we understand the performative perspective as a useful tool to penetrate into daily life by addressing current
social and political issues.
Simultaneously, the project concerns the practical application of the groups research
on the concepts of the public sphere, the theatricality of the habitation of public space
and the interaction of the theatrical process with the urban environment.

,
.
(.
-geolocation
) ,
. Habermas

, , ,
. , ,
, ,
( discourse),
, .

Concerning the public sphere, our research was led there by extending even this supposingly wide field of the public space. Exploring the potentials of new technologies
(p. ex. location-based technologies - geolocation) and the new intangible sites they
offer, we looked for a broader dialogic context within which we will incise our path. The
concept of the public sphere as described by Habermas, freed us from the materiality
of the design of the walk and the body energetics it requires, without, of course, us
overlooking this dimension. It helped, however, to determine the criticality of a verbal
social space, in which the different discourses will intersect, meaning an open field of
dialogic interaction, a quality that is constantly shrinking in our times.

But is this theatre;

. ,
.
,
,
, ,
, . ,
,
,
,
,
.
, , (..
) ,

What we suggest as a means for the realization of the above is the gaze. As we said
before, we are convinced that every aspect of the public undergoes a subtle dramaturgy. For us, this dramaturgy has the gaze of the viewer as a unique condition, since
it is he that will theatricality perform in everyday situations by including gestures of the
natural environment in a mentally constructed, imaginary, theatrical space, from where
myth can be emerged. Indeed, a series of public gestures come under the field of theatricality, not in the sense of a mimetic adaptability, but as a behavior that, according
to Stavrides, is not separated from the truth of the social world, but consists one of
the many ways that the social world is constituted, i.e. the social life is given meaning.
Whether, then, it is about his relations with institutions (p. ex. waiting at a bus stop), or
his interpersonal relationships, the citys habitant is asked, as another actor -with actually special skills- to adapt to a variety of roles that will allow him to perform the various
functions he wishes and / or is imposed to. We can therefore talk about a theatricality
of the habitation of public space within the urban environment.

129

 , - -

/ . , ,
.

130

, , ,

. Josette Feral, ,
, .

,


. , , ,
, . ,

.

But if we agree with the existence of theatricality in the urban fabric, it is interesting
to look into the spectator and his function within urbanity. As Josette Feral also notes,
theatricality, described also by her as a gaze process, creates a spatial crack. Activated
by the initiative of the viewer to transform the other in a viewing object, the gaze creates an other space that is perceived as the place where the spectator has no other
position than this of the observer ... It is the other space where the observer and the
observed come face to face. Theatricality, then, can be understood as a crack, as a
frame, a threshold, a passing from here to anywhere. Theatricality as a space, the
design of which may be understood as an alternative spatial production in terms of the
practice of architectural design.

Interaction

.
,
.
. , ,
. . ,
,
, ,
.
, ,
.

The landscape we describe is diverse. The concepts negotiated create a grid that often
reminds the labyrinthine environment of the city and its network. We, however, distinguish a straight connection between all these. A straight line which, like Patission, is
also diverse and fluid. Respectively we create our own walk. As a movement, as a deal
on the liquid, multiple and conflicting identities of the city, while avoiding defining it as
a finished product, which will produce a closed set of forms. As a walk that will make us
imagine the city widely as an instant, uncertain space of co-talking and co-listening, of
co-tuning and coordinating, but also of conflicting human narrations.

1985.


.
-
,
.
Wodzimierz Staniewski
Rimini Protokoll
. ,
gps drama
.

Dimitris Bampilis, was born in Athens in 1985. He holds a BA in Theatre Studies from
the University of Patras and an MA in Theatre Directing from the School of Fine Arts
of Aristotle University of Thessaloniki. He is inter- ested in performing arts through a
multidisciplinary practice connected to theory and research with an emphasis on their
relation with social reality and urban environment.His collaborations with directors likeVasilis Papavasileiou and Wodzimierz Staniewski, and with the documentary-theatre
collective Rimini Protokoll in Berlin, have so far marked his vision for theatre. For his
latest project and in collaboration with Elisavet Xanthopoulou, Eleni Arapos- tathi and
Xenia Koghilaki he participates in the creation of a gps drama on Patision Avenue.

Reformers: gps drama , 10.2014

Reformers Group: Creating a gps drama on Patision Avenue, 10.2014

Dimitris Bampilis
131

 / Katerina Konstantinakou
: -
-
(EOAK)
( 6 2012)
The cage and the nest: a peripatetic site-specific
theatrical documentary at the former Kalamata
National Orphanage for Boys (EOAK)
(Saturday, October 6th, 2012)

132

133

134

,
. ,
, . ,
.
, , , .
.

- - .
( , 1967-1977)

When they came to take me away from home, they told me: We will take you to the
sea to swim. I remember very well when they brought me in a car here, in this building,
at this gate. Once we arrived and they put me in, I heard cries and voices of children
and then I realized that something else was happening. I started screaming, crying,
wanting to leave, but now it was too late.
I felt as if I had been shut in a cage.
Much later I realized that if it hadnt been for the Foundation
-with any disadvantages- perhaps I wouldnt be alive today.
(Dimitris Anastasopoulos, inmate at the EOAK 1967-1977)

2.2.1957 , ,


.
-
,
. ,
(, , , , )
(//
// //
// ). ,
,
, ,
.

,

,
, .

The privately owned building on Kalamata Beach was founded on 02/02/1957,

day of the Virgin of Candlemas, patron saint of the city, with a glorious ceremony attended by representatives of the Ministry of Welfare and local authorities - a ceremony
which is mentioned in a marble plaque walled at the entrance of the building - reason
to go into the adventure of this performance. It is a monolithic unit without semi-outdoor areas and not a complex type of village with independent units available, as were
the complexes especially built for the orphans of post-civil war welfare state. Here, a
central building housed all uses (feeding, bedtime, cleanliness, study, entertainment)
and gathered all the necessary spaces for the functioning of the institution (dining /
study room / dormitories / toilets / hospital for inmates - cookers / laundries / tailors
/ ironers / offices and residences for the staff). Within, defined prohibited zones, ie
points to which inmates did not have access, such as the office and the apartment of
the Director, while their planned routes were made under the close supervision of the
staff. The two-storey building was surrounded by a spacious courtyard surrounded by
high walls on both sides and railings on the other two, in order to minimize contact
of the inmates with the outside world - especially since the land was located on the
outskirts, outside the urban area, and was seen by the local community as a black hole
on the map, as a non-place.

1991,
,
. ,
,
( 10 ).
, 2013.

-
- ,
( )
.

EOAK stopped operating in 1991, when the number of inmates had decreased dramatically, as a result of a general change of state policy in the field of welfare. The
building, two years later, and after the necessary repairs and interventions had been
made, welcomed the newly established Music School of Kalamata (later the 10th Elementary School Kalamata). Overall the Musical School was hosted there for twenty
years, until 2013. During the last year and given its forthcoming relocation to its own
private building -hence, year emotionally charged for both its last tenants and for its
former tenants alike- took place the performance The cage and the nest, with the
participation of both communities (the EOAK and the Music School) and while the
building was still in use.

,
,
. ,

, , ,


.
, .
, ,
, , , ,
,
, .
-,
, [counter-memory],

The preparation of the performance lasted almost two years, time which has proved
necessary both for the study of the voluminous EOAK files, which lie in the Archives
of Messinia, of the relevant sources with other institutions all over Greece and the
rich literature on institutional care and child protection, as mainly for the collection
of oral testimonies by staff and inmates a particularly complicated process which
requires that familiarity and trust be developed by both sides. We chose to take the
interviews inside the building and combine them with a kind of tour, and this proved to
be decisive. Especially for graduates, the visit alone to the former institution, after so
many years, acted as a catalyst, evoking, violently at times, repressed memories and
lived stories it is typical that many people, under the weight of the wound, avoided
passing by for years. These stories belong to the field of interest of micro-history, illustrating the informal collective memory from below, and act as a collective countermemory, compensating for the viewpoint of the formal collective memory configured
from above, as preserved in public documents and as it prevails in the public sphere.

135

 ,
.

136

,
,
:

, /
,
.
:
[group biography] ,
.
(
) - ,
Theatre of experts,

( )
, .
, ,
,

.

The testimonies offered to us with courage and generosity by the former inmates,
warm and excited but also structured, proved fundamental to the conception of the
performance: we felt we had to engrave the lives of those who inhabited the institution
in the landscape of Kalamata as paths of people hovering over between the cage and
the nest, between home/shelter and prison, and point out the EOAK as a heterotopic
shell which hosted personal and collective dramas. Thus were formed the two pillars
of the dramaturgy, which fed one another: the biography of the building would be entwined with the collective biography of the inmates [group biography] who inhabited
it and gave life to a dimension that merged then with now through its commemorative function. The performance would take the form of a theatre-made tour (as advertised in the local press) or of a peripatetic site-specific theatrical documentary, and
even a particular form known as Theatre of experts, which asks the protagonists of
events themselves to give an on stage testimony, speaking in the first person (singular or plural) about their lives and experiences, without excluding the dramatized parts.
So the graduates of the institution would talk not only as individuals but largely on
behalf of all former inmates, while students of the Music School of Kalamata, dressed
in short pants, would sprang up unexpectedly as the ghosts of the children back then
and articulate the stories of their childhood.

6 2012
6 9, ,
. .

,
, -,
.
,
- -
( , , ,
,
).

The performance took place on Saturday afternoon, October 6, 2012 from 6 to 9,

per half hour loop, for a small number of spectators each time. The aesthetic was
deliberately crude. In order to let the very rich energy potential of the building work
itself, releasing the magic power of invocation we had experienced in the preparation phase, the building was seen as a space-finding, an ark for memory and documents. Our interventions were minimal and limited to some captions, following the
practice of museums, while we also turned one hall into an exhibition hall that hosted
objects-findings and texts-findings (old editions, notebooks and toys, paintings and
photographs, official EOAK documents along with posters and other materials of the
Kalamata Music School, consciously not removed from their post).

(
, ;),
, .

()
( & )
,
2 .
, , ,
(

1967)
(
) (
).

Inside the building a path was carved, that would be followed by the visitors-spectators
led by five guides (or better called hosts, having welcomed us to their home?), three
graduates of the EOAK and two female students of the Music School, distributed per
floor. The tour in the site respected the restricted zones and was designed to drive
visitors from the open space (courtyard) and the public spaces (library and the Hall of
the Primary School) to the innermost of the building, resulting in the former dormitories of the inmates and current classrooms on the 2nd floor. The tour in the site went
along with the course of the time, from now to then, from the Music School to the
Orphanage, and was associated with the passage from the official documents (I distinctively mention the Charter of Childrens Rights and the celebration of the Universal
Childrens Day at the institution in 1967) to the most intimate thoughts that follow
each child once he or she lies down in its bed (the only private space that can be appropriated) and close his or her eyes to dream (the only private event claimed).

, , ,
,
, .
,

And from there, the choir of the Music School, invisible until then, led the visitors outside, in the collective attic of the concert that crowned the whole event and was hosted
in the open, public space of the courtyard. At the concert, the Modern Music Ensemble
of the school presented songs dating from back then combined with songs specially
written for the occasion by Evi Dinopoulou, school teacher and invaluable companion

,
. - -

.

to this journey. And it closed -out of schedule- with a group of graduates of the institution taking sponaneously the step and singing the song of the orphanage entitled
No, we are not separated.

, ,
, , .
,
,
. ,
, ,
,
,
, ,

.

- - [lieu de memoire]
.

The performance was a memorial ceremony, stirring up the memory, both individual
and collective, intimate and repressed, of the city. It was exactly the opposite of the
official foundation ceremony fifty-five years ago, as committed by the invisible, those
who were not entitled to it in the public sphere and reason. And specifically, as it
commemorated the end of the current use of the building, in a way its death, it was
a memorial ceremony - a memorial which nevertheless sought to oppose to silence
and oblivion, to share a piece of history of the city that remained in obscurity, but also
to challenge the marginalization, isolation, exclusion and incarceration of the Institutions inmates through a cathartic process of public confession. The impact of the
performance on the local community, beyond any expectation, we would hope to have
contributed to convert the building from non-place and space-taboo in a place of
memory [lieu de memoire] through the participatory experience of an enlarged community of the city.

6 2012,
, 6,

Saturday, October 6th 2012,

Music School of Kalamata, Ethnikou Stadiou str., Kalamata Beach

, :
: N
:
:
: , /
(), , - ()
&

Idea, dramaturgy and direction: Katerina Konstantinakou

Original songs and music editor: Evi Ntinopoulou
Stage Designer: Katerina Miliaresi
Participants:
Guides: Theodore Athanasopoulos, Fotis Vlassis / Dimitris Anastasopoulos (EOAK)
Vassiliki Christopoulou, Panaghiota-Phryne Adamopoulou (MSK)
Theatrical Team & Choir High School First Class of the MSK

University of Kent at Canterbury University of Glasgow (MPhil).

& ,
, ,
& , , ,
, , ,
, , , , , Beton 7 104.

Katerina Konstantinakou studied theatre (theory, history, dramaturgy and scenography) at the Theatre Department, Aristotle University of Thessaloniki, Greece, at the
Department of Drama and Theatre Studies, University of Kent at Canterbury, UK and
obtained an MPhil in Dramaturgy from the University of Glasgow. She works as a freelance dramaturg since 2004.

& : :
, - , 06.10.2012
,

.

Katerina Konstantinakou & Music School of Kalamata: The cage and the nest: Kalamata Boys
Orphanage, site-specific promenade, 06.10.2012
General State Archives of Greece, Regional Archive of Messinia
Photo reproduced by kind permission of the General State Archives of Greece

137

 / Panos Amelides
:

With the occasion of the work Alexandros:
City soundscape and recorded narrative
as means of spatiality

138

139

140

,
, .

.
, ,
,
,
. ,
.

In the present text, an attempt will be made to approach the term and use of spatiality,
as this was elaborated in the audio work Alexandros. This work aims to transfer the
listener to a sonic journey of different narrative and emotional situations. Using as its
means sound that is exclusively reproduced by (loud) speakers, the work reminisces
and portrays the personality and action of Alekos Panagoulis, drawing material from
different spatialities of soundscape of the city of Athens where he lived and acted.
Additionally, the material extends to the use of linguistic narrative based on interviews
taken to that end as well as on archival material.

,
. 1940,
Pierre Henri Marie Schaeffer (1910-95),
, ,
(.. ,
..), . musique concrte , , ,


.

It is useful, eventually, to make a short reference to the wider genre where this particular work belongs. At the end of the 1940s, Pierre Henri Marie Schaeffer (1910-1995),
sound engineer at the Radio France in Paris, started experimenting by recording city
sounds, which he then manipulated in various ways (for example, change of tonal
height, loops etc), attaching new characteristics to them. This was the era of musique
concrte as he, himself named it, that is, of a music entirely based on recorded sound
and on the possibilities offered by technology with regard to the elaboration of the
recorded material and its broadcasting (rediffusion) through speakers.

1955, Jrme Peignot (. 1926, )

musique concrte
,
,
, ,
,
.

In 1955, Jerme Peignot (French writer and poet, born in 1926), in one of his articles describes the experience of listening of musique concrte as acousmatic, abetted from the term of the Pythagorean tradition according to which the teacher would
speak to his students from behind a curtain, in order for them to be unable to see him,
but merely hear him, paying attention exclusively to the sound and its content, but not
to the source of the sound, i.e. Pythagoras himself.

.

. .
(),
,
(fixed media).
: .

The term acousmatic led to the acousmatic music or art. Acousmatic art is entirely
based on recorded sounds that are reproduced through speakers. In contrast to the
musical works of the Western musical tradition which are composed with the use of
musical semiography (sheet music), acousmatic compositions exist exclusively in the
form of audio recording, often referred to as recording for fixed media. The work Alexander falls into this category: it is acousmatic.

,
, .
, ,
, , , ,

.

Spatiality, potentially refers to all the factors that contribute to the experience of
space, which are merged in the duration of time thus creating spatial experiences.
Time is an integral part of the spatial experience, which, from a phenomenological
point of view, is connected with whatever is related to and included in space on the
one hand, and, on the other hand, with the lived space of the experience of the spatial
dimensions of the daily life of the contemporary city person.

,
,
.
( )

. ,

: , .
, ,
,
.
.
, .

- ,
(, ,
..). ,
:

. ,
( ) ,
, .

Setting out the approach of the citys soundscape, which was a fundamental source for
the creation of Alexandros, lets start the description of a first experience of spatiality.
Lets imagine what we perceive when we hearken (or remember the hearing of) the
soundscape right in front of the tomb of the unknown soldier at the Greek Parliament
in Athens and the spatial dimension it offers to our perception. Also, the hearing of the
sound of the subway train (metro)or of the announcements made before and after particular stops/stations: next station, Acropolis for example. The vehicles movement,
the horns, the clamor in the center of Athens, or the opposite spatial sound situation,
when someone walks through the graves of the First Cemetery of Athens.

,

,

Through the capacities of the sound elaboration technology, the composer is enabled
to regulate the degree in which the listener perceives spaces through sound, allowing
him to create (through memory) his own personal spatialities inside his brain. This

The sound and the soundscape transfer space in the memory of the listener. The
above soundscapes refer to external experiences, of open spaces. Another dimension
of spatiality with regard to hearing is the experience of a sensed-mental space where
sounds and listeners co-exist for a specific time in a specific place (home/residence,
concert space, installation space etc). In the case of acousmatic music, a further dimension is added with regard to spatiality: the spatiality created in the brain of the
listener through the game between the recognition or not of the sources of sound.
In this case, the musical materials are not instruments or voices, as in conventional
(allow me the term) music, but sounds taken from everyday life, bearers of the space
that they represent.

141

142

( ) .
.

potentiality is unique in acousmatic music and is due to the means particular nature.

.
.
:

At this point, we will present the mode of production and collection of the audio material for the work Alexandros. Recording was the main method used for the collection
of material. The recordings that were made and used in the work are divided in three
categories:

Interviews
Recordings of the soundscape of the city of Athens
Archival material.

,
, , .
.

All three categories are bearers of both spatiality and temporality which, as we saw
above, are notions of interaction. They will be explained separately below.

, ,
, .
2011
, .
- ,


.

For the creation of the linguistic narrative in the work, I decided to interview Alekos
Panagoulis brother, Stathis, and Panagoulis late friend, Lefteris Veryvakis, respectively.
Stathis narrative provided the work with an emotional and internal-familial view of the
facts, a material that would later permit the listeners to become witnesses of Panagoulis familys view and of their own experience of the historical events.

,
(
21 )
.

On the other hand, Veryvakis gave a more objective standpoint of the general political
situation during the period of Panagoulis action (dictatorship of 21st April 1967), as
well as a detailed description of Panagoulis personality and of the particular historical
frame surrounding his political acts.

.
:

The second source of audio material was the soundscape of the city of Athens in
specific spatial points of symbolic significance. This material is divided in the subcategories mentioned below:

- .
.
, ,
. :
.

.

-Soundscape in front of the Greek Parliament. Here, the general soundscape before
the Parliament was recorded, including the Constitution Square. The Parliaments
building is, not only a construction, but, ideally, a symbol of democratic and humanistic
principles. Here we find two spatialities: the building and the space occupied by ideas in
our mind. These recordings bear a mental association with the content of history and
provide the sense of the particular space.

- . ,
( ),
,
(1967-74)
. ,
.

-Sound of Evzones marching. The members of the presidential guard that march
in a characteristic manner and shoes (tsarouchia), producing a characteristic sound
that was recorded and used symbolizing the oppressive character of the (Greek) junta
(1967-1974), as well as the oppression exercised on Panagoulis during his torture.
Of course, this audio element ,as well, offers in an intense manner the sense of both
place and spatiality.

- , 2. 2
.
,

.

-Athens metro, Line 2. Daphne Station in Line 2 is also named Alekos Panagoulis
station. Despite the fact that any recording of the sounds of the metro would be the
same in all lines, nevertheless, the fact of the name of this particular station offered
a personal sense of spatiality to the creator of the work, as a mental association was
created.

- .
, , .

-Alekos Panagoulis Voice. The archival material of Panagoulis voice provided the work
with the presence, even mental, of the protagonist himself.

- . .
, ,

.

-Alekos Panagoulis Tomb. It is situated in the First cemetery of Athens. Recording

there, in front of the grave, provided a sense of presence and, at the same time, absence from the space, as well as an empirical relation between the composer and the
protagonist, based on the space.

.

.
( ),
, .

The above recordings underwent an elaboration during the morphoplastic process of

the composition of Alexandros. Spatiality as an everyday experience was simultaneously expressed through the listeners different levels of perception. Narrative transfers
the sense of the here and the now (if the listener listens in the here and now), but,
simultaneously, it creates a bridge with the past, the there and then of history which
unfolds.

.
, , ,
: , .

.
( :
) ,
.

The events of history unfold mainly in the city of Athens. Therefore, the experience
of spatiality as far as the narrative is concerned, involves at least two simultaneous
dimensions: the here and then and the inside the listeners mind. This experience is
assisted by the presence of the soundscape, as well as of its variations created during
the works composition.

.
.
(..
),
.
, , .

Concepts of different spatialities may be located in the work, according to their function in the development of the audio plot. The listener has the possibility to come
in contact with and perceive relations of spatial placement of the audio masses (for
example, sounds that are in the foreground or in the background of the sound mixing),
a spatiality of perspective. The voices bearing the narrative transmit the space where
the voice was produced, as a familiar, audio spatiality.

,
.
. , .
, ,
, .

The space carries with it the image of the gesture, of the energy that produces the
sound. It is a matter of spatial zone and mental image produced inside the listeners
mind. For example, the sound of tcharouhia (characteristic shoes) worn by the evzones.
Even if one does not see the image, when listening to the characteristic sound, the
image is projected as a cultural element, a spatiality of relation with the source of the
sound.

,
,
.
,
,
. ,
(.. ). ,
,
, .

In the work Alexandros many times different spaces intermingle simultaneously, with
the placement of a spatiality inside another, thus creating inlaid spatialities. Another
dimension is connected with the composers decisions with regard to how the audio
space or soundspace, a microphone spatiality, will be recorded. Human activity, people
acting, create spatialities of action (for example, the movement of vehicles on the
road). Finally, the amalgam that emerges as an audio, acousmatic experience of all
the above mentioned different spatialities in one unified spatial viewpoint, a holistic
spatiality.

,

.

,
,
,

.

In conclusion, the city of Athens and the spatialities with which its residents come
into contact may constitute the source, as well as the motive for a creative journey of
auditory content. In the work Alexandros I tried to combine the linguistic narrative with
the narrative of spatialities from different sites of the city in one, holistic, new narrative
experience of an acousmatic character, where the listener is allowed to connect with
the spatialities familiar to him, and create a new, whimsical version of the spatiality of
the different elements inside his mind with the aid of memory.-

, 2015

Panos Amelidis
London, March 2015

O sound artist.

.
, University of Manchester

De Montfort University .
, .
,
De Montfort University.

Panos Amelides is a composer and sound artist and music researcher. His work focuses on the representation of cultural memory via means of recorded sound and
voice. He studied musicology at the Ionian University, electroacoustic composition
at the University of Manchester and is about to submit his PhD thesis in the field of
storytelling and the creative use of recorded sound at De Montfort University, UK. His
work has been presented in Europe, UK and USA. Panos lives in London and for the last
three years he has been a lecturer in Music, Technology and Innovation at De Montfort
University.

http://panoamelides.wordpress.com
Photo: / Panos Amelides
143

144

145


& / participating artists
& projects

146

147

4 performing arts group

Project Odysseies: Thessaloniki

148

149

150

151

152

.
*

The sun shines mellowly at the places that know us.

Tasos Moumtzis*

.
: .
Project: .

, ,

:
.

words leave their prints on the paper.

the team: as a Pretext.
the Project: return to the place of birth.
route of disproof of space and memory
route of meeting the other, the unutterable, the invisible
the fragmented self
threads that lead and threads that entrap
Odysseies.

, ,
A4M , . ,

, ,


project .

Their return to Thessaloniki, after years abroad, marked the departure of a new trip of
anti-nostos for the establishing members of the team A4M. The trip to the interior, the
redefinition of position and viewing within the limits of North Greeces big, provincial
city, the emancipation from memory, the disengagement from a past, rich in History
and stories and the reconstitution of a new scenery of interaction and collectiveness
were the desire to constitute the base for the creation of both the team and the project
Odysseies.

, -, -, - .
,
, -
- ,
,
, ,
.

The teams basic target is to research new theatrical forms through a holistic approach,
where theatre - discourse, dance - motion, music - breath - sound are not separated.
By using several physical theatre techniques and having a deep and substantial relation with Asian Theatre techniques, the team handles the body of the performer as
an independent material, autonomous - in its expressivity- from the signifier, that
is from a grammar of logic; a body that lives experiences before they get analyzed, a
timeless, universal body, in dialectic relation with space - time, which produces its own
one, here and now.

, ,

,
, ,
. ,
- /
, ,
, .
-
-.

Under this approach, the performer functions as a sculptor of space and gains a
dynamic relation with elements; s/he merges the folds of the inner and the outer
in experiences, in fugitive impressions that reciprocally diffuse, like threads tying the
observer and the observed in a single, insoluble unity. The return to primary functions
of the human, both by ones physical presence and contribution of time and space,
leads the team to this itinerary of knowing the city and the fellow citizens travelers

project
- -
, -
, ,
.
, ,

, ,
, .

The need to impress the dimension - actually, the dissolution - of the limits between
the internal and the external space, the historicity and the personal gaze - reconstruction of the memory; between the public, the private and the scenery, the visible and
the invisible, is inscribed in the project. This need leads the team to the creation of a
route in the city, to the construction of an incomplete story without rules, to the quest
of participants and spectators as contributors in the narration and the spectacle, of the
memories and the stops, which will constitute the pretext for a second route and a
second story to be born in them.

, ,
,
. ,
, ,
, ,
, , ,

. ,
- ,

For this specific reason, the dramaturgy of the performance is based substantially
on the element of randomness and of free will, exploiting as a starting point motifs
of Ulysses wanderings. The threads, which literally and metaphorically compose and
lead the evolution of the route, are chosen in such a manner, that create a sensation
of illogical course, in a fragmented space, where nevertheless every fragment can be
linked to the basic tissue and interfere in the process of producing the outcome. The
choice of spaces, the composition of elements and the use of texts, in the form of
personal witnesses, which refer to different eras of the city, contribute to the dissolution of the concept of historicity, to the underlining of a timeless narration and to the

* , 1894-1924, 1971.

* asos oumtzis, Memories 1894-1924, Thessaloniki 1971.

-,
,
.

impression of the course from the external to the internal - imaginary.

,
, ..
, .
,
/ - ,
,
,
,
, ,

,
, ,
.

The random interventions of both the material objects and the living individuals of
the performance dissolve the limits between the real and the directed, to this point
that one may wonder whether an action - a passing garbage truck - is planned by
the contributors or a random one. The participation of both professional and amateur
actors, the exploitation of individuals found in the space of the performance - route,
either after their agreement in the preparation phase, or by becoming a part of the performance unwillingly, permits the spectator to act freely, to incorporate or reject from
the narration any element of reality s/he might perceive and, of course, to penetrate
in the field of the performance or even leave it, whenever s/he might desire, without a
positive or negative denotation, as it usually occurs in theatres.

, ,
, ,
,
, ,
. ,
,
(, , )
, .

Consequently, the dramaturgy abolishes the conventions of the traditional theatre, as

time in reality and in scenery blend and incorporates, as an integral part and a here and
a there is found beyond it, permitting the emergence of a new world, whose creator
and director is the spectator. Therefore, it creates the condition and leaves space for
both external and internal stimuli and reactions (sound, motions, memories), produced
during the route to be impressed on the constantly transforming image, both willingly
and randomly.

,
, ,
, -
-.

happenings, installations, video projections sitespecific , , ,
, .
, ,
.
,
, ,
, ,
,
, ,
,
, - , ,
, , ,
,
. , ,
,
, .

This journey of free emergence and reformation of space and memory are carefully
organized, in such a manner that the observer and the object observed unite insolubly,
as threads - symbols and obtain entity and function only by means of the observers
travelers intervention. The stops of Ulysses journey coincide with the modern aspects
of the city, which are transpierced by happenings, installations, video projections and
site-specific, organized actions, in which acrobats, stilts, dancers and musicians participate, and then interact and unite with the audience. The port of the city, as a starting
point and entrance - exit, defines the frame of this surrealist course. The acquaintance
with the immigrants and with their testimonies in the container, Calypso, who is waiting at a central crossroad to treat a piece of chocolate, the way through the Sirens,
who visually and aurally create a maze of threads, sounds, movements and fragmental
meanings in the incomprehensible, the stylite who tides up his own home at the corner of the street, Nausicaa who treats coffee and stories from the past, in a historical
coffee store, the passage that conceals stories of violence, Penelope who suffocates
on her bed loom and, of course, Hades, situated on a terrain surrounded by ruined
walls and adjacent to the citys court of justice are some of this routes most important stops. Finally, a hot soup at the center of the city, in an old hospital converted to
a restaurant, brings the body back to its realistic cover, leaving sensations exposed to
the different.

, .
: , , .

This journey does not have an end; it does not get completed. The route remains open
in the quest for Ithaca: a personal, collective, located or an imaginary one.

Human imprints in time and space.

Amalia Kontogianni

153

154

155

PROJECT :

PROJECT ODYSSEIES: THESSALONIKI

PROJECT : site-specific promenade performance .

visual and sonic arts, installations,
.

, .
-
, ,
, .
, ,
- .

A site-specific promenade performance that combines different art forms, such as

visual and sonic arts, installations and live music, as well as different theatre forms
such as physical theatre, opera and acrobatics. Project Odysseies selects public and
no-public areas of the city as its field of activity. Inspired by the themes and motifs of
Homers Odyssey, as well as the history of Thessaloniki, the performance invites the
audience into a two-hours itinerary in both real and surreal places. Is a journey in space
and time.

:
:
-: , 4
/: , ,

: ,
Light installation: beforelight
Performers: , , ,
, , ,

A: , Daniel Arrando Amiguet
Volunteers: B, , ,
, , , , ,
Adjjima Na Patalung, A ,

Director: Athina Dragkou

Music composition: Dimitris Papdopoulos
Dramatic composition: Amalia Kontoyanni, A4M
Set design/costumes: Synthia Gerothanasiou, Alexandra Boussoulegka, Rania Yfantidou
Design Installations: Synthia Gerothanasiou, Ersi Papadopoulou
Light installations: Beforelight
Performers: Christina Gasiou, Anna Grivakou, Nana Kouli, Dimitris Papadopoulos,
Drosia Triantaki, Spyros Chatziangelakis, Sofia Chatzivasiliou
Acrobats: Ioanna Dimitriadou, Daniel Arrando Amiguet
Volunteers: Evanthia Basiliadou, Aliki Dourmazer, Maria Tentolouri, Iosif Stefanidis, Thanos Nikas, Klodian Kakko, Aikaterini Margariti, Agapi Tsitiridou, Adjjima Na Patalung,
Androamachi Foundoulidou, Eirini Nikolakopoulou

PROJECT :
47 (2012)
.

A4M PERFORMING ARTS GROUP

A4M is a non-profit professional, experimental theatre company. A4Ms mission is to
create as well as present experimental works that challenge the structure and presentation of performance while strengthening cultural and artistic growth.
Its goal is to create performance works that test and break the boundaries of theatre,
dance, music, and text; to experiment with form while staying accessible; to develop
a physical, theatrical performance technique that draws from many different performance traditions.
A4M is committed to promote, develop support, and present new and original performance work by artists from different cultural backgrounds.
www.a4mthtr.com

4 ().
- .
, -, -- .

/ .
...

. A THEATRE DIRECTING Middlesex University of
London. Royal Holloway University
of London.

Athina Dragkou
Theatre researcher/director. She is a graduate from the History and Archaeology Department of Philosophical School of Aristotle University of Thessaloniki. She has an MA
in Theatre Directing from Middlesex University, London.
She has studied classical and contemporary dance at the Professional Dance School
of Thessaloniki, drama at the Drama School of the Piramatiki Skini Tis Technis of
Thessaloniki. At the moment she is doing her PhD in Asian theatre at Royal Holloway
University of London.
www.a4mthtr.com/about/bios

/.
.
, . Middlesex
University of London.

Dimitris Papadopoulos
Performer and composer. He has studied classical and contemporary music at the Municipal Conservatoire of Thessaloniki and drama at the Drama School of the Piramatiki
Skini Tis Technis of Thessaloniki. He holds an MA in Sonic Arts from Middlesex University of London. He is co-founder of A4M and he has participated in all performances
of A4m performing arts group.
www.a4mthtr.com/about/bios
www.noisecanteen.com

.
.

Amalia Kontoyanni
Dramaturg, head of the Literary and International Relations office of the National Theatre of Northern Greece.
http://goo.gl/5neiDo

/. , ...
.
Clandestine Immigration Forum Theatre, Island of Blessed-Barriers in the Heads .

Cynthia Gerothanasiou
Set designer/painter. She studied painting, photography, multi media video art and
image digital processing, in the School of Fine Arts of Aristotle University in Thessaloniki. She has participated in many european programmes such as Clandestine Immigration Forum Theatre, Malta and Island of Blessed-Barriers in the Heads Vienna.

-
...
Central School of
Speech and Drama .
, , -, , ...,
... ... ... CSS Teatro stabile di innovazione del
FVG (Udine, ), Serajevo Winter Festival 2014, Mailbox (Birmingham), MAC (Birmingham), Camden Peoples Theatre (London).

Alexandra ousoulegka - Rania Yfantidoy

MA in Scenography Central School of Speech and Drama-London. BA in Drama Department School of Fine Arts A.U.Th. They work together since 2001 as set and
costume designers for theatre, performance and film. More than 50 productions for
diverse spaces and directors in Greece and UK.
facebook: Scenographar Alexandra Rania

/. .... .
.

Ersi Papadopoulou
Set designer/painter. She studied painting in the School of Fine Arts of Aristotle University in Thessaloniki. She has worked as a set designer in Thessaloniki in the last 15
years.

Beforelight
,
, , Rotterdam. 2
, , Video
Art Athens, Street Cinema ,
, ,
Rotterdam.

Beforelight
Is a Greek-based creative group that experiments with the use of light. They have
installed their work in open public spaces of cities like Thessaloniki, Athens, Chania
and Rotterdam.
www.beforelight.gr

. ....
,
...
.

Stelios Dexis
Lecturer at the Fine Arts Faculty of the Aristotle University. He has studied Painting at
the School of Visual & Applied Arts of the Faculty of Fine Arts of Aristotle University of
Thessaloniki. MA in Digital Arts at the Interdisciplinary workshop ASFA and the National
Technical University of Athens.
http://www.dexis-vounatsou.edicypages.com/biography

PERFORMERS

PERFORMERS

.
R. Nieoczym
MadDam Theatre Ensemble.

Anna Grivakou
She graduated from the School of Drama EMPROS in Athens. She is a collaborator
of R. Nieoczym in Greece and Canada, and a co- founder of the MadDam research
theater group.
https://www.facebook.com/pages/MadDam-Theatre-Ensemble/

.
project performances
, .

Gasiou Christina
She studied dance at the professional dance school Rallou Manou in Athens. She has
worked as main dancer and actor in Athens and Thessaloniki.

Folkwang Universitt Der Knste Pina Bausch
. M. Cunningham. Die Wolke Art Group.

Drosia Triandaki
Graduated from Folkwang Universitat Der Kunste Pina Bausch and State School of
Dance in Athens. Certificated studies in M. Cunningham dance technique. Founder at
Die Wolke Art Group Company.
https://www.facebook.com/DieWolkeArtGroup

, . v
.
Rucumble.

Nana Koyli
She studied architecture and singing in Aristotle University of Thessaloniki. She is co
founder of the music group Rucumble.

/. Royal Dance Academy.
Northwest Missouri State University, USA.
Butoh Masaki Iwana Moeno Wakamatsu.

Sofia Chatzivasiliou
Dancer/actress. She has studied Dance and Psychology at the Northwest Missouri
State University, USA. She is a Butoh dancer being trained by Masaki Iwana and Moeno
Wakamatsu.

. C for Circus.

: The prince of the hill, The Champions.
.

Spiros Chatziangelakis
Actor. Founding member of the theater group C for Circus. He participated in various
productions in Athens and Thessaloniki as well as in film productions: The prince of
the hill, The Champions. He graduated from the Physics Department of the Aristotle
University.

:
B, , , ,
, , , , Adjjima
Na Patalung, A , .

Volunteers:
Evanthia Basiliadou, Aliki Dourmazer, Maria Tentolouri, Iosif Stefanidis, Thanos Nikas,
Klodian Kakko, Aikaterini Margariti, Agapi Tsitiridou, Adjjima Na Patalung, Androamachi
Foundoulidou, Eirini Nikolakopoulou

Photos: / Synthia Gerothanassiou

156

157

158

159

amorphy.org
/ Tzeni Argyriou
memorandum

160

161

162

163

164

emorandum
;

Memorandum a mechanism of reminder

What is worth remembering and what should be forgotten;

,
, ,

,
.
,

(multimedia) ( ),
, ,
- . ,
,
, , , ,
. ,
(),
.
. ,
(workshops), ,
, .
,
.
,


.

Tzeni Argyriou is an independent visual choreographer and trans media artist that encompasses many different art forms, from traditional forms media such as dance, performance making theater, to more recently developed approaches that use digital art,
interactive art, and other time-based media. Although initially in her career she used
dance as her expressive means, she quickly adopted the use of new media and transformed her work into hybrid multimedia creations (performances and installations),
community based projects, interactive installations, audience participatory events and
site-specific projects. She is working in the in-between-space, breaking the boundaries of different art forms, aiming to reach unknown areas, new ways to develop her
work and to finally compose a complex but otherwise minimal looking structure. Nevertheless, the source of her work is (e)motion, and that has always been that which
leads and links all the elements she uses. Researching and at the same time experimenting with materials is the main body of her work. Usually a series of workshops,
laboratories, interviews, conferences, and other interactive activities open to the public
are taking place prior to the creation. These activities are essential part of her process
in order to reconsider the questions she opposes. During this research period she has
continuously collected new material and she has explored different means and mediums of expression, a modular development process that usually leads to the creation
of different art creation forms.

Memorandum (2012-14),
(Amorphy.org),
. memorandum ( : )

, ,

.
, ,

.

Memorandum (2012-2014), the last initiative by the choreographer Tzeni Argyriou

(Amorphy.org) is an ongoing multimedia and performing arts project. Memorandum
is a term that is associated with all measures of austerity that the Greek government
has taken through the years of economic crisis, but if you search its original definition
you could see that it relates with the notion of memory and literally means what to
remember. The choreographer has combined the dual meaning of the term , a journey
through the memories of the past in order to explore how this mosaic of testimonies
can reflect on the present condition.

Memorandum
, , , (workshops),
,
,
, ,
,


1895-1975 ( 2012).
,

, ,
( 2012),
,
.
, ,
,
,
. emorandum,
, , ,

The research process of the project Memorandum consists of a series of performances, installations, laboratories, workshops, artistic residencies and archival research, all
of which are centered on the topics of historical representation, individual and collective memories, the real and the fictional as well as the mechanism of their production
According to the choreographer, the project was triggered by the publication of an
archival collection of photos of major historical events and images of everyday life in
northern Greece during 18951975 (Nikolopoulos 2012). The album operated as a
memory mechanism for Tzeni Argyriou who initiated her project so as to explore the
confusion between existing and past, collective or personal, real or fictional memories that form the present (Argyriou 2012), aiming at articulating questions, evoking
feelings and creating new associations with the past and new understandings of the
present. In this process of remembering, the choreographer explores and exploits part
of the past in an effort to reappropriate history, inviting us to consider the potentiality
of the present beyond what is currently actualized or envisaged. Memorandum thus
creates a public space, embodying tension, resistances and oppositions, where new
subjectivities can be formed and new possibilities imagined

...

(workshop) Documentum ,
2012 . ,
,
. ,
,
. ,
, ,
,
(, ),
.


.


,
. ,
, . ,

, ,
.

A first exploration for the project started during the workshop Documentum An Open
Laboratory held in January 2012 at Embros Theatre, in Athens. The participants, professional and amateur performers as well as dance theoreticians, worked with Tzeni
Argyriou for a week. The aim was to experiment with the photos of the album, from
which the project initiated, through various methods. In particular, the photographs
were being screened through a projector onto different surfaces, such as white rolls
of paper, white fabrics and bodies, while questions arose on how to revive a document (in this case photographs), and how a document from the past could interact
with the human body. The photographs operated as a trigger for exploring the relationship between the past depicted and the present experienced by the participants.
Some of them narrated their own stories or created imaginary tales inspired by the
people depicted in the projections; others started singing standing still whereas some
engaged in moving improvisations. At some point in the process, participants also
started interacting, influencing one another. Hence, the projected photographs offered
a point of reference to which performers responded by drawing on their own recollections, identifications or interpretations both as individuals and as members of the
community of performers.

Memoria Obscura
emorandum. , , 2012,
, , 2013. ,
,
(1944-49),
.
, .
,
.
,

. ,

. ,
, .
Memoria Obscura, /
, ,
,
.

Memoria Obscura was the first performance in the framework of the Memorandum
project. It was held in Grevena, Greece in October 2012 and in Kavala, Greece, in
February 2013. In this performance, photographs from the album were projected onto
rolls of white paper and fabric, featuring different historical periods, focusing mainly
on the Greek Civil War (1944-49). Interviews from survivors and relevant audio documents either followed or supplemented the photographs. One performer was on stage,
interacting with the projections and acting as a link between fragments of the past
and the present. He would sometimes interfere by interrupting and shadowing the
photographs while in other cases he would stand on the side watching the projections
or listening to interviews as if he was also a spectator. At some point, one photograph
depicts assembled crowds holding a Greek and a Turkish flag. The performer would
stand in front of the projection, waving a white flag, thus reviving the photograph in
the present. Throughout Memoria Obscura, the performer relocates the work in time
and place, producing infinite associations between now and then, and highlighting the
contrast between absence and presence, remembrance and oblivion.

,
1912-2013
Memorandum,
( 2012). , ,

Memorandum, CAMP, 2013,
,
...

Through an open call, Tzeni Argyriou invited the audience to bring to the process
their own photographs from the period 19122013 and to share their stories with
the working group of Memorandum in order to create a web of memories (Argyriou
2012). She also invited historians and researchers to give interviews at CAMP in April
2013, to members of the Memorandum work team, so as to share their knowledge,
and performers to participate in this experimental process

,
.
,
, ,
.
(Benjamin 1968: 255),

Such practices create a space for experimentation and dialogue, and invite new formations, which are still emerging and amorphous. Their political power lies in the
ability of the performance to engage the spectator and performer in multiple historical
narratives where different voices, events, moments and people coexist without hierarchical order. At this moment of crisis in Greek society or at this moment of danger
(Benjamin 1968: 255), performance may unexpectedly bring to the fore images of the
past in the way proposed by Walter Benjamins historical materialism; that is, by sug-

165

166

Walter Benjamin .
,

,
. ,
- , ,
,
.

gesting connections and reflections on the past, or by making it anew, in order to avoid
conformism and to propose new engagements and relationships between past and
present while forming a sense of sharing or community. These emerging formations
of community are significant because they offer possibilities for re-establishing the
social, and by so doing enhancing the political dimension of the arts, during a period
that the social role of the arts is under threat.

:
. . (2015) A shifting landscape: Contemporary Greek Dance and conditions of crisis, [ :
], Journal of Greek Media &
Culture 1: 1, . 29-45.

This text is an excerpt of the article:

Panagiotara, B. and Tsintziloni, S. (2015), A shifting landscape: Contemporary Greek
dance and conditions of crisis, Journal of Greek Media & Culture 1:1, pp. 2945

(Roland Barthes, : , 1981),
,
. ,
, .
,



,
; , ,

;

Holding a photograph of something or someone that has been (Roland Barthes,

Camera Lucida: Reflections on photography, 1981), something like a fragment or a
shadow, is like going against forgetting what seems to be our common destiny. This
process means not only to think of the past and the present but also to envision a
better future. When we are looking at photographs of recent and past histories we
wonder, what are the consequences of the lack of historical consciousness in our
generation; How to cope with times, similar to those shown on the pictures; Could
such a material be able to awaken memories without supporting an actual truth; What
is the truth of such photographs, and can it be explicitly stated? And finally, does the
deluge of images presented in the media accounts for such a fragmented memory
and a constant forgetfulness?

,
, emorandum,
, , .
emorandum , , 2013,
, ,
2014 2014.
Tryangle
.
(workshops)
, emorandum
,
, .

As an aftermath from all the above, Tzeni Argyriou created a staged performance
Memorandum that plays between the boundaries of theatre, dance, visual arts and
mixed media. Memorandum premiered in Marseille, France, in November 2013 more
presentation were held in Dusseldorf, Germany, in January 2014, and Athens Festival
June 2014. A strong impetus to develop the performance was offered by Tryangle European Laboratory of Artistic Research. Already prior to the final showing during various
workshops and laboratories, which have been addressed to volunteers from various
countries in Europe, Memorandum has gathered experiences within this unique creative process by allowing the viewers, their memories and their actions to become a
part of the creation.

emorandum
, .
, .
.

Memorandum performance evokes a journey of remembering in a landscape made of

fragmented images, shadows and sounds. Action on stage becomes a kind of threedimensional mnemotechnics, that are techniques used to organize memory impressions.

,
.
/
,
( )
. ,
, ,
, ,
. ( )
,
.

Three performers were moving in the existent construction on stage where a multidimensional installation was formed. Many representative images/photographs of
different eras were projected during the 60-minute performance by using the facilities of technology and shadows of themselves (material from earlier stage of creative
process) were appearing on the industrial set design. At the same time, the installation
by Vasilis Gerodimou with all the incorporated props had the competency to produce
sounds and in this sense operated as an impromptu musical instrument. The greater
part is in silence without using a concrete musical score as an accompaniment to
the ongoing action. The performance had also an interactive part where the audience
had the chance to share his personal experiences, by answering the questions of the
performers with movements. A compound of movement, sounds, lights and above all
of all this projected material has as result to lead the spectators into a highly aesthetic

. ,
, , , ,

.

journey of memories and of emotions.

, Memorandum - ,
(, , )

, , .
, :
, ,
.

Next to that Memorandum is a truly site-specific piece as the entirety of its machinery, (set-design, projected images, soundscape) has been always evolved out of every
architectonic situation and cultural condition, constantly changing both in appearance
and function. However, one main trait has always been important: no hidden theater
magic, no technical deus ex machine, but all technique should be visible.

1, 2 3
(2015) Moving political: The contemporary dance
scene in Greece in the era of economic crisis [ :
].

1,2,3 These texts are excerpts of the under work-study of Elena Novakovits, (2015),
Moving political: The contemporary dance scene in Greece in the era of economic
crisis

167

Memorandum

Memorandum

:
Memorandum /
, .
,
,
. memorandum
.

Project description:
Memorandum is a hybrid performance/installation that evokes a journey of remembering in a landscape made of fragmented images, shadows and sounds. The use
of space and materials creates an autonomus installation, a scaffold of an inactive
mechanism that becomes active and interacts audiovisually with the performers and
the viewers. And so memorandum functions as a mechanism of reminder for all these
that we shouldnt forget.

E: Miguel Pereira, Soledad Zarka, Simon Rummel

:
: , Coti K
VJ artist: Thomas Fourneau
:
:
& : A

Director: Tzeni Argyriou

Set designer: Vassilis Gerodimou
Assistant dramaturge: Sotirios Bahtsetzis
Musicians: Coti k, Nikos Veliotis
Assistant of director and video: Thomas Fourneau
Performers: Miguel Pereira, Soledad Zarka, Simon Rummel
Light designer: Eugenios Tzavestas
Photography: Miltos Athanasiou
General technician: Antonis Nikiforos

performance maker media artist.

.... . .
amorphy.org.
new media .

Tzeni Argyriou is a performance maker and media artist. She is a graduate of the State
School of Dance, a scolar of Onasis foundation. Studied in N.Y. and founded amorphy.
org. Her work has been based on the dialogue between performance art and new media. She creates multimedia hubrid performances and installations.

.

.
in situ
.

Vassilis Gerodimos lives and works in Athens, Greece. He studied marble sculpture at
the School of Fine Arts of Tinos and then graduated from the Athens School of Fine
Art. The main body of his work consists of large in situ installations, for which the artist often uses materials that he finds on site. http://vasilisgerodimos.wordpress.com/

,
Technische Universitaet (2005) Fulbright Fellow
Columbia University (2009). ,
(E-flux Journal).

Sotirios Bahtsetzis works as an art historian, independent curator and art critic, based
in Athens, Greece. He received 2005 his PhD from the Technical University, Berlin,
Germany with a thesis in History of Modern and Contemporary Art entitled History of
Installation Art. He was a Fulbright art theory Fellow at the Columbia University in New
York, USA in 2009. http://sotiriosbahtsetzis.blogspot.gr/

Miguel Pereira Escola de Dana do Conservatrio Nacional

de Lisboa
. . 2000
O Rumo do Rumo.

Miguel Pereira Attended Escola de Dana do Conservatrio Nacional de Lisboa. Received a scholarship from the Portuguese Ministry of Culture to continue his studies in
Paris and in New York. His work has been presented across Europe and Brazil. In 2000
became an associated artist of the company O Rumo do Rumo.

Simon Rummel performer.

,
-, ,
, , .

Simon Rummel, born in Trier, Germany. Work as composer and performer. His works
contains traditionally notated pieces for orchestra, concerts for self-built instruments
and music-machines, music for improvising ensembles, stage music, performances
in public space, drawing and graphics.

Zarka Soledad , , . 1998

. 2002
. 2005
,
, .

Zarka Soledad was born in 1976 in the south of France. Dancer, choreographer, musician and artist. In 1998 she won the Gold Medal at the Conservatory of Contemporary
Dance. She has been choreographing and performing many composite works combining body objects, sounds, music, and video.
web site of project: www.memorandum.gr

Photos: / Vassilis Xenias

168

169

170

171

amorphy.org
/ Tzeni Argyriou
memoria obscura

172

173

174

175

Memoria Obscura

Memoria Obscura

:
.
;
;

Project description:
How do we process place and the history of it? Do we allow space and time to influence what we create? How can you bring life in a still image?

Memoria Obscura ,
80 , 1895-1975 .
( , ,
), .

Memoria Obscura is a staged performance based on the album Grevena 80 years of

photographs 1895-1975 by Vaggelis Nikopoulos. A collection of photos from historical moments (i.e. Balkan Wars of 1913, Greek Civil War of 1950s) as well as the
everyday life of the hometown.

:
:
:
video:
Performers:
:
:
Animation:
:
: ,
:
:
:
:

Set design: Gay Stefanou

Director: Tzeni Argyriou
Costume design: Despina Makrouni
Video director: Tzeni Argyriou
Performer: Epameinondas Damopoulos
Dramaturge assistant: Katerina Euaggelakou
Lighting: Eugenios Tzafestas
Animation: Nikos Makris
Stage manager: Antonis Nikiforos
Sound Design: Alexandros Sidiropoulos, Aris Louziotis
Director assistant: Maria Argyriou
Video Documentation: Fanis Karagiorgos
Video Editing: Leonidas Papafotiou
Producer and Archival Contributer: Vaggelis Nikopoulos

performance maker media artist.

.... . .
amorphy.org.
new media .

Tzeni Argyriou is a performance maker and media artist. She is a graduate of the
State School of Dance, a scolar of Onasis foundation. Studied in N.Y. and founded
amorphy.org. Her work has been based on the dialogue between performance art and
new media. She creates multimedia hubrid performances and installations.

.
2012.
2013.

Epameinondas Damopoulos is a dancer. e graduated from the Dance School of Despina Grigoriadou in 2012 and of the Faculty of Physical education and Sport Science
of the National and Kapodistrian University of Athens 2015.

1986 ,
& .
, ,
.

Katerina Evangelakou has worked since 1986 as a writer, director and producer both
for cinema and television. Her filmography includes a large number of documentaries
about science, politics, children, art and culture, as well as award-winning movies.
Link of project: www.amorphy.org/?p=963

Photos: / Lila Sotiriou & / George Mastorakis

176

177

178

179

 / Angeliki Avgitidou
Returning

180

181

182

183

184

Back to Basics: Returning

Back to basics: Returning

2010 performance Returning

, . performance
Back to Basics, performance
, . performance
Eating (http://vimeo.com/20056051) Washing (http://
vimeo.com/19895943) ,
. performance

.
performance Cleaning, Cooking, Walking ..
, 2015 performance Walking.

In 2010, I performed Returning in a route that commenced in the parking lot within
the former for-tification of the old city of Nicosia and ended up at the border that divides the Greek Cypriot form the Turkish Cypriot side of the city, the green line. This
performance was part of the series Back to Basics a series of performances presented close together, soon after the death of my mother. The first two performances of
the series was titled Eating (http://vimeo.com/20056051) and Wash-ing(http://
vimeo.com/19895943), and were performed in Greece, in Thessaloniki and Florina
respec-tively. In these two performances, a tablecloth used during the time of the
funeral in my mothers house, and two short texts I had written, played a protagonistic role. Other performances planned were called Cleaning, Cooking, Walking etc.
(http://vimeo.com/19946311). These were never realised but the series resumes in
2015 with the performance Walking.

in peoples lives. This was not a city that I had previous ties with but was the city that
my sister was living at the time. The space of the city became a place where personal
and collective histories met.

performance
.
, , ,
,

.
,
, .

This performances takes advantage of pre-existing lines that mark boundaries and
creates its own trajectories. In the different modes of their walking in the city, peripatetic, marching or ceremonial, the artist walks towards a destination or in a seemingly
accidental route creating lines and investing them with meaning or building on existing
ones. Public space then becomes a space where personal and collective memories
meet, a space where identities collide, and a contested territory.

,
, ,
,
.

In the seemingly uneventful public space where the personal is suppressed, artists
may bring to surface conflicts, demands, memories and symbols of power, not with
the naivety of resolution but with the persistence of involvement in a life with others.

, performance,

.
performance ,
.

, ,
.

My intention regarding these performances was the creation of an artistic routine that
would determine my life against the rest of its activities and would measure my communication with the world. The titles of these performances made reference to everyday, repetitious and even boring activities. In the starting point of the problem these
works emerged from, lay personal histories and quests that have to do with death, loss,
time and nostalgia.

Returning, ,
.
.
performance, ,
, , ,
.. ,
42, . ,
.

In Returning, I was dressed in black and carried a shopping trolley filled with my family
photos in their original frames. The photographs depicted family parties and gatherings. During the course of the performance I would leave these photographs at predetermined spots, which included a tree, the pavement, an alley, an abandoned shop
window etc. I would then stand still in front of them and count up to 42, my age at the
time. small group of people were following me, at times finding it hard to keep up
with my pace.

,
, . ,

, ,
.

After a while I started changing the pace of this counting and the tone and volume of
my voice ac-cording to the spot I was at. Playfully, in front of a school where I left a
picture depicting myself and my sister as children while dancing, or whispering in front
of a niche in an abandoned warehouse.

,

- ,
.
,

.
,
42.
performance.

The city surroundings and atmosphere changed along the way, from the busy commercial pedestrian Lydras Street, to the off-centre quieter and semi-decadent neighbourhoods and finally up to the abandoned houses and warehouses of the border zone.
Once I entered this zone of abandoned build-ings the pace of my walk slowed down
and became almost ceremonial. By then one of the wheels of my shopping trolley
had strayed away and I was carrying the trolley in my arm. The last spots included a
DIY park made by teenagers, a niche that resulted from a smashed showcase and the
blue and white painted barrels that marked the border with the other side. The route
culminated at an abandoned guardhouse where I placed a photograph of my parents
and started counting backwards from 42, slowly. The end of counting marked the end
of the performance.

:
;
, , ,
.

In a short text included in the invitation of the performance I wrote:

Is it possible to return to where you never where?
Returning involves loss, separation and nostalgia, but also cancellation, the impossibility of going back in time.

performance,
,

In this performance I connected a personal history of loss and separation with the
separation of the city of Nicosia in two parts, a political but also a very real separation

185


, , . performance Returning
.
.

This work emerged from personal histories and quests that have to do with death, loss,
time and nostalgia. In the performance Returning I connected a personal history of
loss and separation with the separation of the city of Nicosia in two parts. The space
of the city became a place where personal and collective histories met.

video:
Performer:

Video director: Pausanias Karathanasis

Performer: Angeliki Avgitidou

...
Central Saint Martins College of Art and Design, University of the Arts (MA, PhD)
AHRB London Institute.
Performance
Performance Deformes (). Performance
now v.1: in situ ().
. ,
.

Angeliki Avgitidou studied architecture at the Aristotle University of Thessaloniki and

Fine Art at Central Saint Martins College of Art and Design, University of the Arts (MA,
PhD) on scholarships from IKY, AHRB and the London Institute. She participated in all
three Performance Festivals of the Biennale of Contemporary Art of Thessaloniki and
the Performance Biennale Deformes (Chile). She co-edited the book Performance now
v.1: Performative practices in art and actions in situ (ION). She is Assistant Professor
at the School of Fine Arts, Department of Fine and Applied Arts, University of Western
Macedonia.
http://iamartist.info

Photos: / Pafsanias Karathanasis

186

187

188

189

 / Barbara Dukas
Lamda Project

190

191

192

193

 - x

In the mind of Lafcadio Hearn - The spatiality of the subconscious

.
Chet Williamson, The Story of Noichi the
Blind. Lamda Project,
, .

National Garden of Athens becomes the location of a promenade that hosts the unexpected encounter of two writers who interacted through their metaphysical stories.
Lafcadio Hearns adventurous life and his stories have been the inspiration for Chet
Williamsons novel The Story of Noichi the Blind. The two men meet during the Lamda
Project, a theatrical promenade in the garden, where they unfold the eternal story of
human blindness.

19
.

.

National Garden of Athens is the vibrant setting of a journey into the subconscious
mind of the greek-irish writer Lafcadio Hearn from 19th centurys Japan to Greece of
his fantasy and to his mothers loving armful to which he hopelessly wishes to return.
At the same time the garden becomes the scenery for the story of lumberjack Noitsi
and his futile obsession to preserve the life of his dead woman. Behind the foliage
there is always a demon lurking interwoven with human imperfection...

, .
,
. , ,
.

, .

Barbara Dukas is director, performer and educator. She has directed theatre, dance
and music theatre in Greece and abroad, where she has also taught Directing, Acting,
Ancient Tragedy and Theatre Anthropology in drama schools and seminars. She is an
active member of international networks that provide continuing training and education, and deal with the distribution of cultural goods.
http://projectlamda.wordpress.com

194

195

196

197

Dukas Barbara / Lamda Project

LAMDA intermedia,
, : ,

, ,
,
hito, Kanji-
, , L,
.

National Garden of Athens becomes the location of a promenade that hosts the unexpected encounter of two writers who interacted through their metaphysical stories.
Lafcadio Hearns adventurous life and his stories have been the inspiration for Chet
Williamsons novel The Story of Noichi the Blind. The two men meet during the Lamda
Project, a theatrical promenade in the garden, where they unfold the eternal story of
human blindness.

Hito , L ,
( ), 18 ,
1889 - 1903,
, ,
, , Yakumo
Koizumi.

National Garden of Athens is the vibrant setting of a journey into the subconscious
mind of the greek-irish writer Lafcadio Hearn from 19th centurys Japan to Greece of
his fantasy and to his mothers loving armful to which he hopelessly wishes to return.
At the same time the garden becomes the scenery for the story of lumberjack Noitsi
and his futile obsession to preserve the life of his dead woman. Behind the foliage
there is always a demon lurking interwoven with human imperfection.

,

, , , ,
, , .
, ,
,
.

L the first letter of Lefkadio Hearns name is in the latin alphabet LAMDA - is the
name of letter of Greek and Ancient Greek language, looks similar to the letter Hito
ideogram representing the human existence, in Kanji -one of Japaneses alphabet.

, ,
, , ,
,
.
, ,
, ,
.

198

:
:
-Installation:
:
Project Consultant: Fumiko Uchiyama
:

Jacek Poniedzialek
Yukiko

Director: Barbara Dukas

Scenographer: Konstantinos Zamanis
Music-Installation: Makis Faros
Dramaturge: Georgina Kakoudaki
Project Consultant: Fumiko Uchiyama
Performers: Vasilis Andreou
Zaharias Rohas
Jacek Poniedzialek
Yukiko Krontira
Betty Mantadaki
Stavros Zotos

nd 7 volunteers

199

The Company:
History
Cultural Creative Company Para.site.art is a non-profit organisation, established in
Athens, Greece,[2009], activated in cultural and educational events, workshops and
sessions, in the field of multimedia, theatre and ancient tragedy research. It operates
the Performance Personal Development Training courses and the laboratory in cinema Movies dont grow on trees. It was established as a developed form of Theatre
Company Selanna [1990], which produced many theatre and music pieces. Amongst
others: Amarga, Trainspotting, They Shoot Horses dont they?, and participated in
european and international cultural programmes with the projects: [Women and War,
Women of Myth in Theatre and Litterature, Trans-movements Alternative Therapies, New Technologies and Ancient Tragedy, Art and Food Feed the artists that they
feed the mind, Greece-Turkey ancient theatres So many shells, in such a closed sea,
Olympic Year Athens, 2004, action: New institutions in ancient paths]
Company Founders
Barbara Dukas
She is director, actress and teacher. She has directed in Greece and abroad, theatre,
dance and music theatre. She is an active member of international networks that
concerns the continuous training and education, as well as the distribution of cultural
goods [HREA Sustainable Development, UKCOSA Council for International Education,
IUGTE, METHODICA, e.t.c] Since 1986, she teaches in drama schools and seminars
for actors in Greece and abroad: Improvisation and Acting, as well as Ancient Tragedy and Theatre Anthropology principles, based on her method Performance Personal
Development Training [P. P.D.T. System] holistic regard - for actors and dancers Body
and Voice. For her work Lament in Greek Tragedy Human Deliation of Body Unconscious , she was awarded three times [Multi theatre Symposium (Beaubourg
Cultural Center, June 1991), Latin- American Theatre conference (Chile, July 1992),
Body Diversity Conference, Paris, 2007, by the Unesco Prix d Excellence of Alain Dizon Theatre Anthropology Foundation. She also teaches Basic Principles in Direction
[Athens University Theatre School Graduates Society, SEMINART Lifelong Learning]
Georgina Kakoudaki
BA, Mphil in Theatre Studies, University of Athens. Visiting professor in Theatre Pedagogics, Theatre Studies Dpt and Pri-primary Education Dpt, Pedagogic University,
Greece. Has studied dramatic art and acting in 3 year Acting School at STOA Theatre Group, Athens and in various educational and acting workshops. She is teaching
theatre and cinema history and dramaturgy in Art and Drama Schools since 2005. Has
participated as a performer in theatre, dance theatre and devised theatre productions
such as: Roberto Tsukko (dir. Giannis Kakleas), A series of disagreements (dir. Anna
Tchixli), Please kill me (dir. George Kakanakis), Carbon Copy (chor. Mariela Nestora),
Secret Location 1(dir. Peader Kirk), Dance of the Dance (chor. Kostas Tsioukas), Plastic
People (dir. Bangelis Papadakis), F*art (dr. Poka-Yio), Apolost (chor. Aerites/Patricia
Apergi), Litourgy 09 (collective direction devised), from the beginning (Kairo Biennale
collective devised) etc. As a dramaturge in NAtional Theatre of Greece 1997-2004
and in international dance and theatre/dance productions such as: Yelp Danceco (In
silence, Carbon, Scale 5:1, Undo), Quasi Stellar (Beaty Series-Male, Super Lux, Mano
a Mano etc.), Aerites Dance Group (Anorexia Socialis, An Orexia Trio, Apolost, D.opa).
Director of the plays Vivid film (devised) and Jack Thorns Burying your brother in the
pavement (repertory theatre for adolecent audience and series of site specific spectacles (latest Athens Bienale 2010 in INS-New Nekronomic Society Lectures).
Makis Faros
He is film director, musician, multimedia artist and electronic music composer
A number of his work is exhibited in Museums of Modern Art, Cultural Centres and
in the Internet. He is curator in exhibitions, installations and video art in various museums of modern art in Greece and abroad. He is consultant in audiovisual art in the
National Museum of Contemporary Art in Athens [EM-FIX] /Freelance Collaborator
to the Graduate of Athens School of Fine Arts Program Digital Art Forms /Teacher

200

of Editing, video technology, writer of educational material. Member of the DMPS

team digital forms of art of the Athens school of art, collaborating with the ME/
Computer Science department of the Polytechnic school of Athens/ Development of
educational software, visual aids (video) for visual art training courses in primary and
secondary education. EPEAEK institute of education competition/Since 1996 teaches
in the Athens School of Photography and Video Focus and in various institutions and
film schools : Editing , Sound Design , Digital Arts and ew Plattforms through the
History and the Aesthetic of Cinema and Modern Art/Technical advisor in International
Festival of Film and New Media e- / Composer and musician in many dance
and theatre projects/ He was also participated in the creation (music, lyrics, orchestrations) of the following albums: This Fluid Heartbreak hotel CD 2009 (cultroad),Lips
Like Poppy CD 2000 (HitchHyke), Spiral CD Single, 1999 (HitchHyke),Flud
CD, LP. 1996 (HitchHyke), Raw City, 1994 (Elfish), Melting Ashes Green Fuzz
1993 (Wipe out), Raw Land, 1992 (Elfish) , Spiders Web - Wonderful Weaver,1991
(Elfish) / Solo Exhibitions : 2009,The dying of the light installations/contructions,
Horos Technis 24/scan living cd & dvd on cultroad records, 2005 Castrations installations/contructions, Horos Technis 24/ Group Exhibits [Amongst others]:2010
2002 Suspect Device sound installation at the group exhibit politics of art for the
National Museum of Modern Art / The pulse of the original sin public video installation at the group exhibit Visual Dialogues for the Onassis Cultural Centre/ Lets
Celebrate Video dance, Athens Video Dance Project /s this blood Video, Festival
miden / LEBENSWEISHEITSPIELEREI Video, Festival miden, Salonica Biennale 2/
sound table and other stories sound interactive installation at the group exhibit the
portrait of a museum gallery E. Averof, curator: Olga Mendafou Polyzou, Katerina
Stathopoulou. Metsovo/ suspect device sound installation at the group exhibit in
present tense for the National Museum of Modern Art, at the Athens Concert Hall/
Tavern Outdoors interactive video installation, at the group exhibit catch the light
for the Olympic Games Organising Committee, Athens 2004 (in collaboration with
Takis Zerdevas) / Mobbing Voodoo Participation with Viopolitiki in issue #4 of GAP
modern art magazine, curator: The Reading Group/ Participation in the online exhibit
Whitney Biennale 2002 with Party X trap/ Bubbles in the Landscape works, in
collaboration with Eva Michalaki and Charikleia Chari. www.evaluna.info/c-projects/
flash-expo.htm/ Mindfield interactive shockwave, at the international festival [R][R]-[F] festival - version 1.0. www.newmediafest.org/rrf/ curator: Anna Chatzigianaki/
Incubation-collapse process CD Rom 2002, Belongs to the National Museum of
Modern Art collection. Presented at the group exhibit interface Cultural Olympics
2001-2004/ Delfiki Etaireia, Delfoi Center 2002 and at the group exhibit Acquisitions, 2001-2002: Photographs and Video
Constantine Zamanis
Born in Ioannina in 1975. Studied Theatre Studies at the University of Athens, garment
design and costume history in school Veloudaki and scenography Scenography Laboratory ASFA Athens and the Slade School of Fine Art, University College London (UCL)
with scholarships from the Society of Friends of Music and the Onassis Foundation.
He has worked as a set designer / costume designer to the National Theatre, the
Greek Festival, the Amphi - Theatre, Theater Art, Theater of the New World, Theatre
Plain, the Di.Pe.The.Patras, Volos and Ioannina, theaters street Kefalonia & circle, Roes,
the Quasi Stellar and others, in collaboration with L. Voyatzis B. Duke , M. Kalbari C.
Anastasaki, K. Evangelatou, A. Darlasi D. Panagiotopoulou D. Savvopoulos Zouganelli G.,
S. Spyratou Papadamaki A., M. Nestor, V. Georgiadis, K.Rigos, P. Apergi, M. Sotiriadi etc.
In 2008 he received the National Quality Award for his work in scenes of the film
Slaves in their bonds, directed by Tony Lykouresis and to praise the Creator of the
New Greek Theatre and Music Critics for his stage show Plasticine directed by Katerina Evangelatou at the National Theatre.

Photos: / Panos Golfis, / Makis Faros, /

Dimitris Bouras, Alessandro / Alessandro Spiliotopoulos, /
Elias Florakis, / Barbara Dukas, Takeshi Ishimura, Ryts Monet
201

Klin Michael
Prologue to Parliament

202

203

204

205

206

, William Forsythe.
, ,
, .
. ,
,
. ,
, , Bill .
, . .
, . :
. , ,

: , , .
, ,

. ,
,
. . Bill .
, , . , ,
,
. .
, .
. ,
, .

Last night I walked into the dilapidated studio of William Forsythe. He was
leaning against one of the windows, all white and grey now, huntched over,
looking at his dancers improvising. A whole room in motion. We exchange a
warm gaze, we hug in passing, without distracting attention from the work.
My wife, in her winter-coat, joins the dance without a word, but Bill stops
her. Its the last one, let them be amongst themselves. We watch in silence.
It is different, beautiful and disturbing. The dancers: creatures doing things.
They move quickly amongst themselves, no coherence, an unbound expulsion
of energy -they seem to follow an inner logic: doctors, office-workers, athlets; shivering in embrace, moving along unbound , mysterious trajetories- a
desperate liferaft of frantic beauty on its last day at sea. Amongst them, a
researcher gathering the names of all dancer for a book, christening the ones
that dont have one. The dance ends. I look at Bill and he seems absent. We
talk, there is warmth, he seem incoherent. What he says, his gestures, his eyes
it does not make any sense and noone seems to notice. He asks me how my
ballets at the opera are coming along. I need to think about it, then tell him ,
that I do nothing of that sort. He smirks. We climb down the ladder from the
studio, his body is too frail for working, his mind is coming undone.

Summergrass,

Summergrass, where warriors used to dream

and silently rewrites your vision

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I was a warrior once, raised to fight the good fight: to create and produce, to prosper and
progress. Not to question anything beyond token-gestures of post-structualist musings in the confines of academia or the artisan leisure of cafes. Provided that nothing
ever changes, change is most pleasurable and endearing. Hence, a faithful class has
established itself to demonstrate beauty inherent in our existing social construct and
celebrate the ever-unfolding advent of human knowledge. For hundreds of years the
arts have collaborated to demonstrate constraint, ambition and appropriate ways of
conduct and production. They have propagated all these high ideals in order to justify
the restrictions imposed upon our Leib, the body, the individual and thereby managed
to soften the contours, consequences and implications of our collective, economic life.
These are the Defenders of the Empire, the Beautifiers, models of civility, the ones who
oblige to beautify as part of the existential bargain: employed by society to demonstrate, to comment, to struggle, to endure and defend: twirling in new clothes, bathed
in artificial light. They have failed this society. Art has the obligation to cultivate new
ways of seeing, to develop an aesthetics as to the establishment of a comprehensive
field for sensitive knowing. To embed oneself in the world anew: for our existence to
attune itself with the oceanic, the sacred and the unknown over and over again. This
urgent, permanent quest for grace is what must concern our societies most.

Frames of our doings

. ,

To order things depends foremost on what is understood as order; what order wants
to achieve and to what purpose and extend order unknowingly exists in the one that
orders. We were born orderly, grew up somewhat orderly and fulfill a role in an orderly

.
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fashion. We actively put order of all sorts out into the world by putting brick on brick or
encircling ideas with other ideas. We do that rather effortlessly, in the manner we have
grown to understand the order we are immersed in and that grants us our human and
social identity. At times we challenge the containers of our doings, the works of our
labour through creative acts. Then we stretch the imagination to yield unusual results.
The stretched canvas is filled with the patterns we know, brick by brick, and ideas that
encircle others. So what if the ordering-patterns of our times are insufficient to meet
the challenges of our creations? What if the order of the hive stands in direct conflict
with the way a deeper ecology requires our modalities of ordering to be in order to
grant us survival?

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status quo.
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.

Socially agreed containers for the arts whether theatre or museum are templates for
original thought to pass through and take hold in society. They have grown out of, and
represent the symptoms of The same thinking that produced slaughterhouses, stock
markets, competitive primary schools, injectable lip-gel, 24h news channels, bankers
bonuses and cluster bombs. No separation from its context, the wider system that
maintains it possible: art and its institutions are no islands; they are implicated collaborators in maintaining and extending the status quo. In their promise of offering
an alternate reality, a fuller sense of humanity, they are potentially more culpable than
those, who dont deny their role in the system. Art institutions have become the new
opiate for the elite to evade the pain of sustainable life; of what it would actually take
to achieve relevant change: to embody, to sacrifice and shape shift into truth seeking
dreams.

Underneath. All Poetry

, .
,
. Gregory Bateson
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.
,
.
- -
,
,
.

One day, grass will grow over our cities. It is vital to converse with grass for the prophecy to realize itself only in the upmost distant future. The great anthropologist Gregory
Bateson once said that the deeper logic of nature, hidden from our consciousness,
goes something like that: Grass dies. Man dies. Man is grass. He outlines how rationality is foremost a subset of such deeper connections of thought as illustrated by this
syllogism. The wider living world is bound through a reality of metaphors- a poetic reality -and if we want to sustain each other and thereby other living forces in the matrix of
life this poetic reality needs to form a central aspect of our concerns.

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Bateson, ,
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Our cradles for emerging thoughts and actions, the spaces of education, arts and
culture themselves need be imbued with the reality of metaphors and the associative
connectedness of everything. Not in a simple representational way, as an inner image of the outside world, but in an utmost direct and embodied manner. As Bateson
insisted, for action to be planned at all,for us to escape our modes of thinking, it must
be planned upon an aesthetic base. All action: national planning, governance, teaching,
healing, institutions, performance spaces must be choreographed upon an aesthetic,
embodied base vs. a purely projected reality. Hence, art and its spaces must rise from
such an aesthetic base ,too in order to become the canvas for truly original cultural,
social and ethical innovations, formations and realities.

207

208

209

210

,
, , .
(Andrew Hewitt)

We might think of choreography in terms of rehearsal; that is, as the working out and
working through of utopian, nevertheless real, social relations. (Andrew Hewitt)

Proposition to build differently

Haiku, .
.
,
. . ,
Haiku,
.
(Zaleski),
Bateson. , , Haiku
,
summergrass.

.

,

, .
,
,
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.

When I am reading traditional Japanese Haikus I feel saner. As if things commune in

a silent manner that hum with mystery. Confronted with the unfathomable vastness
of existence the world stops shaking. An opening for new thought ensues. Our time
requires spaces for art to be more like Haikus as it dispenses with punctuation and frequently with words ordinarily required by grammar. This dissolving of rules thrusts the
reader into an unmapped world (Zaleski), potentially into a Batesonian world of metaphors. Furthermore, through an association of ideas the Haiku manages to create a
web of unexpected relationships, just as Basho links the warriors to summergrass. This
method interrupts our systems of logic and points to the numinous gaps and links between all things. Most works written in this poetic form also suggest a calendar season
in order to trigger a barrage of unpredictable intellectual and emotional responses that
are held deep in the body connecting it to its very context. Urgently, art and its spaces
need to connect us to our context, allowing to experience a poetic reality, connecting
things that are apparently not connected and to give us real, embodied experiences in
order to destabilize dominant thought-patterns.

.
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:
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:
,
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. (Proposition: No more Artificial Voids / :
)

All dance-spaces will have windows. The era of mapping ones imagination upon the
void is over. It didnt work. It created havoc. We now know that human imagination
without constant connection to its contextual surroundings is perilous: we aimed to
be like gods, weve ended up as ignorant caricatures. We critique others gods as if we
havent secretly, collectively, unknowingly conspired to be just like them: to create a
dance in just 7 weeks out of nothing, mapped onto a black canvas and divorced from
the brown earth outside, to immerse ourselves, in an exact communion with others, in
this artificial hell. (Proposition: No more Artificial Voids)

,
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. ,
,
, .


.

Art institution-to-be will have windows, they will combine aspects of society that previously seemed divided: theatre asasylum, dance studio as soup kitchen, museum
as homeless shelter and concert hall as research laboratory. They will chart the way
forward, moving in mutual vulnerability and eternally encourage each of us to dance
outside, underneath the stars. These institutions will have been built on the understandingthat dancing underneath the stars is felt differently, and that such difference
makes the difference when building the world anew.

:


(Basho)

The origin of all art:

A rice planting song
In the inmost field of all
(Basho)

Michael Klin, 2014

Volkmar Klin, Jeffrey Gormly Steve Valk
.

Michael Klin, 12/2014

Thanks to Volkmar Klin, Jeffrey Gormly and Steve Valk for their input.

Prologue to Parliament ( ), 2013

About Prologue Parliament, Hydra 2013

2013,
, Parliament
(), Michael Klin.
, .
,
Christina Gangos (www.christinagangos.com),
.

In August 2013 eleven people gathered on a private rooftop in Hydra on a short notice
to convene a two-hour Parliament as proposed by choreographer Michael Klin. The
participants were locals as well as artists residing on Hydra during that summer. The
performance was not publicized, yet the work was perceivable from buildings located
above the harbor and captured by the filmmaker Christina Gangos (www.christinagangos.com), who herself formed part of the work.

. ,

(), .

: ,

(Bateson Mind and Nature).

A Parliament is a discussion; in its modern meaning it has come to be used for a body
of people (in an institutional sense) meeting to discuss matters of state. This new
adaption of the word Parliament aims to get the body politic into a state of dance: in
truth, the right way to begin to think about the pattern which connects is to think of it
as primarily a dance of interacting parts (Bateson-Mind and Nature).

. ,
,
, ,
/
.

, , , (Colberg).
Klin,
, ,
- . ,

.

A Parliament enables communal situations in which the depth and workings of human
relations can be sensed by participants and audience alike. In this instance the aims to
act as catalysts and amplifiers for embodied knowledge to formulate, for mammalian
intelligence to unfold, specifically in respect to recursive, inter-personal/social relations and their governance. Fundamental to these processes is choreographys unique
position in its regard of the body being simultaneously subject, theme, material, tool
and terrain (Colberg). As in Klins previous works, choreography is approached as a
discipline developing into a cultural practice that contributes to the creation of original
politics as well as a social- political consciousness. In fact, Parliament reveals the necessity of embodied aesthetics in the process and evolution of ethics.

References

Badiou A., Handbook of Inaesthetics, Standford University Press, Standford 2005

Badiou, A., (2005), Handbook of Inaesthetics, Standford: Standford University Press

Bateson G., Mind and Nature, Hampton PR, 2002 (original date of publication: 1979)

Bateson, G., (2002), Mind and Nature, Hampton PR, original date of publication: 1979

Hewitt A., Social Choreography: Ideology as Performance in Dance and Everyday Movement,
Duke University Press, 2005

Hewitt, A. (2005), Social Choreography: Ideology as Performance in Dance and Everyday Movement, Duke University Press.

Klin M. & Valk S., What Do You Choreograph At The End Of The World?, Zodiak: Unden
Taussin Taehen, Like, Finland, 2007

Klin, M. &Valk, K., (2007), What Do You Choreograph At The End Of The World? Zodiak:
UndenTaussinTaehen,Finland: Like

Klin M., Propositions: To Dance Differently, culturebot.org, New York, 2012

Klin, M., (2012), Propositions: To Dance Differently, New York: Culturebot.org

Zaleski P., Prayer: A History, Houghton Mifflin, New York 2005

Zaleski, P. (2005), Prayer: A History, New York: Houghton Mifflin

211

 2013
gia ,
Michael Klien.


2014.

In September 2013 eleven people gathered on a private rooftop on Hydra to convene

a two-hour Parliament as proposed by choreographer Michael Klin. This new adaption of Parliament aims to get the body politic into a state of dance and formed the
prologue to an exhibition at the Benaki Museum, Athens in 2014.

: Michael Klien
video: Christina Gangos
Performers: Kaspar Aus, Luke Clancy, Jeff Gormley,
Maria Hanson, Tom Hanson, Clarissa Hanson,
Vitoria Kotsalou, Lizzy Le Quesne, Zoe Savdarides,
Ed Shouten, Steve Valk
: Vitoria Kotsalou (Greece), Jeff Gormly (Ireland)
: Steve Valk (Germany)

Director: Michael Klien

Video director: Christina Gangos
Performers: Kaspar Aus, Luke Clancy, Jeff Gormley,
Maria Hanson, Tom Hanson, Clarissa Hanson,
Vitoria Kotsalou, Lizzy Le Quesne, Zoe Savdarides,
Ed Shouten, Steve Valk
Artistic collaborator: Vitoria Kotsalou (Greece), Jeff Gormly (Ireland)
Dramaturge: Steve Valk (Germany)

Michael Klin ,
, .
, , ,
.

Michael Klin is a leading voice in contemporary choreography. His artistic practice

encompasses interdisciplinary thinking, critical writing, curatorial projects, and centrally,
choreographic works equally at home in the Performing as well as the Fine Arts.
www.michaelklien.com

:
Michael Klin: , ,
, 29.09.2013 Michael Klin
212

Photos:
Michael Klin: Prologue to Parliament, a choreographic citizens space, port of Hydra,
29.09.2013 Michael Klin
213

 / Euripides Laskaridis

&

OSMOSIS Theatre Company
Ridicule & Transformation
The Walk

214

215

216

217

218

(2013)

Acting like a monument

Greekness and assimilation in Euripides Laskaridis
Ridicule and Transformation - The Walk (2013)

1,

.

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,
,
.

If indeed cultural history can be understood as a field of struggles for power among
the holders of different forms of power1, performance has the specific modality to
disguise power with symbolic discourse. The cultural history of Modern Greece is full
of performances that materialized national ideologies and aesthetic strategies through
the political manipulation of cultural heritage. In many cases, the main intention behind these public demonstrations of Greekness was to revive the grandeur of Greek
civilization in order to bring the audience to the task of re-witnessing its heroic and
glorious past, thereby nurturing national dreams and phantasies.

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: 2.

The realization of this factitious cultural iconography was made possible by means of
performance through the selective recollection of these qualities of Greekness that
would patch together a glamorous past (stylized acting, Sprechchor, archaic separation of space, ancient-like costumes, performances in archaeological sites, etc.). The
main endeavor of this strategic plan was to materialize heritage by recreating the
authentic images of Greekness in order to bring the spectator to the task of its heroic
and glorious past:
[] the formal peculiarity of the Nation as a social creation may be said to reside precisely in the nationalizing operation itself, in the process by which a society institutes
its members as national subjects. This operation consists in fashioning a historically
specific national fantasy: the axis around which an experience of nationality is woven2.

Anti-Classicism

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Osmosis, , video artist ,
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Notwithstanding the above, many contemporary artists in Greece have chosen a more
critical attitude towards cultural standardizations. This standpoint should not be considered as effectively powerless, precisely because it brings out the potentiality of a
radical change, challenging thereby cultural certainties and inevitabilities. The work of
Osmosis Theatre Company, founded by the stage director, filmmaker and performer
Euripides Laskaridis, is accordingly based on two performance strategies:
1. the assimilation of ideas, aesthetics and theatrical tropes, but with emphasis on
2. ridiculation, magnification and, thus, (distortive) transformation as means of performance.

Osmosis via negativa

.

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Willendorf
.
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,

In the case of The Walk, this was a via negativa for Osmosis Company to access the
socially nonnegotiable grandeur of a heritage used to solidify nationalist ideologies and
introversion. The Walk was an atypical guided tour in the mainly neoclassical center of
Athens led by Laskaridis invented Venus persona (played by the artist himself), namely
a grotesquely extravagant female figure that was inspired by the Paleolithic Aphrodite
of Willendorf and other Upper Paleolithic figurines. All these Venuses share certain
common features such as the emotionally charged primary and secondary sexual
characteristics -vulvae, breasts, stomachs, and buttocks, leading thereby to numerous
explanations which range from seeing the depictions as fertility symbols or mother
goddesses, paleoerotica, gynecological primers, and self-portraiture to suggestions
that they were signifiers of widespread social ties3. Whatever the interpretation may
be, it is a process of socially constructing an image of womanhood, based on a completely anti-classical magnification of femininity, if compared to the supposed stille
Gre of Greek sculpture. And there can be found the ideological foundation of Lakaridis work: extravagant magnification is not only a plastic means for the re-construction of the performers identity, but also an ideological statement of anti-classicism.
219

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220

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In terms of genre The Walk was a site-specific promenade performance, fundamentally environmental. The tour commenced from the Panathenaic or Kallimarmaro (i.e.,
beautifully marbled) Stadium (329 BC), that hosted the first modern Olympic Games
in 1896 and is considered a masterpiece of architectural measure and symmetry. The
audience was standing on a fading out olive wreath (kotinos), which was painted on the
pavement for the 2004 Athens Olympics and was traditionally the prize for the winner at the ancient Olympic Games. At the beginning, the Venus guide welcomed the
audience with the phrase This is Greece! Can you believe it? Unbelievable!. Immediately after, the audience started walking in order to cross the street towards the hill of
Acropolis with the guide stopping the traffic on the highway, an indeed dangerous act
of extreme imposition to the site and interruption of the normal flow.

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The group was, then, guided through some Modern Greek sculptures with special historic significance, such as the Disc Thrower of K. Dimitriadis, who won a Gold Medal
with this work as a sculptor in 1924 Paris Olympics, and at the statue of G. Karaiskakis,
a hero of the Greek Revolution against the Turks in 1821. The tour was accompanied
with ironic comments and Actions such as typically Greek manly dances and the verbal Leitmotiv Can you believe it? Unbelievable!. Later on, the group entered the Zappeion Gardens from where a hut -made by homeless people- was standing, in order to
walk towards the clearing of the park close to the luxurious Aegli Caf at the other side.
Site-specific performances are conditioned by and installed to the facts of the found
space in order to offer an interpretation, using its history, architecture, climate and environment as material in interaction. Site-specific performances are inseparable from
their sites, the only contexts within which they are intelligible4 and the sites will indeed
always be apparent as context, framing and sub text5. That said, it is first important
to understand the architectural ideology of the Zappeion Park, i.e. the context of the
performance. According to the official website:

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1932,
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6.

The first trees in the Zappeion Gardens were planted in 1857. The architect Theodore
Hansen, while revising the drawings for the Zappeion Exhibition Hall, also designed the
layout of the gardens. According to architectural historian Constantine E. Biris, the design was executed by the French Architect Desire Matton incorporating some changes.
The Zappeion Gardens, initially in French geometrical style, were later redesigned in the
free curved lines of the English garden. The planting was supervised by the Athenian
agriculturist Antionios Schmitt, son of the Bavarian chief-gardener of the Kings Garden
Frederik Schmitt.
The wish of Evangelis Zappas was to bring out the beauty of the idyllic and historical
landscape of the Ilissos riverside area. Initially almost 200 plane trees were planted
together with several eucalyptus. The irrigation of the gardens was established in 1932
by the American company Ulen, then responsible for the construction of the Marathon
Dam. To commemorate the inauguration of the Dam, Ulen donated the impressive
fountain at the centre of the garden square in front of the Zappeion Exhibition Hall. The
distinguished sculptor G. Dimitriades completed the decoration of the gardens with
waterworks, statues and cast-iron lamp-posts6.

,
, ,
,

It is clear, that the Gardens were romantically designed to bring out the idyllic beauty
of an ancient Greek landscape functioning thereby as a commemorative footnote to a
long lost past and as an affirmation of the continuity of spaces from the ancient times

221

222

. , ,
, .

,
( ),
, .

to Modern Greece. But the park today is no longer that place and The Walk made it
clear. It is obvious that the performance was basically interested in revealing the irony
of contradictions inherent in the site, not only between the less magnificent Modern
Greece and the glorious Ancient Greeks (poverty on the backdrop of grandeur), but
also between what is sociably visible and accessible, and what is socially invisible and
marginalized.

,
,
.
,

,
, . ,

,

.

During the night hours the Park is not only transformed into a shelter for homeless
people, but also into a hospitable cruising place for gay men who leave their marks
behind to be seen in the daylight. The Parks parasitic usage was central to The Walks
agenda is as much as the spectators were shown the used condoms next to the
neoclassical beauty and those bushes that a few hours ago hid the socially intolerable,
but readily active every night. In doing so, The Walk showed how social pariahs have
reclaimed the Park for the own sake, thus undermining its ideological foundations and
redistributing national property and social visibility.

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Laksridis work was for that reason extremely important in offering an alternative pattern of re-thinking a glorious heritage, given also that any heritage should belong (and
make meaning) to everyone that is entitled to it, and not only to those who have ideologically usurped its meaning and social distribution. In that sense, Laskaridis used the
Zappeion Park as a pedagogic site for the socially unenlightened audience. In doing so,
he transformed the park into a liminoid space, where the spectators underwent a rite
of passage to knowledge and hopefully to new consciousness. As the artist notes: this
transfigurative interaction has a transcendent effect on the performer and, hopefully,
the audience alike7.

Queer A

Queer Aesthetics

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8.


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9.

The Walk was primarily founded on two aesthetic strategies: de-familiarization and
parody, both challenging national and social stereotyping. To remove what is evidently
familiar from a monument means to allow new critical interpretations, affect changes
of its presence and, above all, reset its lived meaning. The actual result is a productive
destabilization of normality and its supposed accomplishments, notwithstanding the
need for surrogates through collective action:
[] far from inhibiting accomplishments, the destabilization of collective identity is
itself a goal and accomplishment of collective action8.
Performance has the power to visualize instabilities and the outrageousness of Laskaridis transvestite Venus embodied the parody of Greece: archaeolatry combined with
social fallocratic conservatism. In disturbing the surface of normality in order to disturb
the surface of a monument or reveal its potentials, the problematic relationship between the cause and the effect of an established meaning as fabrication is exposed:
[] acts, gestures, and desire produce the effect of an internal core or substance, but
produce this on the surface of the body, through the play of signifying absences that
suggest, but never reveal, the organizing principle of identity as a cause. Such acts,
gestures, enactments, generally construed, are performative in the sense that the essence or identity that they otherwise purport to express are fabrications manufactured
and sustained through corporeal signs and other discursive means9.
[] so gender parody reveals that the original identity after which gender fashions itself
is an imitation without an origin. To be more precise, it is a production which, in effect
that is, in its effect- postures as an imitation10.

223

[...]

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( gay

).
:
,
,
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.

,
.
.

The Walk was an urban tour in the neoclassical sights of central Athens and the standing symbols of struggle and resistance from the Modern Greek history (among the heroes I include the gay cruising community, which occasionally faces police bashes and
arrests for insulting the national Park). The performance was interlarded like a station
play with many artistic actions: a dancer dancing with his legs hidden on huge pillow
imitating the instability of the Parks inhabitants, an extravagant Shakespearean actor
playing Hamlet, outlandish figures dancing in the clearing, all challenging thereby the
receptiveness of the Park as a public urban site.
After all, The Walk was itself a benignant monument installed in an ideologically fixed
public space only to broaden its potentials and definitions. Another attack to Modern
Greek orthodoxies was effective.

George Sampatakakis
Assistant Professor
University of Patras

Notes

1
Pierre Bourdieu, Rites as Acts of Institutions, : J. Pitt-RiversJ. G. Peristiany (.),
Honor and Grace in Anthropology, Cambridge University Press, Cambridge 1992, 76.

2
, : ,
, 2007, 28.

Stathis Gourgouris, Dream Nation: Enlightenment, Colonization, and the Institution of Modern
Greece. Stanford: Stanford University Press, 1996, 28.

O. Soffer J. M. Adovasio D. C. Hyland, The Venus Figurines: Textiles, Basketry, Gender, and Status in the Upper Paleolithic, Current Anthropology 41 (2000): 514.

O. Soffer - J. M. Adovasio - D. C. Hyland, The Venus Figurines: Textiles, Basketry, Gender, and
Status in the Upper Paleolithic, Current Anthropology 41(2000): 514 (511-537 with the bibliography).

Mike Pearson Michael Shanks, Theatre/Archaeology, Routledge, London 2001, 23.

Mike Pearson - Michael Shanks, Theatre/Archaeology. London: Routledge, 2001, 23.

Mike Pearson, Site-Specific Performance, Palgrave Macmillan, London 2010, 35.

Mike Pearson, Site-Specific Performance. London: Palgrave Macmillan, 2010, 35.

http://www.zappeion.gr/en/en_tour_garden.asp ( : 15.12.2014).

http://www.zappeion.gr/en/en_tour_garden.asp (last accessed 15/12/2014).

http://euripides.info/post/77187659113 ( :15/12/2014).

http://euripides.info/post/77187659113 (last accessed 15/12/2014).

8
Joshua Gamson, Must Identity Movements Self-Destruct? A Queer Dilemma, Social
Problems 42 (1995): 403 ( ).

8
Joshua Gamson, Must Identity Movements Self-Destruct? A Queer Dilemma, Social Problems
42 (1995): 403 original emphasis (390-407).

Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, Routledge, London 1990, 185 ( ).

10

10

.., 186.

& , performance , 17-20.10.2013 /

,
:
224

Pierre Bourdieu, Rites as Acts of Institutions. In J. Pitt-Rivers and J.G. Peristiany (eds.), Honor
and Grace in Anthropology. Cambridge: Cambridge University Press, 1992, 76 (79-90).

Judith Butler, Gender Trouble: Feminism and the Subversion of Identity. London: Routledge,
1990, 185 original emphasis.
Ibid., 186.

Euripides Laskaridis & OSMOSIS, Ridicule and transformation The walk performance-promenade from Panathenaic Stadium to Zappeio park, Athens 17-20.10.2013 / Alexis Fousekis,
Yiannis Nikolaidis
Photos: Dimitris Triandafyllou

&
.



Athens.

Ridicule + Transformation/The Walk is a scene-compilation of OSMOSIS works put

together in an outdoor, site-specific, promenade performance created for the International Network Meeting of Contemporary Performing Arts (IETM). The Walk simultaneously illustrated the contradiction of Greeces image as the cradle of democracy with
the mundane controversial reality.

:
:
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video:

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, , , ,
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.

Concept - Direction: Euripides Laskaridis

Costumes: Aggelos Mendis, Despoina Makarouni and Euripides Laskaridis
Text: Euripides Laskaridis and Kyriacos Karseras
Lyrics translation: Kyriakos Karseras
Assistant directors: Dimitris Triantafyllou, Kostantinos Davris and Eleni Zarafidou
Camera: Marios Sergios Eliakis and Kostantinos Davris
Video Editing: Euripides Laskaridis

2009
, IETM Athens,
, ..
Aerowaves
.

Founded by Euripides Laskaridis in 2009, Osmosis Theatre has presented work at

the Ancient Venue of Hephaistia, IETM Athens, the Athens and Epidaurus Festival, the
Greek National Theatre and the Embros occupation. Osmosis latest work Relic, a 2015
Aerowaves selected piece, is touring Europe.
www.euripides.info

performer.
, Fringe Festival
, 11 Biennale ..
.

Euripides Laskaridis is a stage director, short-filmmaker and performer. His work has
been presented in main theatres and festivals in Greece, the NYC Fringe, the 11th
Biennale for Young Mediterranean artists and more. He explores artistic expression
through ridicule and transformation.
www.euripides.info

, .

,
2004 2015.

Aggelos Mendis is a stage director, set and costume designer and his works has
been hosted by most preeminent Greek theaters. He is currently closely collaborating
with Olympic Games opening ceremony director (Athens 2004, Baku 2015) Dimitri
Papaioannou.

H 1971.

. 2000
, .

Despoina Makarouni works as an independent designer, costume-maker for theatre,

dance, and film. She worked for Athens 2004 Olympic games as a designer assistant,
craft artist, pattern maker and production supervisor. She works in fashion and in ateliers of haute couture in Athens.

,
University College London.
, , , ,
.

Kyriacos Karseras was born and raised in London, studied Archaeology, Classics and
Classical Art at UCL before moving to Athens in 2003. He works as a freelance production assistant, archivist, researcher, editor and translator for the stage, screen and arts.

.
, royalstereo.com -
thewarmproject.com -
.

Marios Sergios Eliakis is a visual artist and stereographer based in Athens, Greece
who runs royalstereo.com - a stereoscopic video production company and thewarmproject.com - a visual project that explores the male nude.

: ,
, , , .. 2013 The 3rd Person Group,
, Ibsen Scholarship, Peer Gynt, no man s land.
(facebook: The 3rd Person Theater Group)

Eleni Zarafidou has worked as an actress at various main Athenian theatres. In 2013
the 3rd person theatre company to which she is a funding member was awarded the
international price of IBSEN SCHOLARSHIP from the Institute of IBSEN AWARDS for
Ibsen s Play, Peer Gynt. (facebook: The 3rd Person Theater Group)

.

.
.

Dimitris Triantafyllou is an architect. He has worked as a stage manager and assistant

director at various theater productions and short films. He is studying cinematography
at Stavrakou Film School.

. ,
. H
.

Konstantinos Davris is an Energy healer and Art activist currently based in Berlin.
He investigates means of transformative communication through social, spiritual and
performance art paths focusing on various forms of social stigma.
www.4elements1.com

The performers of the walk: Panagiota Alexiou, Pavlina Andriopoulou, Stella Christodoulopoulou, Nikos Dragonas, Alexis Fousekis, Christela Gizeli, Marianthi Grammatikou,
Yorgos Kafetzopoulos, Amalia Kosma, Euripides Laskaridis, Olia Lazaridou, Yiannis
Nikolaidis, Christos Papadopoulos, Mary Randou, Drosos Skotis.

225

 / Paris Legakis
Linenality

226

227

228

229

230

Claim your nger

Claim your Anger

A manifesto on politics and political art

.
,
.
, , ,
.

Political art is inseparable from politics. It implies arts danger, for it wishes to enter into
the field of antagonism that politics is posited. To do political art is also to do an art
that talks to politicians, it is to enter their territory.

,
. , ,
,

, , .

I know that political art nowadays has become entangled in a dangerous moralism
of neoliberal efforts, which suggests and promotes political art as another product of
free-market. But I want to suggest another approach from what political art was or has
been turned nowadays to be; for I find the first and foremost feature of political art to
be that of dissensus and thus here, a dissensus with-it-self.

, ,
;
;

How man, if he is to live in a polis, can live outside of politics? And how political art
reflects the importance that politics play today?

Thesis I

, .
, ,

, .


.

Political art addresses always a we, that is a multitude. For political arts kernel is not
the action itself, whatever this might be in terms of materiality or performativity; for
the action itself can never be political neither in its conception nor in its occurrence. An
action becomes political only in its sociability; and thus the kernel of political art is the
relation that one seeks through their actions to or with a multitude.

, , ,
.

,
.

-, -
- .

Political art is extroverted, it exposes itself and moreover it invites for engagement
through and with its exposure. I must insist and clarify that the multitude that Im talking about here is a vast and variformed group of people that does not converge into
One, it is not a unity. Rather it is a group that maintains its heterogeneity and individuality; a group that consists of individuals who are not only related to art, namely, artists
or people who are interested in art, but moreover by non-artists and individuals who
are not involved in art matters.

, :

, ;

, , :
.
, .
,
.

Thus the consequential question that is generated here is what would be of common
interest to artists and to people who are not interested in art in order to meet and for
what purpose? Only social and political concerns that touch directly both of them can
bring them together and of course, the purpose is only one: claim for social change.
And the space that political art claims is that of public space, because it is there that
a multitude can be more easily approached. Needless-to-say that in political art, aesthetics comes second in importance, yet without necessity to eliminate.

, ,
, ,
, , , , ,
..,
.
,
,
. ,
,
,
, .

But because I know that some will argue for an inevitable accumulation of power by the
Arkhein, namely, by the beginning whether this is expressed as the initiator, director,
Author, leader or collective, group, etc., then I say that this is not that kind of political
art that Im suggesting here. The political art that Im talking about questions first and
foremost itself, again and again and again; for political art is dangerous to itself, since
it is located on the border between social change and spectacle. Thus those who claim
for political art must redistribute the power of arkhe by blurring the dynamic between
the one who is considered the active and the one who is considered the passive, between the one who knows and the one who doesnt, between Author and multitude.
The birth of the reader must be at the cost of the Author explains perfectly what I
mean, if I clarify only that in political art the Author becomes the author. That is to

,
. ,
, .
, .
.

say, the authors initial position can differ before, during and after the arkhein. No proper
political art is then; no right or wrong and no good or bad political art exists. Political art
is only an intuition for the break with the logic of the arkhe.

, , , ,

.
, .
,
,
.

,
. ,
, ,
,
.

But when a multitude is composed, a new language is needed, perhaps each time a
different one; a new language that will be common to all who are engaged. To clarify
that by new I do not mean to conceive a new alphabet, neither by common do I suggest a universal language. By new and common language I imply the intention of the
involved people for mutual communication; a communication where thought, speech
and action are claimed and can potentially clash. Political art and the multitude it addresses acquire a reciprocal relation in which both become exposed to each other and
thus open to each others criticism. Herein, this is the ambivalent feature of political
art that I want to highlight, its strength and its weakness, both at the same time; the
very fact that it can be uplifted or shattered depending by the reception and reaction
of the multitude.

Thesis II

,
,
,
.
.

.

If political art is circulated in a limited public and if political art hesitates or is afraid
of the criticism and the reactions from a vast variformed and unpredictable group of
people, then it is better to find a different name for that genre of political art that claims
to be political without sharing the qualities of politics. This is the difference between
creating art about politics and creating art that works politically. I suggest calling that
genre of art about politics good-for-nothing political art.

,

,

,

.

Good-for-nothing political art is that genre of political art that reduces itself only to
comment; good-for-nothing political art is that genre of political art that talks about;
good-for-nothing political art is that genre of political art that re-imagines according
to what political art has so-far-been; good-for-nothing political art is that genre of
political art that addresses a limited audience and not a multitude, that is, the audience
of the art-world; good-for-nothing political art is that genre of political art that submits
itself to neoliberal efforts, that is, efforts that twist political art into commodity and
reiterate political art as such.

,
,
, .
,
,
. ,
.
,
. ,

, .

For if politics bears a responsibility, then undoubtedly, so must political art; a must
that is not reduced to moral values, but a must that claims and doubts, seeks and
demands. Political art that works politically is good-as-beneficial, namely, it can be
applied in the everyday life and it has an element of use in itself, that is, to long for
the political imaginary. If one wants to make political art, then they must cogitate first
the burden of and the cost for such a decision. In-other-words they must take the responsibility to claim the politically for the action they want to take. I here use the term
politicality to signify the essence I see in political art; that is, the amalgamation of the
notions of art, philosophy and politics.

.
.
.

Those who claim for politicality in their work must always question themselves. Those
who claim for politicality in their work must always question those who are at power. Those who claim for politicality in their work must redistribute the power of the
Arkhein. Those who claim for politicality in their work must bear the political responsibility for claiming the works politicality. Those who claim for politicality in their work

231

232

.

, , , .

.

must always seek ways to expose and communicate their work in a broad public, that
is a multitude, no-matter-what. And those who claim for politicality in their work must
always claim for the political imaginary.

Thesis III

,
,

, .
,

,
, .

And the political imaginary is what democracy is for the chasers of democracy; but
it is the halt of democracy today that limits politics only to a here-and-now and thus
severs the latter from its utopic potentiality, from its horizon. And if politics has come
to be the border that attests the halt of democracy, then political art must enter into
that same border and claim its anger for the political imaginary; it is within that same
border that political art must counter-act politics; and it is within that same border that
political art and politics must clash.

, ,
.
,
. ,
, ,
. ,
:
- ,
, .
,
.

, .
, , , ,
;

And let me say thus that the political imaginary looks towards a horizon. For horizon
is the thin line in which the earths surface and the sky appear to meet; it is a meeting place, a place where the rising and the sunset come together; Yet-one-to-see
and contemplate on horizon a sufficient distance is needed, which in return means
that horizon is not-here-yet. But this is the issue here, this is what Im arguing for;
the-very-fact that our horizon has been not only restricted by and guided to pseudodemocratic promises, but has been moreover disappeared from peoples imaginary,
that is, from peoples thought. People have lost their urge for a horizon, for a better
future; some have perhaps forgotten its very existence or are too busy with their hectic
lives and their own daily problems, too tired or too comfortable. How and why one to
get involved in common issues in his neighborhood, community, city, country or globally when they have so many personal and familial issues to deal with?

,
, ,
,

. ,
, , ,
, . idiot,
,
.

It is the idea of privatization that is at core; for privatization occurs not only in its physicality, meaning, in its material and spatial aspect, but it also occurs mentally, in each
individuals thought and thus, to the society as a whole, if society is seen as a broader
conceptual body that is hold mentally deficient by the privatized. The word private derives from the word idiotes, which means a private person, individual, one in a private
station; from idios, ones own, separate, removed from social responsibility. And-yetthe root of the word idiot derives also from idiotes; and along this line the private
and the idiot have come today to mean the same.

, , ,
. ,
.
.
- ,
, -,
,
.
: , . ,
, ,
.

.
.

If thus politics cannot provide stability to multitude, then it is on multitudes hands to

do something about it. That is to say, it is about us doubting the efficacy of the State to
provide a welfare life. Doubt was the method used by Descartes. He doubts everything
he can manage to doubt -all traditional knowledge, the impressions of his senses, and
even the fact that he has a body- until he reaches one thing he cannot doubt, the existence of himself as a thinker. That is how Descartes arrived at his statement I think,
therefore I exist. The potentiality of thought is what I pay attention on here, the notion
of which today, perhaps more than ever, is under restrain and control. And this is precisely what I mean by saying that the imaginary has been disappeared from our horizon; that our thought is subject to guidance and control towards a way that renders our
horizon out-of-sight; it is the loss of horizon that signifies the privatization of thought.

To Claim your Anger ,

, , , ,
. ,
, , ,
, . ,
.
, .
.

.
.

Claim your Anger emerges from Descartes saying I think, therefore I exist, which
through this manifesto I translate as I have anger, thus, I live. But it is an I that wants
to disappear within a we, a multitude, and it is an Anger that rises from what we do
not have and for what we imagine; it is an Anger that questions and defies, disagrees
and claims. For the Anger that I, am talking about, WILL-come-back again-and-again
to haunt us as ghost; for the Anger that I, am talking about, WILL- come-back to irritate
our thought and activate our memory; for the Anger that I, am talking about, turns our
loss and disaffection in-to-claim; for the Anger that I, am talking about is an Anger of
political force.

:
puncture , ,

. -, --
-- --

. . Claim your Anger
.
,
, ,
, .

And it is here where I see the essence of political art; it is to open a gap to the privatization of thought towards a new horizon; it is the puncture of thought for the political
imaginary; for-indeed-is in art that I see the sperm for the imaginary; it is in political art
that I see the potentiality for the manifestation of the political imaginary. For political
art is NOT here-and-now, it is NOT there-and-then; political art is the manifestation of
itself here-and-now for there-and-then; a for that entails process; a for that denotes
claim; and a for that proclaims the potentiality to a futurity. Political art is the spark.
Claim your Anger is a polemic stance towards the implications of neoliberalism in
artistic and non-artistic level. It calls for restlessness, a restlessness of the multitude
for the multitude itself, to seek its own horizon and its own voice, each one individually
or collectively, as we imagine.

:
Boris Buden

Eleonora Fabio
Hannah Arendt
Paolo Virno

Ren Descartes
Roland Barthes
Tania Bruguera
Jacques Rancire
Jos Esteban Muoz

Thanks for the inspiration:

Boris Buden
Cornelius Castoriadis
Eleonora Fabiao
Hannah Arendt
Paolo Virno
Plato
Rene Descartes
Roland Barthes
Tania Bruguera
Jacques Ranciere
Jose Esteban Munoz

Special thanks to:

Apostolos Vasilopoulos

2014

Paris Legakis
December 2014

233

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235


.
,
- ,
: ,
.
. , , .
- ,
. ,
, .
.

Discussions made in global level, debate on whether Greece should remain part of
Europe or not. The artist walks on the borderline of a main two-way street in Germany:
A slow and steady pace indicates a paradox safety. Vehicles are moving in opposite
directions from each side. Their speed is changing, reducing, increasing. The walking
on the line implies the no-choice of the two indicative situations, in or out of the Eurozone. It symbolizes the transition and how crucial it is while it discloses the limit as an
experience, reception of a situation. The line continues and is lost in the background.

:
video:
Performer:

Director: Paris Legakis

Video director: Paris Legakis
Performer: Paris Legakis

Photos: / Paris Legakis

236

237

 / Paris Legakis
Voices of the People

238

239

240

241

 ,
.
performers
, ,
.

People from South Korea and people from North Korea who have escaped to South
Korea were asked to express their viewpoints in written. Three groups of performers
translate them in motion in a platform which is set right next to the central river of the
city, a limit that separates the city in the northern and southern side.

:
video:
Performers: Kim Boram, Kwon Ryungeun, Lee Seol-ae,
Lee Jung In, Park Hyungbum
: , Choi Seing Yoon
Hongeun: Soul Art Space
: U hee (Yoon Yeojoo, Lim Younhgo, Park Minwoo, Park Youngsik)
: Rim zi-young, Yang Ku-ra, Lim Haerang, Jeon Jee-hee

Director: Paris Legakis

Video director: Paris Legakis
Performers: Kim Boram, Kwon Ryungeun, Lee Seol-ae, Lee Jung In, Park Hyungbum
Speakers: Paris Legakis, Choi Seing Yoon
Hongeun: Soul Art Space
Musicians: U hee (Yoon Yeojoo, Lim Younhgo, Park Minwoo, Park Youngsik)
Cameras: Rim zi-young, Yang Ku-ra, Lim Haerang, Jeon Jee-hee

1981 , . ,
Performance Studies
Fullbright Scholarship
. Public Art and New
Artistic Strategies Bauhaus University-Weimar
. 2013 art residencies , Hongeun Seoul Art Space Incheon Art Platform.
,
.
visual performing arts.
.

Paris Legakis was born in 1981 in Athens, Greece. These days, he studies in the MA
program Performance Studies in NYU, with a scholarship from Fullbright and NEON
organization. He completed his postgraduate studies in Public Art and New Artistic Strategies in Bauhaus University-Weimar in Germany and studied in the Superior
School of Fine Arts of Athens. In 2013, he attended the art residencies Hongeun
Seoul Art Space and Incheon Art Platform in South Korea. In his work, Paris Legakis
is mostly occupied with the concept of limitations in social and geopolitical level. He
examines the relation between art and society and his work equilibrates between visual
and performing arts. His projects and performances have been internationally showed.

Photos: / Paris Legakis

242

243

 / Jenny Marketou
Bubbles

244

245

246

247

248

The performative force of gravity

A gravitational performance

,
,
400 ..
- 180 . - ,
, .

Since the beginning of humanity, mans desire has been the wish to fly, with examples
of artifacts existing since 400 BC in ancient Greece. The first registered apparatus able
to fly around 180 m. high - had the shape of a bird, was built by Arquitas de Tarento
and bore the name Peristera (), dove.

559 ..
,
GaoYang ,
,
, Yuan Huangtou, .

We have to go back to China in 559 AD to find the first person who flew in a device
specifically made for it, when Emperor Gao Yang used prisoners for his experimentations, throwing them into bamboo artifacts from the top of a tower, till one of them,
Yuan Huangtou, came out unscathed.

15 . , 18 .,
, ,
19 ., .

Known to us are the ornithopters and gliders designed by Leonardo Da Vinci in the
15th century. Later on, in the 18th century, begun the first experiments with hot air
balloons, which were difficult to control, a problem that was not resolved until the 19th
century with the first dirigibles.

,
20 .,
Santos Dumont .

But it will not be until the beginning of the 20th century when the first successful
flights took place, although there is no consensus as to whether the first was the Brazilian inventor Santos Dumont or the American Wright brothers.

, ,
,
: , ,
, ... .

No matter who gets the laurel crown, the development of these airships allowed men
to fulfill their flying ambition, and also started expanding their use to all realms: science,
tourism, transportation, warfare and art.

Bubbles1
The Threshold of the Noosphere2
Tina B 2009.

Balloon Centrum

. ,
,
, ,
Warhol
performance 60.

,
.

Jenny Marketou decided to take this ancestral wish and give a ride to the inhabitants
and visitors of Prague with her installation Bubbles, a participatory work commissioned as part of the project The Threshold of the Noosphere, which I curated in the
framework of the Tina B Festival in 2009. The proposal appropriated and re-imagined the nine meter diameter hot air commercial balloon used by Balloon Centrum in
Prague for air tourist rides and attractions above the river Vltava and Charles Bridge.
The artist transformed this object by juxtaposing and adorning the ephemeral, fragile,
and poetic hot air balloon with the repetition of the word FRAGILE written with big
letters and inspired by Warhols paper dresses on which he silk screened the word as
a performance in the 1960s. Informed by and indebted to futurism and the utopian
moments of popular culture, Marketous BUBBLES epitomized the recycling of old
forms and their transformation into shapes of a new world.

, Jenny,
Praxis Artium
, , ,
DIY3. ,
project
: Paperophanies4,

,
. ,

.

A couple of years later I invited Jenny again, this time under the Praxis program that
I initiated at Artium Museum a sort of laboratory based on process, recycling, improvisation, social participation, and the DIY culture-. On this occasion she carried out
a project which would connect in a very interesting way with our particular case: Paperophanies, the transformation of the museum space to an atelier for paper dresses
with slogans for subsequent demonstrations in the main square of Vitoria, the Basque
Country. Like with the balloon, the subject of throwaway paper clothing engenders
thoughts on recycling and research into the future replacement of paper in times of a
shortage of resources.

Both projects combined local features of utility with the global economies of leisure
and entertainment, all within the historical context and economy of disposable paper

,

.

clothing, fully expressive of the sixties pop culture fashion in America and Europe.

- -
,
,
,
,
.

The Fragile as the balloon slogan states- is also a constant in Marketous work, either
with her paper dresses that also have travelled the world in several versions, or with the
fragility and the lack of stability suggested by the balloon itself, or with the one felt by
the human being taking off while feeling the fascinating force of gravity.

-
, , -,
,
.

This feeling of the gravity by the spectator is especially significant during those times
of uncertainty and crisis which still hasnt been overcome but has intensified, especially in Greece - so people can feel their detachment from the earth, look to the sky
and escape from reality.

, Flying Spy Potatoes; Mission 21st Street, NY5,
,
,
,
,
, .

Balloons have been protagonists in Jenny Marketous work since a decade ago, when,
with Flying Spy Potatoes; Mission 21st Street, NY, among other elements which
compound the installation, a big red weather helium balloon with a wireless cam and a
built in transmitter would record some public spaces declared to be high-risk targets
for terrorists attacks, and projected on three screens of the New Yorks gallery floor
where it was presented.

, , , , , ,

,
.

, ,
performance .

Since then, Basel, Gijn, Cleveland, Seville, Athens, Tallinn, and a long list of places
all over the world have been invaded by the artists ethereal balloons, through which
thousands of visitors have been recorded and broadcasted in real-time streaming.
These projects are always evolving and presenting different versions and spatial arrangements depending on the context, and always engaging visitors in a game of
performance and surveillance.

,
,
. , :
.
, ,
; ;
,
Michel Foucault
Bentham,
11 .
,
. ,
:
,

.

On this occasion the artist added the performative layer to her playful balloons, triggering the participation of the audience with an air ride. She then split the visitors in
two groups: the ones who ride and the ones who see the riders. In an ambiguous zone
of surveillance, with both groups being spectators of one another, who is really the
watched subject? Who watches whom?
In order to continue with the subject of watching and being watched, I am going to set
aside the inevitable references to Michel Foucault or Benthams Panopticon so as to
assess the rhetoric of watching in a post-9/11 environment. Artists around the world
have been exploring the dynamics of surveillance and investigated the matter through
a heterogeneous range of ways and mediums. Jenny investigates the issue through a
considerable dose of irony, like in all of her multilayered projects: a very personal sense
of humor which communicates a way to approach art and life, showing how art can be
a fun vehicle to feel the experience of life.

,
- ,
Warhol-
.

This irony becomes obvious in the official form of her works as well, where the perversity of surveillance meets the naive aesthetics of the balloons - usually red, sometimes
silver like Warhols Factory ones -, and where the sophistication of the software meets
playfulness and joy.

,

.

In this everlasting questioning of the public and the private, we always take into account the concept of privacy and how any person can potentially be an object of viewing at any moment and in any kind of space. But to what extent are we conscious of
this fact and especially in moments of playfulness?

249

250

,
.
, .
6.
Stuart Banner
Who owns the sky? The Struggle to Control Airspace from
the Wright Brothers On7.

The watcher here enjoys ingenuous surveillance, almost unaware of her/his power over
the airspace. The issue of the limits of airspace is still blurred, especially in terms of
law. Even the Supreme Court in the United States conceptualizes airspace as a public
highway1. Stuart Banner (Banner 2008, pp. 251) speaks as well about the nature of
property rights in airspace in Who owns the sky? The Struggle to Control Airspace
from the Wright Brothers On2.

, ,
.


.

The reason why I bring this up is also because I like to think of Bubbles as a sort of
drone, and the lack of clear legal definition of public space is increasingly problematic
given the growing use of drones.

,
, ,
,
,
, ,
, .

The principles of aeronautics, aerial surveillance and video streaming were also present
in Marketous previous works, but for the first time here, the participating audience becomes part of the surveillance software and occupies part of the balloon, as some kind
of prosthesis that maps the urban landscape of Prague, while the balloon and the body
melt with the landscape in the eyes of the spectator who is on the ground.

, ,
,
/
, .

In addition to this, the disturbance and uneasiness of being watched from the artists
previous works, is emphasized now with the performative dimension of the spectator
and his/her anxiety of not having the feet on the ground, mixed with the curiosity and
an exciting sense of displacement.

, performance
,
/// ,
performance,
, , .

So performance and surveillance are always examined in Jennys public installations

in close relationship, and here she presents the results of the work/action/installation/
event/ through video, a medium that perfectly communicates her ideas about the
performative, presence, time, space and the participation.

performance
happening,
. ,
, ,
,
.

Perhaps the performative aspect would be more oriented here to the idea of the happening, especially in this idea of diluting the traditional role of the spectator. There is no
real spectator now as he becomes part of the work itself, not only as the driving force
of the work, as some participatory practices usually do, but also as a key element of it.

,
, ,

.

Notions such as the sharing and negotiation of space, the categorization and use of
public and private areas, indoor and outdoor ones, provide Marketous backdrop and
define her contribution to the creation of public sphere.

.
, ,
, , , .
Chantal Mouffe
Artistic Activism and Agonistic Spaces,

,
. , ,

,
.

The artist uses alternative aesthetics to stage her political agenda and create sites
of signification designed to enliven the public sphere. This public sphere is expanded
by Marketou to any kind of location, site or space, being it a museum, the street, or
even the airspace, as here. Following Chantal Mouffes ideas as presented in Artistic
Activism and Agonistic Spaces (Mouffe, 2007), Marketou demonstrates how critical
artistic practices can contribute to the fostering of agonistic public spaces, where the
current neo-liberal hegemony can be challenged. She therefore shows the importance
of combining forms of artistic activism with interventions within the traditional institutional space in order to open some room for practices of resistance.

Chantal Mouffe,

.
,

.
,

, .
, ,
8.

Continuing with Chantal Mouffe as the background, Marketous inventive interventions

work as temporal rearrangements that depart from notions of understanding the urban public sphere. She understands this concept in the line of the Belgian political
scientist, who understands it as a political battleground rather than a space of rational
discussion. Although she recognizes the existence of a basic consensus on a core,
she claims dissent as necessary for democracy to work, and she refers to this public
dissent as agonistic struggle, which represents the core of a vibrant democracy. As
a consequence of this confrontation, instead of consensus in the public sphere, its
public must be conceived in the plural3.

, Nancy Fraser
,
. , ,
,
,
,
. ,

/. Fraser, ,
, 9.

In a similar line, Nancy Fraser considers the public sphere as a site of non-conformist
politics where a plurality of competing publics occurs. This understanding of the
plurality of publics is also shared with Marketous ambition, encompassing the idea
of a multiple audience and prompting them to be part of the work while thinking and
making their own interpretations. She translates art into a universal language where
public pedagogy plays a crucial role through the intensity of the personal experience
of the spectator/participant. In a similar logic to Fraser, Marketou abandons the idea
of a single, unified and above all socially homogeneous public sphere, thus parallel
discursive arenas emerge4.

performance ,
,
Warhol, Beuys, Lygia Clark Stuart Sherman.

Interested in bringing together the performance, the presence and the objective, she
follows an inseparable trilogy continuing the line of artists such as Warhol, Beuys, Lygia
Clark or Stuart Sherman.

, , ,
,
,
. ,
/performers, , , ,
,
.

The object, the balloon, functions as a sort of readymade, an intervention of what is

there in the everyday, as part of the landscape of the city of Prague intervened by the
artist, then showing another vision of the tourism and the landscape itself. But while
becoming the participant/performer, part of the balloon itself, they become part of the
landscape as well, changing the perception of their own bodies.

, ,
,
.

,
.

At the same time, as an attraction oriented to tourism, the work is transformed into
a participatory artwork where the population of Prague is encouraged to take part and
have a new vision of its own city. In a touristic city where visitor and inhabitant rarely
share common spaces, here they merge in their role of participating spectator and
engage as an all-seeing eye on the outdoor public space.

,
, parkour
, , ,
.

The situationist, psychogeographic dtournements often form part of Marketous

works, obliging the spectator to walk randomly throughout the spaces she created,
walking while parkouring along the urban scape, or, in this case, wandering and discovering the city from above the troposphere.

,
, ,
, . ,
,
,
.

Marketous artistic practice distills an urgent need for a critical realm in the frame of
social interactions through the understanding of body and space as a political place,
and by means of sensory, thinking, material and spatial practices. With this project,
once again, Marketou succeeds in questioning the systems that structure our modes
of living related to the limits of the space and our liberty.

Blanca de la Torre
Curator

251

Notes

(...).

(...).

Do-It-Yourself ( )

(...).

-. 21 , (...).

To 1946, Causby,
.

, .

, ,
Cujusestsolumejususqueadcoelom. ,
. : Stuart Banner, Who
owns the sky? The struggle to control the airspace from the Wright Brothers on, Harvard
University Press, Cambridge, Mass, 2008, . 251.

In 1946, the famous case United States v. Causby, the Supreme Court conceptualized airspace
as a public highway. The Court recognized that landowners must be able to exercise exclusive
control of the immediate reaches of the enveloping atmosphere in order to exercise full enjoyment of their property.

It is ancient doctrine, he explained, that at common law ownership of the land extended to the
periphery of the universe- Cujus est solum ejus usque ad coelom. But that doctrine has no place
in the modern world. The air is a public highway.

There is no underlying principle of unity, no predetermined centre to this diversity of spaces,

there always exist diverse forms of articulation in them. Chantal Mouffe: Artistic Activism and
Agonistic Spaces
ART&RESEARCH: A Journal of Ideas, Contexts and Methods. Volume 1. No. 2. Summer 2007 p.3.

Nancy Fraser, Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing
Democracy. Social Text, No. 25/26, 1990, p. 67.

8
,
,
: Chantal Mouffe, Artistic Activism and Agonistic Spaces, Art & Research, vol. 1,
no 2, 2007.
9

Nancy Fraser, Rethinking the Public Sphere, : Craig Calhoun, Habermas and the Public Sphere, The MIT Press, 1991.

Blanca de la Torre

252

We would like to thank Niki Orfanou for proofreading Blanca de la Torres text

253

: performance-project ,
, , 2009.
The Threshold
of Noosphere, Blanca de La Torre,
Tina B 2009 .

,

, ,

.
, ,
,

,
Balloon Centrum

.
,
,

,
.
, ,

.


, ,
, .
, ,
, .

Bubbles that was first commissioned and presented at the exhibition The Threshold
of the Noosphere, curated by Blanca de La Torre in the framework of Tina b Festival,
2009 in Prague, Czech Republic. The name Bubbles is a repository of many meanings indebted to futurism and the utopian moments of popular culture since ballooning has become a very popular tourist attraction in the city of Prague and is connected
with the everyday life, the global economies of leisure and entertainment as well as
with the wish of the human body to fight gravity and to be able to get out of here.
Bubbles which is designed to fit the locale is free for the public is deeply rooted in
physical and bodily engagement and creates a new approach towards the body in the
urban context by re appropriating and re-imagining the nine meter diameter hot air
commercial balloon used by Balloon Centrum in Prague for air tourist rides and attractions above the river Vltava and Charles bridge.
The artist transformed the hot air balloon by adorning the envelope with a set of 14
meter banners with the repetition of the word FRAGILE and by inviting the public to
experience thirty minutes free balloon rides flying over the city of Prague and allowing
their material body to escape the limitations of terrestrial space. At the end of each
ride the artist conducted video interviews with each participant to find out how the ride
expended their body and their perception of space.
Director: Jenny Marketou
Video director: Jenny Marketou
Performers: general public

Jenny Marketou born in Athens, is an internationally known interdisciplinary artist

based in New York City. In her work she utilizes video, sound, video installation, Internet,
photography, performance to explore a variety of aesthetics, ethics and poetics. She
is a full time professor at the School of Art, California Institute of the Arts (CalArts) in
Valencia,CA.
Selected solo projects have been commissioned by the 1st International Biennial of
Art in Cartagena de Indias on Colombia; Norha Haime Gallery, New York City; MORE Art
for the Highline Public Park in NYC; ARTIUM Museum of Contemporary Art in Vitoria,
Bilbao, Spain; Onassis Foundation, Athens, Greece; Kumu Art Museum, Tallinn, Estonia
Cultural Capital of Europe; National Museum of Contemporary Art (EMST) Athens,
Greece; Museum de Arte Reina Sofia, Madrid; Foundation Claudio Buziol, Venice, Italy.
Selected group exhibitions include the 4th Biennial of Athens, Greece ; Benaki Museum of Art Athens, Greece; the Biennial of Sao Paolo in Brazil; Manifesta International
European Biennial at Withe de With, Rotterdam; Vanity Projects, New York City; Centre
of Contemporary Art (CCA) Glasgow in Scotland; 3rd Biennial of Seville, Spain; APEX
Art, New York City; Sammlung Essl -Art of the Present, Vienna, Austria; Heterotopias
1st Biennial of Thessaloniki, Greece; ZKM,Center for Art and Media, Karlsruhe, Germany; PULSE Art Fair, special project New York City; Anita Becker Gallery, Frankfurt,
Germany; Strozinna Center for Contemporary Art, Palazzo Strozzi, Florence; Rose Art
Museum, Boston; The New Museum, New York City; Tina B Festival, Prague in Chezh
Republic; Les Rencontres International ,Centre Pompidou in Paris, among many others.
Marketous work has been reviewed in publications such as Avianca Magazine, Artforum, Flash Art, New Yorker Magazine, Art in America, Art Papers, The New York Times,
NY Arts Magazine, Timeout New York, Zing Magazine, among others.

Photos: / Tzeny Marketou

254

www.jennymarketou.com
http://www.biaci.org/en/jenny-marketou/
www.uncommoncommons.com
www.undoingmonuments.com
http://moreart.org/projects/jenny-marketou/
https://paperophanies.wordpress.com/links/

255

 / Michael Marmarinos
Theseum nsemble
Dying as a Country

256

257

258

259

Dying as Country.

;
;

What is a country?
When is a country possibly dying?

,
. .
, , , ,
.
.
.
.

In time of crisis the title of this contemporary - biblical text implies a scream. A scream
of life and hope towards emerging catastrophes. A scream consisted of laughter, desperation, irony, deep joy, protest and silence - all elements of a peculiar life in times of
crisis. A scream of an individual magnified by a plural number.
Country is mainly people.
In time of crisis people are waiting

.
, ,
.

Waiting is the main action of the mortals.

From the simplest activities in daily life till the deepest experience in philosophy mortals are waiting.

-
, , -
, , , ,
.
, .
.

A long queue of people, all real members of a city with similar or divert social, political,
national backgrounds, waiting to deliver the right of a wish, a hope, an anticipation, a
protest, a tiny sound. Private screams of fragile lives living in a big city shadowed by the
big incidents. And the queue is the experience of the collective.

,
.
,
, , ,
, . / .

All these people are the Chorus of an informal, hidden but existing Tragedy within the
body of a modern city. And Chorus is a structure that produces contemporary forms
within the theatre and every-day life, a structure with unique qualities, a structure capable of producing text, chaos, history, politics. A structure/device for a contemporary
gaze.

,
.

Very often standing is a political action against death, against injustice.

Michael Marmarinos

260

261

Dying as a country

:
: Kenny Maclellan
:
video:
:
Performers: . , , ,
, , , . , Kim
So-Jin, Adrian Frieling, , Ilias Algaer, ,
, , , ,
, , , ,
, , , ,
, . .

: ,
:
:

Director: Michael Marmarinos

Scenographer: Kenny Maclellan
Costume desinger: Dora Lelouda
Video director: Michael Marmarinos
Author: Dimitris Dimitriadis
Performers: Mpempa Mplans, Maria Stavraka, Nikos Alexiou, Giorgos Ziovas, Themistoklis Panou, Theodora Tzimou, Smaro Gaitanidou, Kim So-Jin, Adrian Frieling, Petros
Alatzas, Ilias Algaer, Rena Andreadaki, Melina Apostolidou, Mariska Arvanitidi, Giorgos
Vrontos, Margarita Kalkou, Roza Kaloudi, Virginia Katsouna, David Malteze, Tilemaxos
Moussas, Vasilis Spiropoulos, Anna Sotiroudi, Eirini Tzanetoulakou, Aris Tsaousis, Lampros Filippou, Rena Fourtouni, Michalis Chatiris
Dramaturge: Michael Marmarinos, Myrto Pervolaraki
Music: Dimitris Kamarotos
Choreographer: Valia Papachristou

. ,
. 1983-4
..
,
Theseum Ensemble.

( , , , , ,
, .).

first guest performance prize by the German Federal Agency for
Civic Education ,
. 2009 ACROPOLIS RE-CONSTRUCTION, Teatr Wspczesny, .
Comedie Fransaise Jean
Racine.
5 , 2005
()
.
1992
.
, , ,
, , , , , , , , ,
, , , , ,
. International HEINER MLLER GESELLSCHAFT. 2006 2010
. .

ichael Marmarinos was born in Athens. He studied Biology, Neurobiology, Theatre

Directing and Acting. His work is ruled by two persisting principles:
a) Theater is the art on the humble history of people.
b) There is no moment in daily life which is not theater, once the proper gaze is there.
s well as, Every Theorem inherent in these phenomena.

Photos: / Michael Marmarinos

262

Apart from Greece his productions have been staged or have been touring in various
international festivals in: Austria, Belgium, France, Georgia, Germany, Holland, Italy,
Korea, Poland, Russia, Serbia, Spain, Switzerland, Venezuela.
Some of his remarkable directing moments were from 1993 until 2014 DIE HAMLETMASCHINE, H. Mller (National Theater of Northern Greece, Thessaloniki), MEDEA
FRAGMENTS, Euripides (Brussels), CAMERA DEGLI SPOSI, G. Veltsos (Athens), FARSA
KALLDEWEY, B. Strauss (Athens), ROMANTISM, a performance by Michael Marmarinos,
(Athens), HAMLET- a snakes bite, W. Shkespeare (thens, BITEF- Belgrad), ELECTRA,
Sophocles (Epidaurus, Thessaloniki, Dion, Philippi), AGAMEMNON, a ghost sonata, Aeschylus (Athens, Caracas, Zrich, Tbilisi), MEDEAMATERIAL, H. Mller (Tbilisi, Moscow),
NATIONAL HYMN, a theorem about togetherness a performance by Michael Marmarinos (Corfu, thens) Best performance-directing award 2002, NATIONAL HYMN, un
Teorema per la choralita (a production of Teatro de la limonaia, Florence), NATIONAL
HYMN (a production of Tumanishvili Teatr, Tbilisi), ROMEO + JULIET, the Third Memory,
W. Shakespeare (Athens), OLYMPIC GAMES, Instructions Manual a performance by Michael Marmarinos (Athens, AGAMEMNON, Aeschylus (a production of Seoul Art Center,
Seoul), CROPOLIS re-construction a production of Theseum Ensemble (Athens),
NATIONAL HYMN (a production of Korean National University of Arts, Seoul), WHO IS H.
KELERMAN AND WHY IS HE SAYING THOSE TERRIBLE THINGS ABOUT ME? [A visit to
Kafkas Castle] a performance by Michael Marmarinos (Athens), DYING AS A COUNTRY,
Dimitris Dimitriadis (Athens Festival, Wiener Festwochen 2008, Kunstenfestibaldesarts in Brussels 2008, International Theater Festival, WARSZAWA CENTRALNA 2008,
Festival d utomne Teatr de Odeon Paris 2009), STALIN, a discussion on (Greek)
Theater a performance by Michael Marmarinos in collaboration with Akylas Karazisis,
(National Theater of Greece, Athens, 7th Politik im Freien Theater Festival (ECHT!)
Cologne, Germany) - awarded with the best performance prize, by the German Federal
Agency for Civic Education., LIVES OF SAINTS a performance by Michael Marmarinos
(Athens), AGORA ein chorstasimon, (VOLKSBHNE am Rosa-Luxemburg-Platz, Berlin), CROPOLIS re-construction, S. Wyspianski (a production of
Teatr WSPOLCZESNY Wroclaw, Poland) awarded as one of the 10 best performances
in Polish theatre of the Year, HERCULES FURENS, Euripides (National Theatre, Epidaurus), ROMEO + JULIET, the Third Memory, W.Shakespeare (a production of Tumanishvili
Teatr, Tbilisi, INSENSO by Dimitris Dimitriadis, (Athens Festival), A Midsummer Nights
Dream, W. Shakespeare (National Theatre, Athens), FAUST I. by W. Goethe. (STEGI
Onassis Cultural center).
As an actor he has taken part in most of the Theseum Ensemble productions, and
has played major parts under the direction of Roula Pateraki, Yannis Houvardas, Antonis
Antipas, Ploutarhos Kaitatzis, Spiros Evangelatos, and others, in plays by Koltes, Euripides, Daggermann, Sophocles etc.
Member of the International Bioenergetic Analysis Institute. Member of the International HEINER MULLER GESELLSCHAFT. Artistic director of Theseum Ensemble, Athens (www.theseum.gr). Since 2006 till 2009 he has been the president of the board
of the International Institute for Theatre Unesco (I.T.I) in Greece. Since 1998, associate
professor University of Patras and Nauplion. Since 2006, Faculty of Fine Arts University
of Thessaloniki.
263

 / Michael Marmarinos
Theseum nsemble
Insenso

264

265

266

267

268

. , : , ,
. INSENSO. , ,
.

A. Usually, the process is inverse: Writings catch us first and we afterwards.

Something like this happened with INSENSO. Or, even more precisely -INSIDE OURSELVES - we hear the writings we love, we wrote them.

- , .
-- .

The Landscape - a violent excavation into memory, into the body of human experience
- is the first, critical pathway to experience this performance.
The story is the -always- inescapable and shattering second axis.

, , ,
:
, .
.

The text, naturally, is the wondrous text by Dimitriadis, its Silence and music compile
the third critical axis: The music of the spoken words, Greek and Italian. The way the
PERFORMERS BODY survives in a language stretched to its extremity.

! .

A body castoff to the Language! Literally.

. , , :
, ,
, . ,
, ! ,
...

B. The things that are fascinating in Dimitriadis, as far as I am concerned, are two:
On the one hand, such is the tension of his PERSONAL experience as a human being
that he turns to writing for salvation. Where, since nothing can fit his tension, he tears
the hair of the Language! Its grammar, its syntax

* , !
-- ,
, . .

Giving us back a language excavated, someway fresh! A Greek language that reminds
us of the origin of the Language in general - and, consequently, our origins. Its because
we reside in the Language.

, , ,
, , , , .
.

On the other hand, again due to the Pains authenticity, the personal dives into such
levels, such depths, that meets collegiality, and therefore meets History
All this attract me to Dimitriadis.

. : , ,
;

C. I will dwell mainly on a phrase: Have you ever found yourselves inside an Emotion?

. , , ,
...

D. All things have a meaning while, having becomes an experience, they travel inside
us up to the After

, ,
: , .
, ,
, .

This performance, nevertheless, offers an affectionate gift to the citizen of Athens: it

gives something back to his eyes, to his senses. An inspiring spot in his city, which
is hard for him even to imagine, that it really exists somewhere there, close to him...

Michael Marmarinos

269

270

271

Insenso

Insenso

:
:
:
video:
:
Performers: Sandra Garuglieri, , ,
, , , ,
, , - , ,
, , , , ,
, ,

Director: Michael Marmarinos

Scenographer: Dora Lelouda
Costume desinger: Dora Lelouda
Video director: Giannis Lapatas
Author: Dimitris Dimitriadis
Performers: Sandra Garuglieri, Maria Nafpliotou, Ilektra Nikolouzou, Evi Saoulidou, Elena
Topalidou, Ioanna Asimakopoulou, Alexandra Aidini, Christina Avgeridi, Marilou Vomvolou, Chara-Mata Giannatou, Virginia Katsouna, Katerina Kivetou, Reggina Mandilari,
Dafni Manousou, Eleni Petasi, Olga Spiraki, Maria Stavraka, Dora Stylianesi, Anastasia
Chatzara

Photos: / Michael Marmarinos

272

273

274

275

minimaximum improvision
Agora-I havent slept enough in this century

276

277

278

279

280

minimaximum improvision
2005 ,
- .
, , , .
,
, , , , .
, ,
. ,
,
- . ,
,
. ---
.

Minimaximum improvision is an audiovisual ensemble formed in 2005, experimenting

on constructed improvisations that are based on music-narrative concepts. Members
originate from the fields of music, architecture, visual arts and art education.
They use acoustic and electric musical instruments, sound objects, words and voices,
recorded sounds, spaces and images. Their improvisations, not being totally free, they
fit on a pre-designed structure, which serves to unfold the narrative.
A myth is built up from a flowing composition of sound and image elements interplaying-more than an interaction between characters. Pace and role reversals, planed
and improvised actions build up a cinematic atmosphere. Sound and visual components, ambient-melodic-noise sounds and video images form parallel, crossing and
contrapuntal storytelling lines.

,
,

performances. ,
, .

, , ,
. , ,
, , ,
-,

Lately, the groups work is focusing on the conjunction of sound with image and literature, incorporating live audiovisual installations in theater plays and performances.
They experiment in forming space by the three-dimensional installation of the sound
sources, exploring the double role of music as a scenic element and as an essential
feature of dramaturgy. Musicians and sound sources being scattered around the performance space, transmit and receive signals, music and everyday-life sounds as long
as a representation of everyday people. Inside these three-dimensional heterotopias,
signals are attempting to weave a communication net, a field of life, but often are
confused, repeated, distorted, lost.

minimaximum improvision
, ,

, .
, ,
. ,
,
/ - ,
. , ,
- , - ,
, .
, , /
.

The ensemble is, the past three years, also interested in performing in sites with particular architecture and history, such as in monuments and buildings that currently
are not fulfilling the purpose for which they were constructed. They wish to compose
original music, sound and visual forms inspired by the unique character of each space.
Architectural, historical and social characteristics of each space stimulate an audiovisual composition, the contextualization of performers and sound-image sources,
their actual placement in space, their interaction among them, and with the audience
and the space itself.
More than a narration, a new time and space entity is created for the narration to
happen-an intangible space within the realistic built space. With the addition of this
alternate time and space unit, the original spaces-originally constructed to be stable
and immobile-become flexible and mobile.

,
, ,
, , //
.

The attempt is to incite a new experience of the familiar to the audience. The performance experience becomes a personal event where meanings are open, polesemus,
fragile allowing for the simultaneous and associative reconstruction of the narration in
the viewers imagination and conclusively a shift in their emotion.

281

282

283

284

Agora-I havent slept enough in this century

2012 Goethe nstitut Athen minimaximum improvision

- Gerhard
Falkner -Ground Zero
,
.
20 . 60
Goethe Institut .
12 2012.

During the summer of 2012, minimaximum improvision invited by Goethe nstitut

Athen composed original music and performed live, accompanying the reading of
Gerhard Fakners epic poem Gegensprechstadt-ground zero. The performance took
place in September 12 2012, among the ruins of the Roman Agora, under the Acropolis of Athens, as the opening event for the 60 years anniversary of Goethe Institut in
Greece. Gerhard Falkner read extracts from his poem Gegensprechstadt-ground zero
in german and Marina Agathangelidou her par version in greek. Gegensprechstad is a
neologism, literally meaning the city that speaks against. The poem is a thorough
gaze in the breathtaking and exhausting experience of living in 20th century cities.

...
, ,
. Gegensprechstadt
,
. [
]

...the work mainly revolves around the character of the german metropolis, Berlin,
as it has been formed during the last decades. The German title Gegensprechstadt
(two-way communication city) suggests a mood of opposition, advocating on the
belligerent conversation of the poetic subject with the city, into which it pries and
wanders[from Marina Agathangelidous introduction to the greek version of the poem).

performance , Gerhard Falkner,

,
minimaximum improvision.
minimaximum improvision , ,
,
, -
20 - .
,
- . ,
, , , ,
- .

For the Agora performance Minimaximum improvision worked with Gerhard Falkner
to stage the german experts with their greek translation in a two-way conversation
with the audiovisual environment. Minimaximum improvision concept was that spoken
word, sounds and images would construct an heterotopia inside the archaeological
site of the Roman Agora. An intangible 20th century agora made out of words, sound
and images, communicating with the existing, physical space of Roman Agora. The
poet and his translator were placed on a small stage, behind an ordinary desk with a
lamp-as a representation of themselves: a man and a woman, the internal space-a
room and a desk, their thoughts and words being emitted as signals, somewhere, in
a city.

video images- ,
, .
,
,
, , ,
. ,
, ,
.
.
, ,
,
.

Two screens- in the role of memory/the subconscious/the dream-transmitting images, shortcuts to reality. Musicians (and the sound sources) were scattered around,
between the ancient urban ruins, installed all around the audience, as landmarks of
the city, transmitting the urban experience, communicating with sound codes, music, everyday life sounds, simultaneously serving as presences of citizens. Inside this
three-dimensional installation, words sounds and images were emitted and received,
communed and jumbled, repeated and distorted. The real time-space presented in dialogue with its representation and with the historical time-space of the Roman Agora.
The spectator placed in the middle of this time-space entity, inside the ground zero,
was invited to experience an intimate involvement with Gegensprechstadt and witness it, with eyes and ears, from within.

-: Goethe-Institut Athen
: Goethe-Institut Athen
: minimaximum improvision
: minimaximum improvision & Gerhard Falkner
video: ,
: Gerhard Falkner
Performers: Gerhard Falkner ( ),
( ), (, ,
, ), (), (,
, ), (), (video & live image mixing), ()
:
:

Capture-Production: Goethe-Institut Athen

Implementation: Goethe-Institut Athen in cooperation with the Municipality of Athens
Scenography: minimaximum improvision
Sound design & audiovisual installation
Direction: minimaximum improvision & Gerhard Falkner
Video director: Dimitris Silvestros, Christina Katsaris
Author: Gerhard Falkner
Performers: Gerhard Falkner (reading poetic text), Marina Agathangelidis (translation in
Greek), Thalia Ioannidou (keyboards, trumpet, vocals, sound objects), Despina Tsafou
(bass) Tzelina Palla (guitar, vocals, sound objects), Irene Christofaki (drums), Christina
Katsaris (video & live image mixing), Alkistis Stefanidou (sound recording)
Other Contributors: Nikos Dimitrakakos (sound mixing),
Dimitris Silvestros (photography)

Goethe-Institut Athen 1952

Goethe.
:
. 60 Goethe-Institut Athen

.

The Goethe-Institut Athens, founded in 1952, is the first Goethe-Institut that was
founded outside Germany. We have two main goals: promoting Greek German cooperation and German language learning. The Goethe-Institut has supported educational
and cultural exchange between Greece and Germany for more than 60 years, contributing to a sustainable cooperation between the two countries.

Goethe-Institut
,
.
, Goethe-Institut Athen
,
,

, .

During the military dictatorship in Greece, the Goethe-Institut was an open forum
for intellectuals, artists and citizens of critical mind and that it remains today. The
Goethe-Institut Athens offers courses of German as a foreign language, as well as an
extensive examination program. We cooperate closely with educational and cultural
institutions, creating an ambitious and rich program that covers all aspects of arts and
letters together.

2002 Goethe-Institut Athen

Goethe ,
, -, , , , , .....
, , .

Since 2002 the Goethe-Institut Athens is the regional coordinator of all Goethe-Institutes in the South Eastern European region. We coordinate the activities in Albania,
Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, F.Y.R.O.M., Greece, Romania, Serbia
and Turkey.

Goethe-Institut Athen
,
.
, Goethe-Institut Athen

.

The Goethe-Institut Athens doesnt limit itself to representing German culture and
fostering Greek German relations, it defines itself as a part of European culture. We
present and discuss European topics and promote the intercultural dialogue in cooperation with other European cultural institutions.

Gerhard Falkner 1951, , ,

, . Gerhard Falkner
o .
(Hlderlin Reparatur) 2009
Peter Huchel.
(so beginnen am krper die tage) 1981 (
Luchterhand, 2000, 2007).
wemut (1989), (-) (X-te Person Einzahl) (1996)
- ground zero (Gegensprechstadt - ground zero)
(2005).
, Falkner
Berlin C Eisenherzbriefe (1986). To 1998
, Neil
H. Donahue, Voice and Void. The poetry of Gerhard Falkner (
Winter, ). bruno
Kranichsteiner Literaturpreis August Graf von Platen.
2010 . Gerhard Falkner
Weigendorf .

Gerhard Falker (*1951 in Schwabach) lives as a poet, novelist, dramatist, essayist,

and translator in Berlin and Bavaria. He is uncontestedly one of the important contemporary poets. After a stipend at the Literary Colloquium Berlin, Falkner presented the
volume Berlin Eisenherzbriefe (1986, Berlin Iron Heart Letters), one of the crucial postmodern mixed texts. The first monograph on Falkner appeared in 1997: Neil
Donahues Voice and Void: The Poetry of Gerhard Falkner. In 2008, Falkner received
the Kranischstein Literature Prize and the August Graf von Platen Prize for his novella
Bruno. In 2010, he was awarded the Prize of the City of Nuremberg. In its explanation
for awarding him the Peter Huchel Prize in 2009 for his poetry book Hlderlin Reparatur, the jury praised Falkners possibilities of sublime speaking in a time of damaged
worlds of speech. His Pergamon Poems were recently shown in Berlins Pergamon
Museum and interpreted by members of the Schaubhne Theater.

1984 .

( ).
Freie Universitt Berlin.
(Gerhard Falkner, Ingeborg Bachmann, Ann Cotten,
Anja Utler .), (Terzia Mora) (Elfriede Jelinek),

Marina Agathangelidou was born in Athens in 1984. She studied theatre studies
at the National and Kapostrian University of Athens and translation at the European
Centre for the Translation of Literature and the Human Sciences / EKEMEL. She lives
in Berlin and is a PhD candidate at the Freie Universitt Berlin. Her translations (into
Greek) include poetry by Gerhard Falkner, Ingeborg Bachmann, Ann Cotten and Anja
Utler, a novel by Terzia Mora (Alle Tage / Day In, Day Out) and a play by Elfriede Jelinek

www.goethe.de/athen

Publications (selection):
so beginnen am krper die tage. Luchterhand Verlag 1986.
Berlin. Eisenherzbriefe. Luchterhand Verlag 1986.
Hlderlin Reparatur. Berlin-Verlag 2008.
Bruno. Berlin-Verlag 2008.
Kanne Blumma. ars vivendi 2010.
In 2013 he received the prestigious, newly founded Tarabya Fellowship in Istanbul.
He performed his poetry in a performance matter on spectacular locations, such as the
Roman Agora in Athens, Schloss Leuk in Switzerland or the famous Yerebatan Sarnici
or Cisterna Basilica in Istanbul and on numerous internationally famous festivals.

285

286

. ,
.

(What Happened after Nora Left Her Husband or Pillars of Society) as well as theoretical works. She has published poems, translations and reviews in printed and online
magazines, both in Greek and in German language.

H 1974.
,
. .
15 MiniMaxiMuM mprovision (. ) Drog-A-Tek
Lost Bodies, ,
, Illan David Manouach, Horror Vacui, Marc Cunningham (USA), Xavier Erkizia (Pays Vasco), Joe Davis- Molly Ferguson (USA), Colleen (FR).
D_A_T
, (Journee
d appel , Cavo d Oro Siamac Etemadi, Washingtonia
) Greece: Days of change
. ,
(In_dust_real Evol_ution, Civil War, 72
mistakes in Real Time) .
, , , .
, . , Blitz Theatre Group, . , . .
:
-Too Late To Care, Drog_a_tek: double vinyl / CD/ Inner Ear 2011 -Homeland
(Original Motion Picture Soundtrack ), Drog_a_tek: Digital / CD /Inner Ear 2012
-Who hurt you?, Drog_a_tek: CD/quetempo recs 2005. -Live at b-station,
Drog_a_tek: 3 cdr/ tilt recordings 2005. -Humanitarian help, Drog_a_tek: 7
EP/ splendid sound recordings 2004. -Mancine manley lemep, Drog_a_tek: 12
EP/ bios records 2003. -23:46, Drog_a_tek: CD/ tilt recordings 2002. -Tank/
drog_A_tek: split 7 single/ pop art records 2002. -Sonicouf: cdr with ouf fanzine 2002. - -, Horror Vacui: 10 EP vinyl/ 5th
dimension 1995.

Thalia Ioannidou was born in athens, 1974. She studied piano at Athens Conservatory, trumpet at Orfeo Conservatory and arhitecture at the Technical Universities of
Athens and Barcelona. She works as an architect and a musician and performer.
She has been working in composing and performing with miniMaximum Improvision
(see MMIs CV) and Drog_A_tek audiovisual ensembles. Also she has been collaborating with many musicians like Lost Bodies (GR), Dimitri Kamarotos (GR), Niko Papavranousi (GR), Illan David Manouach (GR), Horror Vacui (GR), Marc Cunningham (USA),
Xavier Erkizia (Pays Vasco), Joe Davis- Molly Ferguson (USA), Colleen (FR).
With the D_A_T they created the original music soundtracks for Sylla Tzoumerkas
movies Homeland and A Blast, for several short films (Vasili Doganis Journee d
appel,Siamac Etemadis Cavo d Oro, Konstantina Kotzamanis Washingtonia) and
for Elena Zervopoulous documentary Greece: Days of Change. They also have presented many audiovisual performances, whether for art festivals as Hellenic Festival
(In_dust_real Evol_ution, Civil War, 72 mistakes in Real Time) or other indipendent
productions.
She has also worked with theatre, as musician, composer or performer, collaborating
with M. Marmarinos, A. Brouskou, Blitz Theatre Group, G. Mavragani, V. Sardelis.
Discography:
-Too Late To Care, Drog_a_tek: double vinyl / CD/ Inner Ear 2011 -Homeland (Original Motion Picture Soundtrack ), Drog_a_tek: Digital / CD /Inner Ear 2012
-Who hurt you?, Drog_a_tek: CD/quetempo recs 2005. -Live at b-station, Drog_a_
tek: 3 cdr/ tilt recordings 2005. -Humanitarian help, Drog_a_tek: 7 EP/ splendid
sound recordings 2004. -Mancine manley lemep, Drog_a_tek: 12 EP/ bios records
2003. -23:46, Drog_a_tek: CD/ tilt recordings 2002. -Tank/ drog_A_tek: split 7
single/ pop art records 2002. -Sonicouf: cdr with ouf fanzine 2002. -
-, Horror Vacui: 10 EP vinyl/ 5th dimension 1995.

1972.
...
(UPC) , ,
, (Ministerio de Asuntos Exteriores),
.
(
: , ,
, ,
Cosmocaixa, ),

(CCCB), Pompeu Fabra, Confluencias

.

Despoina Tsafou was born in Athens in 1972. Studies: Diploma of Architecture, National Technical University of Athens, School of Architecture (NTUA) and MA in Architecture, Art and Ephemeral Space: From the Public Space to the Museum Polytechnic
University of Catalonia (UPC), under the MAE (Ministerio de Asuntos Exteriores) scholarship, with dissertation: Sound space-Acoustic architecture.
Architect specializing in museography-exhibition design.
Collaborations with: Greek Ministry of Culture, Milos Mining Museum, Piraeus Bank
Group Cultural Foundation (PIOP), Goulandris Museum of Natural History , Science Museum CosmoCaixa Barcelona, Maritime museum of Lloret del Mar, Centre de Cultura
Contemporanea de Barcelona, Pompeu Fabra University, Confluencias Organization.
Participated in numerous research workshops in the fields of electro acoustic and
sound installations.

1972 .
,
. (
). ,
, video.
- .

(Territual Pau - / ,
Cheap Art , Art Mart Vienna,
Hnko, , .).
.
1992 (--stop
action animation ,

Gelina Palla was born in Athens in 1972. She studied fine and applied arts and graduated in painting (School of fine arts Aristotle University Thessaloniki). Studied dance
(ballet and contemporary) and music (guitar and vocals).
While and after studying she worked with ceramics, photography, video and graphic
design, set design and constructions for advertisement films and live performances
(theatre and music). She has also worked as a costume designer, stop action animator,
and as interior designer (residencies and professional spaces).
She participated in visual arts residencies, workshops and group exhibitions. (Territual
Pau-Mount Pelion-University of Volos, Cheap Art Athens-Thessaloniki, Art-Mart Vienna, Young Artists Hnko-Finland etc.)
She curated visual arts exhibitions in Athens and Thessaloniki.
Her paintings can be found in private collections in Greece and other countries.
She is currently working as a painter, set designer and visual arts teacher (lately writing

,
).
2000,
, , , ,
,
. , ,
).
.
Horror Vacui 1990-92.
minimaximum improvision, 2006,
.
1971.
1991-92. 1997

. 1998-2000
School of Visual Arts , new media,
.
1995 art director ,
. 2002 2004

.
2002-2003
1. 2006
Divercity Architects 2D project Invisible Hotel,
. 2009
geometry (geometrylab.net).
video
, : International Young Art of Sothebys Israel 1999, Falling
Up . 2001, Vanitas D624 Project
Space 2005 . 2008 Minimaximum Improvision.

educational art programs for PIOP museums exhibitions).

Was a member of the music group Horror Vacui (1990-1992). Is a member of the
audiovisual ensemble minimaximum improvision since 2006, both as a musician and
visual artist.

.
.
Christina Katsari was born in Athens in 1971. She studied Theatrology at the Hellenic
Playwriters Society in the year 1991-92. She then entered the Athens School of Fine
Arts and studied painting and set design, with a scholarship from the Hellenic State
Scholarship Foundation for Academic Achievement. She graduated from A.S.F.A. with
honors in 1997. In 1998-2000 she studied for an M.F.A. in painting and new media at
the School of Visual Arts NYC with an Alexander S. Onassis Public Benefit Foundation
scholarship.
Since 1995 Christina Katsari has been Art Director in the field of television and advertisement. Since 2002, she has been working on documentaries, and in 2004 won the
First Prize for her documentary Heterotopia at Platforma Festival of the Greek Directors Guild. In 2002-3 she created the 2D animation series Red Thread for the Greek
National TV educational department. In 2006 she was commissioned by Divercity Architects to create a 2D presentation of the project Invisible Hotel that won the 1st
prize from DESTE foundation. Between 2009-11 she collaborated with the creative
platform Geometry (geometrylab.net)
She has had personal exhibitions, such as the video installation Falling Up at the Hellenic Foundation for Culture of New York in 2001, and Vanitas at the D624 Project
Space of Athens in 2005. She has also participated in international group exhibitions,
such as International Young Art of Sothebys Israel in 1999, Rewrite at the Visual Arts
Gallery of SoHo in 2000, Duchamp Travelling curated by the NY Arts Magazine in 2001,
and Everyday Hellas at White Box Gallery NYC and the Freedom Park of Athens in 2004.
Works by her belong to public and private collections in Greece and abroad.
Since 2008 she is collaborating with miniMaximum Improvision, making audiovisual
performances.

Photos: / Dimitris Sylvestros

287

288

289

 / Ohi Pezoume
Performing Arts Company
UrbanDig Project
2010 / Marathon Dam 2010

290

291

292

293

 UrbanDig Project site-specific

. site-specific
, ,
,
.

The UrbanDig project is an on-going program of urban site-specific productions, created by the ohi pezoume performing arts company. With the purpose of a site-specific performance, and the restless curiosity of a visitor in their own city, we explore
the past, the present and the dreams of people who relate to a building, a public space
or an urban neighborhood.

, , 2005
, UrbanDig . site-specific
,

. UrbanDig
bottom-up -
.


.
,
,
,
.

This research, prior to rehearsal, was a lonely process during our first productions. In
recent years though, it has become a collective process, especially during this years
UrbanDig for neighborhoods. In the preparatory process for a site-specific performance on the streets of a neighborhood, the first step of archival research is also an
umbrella of participatory activities, collecting the local cultural archive (history, stories, dreams, imagery, feelings & opinions from yesterday and today). At UrbanDig for
neighborhoods bottom-up and cross-field local research groups are created that collect and exhibit material through a series of activities. Our team organizes the process
so that the archive, as much as the formed partnerships, become the foundation of a
local creative network. The research phase prior to rehearsal, becomes the spark that
activates the local cultural archive and network; the spark that ignites the love-affair
between people and place, which we nurture with the aspiration that it remains strong,
long after our departure from the site.

, UrbanDig ( ,
), , ,
.
, ,
.
.

As for the UrbanDig performance in itself, this is the manifestation of our own attraction to the space (building, public space, or neighborhood). This attraction results from
the preparation phase: our experiences with the space, the slow unfolding of its often
charmingly fractured archive. This attraction exceeds the importance of the archive
itself, so in the performance we are not preoccupied with its recounting.

, ,
,
.
,
- ,
.

We are so driven by this bond with the space, that personal elements and elements
of space become metaphors for each other. This relationship opens us into new ways
of reading ourselves. Our site-specific performance contains very personal discoveries
beyond and through the archive of the place.

, , .

: .
: , ,
2005 .
,
.

It is a residency thats not a landing but a take-off. Visitors trying a new type of habitation in the city through performances: This is what we are in a phrase, perhaps. And
we are always at least a couple: George and Eirini, the director and the choreographer,
researching since 2005 the co-existence of dance and theatre in the same space.
When this space is not the bounded stage of a theatre but the unpredictable outside, this co-existence becomes all the more dynamic and the demand for harmony
becomes essential.

Photos: / Irini Fosgeraou

294

295

296

2010

Marathon Dam 2010

..:
. ,
.
! 10

.

Battle of Marathon A.D. Two men fight with each other over a last bucket of drinking
water. When thirst and destruction from their war reaches a peak, one of them decides
to climb the wall behind them. When reaching the top he realizes that its a dam hiding
a lake on the other side. Ten ghost construction workers of the dam appear and start
a vertical decent, carrying a long pipe that pours water from the lake to the burning war
field at the bottom.

: &
:
:
Rowan Thorpe ( )
( )

10 : ,
, , , ,
, , ,
, .
- : , (.)
:

Direction: Eirini Alexiou, George Sachinis

Choreography: Eirini Alexiou
Performers:
Rowan Thorpe (vida group)
Antonis Srouzas
George Amiras (Menoume Ellada National TV)
Euthimis Theodosis
Pavlos Tsiantos team of climbers: Giannis Konstantakakis, Panos Athanasiadis, Christos Paterakis, Tasos Moutafis, Thomas Kitipis, Kostas Mougolas, Giorgos Voutiropoulos, Giannis Petromianos, Ipokratis Palapanoglou, Stamatis Konstantakopoulos.
Costumes - scenography: Ioanna Tsami, Dimitra Liakoura (asst.)
Music: Euthimis Theodosis

/
UrbanDig Project. . ,
Susan Klein School (), yoga Atmananda
Yoga Center (). & yoga instructor.

Eirini Alexiou is the co-founder/choreographer of ohi pezoume performing arts company and UrbanDig Project (1st Prize TEDxAthens) She studied theatre at the National
University of Athens, dance at Rallou Manou and Susan Klein School and yoga in NYC.
She also works as an independent choreographer and yoga instructor.
http://www.ohipezoume.gr

/
UrbanDig Project. CSSD ( Advanced
Theatre Practice), Duke ( )
Berkeley . .

George Sachinis is the co-founder/director of ohi pezoume performing arts company

and UrbanDig Project (1st Prize TEDxAthens). He studied at CSSD in London (MA Advanced Theatre Practice), at Duke University (Institute of the Arts Diploma & Engineering) and at U Berkeley (Engineering) in USA. He also works as an engineer.
http://www.ohipezoume.gr

,
. &
Rootless Root, Hellenic Dance Company,
.

Antonis Strouzas has graduated from the Greek State School of Dance and the Academy of Physical Education with long experience in martial arts. He has collaborated
with various choreographers and groups including dance companies: RootLessRoot,
Hellenic, Horeutes and Ohi Pezoume Performing Arts.

Rowan Thorpe / / software. performer

,
yoga.

Rowan Thorpe is an artist/activist and software-developer/systems-administrator.

He has performed with various companies and has developed and produced performance-based work and events with company as well as being a yoga instructor.
http://gr.linkedin.com/in/rowanthorpe

.
2 /
1
.
.

Pavlos Tsiantos is an awarded filmmaker (2 Thessaloniki Documentary Festival

awards) and climber. He was part of the first Greek team to climb mount Everest (recorded in his movie From Olympus to Everest). At Marathon Projects he collaborates
with photographer filmmaker Dimitris Christopoulos.
http://www.fromolympustoeverest.com/i_tainia_en.html

Motley

( 2013).

Ioanna Tsami is an awarded costume designer (Greek theatre awards 2013). She has
studied in Motley school in London and has worked since in many theatre and dance
performances in Greece.

,
Central Saint Martins College
(MA in design for performance and practice).
RADA
.

Dimitra Liakoura has graduated from Athens University (BA in Theatrical Studies) and
Central Saint Martins College (MSc Design for Performance and Practice). She has also
attended classes on set-design and a seminar in Scenic Design for Theatre in Royal
Academy of Dramatic Art. She works as a freelance stage-designer.
http://www.behance.net/dimitraliakoura

297

 / Ohi Pezoume
Performing Arts Company
UrbanDig Project
2012 / Marathon Dam 2012

298

299

300

301

302

303

 2012

Marathon Dam 2012

()
. 3
: , ,
. ()
60 .
.

A performance around a temple at the dams base (copy of Athenian Treasury of 490
BC). A man sees on the walls of this temple three ways of his dying: dying by forest
fires, by soil erosion and by the melting of the glaciers. He resists these (video) projections of his future and decides to cover the walls that speak only of catastrophe, with
60 m. long array of spring plants, that he brings from the top of the dam.

: ,
:
: , Pauline Huguet
Video: ,
:
:
:
:
: , ,
: , ,
:
:

Dimitra Liakoura has graduated from Athens University (BA in Theatrical Studies) and
Central Saint Martins College (MSc Design for Performance and Practice). She has also
attended classes on set-design and a seminar in Scenic Design for Theatre in Royal
Academy of Dramatic Art. She works as a freelance stage-designer.
http://www.behance.net/dimitraliakoura

. Master of Arts in Advanced Theatre Practice
(strand of Lighting Design) Royal Central School of Speech and Drama
.
.

Christina Thanasoula has graduated from Theatre Studies Department (Athens University) with an MA degree in Advanced Theatre Practice (Lighting Design strand) from
Royal Central School of Speech and Drama, London. She works as a freelance lighting
designer in performances and events. Creative Lighting // Christina Thanasoula //
Lighting Designer

Fine Arts Central Saint Martins College of Art

& Design (London, UK), Museum Exhibition Planning & Design University of
the Arts (MFA Degree, Philadelphia, USA) Marketing
. .

Rea Zekkou has a BA in Fine Arts from Central Saint Martins College of Art & Design
(UK), MFA in Museum Exhibition Planning & Design from The University of the Arts
(USA), Bsc in Marketing from the American College of Greece. She works as a freelance designer and design consultant.

,
. Hertfordshire City University .
Hertfordshire . E

.

Lambros Pigounis studied violin and theory of music at the Greek Conservatoire, electroacoustic composition at the University of Hertfordshire (UK) and City University of
London (MA Degree supervised by S. Emmerson and D.Smaley). He specializes in the
field of contemporary classical and electroacoustic composition.
http://kinesphere.virb.com/

/
UrbanDig Project. . ,
Susan Klein School (), yoga Atmananda
Yoga Center (). & yoga instructor.

Eirini Alexiou is the co-founder/choreographer of ohi pezoume performing arts company and UrbanDig Project (1st Prize TEDxAthens) She studied theatre at the National
University of Athens, dance at Rallou Manou and Susan Klein School and yoga in NYC.
She also works as an independent choreographer and yoga instructor.
http://www.ohipezoume.gr

Cinema Make Up School

(Beauty,Fashion,Chracter and Prosthtics Make Up) Los Angeles.
.
make up artist
.

Alexandra Myta has graduated from Cinema Make Up School (Beauty,Fashion,Chracter

and Prosthtics Make Up) at Los Angeles. Graduate of Beauty and Cosmetics of TEI
Athens. She has worked as a make up artist in film and theatre in Greece.

/
UrbanDig Project. CSSD ( Advanced
Theatre Practice), Duke ( )
Berkeley . .

George Sachinis is the co-founder/director of ohi pezoume performing arts company

and UrbanDig Project (1st Prize TEDxAthens). He studied at CSSD in London (MA Advanced Theatre Practice), at Duke University (Institute of the Arts Diploma & Engineering) and at U Berkeley (Engineering) in USA. He also works as an engineer.
http://www.ohipezoume.gr

&
( )
( ),
.

Katerina Apostolopoulou has a BA in Marketing & Communication from Athens University of Economics and Business and MFA in Cultural Management from Panteion
University, she is the communication and production manager of several projects in
performing arts.

,
. &
Rootless Root, Hellenic Dance Company,
.

Antonis Strouzas has graduate from the Greek State School of Dance and the Academy of Physical Education with long experience in martial arts. He has collaborated
with various choreographers and groups including dance companies: RootLessRoot,
Hellenic, Horeutes and Ohi Pezoume Performing Arts.

Pauline Huguet Montpellier Conservatoire ()

Laban (BA Dance Theatre).
(Dv8, Protein Dance, Punchdrunk, ODC Ensemble, .),
, (UK, FR, GR),
.

Pauline Huguet has graduated from Montpellier Conservatoire (Ballet) and Laban
graduate (BA Dance Theatre). Performer at physical theatre companies including DV8,
Protein Dance, Punchdrunk, ODC Ensemble, Ohi Pezoume. She teaches dance, works
with community groups in UK, FR and GR and with theatres as a choreographer.
http://www.dancerspro.com/uk/view.php?uid=213714

.
2 /
1
.
.

Pavlos Tsiantos is an Awarded filmmaker (2 Thessaloniki Documentary Festival

awards) and climber. He was part of the first Greek team to climb mount Everest (recorded in his movie From Olympus to Everest). At Marathon Projects he collaborates
with photographer filmmaker Dimitris Christopoulos.
http://www.fromolympustoeverest.com/i_tainia_en.html

.
, , ,
, . ,
(glider), .

Dimitris Christopoulos is a photographer and filmmaker. He has worked in corporate,

commercial, documentary, aerial and under-water filmmaking. He is a licenced airplane, glider and helicopter pilot.

- Motley

( 2013).
304

Direction: Eirini Alexiou, George Sachinis

Choreographer: Eirini Alexiou
Performers: Antonis Strouzas, Pauline Huguet
Video: Pavlos Tsiantos, Dimitris Christopoulos
Lighting Design: Christina Thanassoula
Music: Lambros Pigounis
Props and set: Dimitra Liakoura
Costume Design: Ioanna Tsami
Climbing Team: Pavlos Tsiantos, Giannis Konstantakis, Christos Tsoutsias
Constructions: Pavlos Tsiantos, Rea Zekkou, Kostas Klitsas
Make-up artist: Alexandra Myta
Production Manager: Katerina Apostolopoulou
Participation: George Sachinis, Smaragda Tsachaki, Maria Tsachaki

,
Central Saint Martins College
(MA in design for performance and practice).
RADA
.

Ioanna Tsami is an awarded costume designer (Greek theatre awards 2013). She has
studied in Motley school in London and has worked since in many theatre and dance
performances in Greece.

Photos: / Periklis Pravitas

305

306

307

7 / Omada7
YAPI A very nice place

308

309

310

311


()

A performative exploration of shifting identities through history and architectural (re-) construction

To project Yapi: a very nice place :

. ( ()
- )
. ,
28 ( ) . volumes

2013-14. (volumes)
(, Studio, Act Theatre
) in situ .

The project Yapi: a very nice place lasted almost two years and consists of:
a. the preparatory phase (the dramaturgy of Greece as a (re-) construction yard and of
the key words in this shifting moment in history)
b. the research through praxis, devising and rehearsing with a group of 28 people
(performers and collaborators)
c. the five volumes based on three versions of the performance that took place in Athens and Patras in 2013-14. The several versions (volumes) that were presented in different locations and venues (Virsodepsio, Kinitiras Studio, Act Theatre and Polychoros
KET) were introduced by an in-situ promenade in the surrounding areas.

,
, .
. 1980
,
. .
, , ,
. ,
, . .
,

.
,
, . ,

.
: !

312

The main interest of this project was the way by which the audience was introduced to
the world of the performance through wandering in the surrounding areas of the different venues, of the different identities of the urban environment.
And from here my own journey begins. In the 80s I used to go on summer holidays
with my family to Kythira, a remote and undeveloped Greek island. My parents loved to
eat by the sea. There was this tavern operating, without license of course, in the ground
floor Piloti of an unfinished building. The term piloti suggests an open air plan, halffinished and half closed in the back construction supported by columns. And thats
what it was. In this magnificent bare setting a local family would serve delicious food to
people seating on plastic chairs around tables covered with plasticized flowery canvas.
That particular summer, that I now recall, we had some friends visiting from abroad,
from a northern European big city. Later these friends sent us the pictures they took
during their holiday in Greece. My favorite is the one that I took in the taverna and it
came with a comment in the back: A very nice place!

,
, ,
,
,

. ,
.
: , , ,
, ,
.

If today somebody takes a walk in any village, small or bigger city, even in the center
of Athens, looking at the constructions and the connections between the houses, the
blocks of flats and the empty spaces (akaliptos) in between, he will soon realize that
the different patterns of the unfinished or half-finished buildings have a performativity of their own. They intrigue and recall feelings, thoughts and stories. Indeed these
half-finished but well lived-in buildings are full of great memories; Easter time parties,
weddings and christenings, family gatherings, funeral suppers and adolescent secret
smoking, the first kiss next to a pile of old furniture and the view from the parents
window.

7, ,
, ,
. ,
,
.

When Vicky Mastrogianni asked me to join her to a new exploration of her theatre
group OMADA 7 on the acceptance of all the messy, contradictory and yet adorable
characteristics of greekness I could not resist. This was a unique opportunity to explore the city, the memories of the past and the developing identities, not in a folklore
sense but more on a genuine and profound quest.

Back then, we started looking at the recent past and we asked lots of questions concerning Greece at a most challenging moment and dangerous moment in history;

;
;
;
- ;
, ;
,

Do we really belong to the west and the east? How can we turn a funeral into a big
family party? Is the actor Alexandrakis from the movie Soferina- the female driver the
same person that also performs in Synikia to oniro-The neighborhood called Dream?
Can the same people dance hali-gali and sing traditional songs from Thraki? If the
past could meet with the present, what would be the setting? If we really won all these

; ;
; ;
in situ; ,
;

wars why do we still carry these open wounds? Why do we always look to the west
to identify ourselves? Which are the buildings haunting our memories? How do you
perform all these? How do you make their in-situ representations? What do you tell
other people when you walk together in the city?

, - -
. ()
,
. ,
,
. , ,
;

As a starting point, yapi (meaning in Turkish the construction yard) became the environment of our explorations. Etymologically yapi echoes the (re-) construction state
of a building as well as the potential of a better living environment. In the case of our
performance as well as in that of the Greek identity and urban development remains
always a potentiality that can never be accomplished. How then, can this never completed and always in-between state become a very nice place?

,
.
, , ,
,
: , , , ,
, . , , ,
, , ,
, .
, .

For the 3 days intense workshop we hosted as a research into praxis introduction to
the project, we invited performers and collaborators to work and experiment together.
Everyone had to bring a piece of music for a party, a mourning song, a lullaby, a picture from a family gathering, an object stored in the attic or gathered in the parking
lot and texts about; -postponing, -anticipation, -homeland,
-things pending, -building, -feast. At the workshop,
there was indeed a lot of singing, dancing, mourning, partying, lots of memories and
lots of future plans, lots of cancellations and lots of poetry. The material that came to
light was revealing, awesome and inspiring. Maybe thats the reason why for the next
year we created the 3 different versions about the same topic

. ,
performance .
,
in situ
. in situ
, project,
. -
-,
,
, , ,
performance, ,
.

After the workshop we realized that everyone who took part in the workshop wanted
to perform. So the next goal was to stage a performance about all the above with 14
performers. And to make things more complicated, Vicky insisted on having an in-situ
walk in all versions from the closest metro or bus station to the venue. This in-situ human installation and walk through the different neighborhoods where the project was
presented became a very important and integral part of it. From the half abandoned
and full of trucks and empty fields Votanikos-Elaionas to the Acropolis walk with the
neoclassical houses and the new museum and finally to the multicultural and old glory
gitonia of Kypseli, this roaming became a performance of its own, loaded with smells,
pictures and sounds that created an introduction to the indoors performance.

Yapi,
:
, ,
(Yapi) -
. , ,
: . , ,
,
, ,
.

After watching the second version of Yapi, Anna Mavroleontos wrote in her performance review at Nea Eythini: Instead of a megali paragka- a big hut, as Savopoulos
song of the post dictatorship period suggests, Greece becomes a construction yard
full of expectations, big socio-political works and visions, in the vehicle of the big plan:
the economic integration and unification with mother (in law) Europe. Once again the
newly deprived Greece, having no Cinderella expectations, violently realizes that what
lies ahead is not the palace of the dreams but a yapi where memories are hanging
out, like windows that are waiting to be opened in order to show the future through
the past.

.
,
,
,

. -
.
,

The performances themselves become a reflection of collective memories and private

moments of the lives of the performers and that of the audience. Hopes and stories
from the past and the present, windows overlooking abandoned houses meet with
songs and dances from the different worlds of the recent Greek history, just to realize
that these worlds can or have actually merge and that they are not so different. Acceptance then becomes a key word to the understanding of the past and then to the opening to the future. In order to create a dramaturgy of the past linked to the nowadays
crisis identity, we had to research the multilayered and contradictory characteristics
of the world we live in. A world that turns out to be a very nice place, despite its wild
obscurity.
313

,
.
, .
:
,
; ;

As it is written in the performance program: what if in this land you dont find the best
people upon earth but those who can turn a funeral into a feast?... Could you make this
into a performance?

-Boissonnas
project Yapi: a very nice place

Anna Tsichli Boissonnas

Dramaturge and co-deviser in the project Yapi: a very nice place,
Lecturer at the Department of Theatre Studies,
Faculty of Fine Arts of the University of Peloponnese
Adjunct Faculty Tutor at the Theatre Studies Program,
Faculty of Humanities and Social Science of the Open University of Cyprus.

Photos: / Giorgos Zafeiriou

314

315

316

317

api: .
. Yapi: A very nice place, project
,
27 . , ,
, in situ . ,
, .

. ,(
), .
, .

api: word of Turkish origin. Incomplete construction that provokes an awkward spatial
situation. Space, time and human. The one who inside him carries many parallel and
opposite universes. The national identity, the heritage, the cultural print, the uniqueness
of personality. The yapi, the postponements, the reconstructions, the abeyances, the
cycle of life and all around the homeland this corner of the world is a recipient where
the past is mixed with the present. A mosaic. The light that is leaving and the light
that is coming.

,
, .
, .
. , ,
, . ,
, ,
, . .
.

The performance began in all of its 5 versions, in public space, with human installations in situ. The last ones had the nature of courses guides of the audience and its
incorporation in the theatrical space and time, indicating the existence of two opposite
worlds. Routes from the decadent area of Eleonas to the classic and bright Acropolis
and the cosmopolitan Kypseli. Contrasts but deep relations as well, dimension from
past to present and also thoughts of the future. The texts recall of collective memories
as well as personal moments, plans that were postponed and battles that were never
given. How much alike are your photo and you, years ago lets go more Afterwards!

:
: 7
: ,
video:
: 7
Performers: , , ,
, , , , ,
, , , ,
, .
:
:
:
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: , , ,

: 7
:

Director: Vicky Mastrogianni

Scenographer: Omada7
Costume designer: Mikela Tzontzou, Dafni Aidoni
Video director: Giorgos Zafeiriou
Author: Omada7

19982001, . -. , 1996-1998,
2003 ,
, 19861989. ,
, .
1997, , , ,
. 7.

Vicky Mastrogianni has studied in the Theater of Changes (1998-2001), the Theater
Workshop of K. Kazakos-V. Diamantopoulou (1996-1998), Postgraduate Workshop of
Ancient Drama (2003) and in the Technological Educational Institute in the department
of Economics and Management, Touristic Businesses Management (1986-1989).
She carries on attending to seminars that deal with theater and its techniques, with
teachers and artists from Greece and abroad. Since 1997, she works as an actress,
assistant director and director in the theater sector while she has been responsible for
theater kinesiology. She is a founding member of the Group 7.

Performers: Androniki Avdelioti, Giorgos Andrakis, Elena Georgiou, Nikos Georgiou,

Spyros Detsikas, Vaso Kamaratou, Sofia Liakou, Mary Lousi, Vicky Mastrogianni, Gerasimos Pavlou, Anna Papadaki, Vaggelis Papadakis, Maria Pigkou, Giannis Tzemis.
Conception: Vicky Mastrogianni
Dramaturge and co-deviser in the project: Anna Tsichli Boissonnas
Choreographers: Zoe Saridou, Vicky Mastrogianni
Director assistants: Xenia Kalantzi, Maria Papadopoulou, Maria Binikou, Dafni Aidoni
Stage - Music Editor: Omada7
Original music: George Kalogeropoulos

http://www.youtube.com/watch?v=pU2AzJ695io
http://youtu.be/uTGpChR8P8w
http://youtu.be/Q9D0tqhItnk

318

319

 / Omada Ison Ena

(Group Equals One)
Sacred Way 2

320

321

Photo 1

322

323

Photo 2

324

( 2)

The Body of the City (Sacred Way 2)

2, ( )
, ,
, 2011-12.
, , ,
/ , .

The Body of the City was a preparing workshop for the performance Sacred Way 2.
Both performance and workshop were given by Group Equals One in the streets of
Athens, Rome and Ierapetra (Crete), in six different versions during the years 201120121. The aim of the workshop was to form the chorus of the performance, that is,
to create a new/common space, a new collective address.

2 2011
, 2012 ,
Teatro Valle Occupato (Via Sacra 2/ Via Sacra 2/;). -,
,
, ,
, /
.
( , ,
, , ,
), / , .

The sight-seeing tour/performance Sacred Way 2 was a collective address to the city
as an active body. In this body, we enter and in certain moments we search some of
its dimensions and enlarge others as well, according to the rhythm of the collective/
public body. Being diversities fully respected in the space of a metropolis (which every
city should be, rather than a no place, a space out of space, and thus out of meaning,
as it is now), we exchange glances full of meaning, in present (and thus historical)
time and space.

. ;
, . : ;.
,
. ,
/
, ,
. /
, ,
, ,
, ,
, .

Public space and collective body: What is public and what is collective? Heiner Mller
was asking: Is there a city here? We looked for an answer in the stories of the streets
and the people, and we transformed it in stage act. In the ancient Greek drama a
public space born right here in Athens in order to speak for the city as a whole and for
each one individually- the Chorus addresses a collective speech, while the Messenger
forms a public address. We used the thesis (a messenger-speech) from Aeschylus
Persians, Sophocles Antigone and Euripides Medea, working on it collectively, as a
Chorus. This material was combined with everyday day stories we met in the city, as
well as modern texts from newspapers, poems and personal stories.

, ,
. ,
; ;
- 2.
, , , ,
;

The city is full of passages. The city is full of stories; history is walking with us in the
same streets. What is history today, which is the story that can hold us? Or, as the
initial question of this work puts it; What is this, which we want to tell to the city now,
and the city to us? Contemporary messengers of a harsh history, how we address the
city now, collectively?

, ,
, .
, , , ,
, /
,
,
.

The open public spaces, where we worked, had a direct or indirect relationship with our
material, as parts of the city and parts of us: Sts Asomaton Square, Pireos street, the
Sacred Way and a secret alley in Athens, the venetian fortress of Ierapetra and the old
port with the fishing boats, Ponte Sisto in Rome and Campo dei Fiori with the statue
of Giordano Bruno, and the occupied legendary Teatro Valle, which was our basic collaborator and our final destination in Rome.

, , ,
,
. .
. ,
.
. .

Our aim was to search and extend, in every city, the Sacred Way, the ancient road that
followed the mystes (mystics), going to Eleusis and its Mysteries, a place of soul. The
ancient messages lead to contemporary questions. Sacred Way is still located in the
same place until now. We are looking for this same place, where necessity and chance
clash, where a common rhythm and space emerges. In this place stands our hi-story.

, , ,
. ,
. ,

This common voice and necessity is for us the Body of the City, the collective public
body. The city is an endless exchange, an endless question. But here we find also what
Zygmunt Bauman called mixophobia2, the fear towards difference, towards the other,

325

 1, , , ,
, .

, . .

the stranger, the different, and finally towards ourselves. The mutual understanding
results from common experience, maintains Bauman. A Sacred Way.

,
. , , .
; ; ;
:
. : , .
, :
.

We are all strangers, we are all immigrants in this extreme neoliberal era; exiled from
history, ephemeral, expended. Where is public space today, and what concerns? Where
is the common voice? Where is history?
One of the mottos of our performance was a phrase from Joseph Beuys: We are the
Revolution. We went on by saying: We are the History, too. And here is a final one, said
by David Held; History is still here, and it still can be fixed.

Notes

, . ,
, 2006.

Photo 4

Some of the versions of Sacred Way 2 were given in the Festival of Kyrvia (Crete) and the
Ancient Drama Festival of Athens (2011), while for the two last versions in Rome (Via Sacra 2/
and Via Sacra 2/;, 2012) we collaborated with Teatro Valle Occupato and the Greek
Embassy and Community of Rome.

326

Photo 3

Zygmunt Bauman, Liquid Love-On the Frailty of Human Bonds, 2003.

327

 2 - .
( ,
), , ,
. :
; , ,
, , ; ,
( ) () .
, --,
. .
2 2011 ,
, ,
2012, ,
Teatro Valle Occupato (Via Sacra 2/ , Via Sacra 2/
;). ,
,
. , , ,
, , .

Iera Odos/Sacred Way/Via Sacra 2 is a production of Omada Ison Ena (Group Equals
One) from Athens, a group that systematically works on open public spaces in the city.
It is a sight-seeing tour/performance that began in Athens/2011, based on texts of
Messengers from the ancient Greek drama (Aeschylus Persians, Sophocles Antigone
and Euripides Medea), as well as on modern texts from newspapers, poems and personal stories.
The initial question of this work is What is this, that we want to tell to the city now,
and the city to us? Contemporary messengers of a harsh history, how we address the
city now, collectively? Since we are the city, arent we? And since once upon a time, in
a city (called Athens), theatre and democracy were born (in the same time). We take
these three words, city-theatre-democracy, and we face the historical moment and
the memory. In Greece, and in any other Greece which is to come.
Sacred Way 2 (already presented in Athens, Roma, Creta) is looking for and extending
Iera Odos, the Via Sacra that led (and is still leading) to Eleusina and its famous Mysteries. This, for us today, means looking for the body of the city, the collective voice of us/
citizens, and the common need.

.
. ,
. , /
.
, , .

The ancient messages lead us to contemporary questions. Afterall, the street is here.
So, the only thing to be done is to take the steps. Our steps, today. In any street, where
the audience will create with us (as a horos/chorus of citizens) the common rhythm/
space to do it.

:
:
:
video: Tiziana Tomasulo / Teatro Valle Occupato
:
Performers: , ,

Director: Ioanna Remediaki

Scenographer: Omada Ison Ena
Costume designer: Omada Ison Ena
Video director: Tiziana Tomasulo / Teatro Valle Occupato
Author: Ioanna Remediaki
Performers: Ioanna Remediaki, Thodoris Mandazelis, Chorus

,
. , performance:
(2006-7), (2007, 2008)
(2008), (2009), (2010, 2011), 2 (201112) (2013) , , ,
, , , , ,
.
. , , ,
.
, (),
(), .
.

Ioanna Remediaki holds an MA in Classical Literature and a BA and PhD in Theatre

Studies. She is the Artistic Director of the theatre company Group Equals One and
Lecturer of Greek Drama, Department of Theatre Studies, University of Athens. She
has written, directed and performed the plays: The Table, Vacuums Excavation, Museum Stories, Space Hamlet, Sweet Ophelia, Sacred Way 2 and Chorico in Greece, Italy
and Germany, in theatres, museums, festivals, self-managing collectivities and open
public spaces.

omadaisonena.blogspot.com

Photo 1: Tiziana Tomasulo

Photo 2: Tiziana Tomasulo
Photo 3: Il corpo della cittu - The body of the city, Workshop poster
Photo 4: / Giannis Karpouzis
328

329

 / Apostolia Papadamaki
The Death Series #3:
Uninhabited

330

331

332

333

334

:
Death Series #3: 2012
Performer:

Capitalising on the Life of Death:

Death Series #3: Uninhabited Delos Island 2012
Performer: Apostolia Papadamaki

( )

The flexibility to die (all over again)

Death Series,
2011, ,
,
20101.
, , ,
, ,
,
.

First Papadamakis performance from the Death Series, took place in 2011, as if it was
triggered precisely by what journalists described as a silent humanitarian crisis, a result
of brutal austerity imposed on Greece in 20101. Fall of real wages, raise of unemployment, homelessness that rocketed, collapse of primary healthcare, multiplication of
kitchens and even the increase of child mortality, all were elements of Papadamakis
socio-cultural context that have undoubtedly influenced her performances.

2, ,
, ,
Death,
-.
,
. , ,

(#2),

(#4)
(#5).

/
. , ,
Alain Badiou,
,
. (Eros), ,
(Thanatos) ,
,
.

Starting from the premises that death is nonrepresentable2 and thus can not be performed, in each of Papadamakis five performances, under the series named Death,
she embodied the condition of becoming the non-being. That condition could also
be percieved as a particular contextual wound, that would eventually lead to death.
Papadamaki was responding, by the means of her performances, to the fragility of
the social margins in Athens and the inabilty of the National theater to deal with
reality(performance#2), she was highlighting the pointlesness of the art market consumption in Mykons (performance#4) and commenting on a mis-use of ancient Greek
heritage(performance#5). It was exactly in Papadamakis ability to contain, the social
wound, from one performance to the other, that she demonstrates flexibilty to confront death, as an absolute rigidity. More than that, her performances are events that, in
Alain Badiou sense, made visible what remained invisible up to that moment, without
fear of losing oneself in that very event. Eros, as Papadamakis artistic drive, is not
threatened by Thanatos, as the omni-present drive of death, the uncoscious desire for
destruction, that she finds in the process of mirroring her suroundings.

,
.
3
, .

. ,
angst, .
, .

Papadamakis drive is not towards destruction, it is a performative intervention in the

death anguish. Her flexibility allows her to perform a so called minor death, in order to
re-appear and reflect the surroundings, all over again.She vividly induces energy in the
context-specific conditions that are provoked by the extreme decrease of the pleasure
principle. One can say that by exploiting and emphasizing the existential angst, she
paradoxically prolongs life.By pushing it to the edge, she allows it to live.

#3

Performance#3

.
, ,
, ,
, . ,
.
- . ,
, ,

, .
4
,
.

This is a third performance in a series of five. The idea was to walk,for the first time and
without preparation, across the windy and unhabited island of Delos, full with historical
meaning, in order to give symbolic birth to 9kg of salt, the weight of a real baby, near
the altar of Zeus. Performing in Delos, is about performing in an expanded time-space
continuum.Delos, the birthplace of Apollo and Artemis, was a sacred space, but more
importantly for todays economic condition, it was the bank of the Athenians for sea
salt, an exchange currency in the ancient Greek world. The performers room of ones
own3 is expanded to this significant landscape, that allows Papadamaki to perform the
tensions of history and contemporaneity, and to inscribe her body in both mythology
and economy.

,

.
/-,

.

The performance is witnessed by few random passers by, while the audience is extended in the invisible historical witnesses and the contemporary art world audience,
who has a chance to see the documentation of the performance. Papadamaki transcends the duality physical and non-physical by dealing with the immanent production
and delayed reception of the performance.

Abandoning the Ego/Embracing Collective UnConsciousness

.
, ,
.

Experiential aspect of performance are manifested in the fact that Papadamaki abandons the artists ego, by escaping the impulses of her mind and going to more into
the instinct functioning, as a method of morphing her body in the context. She allows
herself to go back in ancient history, use archetypes in order to understand the morphic resonance of today.

#3
,
.
, Freud,
. ,
,
. ,
,
. ,
,
.

Performance#3 is an attempt for an experience that brings her close to ecstasy an altered state of consciousness according to the ancient Greeks. To perform in a sacred
place like Delos , in an ecstatic way, is to deal with the unconscious that according to
Freud cannot recognize death. So, by morphing herself in the landscape and embracing the collective unconscious, she manages to allow for the pleasure principle to prevail. Moreover, her body becomes a place of collective consciousness that embodies
multiple temporalities, contexts and meanings. It is not only a triumph of life, but also
a triumph of the time of performance that expands the collective memory in another
dimension that conquers time in general.

...;
, ,
, ;

;

Proverbial salt to the wound or?

So, what does it mean to come close to death by symbolically giving birth on the
island that used to be a bank of salt, the currency of ancient times? What are the
politics of the very performance and what is the role of the performance in a current
cultural-political landscape of Greece?

.
, ,
, ,
.
/ ,
-
.

.
.
5.
, ,
.

Both giving birth and salt have strong symbolic meanings. To give birth is to start a
new life, while salt resonates with wealth, power and fertility, but also negatively, in a
sense that a proverbial salt to the wound can also be applied here. Just as both life
and death are involved in the performance, salt is both a cure and a poison to the existing wound in the social-political tissue of Greece. The understanding of politics of
this performance are hidden in the individual interpretation of synthesis of mythology
and political actuality. To perform what is not permitted is to remotely evoque internal
political and economic struggles. To give birth to salt in a restricted context is to deal
with actuality4. It is to feel the pain and induce the dying Greek economy with power
and wealth, simultaneously.

, ,
.

,
6 , , / (
) .
, ,

.

Moreover, what does this performance as an intervention in the historical, tells us about
the current geo-political manifestations in the art world. In a situation when the Troika
simultaneously drains Greek economy with austerity measures, the hegemonic art
world announces that they want to learn from Greek people (Documenta 14)5 and thus
to objectify or (all over again) and colonize the Greek art world. Papadamaki is contextresponsively performing from a subject position and giving a contribution to the redistribution of power in the Greek society and its symbolic perceptive order.

, ,
, .

The act of birth in the time of crisis, at Delos, an ancient bank and a place were heroes
were delivered, is now a pure symbolic economy at stake.

335



: 1. , 2.
(.)
7,
-.

At least two capabilities Papadamaki and the agents of the hegemonic art world
have in common: while reflecting the Greek context by the means of art: 1. they are
capitalizing on the life of death; 2. they are capitalizing on it through the survival of
idealization-the imaginary that constitutes a miracle6 and is capable of transferring
the meaning to the very place where it was lost in death or in a non meaning.

Maja iri

Maja iri

Notes

1
,
- , . Guardian, 29.12.2014, http://www.theguardian.com/commentisfree/2014/dec/29/syriza-greece-austerity-eu

2

, Freud
, Julia Kristeva, , ,
2000, . 103.

2
Having posited that the unconscious is ruled by the pleasure principle, Freud very
logically postuled that there is no representation of the death in the unconscious
Julia Kristeva: Black Sun, Depression and Melancholia. Translated by Leon S. Roudiez.
Columbia University Press, 1992.

[ . .: . http://en.wikipedia.org/wiki/La_petite_mort,
].

In Virginia Woolf Room of Ones Own a woman must have money and a room of her
own if she is to write fiction

[] ,
, Virginia Woolf, , , 2005

[] Foucault ,
,
, Franois Ewald, Foucault et l actualit, Ewald, 1997, . 203.

Syriza can transform the EU from within if Europe will let it, Costas Lapavistas
http://www.theguardian.com/commentisfree/2014/dec/29/syriza-greece-austerity-eu

Franois Ewald, Foucault et lactualit, (Ewald, 1997, p. 203) actualit , Foucault

helps us apprehend the historicity of the present while resisting the presentism of
both media and politicians.

Documenta 14, Kassel: Von Athen Lernen ( ),

http://www.documenta.de/en/news.html.

336

Documenta 14, Kassel. Learning from Athens. Von Athen Lernen.

http://www.documenta.de/en/news.html

Julia Kristeva, Black Sun, p.103

Kristeva, .., .103

337

338

Site-specific performance/Delos island/Altar of Zeus

, ,

- ,
.
. -
.

Delos Island, the birthplace of Apollo and Artemis, was in the ancient Greek world a
sacred space and the bank of the Athenians for sea salt; the currency of those times,
that was more valuable than gold. Dying or giving birth was prohibited on the island
on religious grounds. Delos today is uninhabited .It is a huge natural museum of ruins.

. 9 ,
100 .
,
.

.
( 2).

.

.
,
,

.

Working with the collective unconscious and female archetypes is my main task in this
performance. I take the touristic boat from Mykonos island thats visiting the island of
Delos once a day when the weather conditions are good. The day of the performance
the weather conditions were quite dangerous since the wind was so strong that the
boat was struggling to reach Delos island. I finally arrive on the island of Delos as a
tourist and I start walking towards the Altar of Zeus as a pregnant woman thats determined to give birth with her belly filled with nine kilos of pure sea salt climb up to the
Altar in pain. The Altar is located in the highest point of the island (distance from the
port of Delos 2km). I finally embody giving birth to 9 kilo of salt and the salt as a new
born life, surrounds the altar.

:
:
video:
Performers:
Curator:

Director: Apostolia Papadamaki

Costume designer: Ioanna Tsami
Video director: Tasos Papapanos
Performer: Apostolia Papadamaki
Curator: Sozita Goudouna

, ,

.
.
(2004-2006)
48 . quasi stellar
40 .
Jan Fabre I am Blood The history of Tears
Requiem fur eine Metamorphosen (2008), Prometheus (2010). 2010
The Death Series.
(www.
biomatcanatomy.com) (
).

Apostolia Papadamaki is a choreographer/director/performance artist

Born in Thessaloniki, Greece, Apostolia got a B.A in Physical Education with honours
and entered the State School of Dance in Athens at the age of 21 without any previous
dance experience getting a B.A in dance.
She holds post graduate studies in new dance techniques and choreography (New
York ) with scholarships from the Onassis Foundation, the Goulandris Foundation and
the Merce Cunningham Studio.
Until 2001 she was the Artistic Director of the collective Sinequanon Dance Co. and a
leader for the development of contemporary dance in Greece.
In September 2002 she founded Quasi Stellar having as aim to research and develop
more her vision. She presented her works in major festivals in Greece and abroad; Fabricca Europa, Aerowaves, Julidans, etc. Her projects have been performed in Belgium,
Brasil, Colombia, Cyprus, Czech Republic, France, Germany, Greece, Israel, Italy, Korea,
Lithuania, Macedonia, The Netherlands, Portugal, Slovenia, Spain, Sweden, the UK and
the US.
In September 2004, Apostolia Papadamaki was the appointed choreographer for the
12th Paraolympic Games Opening Ceremony at the Olympic Stadium of Athens.
She has choreographed more than 15 productions for the National Theatre of Greece.
She has been collaborating with Belgian Director and Visual artist Jan Fabre since
2001 as a performer or researcher in major festivals around the world.
Being a restless soul, Apostolia creates a series of site specific solo performances
under the title The Death series. (2010-now)
In November 2005, she was appointed by the Greek Minister of Culture, to be the
President of the board of the State School of Dance. In 2013, she was the Artistic
Director of Dimitria International Festival in Thessaloniki for dance.
She is teaching workshops around the globe at the following subjects: Biomatic Anatomy (www.biomaticanatomy.com) Embodiment of metamorphosing

339


Seven Deaths, ,
: ,
. Out of the Box Intermedia
project
: Shunt Vaults, Hunterian Museum, French Institute, ICA, Barbican Centre,
Benaki Museum, Byzantine Museum, Historical Archives Museum, Place-London.
: Raqs Media Collective, Werner Nekes, Mat
Collishaw, Dorothy Cross, Andrea Geyger, The International Institute of Important
Items, Martin Sexton ..

Dr. Sozita Goudouna is currently production coordinator at Marina Abramovic film

Seven Deaths, conceived by the artist in collaboration with seven prominent directors
such as: Polanski, Almodovar and others. Sozita is the founding director of Out Of The
Box Intermedia and has curated intermedia projects in London and Athens in venues
such as the Shunt Vaults, Hunterian Museum, French Institute, ICA, Barbican Centre,
Benaki Museum, Byzantine Museum, Historical Archives Museum, Place-London and
in the public sphere and has collaborated with artists such as : Raqs Media Collective,
Werner Nekes, Mat Collishaw, Dorothy Cross, Andrea Geyger, The International Institute
of Important Items, Martin Sexton and others.
www.outoftheboxintermedia.org

, Motley Theatre Design

School . 2000
, , , , .
, , ,
.. ,
, , ,
, , ..

Ioanna Tsami is a costume designer and has graduated from Motley Theatre Design
school in London. Since 2000 she has been creating costumes for theater, opera,
films, dance performances, performance art projects. She is contantly collaborating
with National theater of Greece, National opera house, the Athens festival, the Megaron a.o. She is collaborating with directors Michael Marmarinos, Yiannis Houvardas,
Dimitris Karatzas, Efi Theodorou, and choreographers Apostolia Papadamaki, Ioanna
Portolou a.o.

Photos: / Tasos Papapanos

340

341

342

343

 / Elli Papakonstantinou
ODC Ensemble
/ Derma (Skin)

344

345

346

347

 ODC Ensemble

Elli Papakonstantinou and ODC Ensemble

ODC Ensemble
2002. .
ODC , ,
/, (
)
.
, .
out-of-the-box ,
Broadway Avenue, .Y.,
, , ..

Established in 2002 by Greek theatre director Elli Papakonstantinou, ODC Ensemble

is a non-profit company active in the field of contemporary and experimental art.
ODC Ensemble is a politically oriented group that creates hybrid art involving citizens/
activists in non-theatrical spaces (thus intervening in wider public space). Their work
takes place inside and outside buildings, where the audience moves following the action, thus questioning traditional frontal relationships with the audience. ODC ensemble creates engaged art, out of the box, in unexpected spaces like a window-screen on
Broadway Avenue, N.Y., a residential building (polukatoikia) in Athens, industrial spaces
etc.

2011, ODC Ensemble .

19 .,
, -

. Trans Europe Halles
IETM .

Since March 2011, ODC Ensemble has been based at their own venue, Vyrsodepseio
- the biggest tannery of the Balkans in the 19th century. They transformed it into a
multi-stage, versatile space for performing arts. Vyrsodepseio is situated at the fringe
of Athens, in a neglected post-industrial area. Vyrsodepseio is a member of International Networks Trans Europe Halles (TEH) and IETM and runs under the Auspices of
the Greek Ministry of Culture.

ODC Ensemble
2002 ( ), , Princeton (), (), LaMaMa E.T.C., (),
( ), 1 ,
(), X-Dream Festival
(), ..

The companys work has been presented internationally at the Edinburgh Festival 2002
(UK), Athens & Epidaurus Festival (GR), the Princeton University (U.S.A.), the Opera
House of Cairo (Egypt), the National Theatre of Greece, LaMaMa Theatre NY (U.S.A.),
the 1st International Theatre Festival of IRAQ, the Inauguration Ceremony of the Library
of Alexandria (Egypt), the X-Dream Festival (Cyprus), etc.

-
/ / /
(author)
/ /
/ / /
/ : ,
, .

,
.
.

Keywords:
Theatre of the displaced and disposed; Epic theatre of the collective/masses; Theatre
of the Athenian citizens representing the voice of the one author and of the polis;
Displacement of the audience as a means of radical thinking; Hybrid performances;
spaces of Utopia; Big Scale spatial interventions; Theatre of Catastrophism: The relentless refusal of the expected and the excess of transforming experiences is the
essence of dramatic experience, involving the bewilderment of the audience in the
face of persistent dislocation. The sense of having witnessed too much is crucial. It
leads not to a drunkenness or a reeling exhaustion but a roaring sense of possibility
and a rinsing out of accumulated expectations. This form of theatre is Catastrophism.

www.vyrsodepseio.com/en/odc/productions
www.odcensemble.wordpress.com
/ (AFTER)
,
,

;
, site-specific
(promenade) devised , ,
, ,
- (post-apocalyptic),
.
site-specific ,



,
, , .
, -

348

www.vyrsodepseio.com/en/odc/productions
www.odcensemble.wordpress.com
META/ (AFTER)
Might we imagine a scenario where instead of speaking the language of crisis and
trying to survive it, we eject the crisis from the stage and disregard the rhetoric of the
dominant discourse?

META was created as a devised and site-specific hybrid performance, taking the form
of promenade in and out of an old disused industrial building. Mapping the politics
and aesthetics of post-apocalyptic, post-crisis ridden contemporary Athens in a particular topographical, embodied and politically allegorical way, it was composed as a
piece of intense physical theatre and a poetic narrative of the Greek crisis that
aimed to expose it both as a systemic -political and cultural-, as well as financial
crisis. The concept of after the end/after the disaster is explored through the form
of modular site-specific episodes where the visitors are led by expert catastrophologists into a guided tour in various spaces in and out of the old abandoned industrial
building of Vyrsodepseio (Tannery); the tour happens among the ruins of civilization
which left its traces in a space after the disaster, after the crisis, after capitalism.
At the core of the performance, we discern an anguished feast of destruction, while

-,
.

at the final sequence -in a pending catharsis-, the spectators themselves are transformed into a part of an ongoing spectacle.

:
site-specificity, , , , , ,
, , , ,
. ( theremin
& ), brut 20
x 30 . , ,

, .
,
, ,
.

In META re-presentational genres and codes, modalities and spatialities blend and
mix unexpectedly and in unorthodox ways: site-specificity, speech, music, dance, improvisation, cinema, visual arts, philosophy, poetry, politics, satire co-exist in an explosive synthesis. Director Elli Papakonstantinou characteristically draws our attention to
the primacy of site-specific dramaturgy in the performance evolving around water and
the rite of washing - washing being also a nuclear activity of the previous function of
the building as a tannery; she says that in the performance by analogy to the washing of animal skins, we are washing away our fear as well as the dirty elements of a
traumatized society. Furthermore, the dystopian dance piece following the introductory foyer part was set at the same spot where the skin wash basins were located in
the building.

,
:
o ,
, ,
Abba, ,
.
,
- -,


Guy Debord .

The dance part took place in a flooded and still dripping raw industrial space of 20
X 30 meters with bare columns of cement under the evocative improvised live music
for Theremin & voice. Moving upstairs the next part forms the core of the performance
unfolding as a film studio shooting live in front of the spectators orchestrated under
the directors loudspeaker. Silent, dark passages unfold in between scenes of an ever
incomplete attempt to film the contemporary political and collective artistic life, a process which is repeatedly interrupted with no explanation.
One characteristic sequence is the scene that draws inspiration by Da Vincis Last
Supper which is deconstructed as a multicolored carnival, and is followed by a satirical choreographic intervention of Abbas Money, Money, Money with Tery Chrysos
voice, and further along by a passionate monologue on the disintegration of phantasmagoria surrounding us.
The reformulation of crisis as a wider experimental aesthetic approach, the militant
de- and re-theatricalization, the interactive relationship with the audience along with
the exposition and address to the wider public sphere are all typical strategies of the
performance piece which seem to be inspired as much by the ideological universe
of the society of the spectacle of Guy Debord as well as weaving diverse critical left
political reflections, from Marx and Benjamin to Cornelius Castoriades.

,


2011. ,
-, ,
,

- , , , ,
, , ,
, , ,
.

In META the geographical location of Orpheos Street in Votanikos maps a discursive

locus as well - drawing the telling connections and contradictions between the reused
industrial building in one of the many underdeveloped areas in off centre Athens and
the centrality of the public space at Parliament Square- a hegemonic place reclaimed
by the indignados citizens in the protests of 2011 and onwards.
Votanicos, an off-centre, rough and downgraded district, with its raw reality and nonspectacular character, is an area in crisis before the crisis which has escaped from
the ostensible gentrification of the city centre. In this area multiple and diverse uses,
functions and people co-exist and become visible in the outdoors by necessity deserted places and strips of wasteland, transportation companies and lorries, roughlymade gypsy barracks, muddy streets with potholes full of water, stray dogs, abandoned
warehouses, packaging materials and scattered material leftovers, night guards, labyrinthine streets and side-alleys, all these are raw materials, relations and atmospheres
of the contemporary city in crisis to which META/The end is correlated and deeply
immersed, as its essential contextual framework.
http://www.vyrsodepseio.com/en/odc/productions/27-meta-after

349

SKIN

.

, .

Director Elli Papakonstantinou inspired by T. Hobbes Leviathan and by the previous

function of Vyrsodepseio as a tannery, creates a hybrid performance; an ironic homage to Capitalism.

site-specific (promenade),
,

, .
,
, ,
. ,
,
, , , ,
,
, - ,
,
.

SKIN has been largely inspired by the performing spaces of Vyrsodepseio making
the most out of its existing materials as well as its multilayered past uses and functions as a tannery workspace of processing and dying animal skins. The concepts of
factory/tannery and product/skin work in a two-fold level: on both a literal (past)
and on a metaphorical level (present), where we come across a contemporary factory
processing human skin as well as elaborating civic consciousness and culture.
Alternating irony, black humor and existential Angst, the performance forces us
to reflect on the mechanistic and repetitive nature of work in the industrial societies
through to the late capitalist era, with its growing culmination of monotony, apathy
and alienation; also to reflect on anthropophagia (cannibalism) and on the complete transformation of modern life into spectacle. At a conceptual level, an interplay
of spatialities is addressed from the more industrial, to the national, historic, social
and cultural space, often both merged and/or deconstructed in a critical, violent and
grotesque way. Among the issues put forward are the conditions of the mechanistic
production and reproduction, the blocked mourning, the fear of free public speech, and
primarily the dehumanizing cynicism regarding all power structures and profit-making.

,
,
, ,
,
/, ,
,
.

Elements that stand out are the moving along a labyrinth-like, rather uncertain route
from the outdoors surroundings to the inside of the building, or the site-specific, otherwordly visual installations and the sense of a boundless, infinite interior, as well as the
transpositions of the audience viewpoint whilst essentially in the same space. These
are important means towards strategies of disorientation and the perception of the
building as a dreamy/nightmarish merging of outer and inner space and by analogy of
the personal and collective space.

,
,
,
: , ,
,

- -,
.
, ,
.
grunge ,
, ,
.

Following a modular composition, the performance is structured as a triptych with

an extended prologue, beginning with a series of provocative outdoors acts, -in the
surroundings of the building-, while the other parts of the performance are laid out as
performative installations: for example, the Aheron episode is located in a flooded
underground lake, Aheron being the symbolic entrance to the underworld, where
the spectators are transported across the other side by a boatman on a makeshift
floating rift, drifting along past a series of brief visual tableaux that come momentarily
alive under the passing gaze of the spectators. The same intense visual and physical approach is maintained throughout the piece, from the main part with its factory
area as the allegorical space of the embodied elaboration of human skin - the human raw material of the body and soul-, to the concluding third part of the dark circus
of a phantasmagoria of acrobatics. In the nightmarish skin factory all spectators will
become in turn slaughterers and slaughtered, feeding in the ghastly chain of human
exploitation. Under a hypnotizing musical paroxysm of a Cretan lyre melody played
grunge-style, the space is then transformed into a decadent space of cultural and
spiritual slaughter of souls (psyches), ideas and artworks as well as various diverse
and heterogeneous stereotypes and national symbols.

,

, , ,
.

In the last part, the shared audience space is reformed as the opposite of reflection -as
the extremely intense, virtuosic and extrovert collective space of manufactured spectacle with its exhibitionist acrobatics; thus we are placed as spectators - functionally
as well as metaphorically - against the urgent responsibility of personally negotiating
this shared space of spectacle.
http://www.vyrsodepseio.com/en/odc/productions/46-skin-derma

350

351

352

DERMA (SKIN)

site-specific (promenade),
,

, .
(- 2013 & -
2013)

A site-specific promenade performance, inspired by the performing spaces of Vyrsodepseio as well as its multi-layered past functions as a tannery processing animal
skins. The concepts of factory/tannery and product/skin work in a two-fold level: on
both a literal (past) and on a metaphorical level (present), of a contemporary factory
processing human skin as well as elaborating civic consciousness and culture.
Performed at Vyrsodepseio (May-July 2013 & October-December 2013).
http://www.vyrsodepseio.com/en/odc/productions/46-skin-derma

:
& : &
:
: &
:
: , Davyd Cook,
: , , ,
, , , ,
, , Adrian Frieling,
:
:

Concept/Directing: Elli Papakonstantinou

Dramaturgy: Stathis Grafanakis
Original Music: Tilemachos Moussas
Scenography: Telis Karananos & Alexandra Siafkou
Movement: Valia Papachristou & Christina Sougioultzi
Ass. Directors: Thomas Diafas, Davydd Cook, Semeli Haviara
Performers: Adrian Frieling, Valia Papachristou, Lefteris Zimianitis, Aggelos Kalinoglou, Anastasia Katsinavaki, Thanos Kosmidis/Kosmas Hatzis, Nefeli Papaderou, Valia
Tzanetou, Stella Christodoulopoulou
Production: ODC Ensemble / Vyrsodepseio
Photos: Alex Kat
Video: Giannis Paraskevopoulos
Montage: Kimon Kostaras

.
Master .
ODC Ensemble .
.

Elli Papakonstantinou is a theatre director. She studied at the Greek National School
of Arts and MA at the University of London. She is the artistic director of the theatre
company OC Ensemble and Vyrsodepseio. She works with citizens and artists to
create politically engaged hybrid performances.
www.vyrsodepseio.com/en/odc/productions

.
. ODC
: META .

Lambros Pigounis is a composer and specializes in the field of contemporary classical

and electroacoustic composition. He has collaborated with international festivals. He
has participated with ODC company in the performances: META and Viciousness in
the kitchen of Sylvia Plath.
www.kinesphere.virb.com

Pauline Huguet
DV8, Protein
Dance (best UK contemporary dance company 2011), Punchdrunk Gideon
Reeling. ODC META.

Pauline Huguet has performed with various physical theatre companies based in
London, notably DV8, Protein Dance (best UK contemporary dance company 2011),
Gideon Reeling and Punchdrunk. She has participated with ODC company in the performance META.

2008 .

, , ,
. ODC .

Anastasia Katsinavaki has a diploma Classical Singing and Byzantine Music. Some of
the directors she has worked with as an actress is Stamatis Kraounakis, John Kakleas,
Elli Papakonstantinou, George Kimoulis. Has participated with ODC company in the
performanceSKIN.

& .
Warsaw Arts High School . 2009
ODC Ensemble ,
, Woyzeck Quartet, ,
II.

Aleksandra Siafkou is a set and costume designer. She graduated from the Art Direction Department of the Stavrakos School. Since 2009 she collaborated with ODC
Ensemble in: META, Viciousness in the kitchen of Sylvia Plath, Woyzeck Quartet,
SKIN Touching Bottom and Richard II.

& .
. 2009
ODC Ensemble , ,
Woyzeck Quartet, , II.

Aristotelis Karananos is a set designer. He graduated from the Department of Mathematics. Since 2009 he collaborated with ODC Ensemble in: META, Viciousness in the
kitchen of Sylvia Plath, Woyzeck Quartet, SKIN, Touching Bottom by D. Dimitriades
and Richard II by W. Shakespeare.

. Laban Center. 2010
ODC ,
: , , II.

Valia Papachristou has graduated from the National School of Dance and the Laban
Center. Since 2009 she is a member of ODC participating in: META, Viciousness in
the kitchen of Sylvia Plath, Woyzeck Quartet, SKIN Touching Bottom by D. Dimitriades and Richard II by W. Shakespeare.

. 2009
ODC Ensemble , ,
Woyzeck Quartet, , II.

Adrian Frieling has studied Applied Cultural Science fine arts at University of
Hildesheim, Germany. Since 2009 he is a member of the ODC company participating in: META, Viciousness in the kitchen of Sylvia Plath, Woyzeck Quartet, SKIN,
Touching Bottom and Richard II.

O Agostini Music School .

Berklee College of Music. quartet
2011 MOUSSAS FARM. ODC ENSEMBLE
2012.

After his studies at Agostini music school Tilemachos Moussas was offered a place
and a scholarship to Berklee Music School. In 2002 he formed his own jazz band
Tilemachos Moussas quartet. He is a member of ODC ENSEMBLE since 2012.
www.moussas.com

.
,
Wodzimierz Staniewski Rimini Protokoll
. ODC .

Dimitris Bampilis holds a BA in Theatre Studies and an MA in Theatre Directing. His

collaboration with directors like Vasilis Papavasileiou, Wlodimirz Staniewski and with
the documentary-theatre collective Rimini Protokoll (GER) in Berlin. He participated
with ODC Ensemble in META.

M
(1994-2000). Chelsea College
of Art and Design (2001-2004). To 2012 ICA
Hellas. .

Mary Zygouri has studied at the School of Fine Arts in Athens (1994-2000). Distinction at the Chelsea College of Art and Design in London (2001-2004). Employs various means always using performance as her fixed point of reference. She collaborated
with ODC Ensemble in META.

353


C Ensemble
,
19 . - ,
. , ,
.

Vyrsodepseio
Elli Papakonstantinou and her company ODC Ensemble are based at their own venue,
Vyrsodepseio (VYRSO) in a post-industrial area at the centre of Athens. Our vision is to
create avant-gardue art, synergies and co-operations, international networking and to
reactivate a neglected part of Athens.
Vyrsodepseio is a member of Trans Europe Halles.
www.vyrsodepseio.com/en/odc/about

OC Ensemble 2002
. , ,
.
2011, OC Ensemble ,
. OC Ensemble
.

Formed in 2002, ODC Ensemble is a registered non-profit company based in Athens.It is a politically oriented performance groupof outstanding performers, dancers,
musicians and visual artists from Greece and abroad.
Since March 2011, ODC Ensemble is based in its own venue, Vyrsodepseio Tannery/
Art Space. The company has been supported by the Greek Ministry of Culture.
www.odcensemble.wordpress.com

Photos: Alex Kat, / Elli Papakonstantinou

354

355

 / Elli Papakonstantinou
ODC Ensemble
/ Meta (After)

356

357

358

359

META (After)

(promenade)

. site-specific
/ .
( 2011 & -
2011) , , .

hybrid site-specific performance taking the form of a promenade in and out of an old
industrial building; the performance is a kind of mapping of what comes AFTER (META)
the crisis making use of a strong political and allegorical language. Post-Apocalyptic
aesthetics and the notion of catastrophe is explored in the shape of vertebrate sitespecific episodes with the voluntary participation of dozens of Athenian citizens.
Performed at Vyrsodepseio(July 2011 & September- December 2011) and International Festival of Iraq, city of Erbil, Iraq
http://www.vyrsodepseio.com/en/odc/productions/27-meta-after

-:
:
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Concept-Direction: Elli Papakonstantinou

Music-Multichannel Sound Installation: Lambros Pigounis
Choreography: Pauline Huguet
Artists: Mary Zygouri, Telis Karananos, Alexandra Siafkou
Dramaturgy: Dimitris Bampilis
Performers: Ioannis Voulgarakis, Valia Papachristou, Adrian Frieling, Electra Tsakalia,
Pauline Huguet, Larisa Vergou, Lambros Pigounis, Nikolas Stravopodis/ Lazaros Vartanis/ Bagelis Alexandris, Dimitris Kainos and many volunteers.
Music Improvisation: Lambros Pigounis (Violin, live electronics), Panos Tsekouras,
Tilemachos Moussas (Theremin), Anastasia Eden (Vocals).
Light Design: Adrian Frieling, Elli Papakonstantinou
Production: ODC Ensemble / Vyrsodepseio
Photographs: Alex Kat, Mary Zygouri
Video: Constantine Pasxalis
Montage: Kimon Kostaras

Photos: Alex Kat, / Mary Zygouri

360

361

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363

ROOTLESSROOT
Jozef Frucek, Linda Kapetanea
Dogman

364

365

Dogman
Im dogman
Im running man
running to my place
to preserve illusion
of knowing who I am
I can get mad
Cause no one understand
The way I really am
Nor that I would expect that anyway.
Concept and direction:
Rootlessroot Company, Jozef Frucek, Linda Kapetanea
Movement character created by Jan Lorys
Music: Vasilis Mantzoukis
Video: Grzegorz Korzeniowski
366

367

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369

Photos: Mike Rafail

370

371

ROOTLESSROOT
Jozef Frucek, Linda Kapetanea
Endless Composition

372

373

374

375

376

377

Endless Composition
Performance has no longer ability to pose any problems to existing art language, institutional and curatorial power. Whatever we do, no matter how conceptual or physical,
narrative or abstract provocative, out of context, out of order or in order with established cultural codes, all the forms will be assimilated and well integrated, with no tread
to anything and anyone. We easily consume and enjoy the food.
This proiect is about devouring until nothing remains, to take away value and most of
all meqning of our creative practice, to establish absolute absence. To elevate nothingness, to strip away and devour until nothing remains.
Endless Composition 30 Wooden Beams, 25x20x200cm each of them 50 to 70 Kg.
Process: Constructing, destructing, taking apart, moving, carrying and dismantling any
created frame, structure, composition. Moving endlessly and without break for 6 hours,
creating many (in 4 hours of display you can create about 450) diverse compositions.
Before you can evoluate, codifi, indentify the object composition, all is gone and alter
edito new composition. Endless composition is removing valuable, worth showing,
good and better.
Process of constant change of 70 kg wooden beams is endurance performence, rather then aesthetical choice or premeditated conceptual event. The weight and size of
wood defines the entire flow, sculptural event. (Wooden beams are dangerous, if they
fall on you, they can harm you, so you cant fall asleep. It is not about consciousness
and artistic meditation that keeps you being present it is danger of the material you
work with that hold you in situation you create). It is proper death of an artist. Exhausted
by endless creation and endless possibilities. All is possible and all good. Nothing is
possible and nothing good.
Scenographer: Rootlessroot Company, Jozef Frucek, Linda Kapetanea
Direction: Rootlessroot Company, Jozef Frucek, Linda Kapetanea
Costume designer: Linda Kapetanea
Video director: Mike Rafail
Performer: Josef Frucek
Music: Vassilis Mantzoukis

RootlessRoot founded by Jozef Frucek and Linda Kapetanea. RootlessRoot is a structure that supports our vision and creative ideas. We could describe it as a white cloud
always changing, disappearing, appearing and flowing, as it needs. It is a movement
driven, reflective platform that we have established in order to develop an artistic language that is accessible, primal, creative and playful. We are movement practitioners
that are fundamentally interested in human e/motion and cultural expression.
Its a structure through which we realize our practical philosophy in order to further
expand and discover our artistic capacities and desires to dive into the emotional
landscapes of the human being.
RootlessRoot is a meeting point, an intersection and a threshold where conflicting ideas transform into a journey of sculpturing events inserted with risk and unpredictability.
www.rootlessroot.com
Jozef Frucek is a founding member of RootlessRoot. He graduated from the Academy
of Music and Theater of Bratislava, completing his PhD Thesis in 2002. During 20022005 Frucek was a member of Wim Vandekeybus Ultima Vez, creating Blush (stage
and film versions) and, Sonic Boom. During 2005-2006 he collaborated with the Royal
Flemish Theater in Brussels (KVS) on his own work. In 2006 he and Linda Kapetanea
formed RootlessRoot as a vehicle for their own productions, research and teaching
(see below). Together with Kapetanea Frucek is developing the research program of
Fighting onkey - an applied methodology of martial arts in the education of dancers,
actors and movement practitioners. They regularly give workshops at international festivals and in vocational schools. From 2006 - 2011 both Frucek and Kapetanea were
on the teaching faculty at the Athens State School for Dance. Since 2012 Frucek is
member of the teaching personnel of the University Ludwik Solski State Drama School
of Krakow in Poland.
Linda Kapetanea has graduated from the State School of Dance in Athens, Greece.
Soon after she received State scholarship to continue her studies in New York. Where
she was collaborating with the choreographer Irene Hultman. As a performer Linda
has worked with various dance companies in Greece. Between 2002- 2006 she performed with Flemish Ultima Vez Company/ Wim Vandekeybus (Blush, Blush Movie,
Sonic Boom, Puur, Here After Movie). In 2006 she and Jozef Frucek formed RootlessRoot as a vehicle for their own productions, research and teaching.
Together are developing the research program of Fighting onkey - an applied methodology of martial arts in the education of dancers, actors and movement practitioners. They regularly give workshops at international festivals and in vocational schools.

Photos: Mike Rafail

378

379

 / Annetta Spanoudaki
Corpus#

380

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:
( , , , )

In the mind of Lafcadio Hearn

The spatiality of the subconscious

.

. , ,
( ) .

Ill speak more as an observer.

I was always interested in the space and less in the human figure: the space as
meaning, the space as dimensions, the space as reality (if it exists) and finally the
space as event.

;
. ,
, .

What is space? Interestingly enough, this question fascinates both a mathematician

and a scientist of metaphysics. It is equally intriguing that, at the center of every sensible space, a theory of space already exists.

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Lefebvre, , ,
.
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,
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(, , ): ,
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. .

And this is the point of my own departure. Searching for answers, I discovered the
following.
First Hypothesis: spatiality as pure form (Idea in the Platonic sense), which lacks substance. It connects the social with the spiritual, the theoretical with the practical, the
conceptual with the sensible. It is defined by a code that branches out from a text,
which constitutes a message or a position.
Second Hypothesis: spatiality as social space. It is the product of a society. Tangible,
it is whatever we experience in our everyday life. As Lefebvre mentions, it includes the
village and the city as well as urbanism, the inhabiting, and the scope for action within
it, in the sense of use of time. In this case it composes a scholastic hierarchy of places,
moments, activities and people. At the same time, it includes rhetoric and consumption. In our post-industrial times, it displaces the work and its space, from value of use
to a product with exchange value, usually without space.
Third Hypothesis (and the most interesting for me): space, not as a point of departure,
neither as a point of arrival, but as something in between namely, a medium and an
instrument, a tool. It is more of an environment and a mediation. I will name it spaceas-event.

,
, .
,
. .
.

In this particular hypothesis, every space is transformed into a political instrument with
purpose, although this purpose is usually hidden. Its representation serves a strategy,
and it is both abstract and concrete. It appears as a narrative and works as mediation.
It is a space clearly ideological and political.

, ,
, , , ,
,
, , . :
, .

Starting, therefore, from the thesis that a space is never pure nor neutral in terms of
its spatiality, since it is affected and thus defined by the person who experiences it, I
wonder in what ways a place, a static area of limits, can be transformed into a spaceas-event. In other words: how can it be constantly transformed depending on the
angle, namely how can it be totally determined by the look.

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.

I believe that what is needed here is both an open space and a movement.

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.

Open (literally and figuratively) and, as much as possible, physical in form as well as a
concept. I reject the structured or made-up space, a condition that totally manipulates
the look. In addition, the possibility of movement is required, which will convert the
space into a place of production of relations (social or otherwise), and will transform its
condition from static to dynamic. It will allow the anticipation and the meeting. Its trait
is the ephemeral. It is a space where connection and the relevance of its separated
parts takes place through mediations, and demands expansion. Its main element is
the appropriation.

, ,
,
, .

Therefore, it is a space that allows the game from the part of the individual, and thus
the private, and at the same time it displays a ritual in terms of social, and therefore
public nature.

, ,
, .
.
- , ,
,
.

The simultaneous existence and connection of both the private and the public makes
this space interesting and challenging, since it requires the involvement of all mediators, viewers, initiated ones and passersby. It allows and accepts the random and assimilates it organically in the process of its formation.
The space-as-event, therefore, is the space that doesnt just allow praxis as action, but
also poetics as the creation of works and not products, as an opening to the human
imaginary sphere.

Annetta Spanoudaki

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. ,
, ,
.
. ,

.

Colorful woolen yarns are rolled up, creating a plexus-web, around trees. In the center
of the space which these yarns are emphasizing, on a chair sits a woman who knits
as if she continues without end the work that gave birth to this work. Random and unsuspected passengers gather round the cocoon and they observe her. She continues
quietly without watching and without being distracted.

/
.

,

. .

.

. ,

, , .
,
.
,
( ),
.

The use of the open/public space has two categories of restrictions, the one that arise
from the legislative boundary of which describes the atomic freedom and activity in the
frame of the sociological co-existence and those who reflect the collective consciousness and acceptance of the reason for this existence and its activities. The second
category has not been written and is more fluid; it changes accordingly, the historic
period and the cultural environment in which this collective perspective of the open/
public space is established.
Often the collective perception embodies common fraudulent behaviors as part of
regularity. In the parks, the first category of restrictions by law forbids the public act
of physical needs, the lit of a fire, nudity etc. The second category has accepted the
circulation and defecation of dogs without leash, the selling of illegal substances etc.
Other habits which are included in this collective perception of the space in previous
eras, such as the use of parks for public speeches (see Zappeion), have lost their intensity and are not registered as regular.

, ,
,
.
,
.
:

The performance, as a form of art in the open/public space, works natural as fraudulent towards both categories of restrictions, inviting us to question or renegotiate their
limits.
By the multiplicity of the open/public space, Mrs Spanoudaki has chosen public parks
as an area of presenting a performance she designed, and in this she worked on the
following.

()



, ,
/

The shift of a private activity (knitting) in the orb of its public exposition.
The occupation of a limited space and its use as inaccessible during the performance.
The denial of interaction, except of the view, of this specific performance with the
passengers/users of that space.

: ,
.
/
.

In the mimic elements of the performance she borrowed a central metaphor which
stems from the nature of this particular space: the one of the web or to be more precise the one of the spider web. Her placement with the chair on the center of this web
and the never ending continuance of its creating with the knitting made this metaphor
more intense.

; . ,
, ,
(, , .),
,
.

; -, ,
: ,

, ,
,
.

What this colorful web framed in this trees triangle? The look of the spectator. At the
same time, the limitation of this metaphor with an autistic dedication, and its nonextensive to the rest of the parameters (cloths, ingredients, color etc.) that remained
human like, provoked the reflexes of the spectators who were connected with the
delinquency of the performative event.
Not only for the first category of restrictions - which law forbids the knitting in a park?
- as for the second and more essential, which is more fluent and negotiable category:
trapping the eye of the spectators, the human-spider of Mrs Spanoudaki sets questions as for the nature of the specific space, its public or private nature, the acceptable
or self-isolation in it, at the same time the inevitable in a visual level enjoyment that
offers in every spectator.

K. Alexis Alatsis
Director
385


;
, corpus#
-performance
.
.

How much time takes for someone to usurp the space around and notice it without
being characterized as an innocent tourist bystander?
Corpus# by Annetta Spanoudaki consists of a series of establishments performance
in various urban green spaces of the city of Athens. This performance is repeated at
different seasons of the year and in different parts of the urban fabric.

:
:
:
video:
Performer:

Director: Annetta Spanoudaki

Scenographer: Annetta Spanoudaki
Costume designer: Annetta Spanoudaki
Video director: Annetta Spanoudaki
Perfomer: Annetta Spanoudaki

Fb 4 Visuelle Kommunikation.
.
three Points. .

Annetta Spanoudaki was born in Berlin. n Germany she attended classes at the Academy of Fin Arts HdK, department Fb4 Visuelle Kommunikation. Degree in painting
from the school of Fine Arts of the Aristotle University of Thessaloniki, Greece. She is
a founding member of the visual artists group three points. She lives and works in
Athens.

: 1:1250 (zeon, 2011)*, orgasmus (Bartesera gallery, , 2006)* corpus# performance

( 2009-2010)*. performance
court ( , 2009) rt Athina (rtists
ooks 2010).

SOLO EXHIBITIONS: * Public space 1:1250, ZEON Athens 2011 * corpus# - Athens
2009- 2010 * orgasmus, bartesera gallery Athens 2006 * court performance at the
Asian Museum of Corfu, Greece 2010 and she participated at the Art-Athina 2010.

(): -
2014* Terra Furba- 2014* Home sweet home-, 2013*
365 artdays artwall-ArtWall, 2013* Reclaiming the past Regaining the
real-About gallery, 2012* Boiling Point-Knstlerhaus, 2012* lost in
Athens-camp, 2012* Walls unbounded bounderies Artwall project space,
A 2012 * container-container art active space, / 2010* reflectionsTaf, 2010* Cheap Art-, , ArtmArt ,
2010-2011* T -E 2010*
-Bartesera gallery 2007* --, ,
2003-2004* Symposio 2001* Meduse , 1999* A,
1997 .
, set designer
(): -Langhoff, 1996- , L.
Massine, , 1997-, . ,
1998- , . , 2000-, .
, 2003- , . ,
2004 .

SELECTED GROUP EXHIBITIONS: *Mikrokosmos Hellenic-French Foundation 2014*

Terra Furba-Athens 2014* 365 Artdays Artwalls, Artwall gallery- Athens 2013* Boiling
Point K/haus galerie-Wien 2012* 2012 Reclaiming the past,regaining the Real, About
gellery-Athens 2012* Walls unbounded bounderies, the ArtWall project space-Athens
2012* lost in Athens, camp-Athens 2012* greek artists books Art-Athina 2010* reflections, Taf Foundation-Athens 2010* ArtmArt, Knstlerhaus Vienna 2010* container, container art activities space-Thessaloniki 2010* 2015-08 Cheapart-Athens,
Vienna, Amsterdam* room in the center of the city, bartesera gallery-Athens 2007*
30 versions, a rolling visual project-Athens, Chania, Hydra 2004-2003* Meduse, Bezesteni monument-Thessaloniki 1999* 1997 Storehouse A Thessaloniki European
Cultural Capital.
SELECTED COLLABORATIONS: *2004 School for women, Moliere-New Scene Athens* 2004 So nice, J. Fosse-Theater Amore* 2003 Fur M. Krouz-National Theater
of Athens* 2000 Bad, R. Straus-National Opera, Athens* 1999 The cursed snake, M.
Hazidakis-National Opera, Athens* 1996 Bakhes, Euripides-National Theater of Northern Greece, Thessaloniki.

Photos: / Elias Vakis

386

387

388

389

390

391

VASISTAS theatre group

/ Argyro Chioti
Domino

392

393

394

395

396

Coming out

domino MIRfestival,
, Rabbithole, .

DOMINO presented in its first version under the MIR festival, in a closed theater, the
Rabbithole, in the centre of Athens.

.
.
, ,
.
, , ,
. :
. ,
, , .
.

The format was specific enough. Since then, we had based our entire dramaturgy on
the Slaughter games by Ionesco. We had set up on the stage like a network of a city, a
meeting place for many people, through which arose different and unconnected small
actions and screenshots. Then, we were talking about the loss, the fear of falling, the
relationship with the past and memory. We wrote about the play: The crowd gathered...
pieces of a forgotten world spring up as if from a dream .... But then, this network, the
circuit was closed on itself. That network was essentially the reason for obtaining the
intermediate snapshots.

,

.
,
,
, ,

.

We had a performance that had been set up indoors as a simple narration where a
closed system narrated itself to a public - with the conventional sense of the word.
When later, we worked on the performance for the final form, at the roof of the French
Institute in Athens, the mere fact that we came to this terrace in the city center, an
open space and non-theatrical, gave a new direction to the core of the dramaturgy of
the performance with a determinant way.

, ,
,
, ,
. .
,
.

.
. . , ,
.

In this terrace, whatever we did, was always and inevitably in relation with the opposite
balconies and illegal spectators, with the city beneath and beyond the sea in relation to
the hum of the city, cars or sirens. And in relation ,always , to the risk of height.
The height matters because it was not a performance which takes place in the center
of the city thus the boundaries between the city and performance are lost. The performance was over the city and with purity started a dialogue with it . The city was not the
environment in which the performance was played. It was a participant. Threatening,
rugged, charming and full of energy.

,
. ,
, , ,
.
.

The new condition thus changed the whole dynamic, turned over the focus of the
play. The basic circuit ,the working network of people on stage, opened, it became
the central axis of action and communication, and not the individual snapshots. The
crowd, stopped being actors on stage ready for action and became trapped in a viewing crowd.

, ,
. ,
.
:
.

When the show moved out in the heart of the urban fabric, it transformed. By energetic
narrator it became a passive receiver, an object for watching .
They set for us these two trends: the entrapment and the viewing crowd.

, ,
, ,
, , ,
.

These data led to the initiation of the flock, of the herd, which we developed in a certain
movement in space, the formation of a crowd that shows every day at the same time
the numbers of even the sartorial uniformity.

, ,


. ,

.
.

We realized that with this opening on the terrace, the fact inevitably exceeds the limits
of the stage time and space, and automatically becomes a link to this real-time of the
city and everyday life. It is no longer just a stand-alone, fixed universe and becomes a
concentrated and focused time on a dialogue with an existing reality. As if the stage
space and time invade in a way in real space and time and thus it is dilated or upset .

, . ,
, ,
, : domino,
- ,
.
, , ,
.

These elements have essentially led the performance to what it is today, regardless
to what area is played anymore. That is, the system, the circuit remains open, and we
either play at a closed theater or at a summer theater or other place, we can always say:
In DOMINO, we are witnessing a group of people trapped-like migratory birds- seeking for food, air and way to be in a world that is threatened with collapse. People
mute that redefine the function and try to stay upright, who dance and sing forgotten,
somewhere in time.

,
. , ,
, ,
, , .
.

Now we seek entrapment in any room, as well as the risk of a possible evacuation of
the crowd. And the actors wherever they are now, exercise this relationship with what
surrounds them, the boundaries that define them, and beyond these limits, outside the
walls, closer and further away. In the city and its present.

Argiro Chioti

397

398

Domino
Vasistas

Domino
By Vasistas

, ;
.
, .
. .
, H.G. Wells ,
:
.

And here we are, what does remain?

Perhaps the only thing left is to talk. Maybe we can share our visions, however dark they
are. We may not find the words and we may need to borrow them. Or maybe we do
not need any words at all. Or perhaps we can imagine, like HG Wells mentions in The
Time Machine,what would be left of human presence on the planet thousands of years
later: a distant memory of what once was love.

Vasistas, , .
,
. , , ,
,
.

. , ,
Vasistas :
. , ,
,
-
-,
.

The theater of Vasistas, like a magic mirror is not in favor of anyone. From his reflection , the spectator will always occupy his position on the game, even if he doesnt
like this picture he sees. Relationships, structures, feelings, all stripped, all x-rayed and
their skeleton mercilessly revealed at each look. Everyone has their place at the game.
everyone finds a role either as a perpetrator or as a victim. everyone ruminates the
shred of power assigned to them and spits the pips. However, through the rawness and
revelation, what Vasistas search for, is a moment of truth: a small glimpse of humanity
that will enlighten everyones universe. And here, at this point, the groups work meets
the literature of imaginary with the dystopian, inhuman visions those which with grief
and terror we see verified day by day-, but with this little flame that always in the end
allows to emerge this little something that remains of humanity.

domino ,


,


.

The performance domino is a song about the loss and the fall , for a chain reaction,
known as the domino effect. for the moment of the ultimate fear in front of the fall.
for the historic reality of a collapsing era, the frustration, and the hope that from the
ashes something bright will emerge. for the dreams that illuminate our lives and the
dreams lost in the universe. for the political consciousness and human values. for the
illusion of salvation. for our need to believe in something.

(1971) .
,

:
. , , , , ,
, ,
. ,

,
. , Metropolis, , , ,
,
,
.

Slaughter Games (1971) by Eugene Ionesco have received many interpretations. With
the awareness of arbitrariness that lies in any attempt of interpretation, our own sees
in this work a treatise on the collapse of each value on which one could grab when facing the ultimate fear; that of death. Human relationships, parents, friends, role models,
idols, religious and political leaders, they all promise salvation, and they all slumped
dead along with any value. The structure and sequence of the chain fall is reproduced
as such, but the reason has been removed from the stage action and only in some
scenes has it been replaced by the lyrics of a song, most of the times from the interwar period. The small society of the play, as if it was taken out of Metropolis, toggles
the properties of mass, of assembly, of the community, to end up letting the suspicion
that if even one of the whole becomes conscious and acquires identity, then perhaps
this little flame of hope will shine.

.
...., domino.
, ,
, ,
. ,
,
.

The only part that a quote from the work of Ionesco is heard, is the final scene with the
dialogue of an elderly couple. In this, appears the enigmatic phrase in a few minutes...
key for the play domino. And it is true that when everything collapses, then one gains
consciousness of the immensity of time, the inexorable identity of eternity that will
swallow everything in its path. And with the uncertainty of illusion, the enchantment
and the haze of a vision, the memory of love hovers in the air as the only remaining.

, MIRfestival
- domino
2013

Christiana Galanopoulou
Art Historian, artistic director of MIR festival
Co-dramatist of the play domino September 2013

399

400

To Domino Vasistas

Vasistas Domino and the open space

Domino

Domino

Domino .
.

.
.

, beach volley,

, ,
.
domino

.
, domino
.
,
. , ,
.

.

, ,
, ,
.
. ,
: ,
.
,
,
.
, , . , ,
, , , ,
, ,
, ,
in situ
.
,
.
.

The preparation of the domino was in enclosed spaces rehearsals. The first presentation was also made in a small regular theater. But Argiro Chiotis intention was to use
an open space for the integrated form of the work. Our discussions and searches for
some time revolved around Olympic abandoned properties. These outdoor courses
completely unknown sport or sports for which one would never use a stadium, such
as beach volley, that when someone approaches in their current deposed form , feels
the decline and the intellectual, spiritual and physical entrapment, which the festive
atmosphere of the Games may not allow to realize. In these desolate stadiums, we
dreamed the inmate population of domino lit with stadium lights communicating
with the audience through loudspeakers in the lines marked an entirely irrelevant to the
essence of the game project. Anyway the domino is a performance in which a game
is played with rules that are constantly changing. We imagined the team growing with
more volunteers , made the spectacle of the chain fall, shocking in the huge space of
the pitch. We imagined dust, wear, inherent sense of frustration in these areas to become part of the play. Even the first contacts with the French Institute of Athens were
centered at the adjacent open tennis court of the French Archaeological School. Technical difficulties resulted in the change of the trading and use of the terrace overlooking Athens, including the Acropolis, Lycabettus, Filopappos, all the known monuments
and the sea in the distance. At first some of us feared that so much beauty of the
view will devour the play canceling the dominant feeling. Yet the opposite happened:
while we did not expect it, the vastness of the view made the sense of confinement
even tougher. The unpredictable communication with local residents, inmates in one
of their own system rails on opposite balconies, further contributed to the creation
of a strange and uncanny atmosphere. The open space served as another player in
our game, unpredictable, strong and charming. The dust, the smog, the sky, the wear,
the tensions and discharges, the accumulation of history, the warmth of cement after
a day of sunshine, the chill of the evening air, the clock of the neighboring church,
even the altitude, began reactions on the dramaturgy at the last in situ rehearsals that
shaped the final material of the play. Soon we discovered that the open space was not
just an open space, but a public one, where every gesture has a political weight. A place
where people with background and the experience of a common political and social
reality meet and exchange .

.
DOMINO ,
,
.
.

A mute choreography for the fragile present and the uncertain future. With the focus
always remaining on the survivors, the group explores the domino effect of an epidemic declination that leads to emergency situations within a community. The dramaturgy is based on E. Ionesco Killing games.

,
domino
. ,
,
.

,
, , ,
, ,
.
domino ,


,
,
.

.
,
domino ,
,
,
.

And while those, so far, are somehow predictable, the interesting part of the history of
domino and the public space identified with the return of the play to a conventional
theater space. The play, as if it had put aside the material of the open space, instead
of being adapted to the closed theater space acted as a catalyst to it. Without the
slightest conversion and even the prior conscious choice of such a deal of space, the
play conveyed the street light like a space capsule, the dust of the pitch ,the open view
up to the deadly beauty of a city where, amid the crisis, the rates felt incarcerated
prisoners of fall. and perhaps the political charge of this contradiction. The domino is
a play that involves the political climate of the time, it is a performance equivalent to
a dystopian science fiction literary work that still bears traces of the political climate in
which it was created, the essence of the political public space to which first addressed
articulating reason, but the actual geographical area in which it was created . And as
such, it represented the Greek scene of contemporary performing arts in a Europe that
was just beginning to discover that the Greek reality mattered as a picture of the future. Even if things change and the risk of falling is averted this time, the domino will
remain a critical attitude towards fear, the fall and the essence of things, a whisper on
what remains when everything will be trivialized and disappear, giving political dimension in this distant memory of what once was love.

, MIRfestival
- domino
2015

Christiana Galanopoulou
Art Historian, artistic director of MIR festival
Co-dramatist of the play domino
February 2015

,
( ).

When youre up to your neck with shit, then there is nothing left to do but to sing.
(S. Beckett)
Link: http://www.vas.eu.com/domino-video
Production: VASISTAS | Coproduction: OPEN LATITUDES (3) European project |
KOMMNACT Marseille | Thtre des Bernardines | MIRfestival | support: French Institute in Greece | OZON RAW Magazine

:
:
:
video: vasistas
Performers: Ariane Labed, , , ,
,
: , - , ,
, , , ,
: Vasistas,
: , Marc Vilarem

Scenographer: Eva Manidaki

Director: Argyro Chioti
Costume designer: Pavlos Thanopoulos
Video director: VASISTAS theatre group
Performers: Ariane Labed, Efthimis Theou, Georgina Xriskioti, Eleni Vergeti,
Adonis Adonopoulos, Eudoxia Androulidaki, Nikoleta Xenariou, Aspasia-Maria
Alexiou, Babis Galiatsatos, Matina Pergioudaki, Rita Litou, Vicky Maragaki,
Natasa Papandreou, Natasa Zagli
Dramaturge: Vasistas, Christiana Galanopoulou
Lights: Tasos Palaiorouta, Marc Vilarem

Vasistas .

. E
.

Vasistas theatre group is based in Athens and works between Greece and France.
Creating theatrical performances that encounter contemporary life, Vasistas aim to
research and experiment on stages action. The group orchestrates moving images in
detail, creating the rhythm of an experience, like music choreography in present time.
www.vas.eu.com

Performance , 09.2013

Performance at the flat roof of the French Institute of Athens, 09.2013 Dafni Koutra
401

 / Giorgos Zamboulakis
Experimental Theatre of Thrace
Tea time Europe

402

403

404

405

406

Project description

action-performance Tea time Europe 29 2014

.
.
, ,

, , , .
action performance Tea time Europe

,
.

The action-performance Tea time Europe took place on July 29, 2014 in the borders
between Greece and Turkey, at the Evros delta. The river Evros is one of the main points
of entry of people who seek asylum in Europe. Everyday, hundreds of desperate people
are arrested, imprisoned, deported or killed in their effort to escape the madness of
hunger, poverty, lack of freedom, violence and war.
The Experimental Theatre of Thrace with the action-performance Tea time Europe
participates in the dialogue of one of the biggest problems of contemporary Europe,
fostering the acceptance of the Other as a high human value and as part of our culture.

Characteristics of the Project

,
, ,
:
-
,
- ,
, .
,
,
.
,
, . -
,
Ravel,
.
-
, ,
,
, ,

.

In a seemingly tranquil water scenery, where you can not discern the borders, at the
symbolic time of sunset, a paradoxical image takes shape in accordance with the
strangeness of the times: it combines the ritual of tea of northern European countries
- a time when people have returned from work and are enjoying their tea, listening to
the news of the day - with the traditional Greek way of creating circular rhythms, music
and storytelling, welcome or farewell.
A group of people in a circle, which refers back to Member States of the European
Union, drinks tea in the fluidity of the water and creates music using cups as musical instruments. It starts with the production of improvisation motifs that evolve in
known traditional musical motifs; the link between them is the motif of the human
heart. They slowly transform into classical music, culminating in Ravels recognizable
motif, as a reference in the European culture that gave birth to works that honor human nature.
The work ends with the symbol of the woman - mother who agonizes over her child,
singing the Greek traditional song for the immigrant Tzivaeri, inside a surrealistic sea of
thoughts and anxiety, full of corpses of men, women and children, as a reference and
honor to all those people who lose their lives trying to follow their dream of a better life
in the civilized Europe.

Themes

700
70 ,
12 , 3 ...
K , ,
,
.
action - performance Tea time Europe

,

,
.
action - performance Tea time Europe,
,
.

: , , ,
, ,
.

We daily hear in the news information such as 700 people lost their lives off the coast
of Lampedusa including 70 children, or 12 corpses were collected off the coast of
Kos, including 3 children... And the way in which the information is given, amongst
other information, removes the real synesthesia of the news, turning the citizen into a
passive receiver.
The action - performance with the ironic title Tea time Europe has as main theme the
way in which modern man perceives and processes the information through the media, and how he is indifferent to the actual value of the news when persuaded to believe
that it does not concern him directly, while the news on the value of acceptance of the
Other should be innate to every human being and every culture.
With the action-performance Tea time Europe, the Experimental Theatre of Thrace
opened, through art, a dialogue with the local community, with the aim to remind that
the acceptance of the foreigner is part of our culture. The project was created in collaboration with the citizens of Alexandroupolis, and gathered voluntarily all the creative
people of the city: actors, musicians, photographers, painters, poets, citizens who all
together wished to take a stand, through art, on a subject that has to do with the humanity of us all.

Giorgos Zamboulakis

407

408

Tea time Europe

Tea time Europe

Tea time Europe

, ,
- ,
, ()
.

Tea time Europe is a moving reminder of the thousands of undocumented immigrants

who lose their lives, most of them at sea, in their quest for a better life in Europe -and
the often less than sympathetic reaction to the tragedy in the advanced democracies.

-
, ,
, , , ,
[], , [ ].

We are reminded of Thraces proximity to Turkey -and the heavy flow of immigrants,
virtually all of them undocumented, many of them [youngsters] children, [and even
babies] through Thrace en route to other European destinations.

,
,
.

The immigrants are seeking a better life than the poverty, neglect, violence and abuse
they often experience in their native countries.

, ,
,
,
;

And what of the vast numbers of people, particularly Syrians and Iraqis, who have been
forced from their homes as refugees, now living in tents and dependent on charity for
food, water, and other necessities?

.
:
-, , -
/; :
. ,
.

Opposite the humanitarian side are the political and economic realities. Chief among
the political realities is the issue of acculturation: is the immigrant disposed to adopt
the values and institutions -and of course learn the language- of his/her host country.
This raises the issue of multiculturalism: the idea that all cultures are equally valid.
Recent events in Paris, Copenhagen, and Brussels suggest that multiculturalism is
seriously flawed.

O
.
, ,
-
, .

The economic realities surround the lack of preparation of the large majority of undocumented immigrants. It leaves them vulnerable to work in prostitution, drugs, and
petty crime -or to lowest paying jobs in agriculture or services, where they will compete
with documented immigrants and poor citizens.

, ,
, ,
.

And while the vast majorities are likely to fall short of their aspirations, they will almost
surely do better than they would have in their native country.

, ,

.

On the other hand, particularly in the case of the refugees, a sense of human solidarity
should guide the actions of governments and individuals.

Tea time Europe.

There are no simple answers to the questions posed by Tea time Europe.

,

Tea time Europe,
-
-
, ,
.

The thousands of emigrants who have lost their lives in overcrowded, unsafe vessels
are the tragic object of the Experimental Theater of Thraces production of Tea time
Europe, which trenchantly underscores the less than sympathetic reaction of many
Europeans -and indeed many people in affluent countries around the world- to the
wholesale loss of life, and more broadly to the plight of emigrants from Third World
countries.

[]
, Tea time Europe.

The feelings guided by a sense of human solidarity are evoked by the moving [Greek]
folk song of a motherof a young emigrant, sung in Greek at the end of Tea time Europe.

Lawrence E. Harrison

Lawrence E. Harrison

Lawrence E. Harrison Jews, Confucians

and Protestants: Cultural Capital and the End of Multiculturalism (,
:
). , Samuel Huntington,
Culture Matters.

Lawrence E. Harrison is the author, most recently, of Jews, Confucians, and Protestants: Cultural Capital and the End of Multiculturalism. He was the co-editor, with
Samuel Huntington, of Culture Matters.

Lawrence E. Harrison
Fletcher Tufts 2002
2012. Underdevelopment is a State of Mind, Who
Pros-pers?, The Pan-American Dream, The Central Liberal Truth Jews,
Confu-cians and Protestants: Cultural Capital and the End of Multiculturalism.
, Samuel Huntington,
Culture Matters. 1965 1981,
(USAID) ,
, , .
1981-2001, , Harrison Wheatherhead
Harvard. , , New York
Times, Washington Post, Wall Street Journal, Boston Globe,
Atlantic Monthly, For-eign Policy The National Interest.

Lawrence E. Harrison [is] was Senior Research Fellow and Adjunct Lecturer at the
Fletcher School at Tufts University from 2002 to 2012. He is the author of Underdevelopment is a State of Mind, Who Prospers?, [and] The Pan-American Dream,
The Central Liberal Truth, and Jews, Confucians, and Protestants; and co-editor,
with Samuel Huntington, of Culture Matters. Between 1965 and 1981, he directed
USAID missions in the Dominican Republic, Costa Rica, Guatemala, Haiti, and Nicaragua. Harrison was associated with Harvard Universitys Weatherhead Center for
International Affairs for eight years during the period 1981-2001. His articles have
appeared in The New York Times, Washington Post, Wall Street Journal, Boston Globe,
Atlantic Monthly, Foreign Policy, and The National Interest, among other publications.

409

410

Tea time Europe 2014

softly I tread on earth

With the occasion of the play Tea time Europe 2014

M , , , ,

. ;
: ,
, , , , ,

.

Sunk, inside the sea, a group of people, formally dressed, sitting on chairs drinking
tea in the abashment of a silence ruptured by the sound made by a teaspoon. Is it a
funeral?
Soon we will learn why: because inside the circle of waiting, from inside the water,
cadavers appear, still sunk in the water, young, younger, very young, that float under
the sound of an incongruous orchestra playing percussion music with the saucers and
cups of the funeral coffee served for consolation.

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The landscape is unconventional. A group of people in circle, in a silent waiting that is

gradually disrupted by the ceramic sound of a tea service and by the metal groan of
iron teaspoons. Various robust bourgeois, all in productive age, wearing strict outfits,
those reminding of social events such as receptions, conferences, funerals -places
where, silently, and wearing our best clothes, we drink afternoon beverages. Or they
remind of an orchestra during its break, waiting for some next recreational gala.

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But the circle, due to the sounds that rapidly mesh in order to show the frequency
and the habit of such an afternoon tea ritual in various occasions, has something
paradoxical about it, it is not set in the right frame. The chairs are like the ones found
in Greek coffee houses, the rhythm of the music interchanges between the well-tuned
western orchestra and the circle of the Greek traditional musical improvisation, peoples faces are sunken, diverse, without the homogeneity of the sleeks European bourgeois, the gazes become deeper and deeper, sink in silence, in waiting.

,
, ,
.

Because, during all this time, the company of people is, indeed, partially sunk, just at a
few meters distance from the shore and in the sea, where you can still tread and where
a chair can be propped up.

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;
, ,
; ;

But why is that silent procession there? What kind of time break is this, that, little by
little, the attendants tune in the rhythm of the heart, in an improvised percussion musical orchestra? Is it the orchestra of the time when we enjoy our tea in our beautiful
beach, do we find ourselves in two simultaneous places and times, inside a peculiar
mixture of events? Or is this a bourgeois extravaganza?

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,
,
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.
;
; ;

In the water, there, in the shallows, next to the tuxedo trousers and the transparent
fabrics of the evening gowns, the inside of the circle gradually fills with other persons
as well, who are even more silent, with everyday clothes, without cups of tea in their
hands and without a chair to rest. But without a face as well, and without an identity,
sunk bodies, prostrate in the water or facing up, looking, with a petrified gaze, at the
setting sky or at the warped corpses poking the luggage and tangling up in the feet of
the attendants at this awkward circumstance. But does anyone pay attention to them?
Does anyone pay attention to this devastating change in the landscape? To the fury of
the young people coming?

,
.
, ,
.
,
Ravel .
.

The attendants do not seem to react, as if the sea just brought by various waste. It
seems as if this cosmogonic arrival cannot be de-codified, it co-exists without shocking anyone; the right of the energetic citizen to react turns into a sensitive passive acceptance/receipt of information. And in this way somehow the orchestra completes
its work, which ends up into a memory of the high-culture masterpiece-maker Ravel,
and departs. The two worlds co-exist but do not interact, nevertheless.

, ,
, . ,
.

And now, in the interchange of images and time, it is the turn of the soprano with a
black impressive dress, but in a mournful atmosphere. She will sing solo, in the water.
In one image, the floating bodies with the sea lapping in the rhythm of the unending

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and unending life. In the other, the image of maternal perseverance, and her song.
This time, it is not a western aria, but a traditional song. The song Tzivaeri, that comes
from Smyrna, and speaks of emigration, a song that, eventually, we all have hummed
in Greece, a song whose title means treasure, something valuable that is lost: the
child, the homeland, hope itself. A music and a dominant woman figure, a succession
of bodies floating in the oblivion of the liquid element, create a clear association with
the lost homelands, there where the gate of the east, the sea of the border of Evros,
always fills with lost chances, with corpses of people who did not make it in time to
live the vision (sic) of the west, with the anticipation of the good news by those who
remain and keep waiting in vain.

; ,
; ;
; ;

We wonder, shall this crowd of well-dressed bourgeois return? Where did they go when
they disappeared from the image? Who will applaud the singer? Is anybody watching
her? Or will the lament (itself) bear the burden of our sins?

.
,
, ,
, ,
,
. ,
- ,
-
,
,
, .

These questions will not be answered by Giorgos Zamboulakis play. They will remain
in the spectators soul, like the sound of lapping water, like an image staining another
image, like an act overlaying another act, like the meretricious world of prosperity, of
the pretentiously intellectual life, the dream of the European bourgeois, which will be
compassed, all the more frequently, by the truth of his ethical borders.
And through the images about reality -embodied by the citizens of Alexandroupoli,
fringe city of the borders of Evros-, through the illusions of security and affluence of the
West, through the ingrained with such moisture, due to their staleness- false images
of a blissful life, it will be asked of us to step out of stagnant habits and softly, softly
tread our feet on earth.

Georgina Kakoudaki
Theatrologist

.
,
,
,
.
, .

Georgina Kakoudaki is a theatrologist and director. She has taught and directed theatre with an emphasis on special population groups, like theatre for adolescents, theatre
as a pedagogic tool in education and as a process of emancipation and awakening in
groups of patients, institutionalized citizens and professionals of the legal and social
system. As a child, she grew up in various cities of the Greek borders, which she visits
frequently.

411

Director: Giorgos Zamboulakis

Scenographer: Giorgos Zamboulakis
Video director: Giorgos Zamboulakis
Documentation: Theofilos Gerondopoulos
Performers: Kaiti Makri, Eirini Samdanidou, Giorgos Deligiorgakis, Periklis Toutouktsis,
Foteini Markidou, Kiki Tsakaldimi, Simos Grammenos, Ion Chatzoudis, Konstantinos
Papagiannis, Fotis Koftsitsidis, Giorgos Tsakaldimis, Alexandra Stergianni, Babis Papatzelakis, Fotis Lalidis, Marinos Avanganidis
Photos, editing: Theofilos Gerondopoulos, Kostis Koumaridis

Giorgos Zamboulakis
Theatre Director-Drama professor
Born in Kln, Germany in 1966, resident in Athens, Greece.
EDUCATION
Stage direction/Acting at the Athens Film and Theater School, E. Hadjikou
Stage Direction Dramatiska Institute Stockholm, Akt-Zent, Berlin.
PROFESSIONAL PRACTICE
Stage director:
Desert by Giorgos Zamboulakis, Greek National Theatre, Athens, 1998.
Aquarians by Lars Kleberg, Athena Theatre, Athens, 1998.
Roberto Zucco by Bernard Marie Koltes, I.T.I, Athens, 1999.
The Selfish Giant, opera by Nikos Xanthoulis based upon the novel by Oscar Wilde,
Kalamata City Theatre, 1999.
The Broken Doll opera by Nikos Tsotras based upon the play by Alfonso Sastre, Kalamata City Theatre, 2000.
Chorus fragments from Persians by Aeschylus, Handa Noh Theatre, London, 2002.
Hymn for the last Athlete, Olympic program, 2004.
Looking for Kostjia AKT-ZENT Berlin 2005.
The night before the forests B.M. Koltes Stockholm, Athens, 2005.
By The bog of cats Marina Carr, National Theater of Iceland, 2005.
Bacchae by Euripides, National Theatre of Iceland, 2006.
Trojan Womens by Euripides, (in progress) El Warsha Group Cairo, 2008.
Herkules 2 or Hydra Heiner Muller, National Theater Greece, 2009.
Trojan Womens by Euripides, Experimental Theater of Thrace, 2009.
Dareios (material in progress), Centre for Ancient Drama, Eleusina, 2009.
Dybbuk Bruce Myers, National theater (Drama School) of Greece, 2010.
SUGAR FREE Project (Human installation), 2010.
The good person of Szechwan B. Brecht, Experimental Theatre of Thrace, 2010.
Cretans by Euripides, Ancient Drama Festival Athens, 2011.
Erroristas performance CAMP ATHENS, MANinFEST FESTIVAL Clouj , 2012.
Moonlight sonata by Yannis Ritsos, Experimental Theatre of Thrace, 2012.
Hamletmachine by Heiner Muller, Onasis Culture Centre, Athens Festival 2013.
Cherry orchard by Anton Chekhov, Experimental Theatre of Thrace, 2013.
Hamletmachine by Heiner Muller, National Theater Romania Iasi, 2013.
The enemy of the people by Henrik Ibsen, Experimental Theater of Thrace, 2014.
TEACHING
Since 1995 G. Zamboulakis has led courses upon the function of the acoustic tragic
mask in Greece, Spain, England, and Sweden.
e led such courses at: the Royal Holloway College, University of London, 2002, the
National Academy of Acting and Mime in Stockholm, 2002, the National Academy of
Acting in Malmoe, Sweden, 2002, Methodika Festival, Sweden 2003, National Theater
of Iceland 2004, MKFM Festival Croatia 2005, University of California Davis 2005,
Drama School of Athens Conservatory, Drama School of National Theater Greece
e has the artistic direction of the Theatre workshop festival 2006 which is part of the
Athens - Epidauros Summer festival. Giorgos Zamboulakis is also artistic director for
the Experimental Theatre of Thrace.
AUTHORSHIP
G. Zamboulakis has written a trilogy: The Temple of Ancient Divisions and its first part
-Desert- was staged by himself at the Greek National Theatre, Athens 1998.
TRANSLATIONS
Bruce Meyers Dybbuk
Lars Klebergs Aquarians

Photos: / Theophilos Gerondopoulos

412

Other Publications
The Face and the Mask, 2003, Methodika Dramitiska Institute.
The Acoustical mask of Greek Tragedy, 2007, Didaskalia.
http://www.didaskalia.net/issues/vol7no1/vovolis_zamboulakis.html
413

414

415

 / Mary Zygouri
Bullmarket

416

417

418

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Bullmarket

Bullmarket

. BULLMARKET

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,
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, , . BULLMARKET

,
, .

The current Greek crisis has generated the very peculiar claustrophobic feeling of living
with something that is already dead. THE BULLMARKET interprets the present in the
light of the Greek mythological tradition of the labyrinth, the Bull, and the yarn, where
the bull is at once the all devouring crisis and the symbol of a lost energy economic as
well as social and cultural. This symbiosis with a corpse acts as a shock that induces a
collective reaction, yet the extreme nature of the current social-financial situation in the
country dissolves the sense of what is real replacing it with a sense of entrapment. The
video seeks new ways to address these political issues through poetic and allegorical
forms performing the ritual of honouring vitality as well as a cathartic process towards
change yet without a guaranteed positive solution.

:
:
:
: (StamEdit)
:
:

Director- Performer: Mary Zygouri

Assistant: Aspa Siokou
Photography: Panos Kefalos
Editing: Stamatis Magoulas (StamEdit)
Sound Design: Stefanos Barbalias
Produced by Mary Zygouri

H M .
.... Chelsea College . 2005
Performance
.
Art Residencies
(, , , ), , , .

Mary Zygouri lives and works between Greece and Italy. Studied in Athens School
of Fine Art, and at Chelsea College in London. Since 2005 realises performances in
public spaces, provoking the viewers critical participation, as a political and civic poetry. Participated in several international Exhibitions and Art Residencies in italy,(Venice,
Turin, Rome, Naples), Sao Paolo(BR), Istanbul, Munich. In 2012 Mary Zygouri was
awarded by the ICA Hellas.

, .
, .
,
, ,
, .

Stefanos Barbalias is a composer, sound designer and musician. He studied classical

piano, guitar, electronic music production and theatre. Projects he has collaborated on
as a composer and sound designer have been presented, among others, at the Venice
Biennale, National Museum of Contemporary Art in Athens, Thessaloniki Biennale of
Contemporary Art, Documentary Film Festival of Thessaloniki, Onassis Cultural Centre,
Hellenic American Union and the Greek State Television.

Location: 10th floor Parking in the centre of Athens ,abused by the Greek National Bank
(out of use).

Photos: / Panos Kefalos

420

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423

 / Mary Zygouri
Sound of Property

424

425

426

427

428

performance
2014, , ()

Sound of property
A Public Performance
November 2014, Cagliari, Sardegna (IT)

Tuvixeddu , 100 ,
, 5 3 ..
. 18 1970
ITALCEMENTE.
. 1990

. 2006
,
.

The Tuvixedduis a sacred locus, a landscape, at times uses of exploitation, as a typical modern paradox - the remains of a quarry cement and some buildings of recent
construction - presented in contradictory to the position where before dominating the
largest Punic necropolis in the Mediterranean.
The hill, years now, is not officially accessible to citizens. Is blocked because of disputes
between the City, Region and a private consortium. The community is invalid.
Art takes the initiatives to create another reality.
With a public call, the action takes place in the impressive giant canyon in full dialogue
with its dimensions.

Tuvixeddu , ,
.
.
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Tuvixeddu .

Public access to the site is through a hole in the fence. Everyone contributes to the
Performance/Action with their own keys. The artist guides them where the immateriality of the concept itself becomes material. The audience participates in the metaphorical fall. The cord and the keys becomes the connecting point throught the land
ascape and the people. A new community crosses the Canyon affiliated with the lightness and joy of participation.

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project
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The artist encourages the audience to hear the heart of the landscape, its intimate
whisper and to complete the ritual of this cathartic action, making clear the timeless nature of Tuvixeddu: a huge burrow for millennia has protected human remains,
memories, treasures, poor, displaced, homeless, children, young people, everyone.
The project Sound of the property of Mary Zygouri is a performance of great political weight in order to reactivate, to re-use the site and to reclaim it as a common
heritage through resignificance. Thus is creating new imaginary, a new memory on the
landscape itself and the participants .

,
, ,
,
.

The artist demonstrates the possibility of a radical change that encounter the horizon
of desires and temporary expectations. The aestheticised performance does not eliminate the consequences of political event, but triggers the production of meanings and
new feeling of belonging, on the realization of new prospectives for elaboration and
approach to reality.

429

-Performer:
Curator: Margherita Zanardi
: Gaetano Crivaro, Simone Lecca, Marta Anatra, Andrea Mula
: Margherita Pisano
: Michelangelo Sardo, Dietrich Steinmetz,
Roberto Salgo, Rachele Salvioli, Margherita Zanardi

Director-Performer: Mary Zygouri

Curator: Margherita Zanardi
Camera: Gaetano Crivaro, Simone Lecca, Marta Anatra, Andrea Mula
Sound: Margherita Pisano
Photographers: Michelangelo Sardo, Dietrich Steinmetz,
Roberto Salgo, Rachele Salvioli, Margherita Zanardi
Produced by Sustainable Happiness and TRW
http://www.sustainablehappiness.it
http://trw.altervista.org/

Photos: Michelangelo Sardo, Dietrich Steinmetz, Roberto Salgo,

Rachele Salvioli, Margherita Zanardi
430

431

432

433

434

435

 /
participating
educational institutions

436

437

 ,
,
,

National Technical University of Athens,
School of Architecture,
Department III Architectural,
Language-Communication-Design

438

439

Photo 1

440

441

Photo 2

442

Photo 3

Photo 4

Photo 5

Photo 6

443

444

,
,

, ,
,

.

In front of the endless real

and through a fragmentary archive of previous events
that provides the illusion of a common background for communication on the real,
but refers to truths outdated in contemporary experience of the real,
methods for the constitution of new events are applied,
methods that differentiate and correlate elements of the real,
according to their fidelity to each new truth that each method refers.

, ,

George Parmenidis, Georgia Atzampou, Chryssoula Karadima

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The design of space: giving meaning to the continuity of the fragment in

everyday experience.

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,
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,

.

Space is defined as the dynamic field produced by the cluster of the transformations
of relationships and properties of the subject/ object, as they interact and mutually
constitute each other. The dynamic field is developed in the built environment into a
material and conceptual field where the properties of its elements encourage or discourage interactions. The interactions that are developed, deposit their fingerprints on
the elements of the material and conceptual field, as the properties of its elements are
transformed during the transformations of the subject/ object. As long as the properties of the material and conceptual field are transformed, the perception and conception of the dynamic field, the space, are daily extended by ongoing interactions, as they
include the depth of the previous transformations of the material and conceptual field
that had arisen from the deposition of the fingerprints of previous interactions.

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,

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Space a cluster of instant behaviors and negotiations, excerpts of contacts between

subjects and objects is designed in order to give meaning to the continuity of the
fragment in everyday experience. The architectural design, by attributing properties to
elements of the material and conceptual field, intents to define both the interactions
that are encouraged or discouraged to be developed, and their time sequence. Thus,
the cluster of transformations in relationships and properties of the subject / object is
designed; the space is meaningfully designed by the intentions determined both the
kind of interactions that would be developed, and their sequence.

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:

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,
.

The intention to define the properties of the elements of the material and conceptual
field is based on the constitution of narrations about the desired way to take a position,
to be in conversation, to be together, to communicate, to socialize, and constitutes
continuities between the elements setting up objects, bodies, considerations. This
triple formulation of continuity in the fragmentary experience:
when the object forms space when the body forms space when the consideration
forms space, can reach high levels of specialization and fragmentation of the experience into distinct fields of knowledge, to the extent that each is constituted as an
independent spatial translation language.

,
.

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.

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When different translation languages of space come together acting as simultaneous

translations of the same spatial phenomenon, the conventionality by which each language has defined space is highlighted. Thus, a perceptual and conceptual interstice,
in the so far constitution of space by each language, emerges. An interstice in which
the sense of freedom is provided to arise further correlations, similarities, extensions
of concepts in the field of development of each language. Emergence of conceptual extensions encourages new transformations in relationships and properties of
the subject/ object, as it stimulates new relationships and properties of the elements
of the material and conceptual field, and constitutes new continuities between them,
setting up new objects, bodies, considerations.

Photo 7

Photo 8

Photo 9

Photo 10

Photo 11

Photo 12

445

446

Choreogenic_ the mechanism, Choreogenic I

Choreogenic_ the mechanism, Choreogenic I

choreogenic the mechanism choreogenic

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.

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, .

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,
.

In choreogenic the mechanism and choreogenic works, tools for the approach of spatial experience that lead to unconventional interpretations of space are researched. The research was
organized on a series of workshops in different spaces, the recording of which constituted the
documentation material. The dancers following guided improvisation correlated with an object
of their choice, creating movement phrases which, after being performed without the objects,
constituted the kinetic cellular elements. The observers students of Architecture, observing
the individual or in various combinations cellular elements, reconstituted the absent object
experimenting with the developing mental spatial fields between the subject and the object
without being influenced by conventional forms of objects. They created diagrams reflecting
multiple, broadened interpretations of space which they titled.

, video art choreogenic
I. ,

.

The result of this research was the constitution of a mechanism of producing complex kinetic
actions that incorporated the elaboration of the cellular phrase and ultimately, its evolvement
into choreography on the choreogenic I video art. Conceptual tool was the special vocabulary,
the titled spatial fields that attributed properties to space giving meaning and influencing the
movement quality.

:
, ,
,
.
,
/ .

.
.
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/
pattern.

The titles and concepts utilized are:

Broken Route Weight of Route, Magnet kinetically translated into flexible movements with
several drops in a constant battle with the potential magnetic forces of the structural elements.
Exodus in Three Points, Fight presented on kinetic forms along a wall / subject in a continuous interaction.
The Fluid Floor producing continuous flowing movements and controlled drops with elastic
rebounds.
The threshold as a distorting switch of movement.
Folding as refolding, toning, stretching, contracting, splaying, unfolding, producing flexible
movements in dancers personal / general space forming a spiral pattern.

, ,
.

, site specific . , ,
,

, time based media .

The methodology was based on a combination of multiple systems of spatiality production

of graded complexity and their corresponding languages. The first system consists of kinetic
actions that include cellular movement phrases evolving into complex, site specific choreographies. The second system, the spatial one, includes primary architectural elements as well as
building complexes. An additional system is structured on the basis of the in situ observation
and through self contained, time based media works as well.

,
,
. ,

.
.
,
,

.

The differentiation of the kinetic action from the conventional kinetic models, appended to
each spatial system, leads to a differentiated perceptual model. A perceptual interstice revealing tendencies and dynamics which activate potential transformations of basic spatial structures. Thus, movement is referred to as a transformative diagram of space. The simultaneous
fragmentation of both action and space, through their co-occurence in their multiple interpretations and their kaleidoscopic reconstitution, shatters the conventional conception of spatiality emerging new dynamics that direct multiple reconstitutions of the whole.

The project is a result of the association of PhD seminars and undergraduate courses
of the School of Architecture of the National Technical University of Athens.

6

,

Undergraduate course of the 6th semester

The object forms space,
Department III Architectural Language Communication Design
https://www.arch.ntua.gr/course_instance/763
https://evrosoriou.wordpress.com/

:
(), ()
()

Teaching:
Vana Xenou (professor), George Parmenidis (professor),
Ifigenia Mari (lecturer)

/ :
-, , ,
, , ,

Student Drawings and models:

Constantinos Voutoufianakis-Petropoulos, Sophia Iatrou, Theodoros Koutros,
Dimitris Loukos, Maria Bika, Constantinos Retsinas, Maria Tzoumba

, , ,
, .
.

Vana Xenou, visual artist, professor and director of the Painting Workshop, School of
Architecture, National Technical University of Athens.
https://www.arch.ntua.gr/person/204

, ,
, ,
.
, , ...

George Parmenidis, architect engineer, professor in the Department of Interior Design

and Landscaping, director of Postgraduate Studies Architecture, Design of Space,
School of Architecture, National Technical University of Athens.
https://www.arch.ntua.gr/person/217

, ,
, ,
.

Ifigenia Mari, architect engineer, lecturer in the Department of Interior Design and
Landscaping, School of Architecture, National Technical University of Athens.
https://www.arch.ntua.gr/person/1258

: ,

Students: Georgia Antzampou, Chryssoula Karadima

, , ,
.
(: . , . , .
) , ...

Georgia Atzampou, shipbuilder engineer, choreographer, ballet and modern dance

teacher. PhD candidate (thesis Space and Movement: an infinite and prolific dialogue
-Advisory Committee: G. Parmenidis, S. Stavridis, K. Savrami), School of Architecture,
NTUA.
www.atzabougeorgia.gr

, ,
(: .
, . , . ).
, ...

Chryssoula Karadima, architect engineer. PhD candidate (thesis The threshold door
as a meaningful spatial factor - Advisory Committee: V. Xenou, S. Xenopoulos, G.
Parmenidis) and teaching assistant in undergraduate courses at the School of Architecture, NTUA.
ckarad@gmail.com

447

Choreogenic_the mechanism
X: ,
Camera, Video Editing:
Camera:

Choreogenic_the mechanism
Dancers: Angela Patseli, Tasos Mpekiaris
Camera, Video Editing: Manos Georgakopoulos
Camera: Babis Louizidis

Choreogenic I
:
:
: ,
: , ,
Camera, Video Editing:
Sound Editing, :

Choreogenic I
Choreographic Study: Georgia Antzampou
Spatial Study: Chryssoula Karadima
Dancers: Angela Patseli, Tasos Mpekiaris
Directors: Georgia Antzampou, Chryssoula Karadima, Manos Georgakopoulos
Camera, Video Editing: Manos Georgakopoulos
Original Music, Sound Editing: Apostolis Alysandratos

.
/musical theatre.
, .
.

Angela Patseli has studied classical ballet and contemporary dance as well as music,
the piano and vocals/musical theatre. She works as a dance teacher, choreographer
and assistant director. She is a member of the Ballet Examinations Board of Ministry
of Culture.

(musical, jazz, hip hop)

(release, Limon, Graham, Horton) .
projects. Load
Dance Company.

Tasos Mpekiaris studied contemporary dance (musical, jazz, hip hop) and contemporary dance techniques (release, Limon, Graham, Horton) in NY. He has participated
in research projects. He is a dance teacher and founder of the Load Dance Company.
https://www.facebook.com/loadancecompany

. MAD TV.
video clips .
universe217.

Manos Georgakopoulos has studied Applied Arts and Technology and Sound Engineering, granted with scholarships by the State Scholarships Foundation and music
channel MAD TV. He works as a video clip director and a musician. He is a member of
the music band universe217.
universe217.bandcamp.com

(...).

Biennale (1996, 2012).

Babis Louizidis has studied Architecture and works in the Documentation Lab for
Architecture and the City (National Technical University of Athens). He specializes in
architectural photography. He has participated in exhibitions, including Biennale of
Venice (1996, 2012).

O Birmingham.
.
2014 Birmingham Chamber Music Society.

Apostolis Alysandratos is a composer, student at Birmingham Conservatoire, awarded by the Birmingham Chamber Music Society (2014). His thoughts on the artists role
and the function of his art in todays globalized world are reflected on the conceptual
aspect of his compositions.

Photos 1, 2, 3, 4, 5, 6: / Chryssoyla Karadima,

/ Manos Georgakopoulos
Photos 7, 8, 9, 10, 11, 12: / George Kampolis
448

449

 ,

National Technical University of Athens,
School of Architecture

450

451

Photo 1

452

453

Reorganizing theatrical landscapes with students of architecture

.
, .
, ,
.

The city is the core of human activity. In our daily routine, our behavior alters according to the space where we are. Each space submits its own rules of behavior and in a
sense every area has a theatrical atmosphere where everyone has his own role to play.

: ,
.

According to Shakespeare The whole world is a stage, and people and men and women
all play.

,
. ,
.

The parallelism of the world with the theatrical scene is not something new, it is apparent since antiquity. However, as time goes by the social conditions of each time
redefine this connection.

,
.
.
,
.
.

The representation of human activities in the theater has been influenced by the investigations of the space, invests in the city and aims to create experiences for the
residents, who are potential viewers. As well as public space operates like a backdrop
which is composed of symbols and images and assigns roles to its users. Hence, new
spatial environments transform to a theatrical scene.

,
- .
,
, , ,

. ,
.
, ,
,
.

Public space despite its systematic degradation encourages a more intense relationship of residents-viewers with outdoor activities.
The researches of students of architecture through the course which is related with the
transformations of the theatrical space, target in an intense flexible and open interrelation of the theatrical act and the public space. Their proposals rephrase, undistorted
theatrical models, reinterpret the relations of space and theatrical act and propose
theatre in a new context. Urban voids, squares parking lots, ports and train terminals
constitute these new spaces for theatrical motivation.

, .
,

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,
,
.

They rephrased the timeless artistic motive of the wandering troupe. The troupe would
be organized and wander from city to village, adjust its materials into a different free
space and set the scene in squares and vacant lots. Equivalently, a modern troupe will
define the interrelation between the public space and the theatrical act.

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At first, they propose a way to add more flexibility and manufacturing adaptability in order to be able to adjust to every site. This construction should be able to be transferred
and set in a vacant land in Gazi, in a pedestrian street in Thisio or in a small square in
Metaxourgeio.

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Part of the scenery are the farmers shack and the public space around which most of
the theatrical actions takes place. The viewers are not supposed to have a predetermined spot to view the theatrical play, but are intended to wander around during the
play, as the artistic project is intended to be prominent.

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454

The first project is the project by Haris Gerekos and Christos Hondos and regards Electra of Euripides. The students chose to approach scenographically the theatrical play
mainly by redefining the relationship of the crowd with the theatrical event as well as
the one of the theatre with the city.

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Subsequently, three typical student projects of the participation of NTUA are presented
by the undergraduate and the postgraduate department. In those projects as well as in
the rest of our projects, urban and industrial spaces are utilized as the main element
for the creation of the scenery.

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The team of Dimitris Loukos and Aikaterini Magoula propose a different approach for
Dimitris Dimitriadiss project Lethe.

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The protagonist starts as part of this world and is gradually detached by it, while at the
fifth monologue he enters his own world. This process is expressed through the controlled sightings of the viewers. By gradually blocking the view, the viewers are reaching
to a point where their view is being ultimately blocked and consequently their view is
only restricted to the internal. The box in which the viewer ends up at the end of the
play refers to the phrase of the last monologue into this square.

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For the selection of the space where the play will take place two factors are crucial:
the passage from a place to a non-place and the referral to the material, the body, a
product that the writer despises. The site that relates to those two is a city and its
harbor. The city represents the world the protagonist leaves behind him and the harbor
refers to a trip, something new, a change and separation. The city is the place and the

455

Photo 2

harbor is the non-place.

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In particular, the site that eminently combines the aforementioned spatial qualities is
the Merchandising Port of Pireus. The presence of containers there provides for the
structures that are able to constitute the theatrical space.

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The viewers enter the theatrical space by an axial movement, done by multiple empty
containers that represent the phase of passing from somewhere to somewhere. The
viewers are placed spontaneously in the space, in order for them to have a peripheral
vision of what is happening but this also guarantees a better interrelation with the
viewpoints that come from the open containers placed all around.

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As the play unwraps the protagonist starts to close the aforementioned containers,
and as a result he restricts the view and the space is being sealed. At the last act and
after the protagonist has transformed the space into a box by closing all the separate
views, as well as the entrance, opens the opposite to the entrance container and walks
away towards a flashing light. The exit will also be used by the viewers as a symbolic
passage to another place. Finally the show will take place during the sunset so in the
last act the dark sky will complement the sense of confinement that the text causes.

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cries through the strong, sometimes violent language and their breaths.

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What if the heroes inflate with breaths (with missing or left over breaths) the balloon
of their lives? What would it look like and how would it fit? The anxieties of the protagonists seem like a fight with their own selves. A fighting for fitting in themselves and
then fitting into the world.

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The third project of the postgraduate student Pari Argiraki addresses the theatrical
play GRAVE by Sarah Kane, using the exterior of the industrial complex of the former
manufacturing factory of blue buses VIAMAX

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The decision to set up the stage at this site, was affected by the value of its location
at the heart of the complex, while a dynamic point multiple sightings of points inside
and outside the building.
This exit will also be used by the viewers as a symbolic passage to another place.

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Crave Sarah Kane
,
Viamax.

The choice for the projects location was an open and active search process. However,
the image of the abandoned factory of Viamax, was ideal.
The building complex of Viamax is located in Athens Avenue. It is a typical old factory
with a serrated roof and consists of the production building in shape U (old building),
and the newest addition of office buildings in the front of the building complex. The
natural draft ground created between the two buildings creates a blind passage with a
ramp and was the workers yard.

The play is the deposition of the thoughts and the feelings of four people living in the
present. The heroes seem to try to exist in a bustling city along with their articulated

461

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463


Quadrennale
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Finally the show will take place during the sunset so in the last act the dark sky will
complement the sense of confinement that the text causes.
The rest of the projects regard Greek and international theatrical plays and utilize several sites of the urban environment to set a theatrical space. The purpose of the class
is on the one hand, to bring the students in touch with drama and its scenographical
potential and on the other hand, to raise questions regarding the urban environment
and how this would serve the purpose of a theatrical scene.

Photo 10

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464

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Stavros Gyftopoulos, Architect, Assistant Professor NTUA

Eleftheria Raptou, Theatrologist, PhD Candidate

project

Project description

Interpreting the City- Designing the City

project,
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The aim of this project, is to familiarize the students with the theatrical world and its
performative qualities and secondly to raise questions about the act of habitation as
well as the ways we experience space through the theatrical perspective. Urban space,
in other words the city, is the field where the experimental, theatrical habitation will take
place. The city is the raw material which will be negotiated and eventually reformed
through the scenographic proposals.

Reorganizing theatrical landscapes with students of architecture

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The researches of students of architecture through the course which is related with the
transformations of the theatrical space, target in an intense flexible and open interrelation of the theatrical act and the public space.
Their proposals rephrase, undistorted theatrical models, reinterpret the relations of
space and theatrical act and propose theatre in a new context.
Urban voids, squares parking lots, ports and train terminals constitute these new spaces for theatrical motivation.

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Stavros Gyftopoulos is assistant professor at the School of Architecture of National

Technical University of Athens teaching Analysis and Synthesis of Architectural Design.
His research interests focus on issues of incorporation of contemporary architecture
within areas of historic architectural interest and on new usages of historical buildings;
he is also interested in issues of architectural transformations for the development of
theatrical spaces. He has been involved in many architectural projects and collaborations and he has taken part in 29 architectural competitions winning 19 awards. He
has published theoretical articles, presented papers in conferences and seminars, participated with his own projects or with collaborations in architectural exhibitions and
been curator for exhibitions and editor of their catalogues.

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Eleftheria Raptou is theatrologist, costume designer, has an Msc in Design-SpaceCulture NTUA, and she is also a PhD candidate of the School of Architecture, National
Technical University of Athens. (NTUA). She collaborates with the Athens and Epidaurus Festival. Works as a theatre critic in the newspaper AVGI, and as an editor and
translator she collaborates with Papazisis publications. As a PhD candidate she takes
part in the tutorial process both in the undergraduate and the postgraduate program
of the School of Architecture, NTUA.

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Students:
Kiosi Xamali, Katerina Konstantinou, Paparodou A. Margarita, Souiou Ekaterina, Virvidaki
Ioanna, Kampani Anna, Eksadaktilou Dimitra, Papageorgiou Katerina, Volitaki Aristea,
Iatrou Sofia, Kakodimou Vasiliki, Ksenouli Olga, Papoutsakis Morfeas, Ktena Elisabet,
Economou Paraskevi, Giannarou Christina, Mpousios Giorgos, Xaritaki Mary, Keleki
Chrisanthi, Tzini Eva, Xatzibakouri Miranda, Kapsali Kali, Kiousi Maria, Dagre Vasiliki,
Panagiotidou Vasiliki, Karatsiompani Maria-Christina, Lola Konstantina, Panagopoulou Katerina, Dragiou Dafni, Galdada Semeli, Koutsogeorga Dimitra, Anna Koka, Vera
Kanellopoulou, Marianthi Papaggelopoulou, Theofania Sakellariou, Eleni Papaevaggelou, Foufas Giorgos, Lampropoulou Aglaia, Kakava Evaggelia, Kanakopoulos Theodoros,
Georgati Marina, Gerakianakis Giorgos, Papachristopoulou Elli, Voudouri Iris-Paraskevi,
Papadopoulou Artemis, Mastoraki Argiri, Stavridi Katerina, Chouma Nikoleta, Zarkadoula
Melina, Ksistra Niki, Stavros Balis, Vasilis Kekeris, Marina Nastou, Stamatina Kostiani,
Karnesis Anastasios, Ksirokostas Michail, Volitaki Aristea, Iatrou Sofia, Vasiliou Dimitra,
Gaki Eleftheria-Ismini, Viviane LE DEUNFF, Moustaka Katerina, Tsentzeroulia Vasiliki,
Dimitris Kollaros, Anna Ioanna Filippi, Tsampazis Aristotelis, Ragousis Thanos, Kolokoudia Georgia, Nikolopoulou Athanasia, Verga Eirini, Markopoulou Efthalia-Maria, Desipri
Aimilia, Tzavella Sofia, Sakka Nikoleta, Stellatou Dimitra, Artemis Fakidi, Olga Meliatsouk, Elena Milona, Penelope Pappa, Fotini Peroni Chalkia (Fani), Christos Papafigos
Tsellos Konstantinos, Zimpounoumis Efstathios, Koutsogiannis Vasilis, Nikolaidou
Melissa, Florian Boutin, Nadia Siokou, Panos Niarchos, Louise MORICE, Lucas Chaniot,
Daria Cichon, Laura mediavilla, Eleni Palogou, Magdalini Petroleka, Savvas Plitas, Kyriakos Xavakis, Isidoros Spanolios, Maria Kousi, Dimitris Loukos, Katerina Magoula.

https://www.arch.ntua.gr https://www.arch.ntua.gr/course_instance/780

Photos
Photo 1: Anna Koka, Vera Kanelopoulou / RHINOCEROS
Photo 2: Katerina Moustaka, Vasiliki Tsentzeroulia / DEATH VARIATIONS
Photo 3: Sofia Eleni Iatrou, Aristea Volitaki / BROKENVILLE
Photo 4: Savvas Plytas, Magdalini Petroleka / WOYZECK
Photo 5: Christos Pampafikos, Fotini Peroni Chalkia / WAITING FOR GODOT
Photo 6: Florian Boutin, Vassilis Koutsogiannis, Melissa Nikolaidou / RHINOCEROS
Photo 7: Eleni Palogou / DEATH VARIATIONS
Photo 8: Maria Kousi / RHINOCEROS
Photo 9: Kolokoudia Georgia, Athanasia Nikolopoulou / IN THE SOLITUDE OF COTTON FIELDS
Photo 10: Anastasios Karnesis, Michail Xirokostas / IN THE PENAL COLONY
Photo 11: Aglaia Lampropoulou, Georgios Foufas / IN THE SOLITUDE OF COTTON FIELDS
Photo 12: Dimitris Kollaros, Anna Filippa / WAITING FOR GODOT
Photo 13: Nadia Siokou, Panos Niarchos / RISE AND FALL OF THE CITY OF MAHAGONY
Photo 14: Argyri Mastoraki, Artemis Papadopoulou / MISS MISERY
Photo 15: Giorgos Bousios, Mary Charitaki, Christina Giannarou / THE PENAL COLONY

467

468

469

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Aristotle University of Thessaloniki,
Faculty of Fine Arts, School of Drama

470

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PQ 2015

School of Drama, Faculty of Fine Arts, Aristotle University of Thessaloniki The

participation at P.Q. 2015

1992 (
: ,
).
: --.

The School of Drama of Aristotle University of Thessaloniki was founded in 1992

and is one of the four schools of the Faculty of Fine Arts (the three additional schools
included are: Visual & Applied Arts, Music Studies and Film Studies). The School of
Drama offers three fields of studies: Scenography, Acting and Drama Studies.

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The studies extend over ten semesters. The first two are almost totally covered by a
core corpus of theoretical modules (theatre history, drama analysis, aesthetics, history
of art, theatre in education etc.) and two introductory practical scenography modules,
one for each semester. Student performance in these introductory modules determines whether a student will be allowed to proceed further in the scenography strand
of studies.

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From the third semester onwards, the now specialized scenography studies include
a large variety of subjects: elements of visual organization, drawing, color, architectural design, model making, materials, sculpture, scenographic analysis, scenographic
composition, costume analysis, costume composition, painting of sets, special stage
and costume constructions, accessories, masks, dolls, theatre architecture, theatre
technology, theory and history of the stage, history and sociology of the costume etc.

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The studies are concluded with a dissertation, which is a complete stage design proposition (design and execution), presented in public, usually as part of an application
performance. This is, in general, one of the fundamental studies of the School: the
diversity of applications and the connection between teaching and artistic practice.
Besides, the three fields of the School collaborate closely: scenographers, actors and
drama theorists join forces in actual performances, already from the second year of
their studies.

2006-07,
: ,
.

Since the academic year 2006-2007 a yearly post-graduate course takes place in the
School of Drama, including the three fields: Scenography, Acting and Drama Studies.

Many young graduates of the School of Drama are already working with professional
companies as scenographers or assistant scenographers, while some of their dissertations have been presented in Greek and foreign university festivals and exhibitions.

Prague Quadrennial 2003,

(
http://ethet.thea.auth.gr/index.php/gr/pq).

Since 2003, the School of Drama participates regularly at the Prague Quadrennial,
earning prizes and commendations (for further information: http://ethet.thea.auth.gr/
index.php/gr/pq).

Prague Quadrennial 2015,

,
,
.

2014-15, ,
2014, ,
.

On the occasion of P.Q. 2015, in the context of collaboration, a group of students was
formed with core the students of Scenography and it involved students of different
fields of the School, and some students of the School of Cinematography.
The team worked under the stage design courses during the academic year 20142015, resulting in a performance named Water, that was presented on July 2014, at
Clio Theatre, the main stage of the School.

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.
.

Water is the title of the performance, the visual elements of which are of particular
importance. Lighting, music and movement are linked together in an ongoing dialogue. It is a spectacle where the art of theatre is enriched by puppetry.

How, though, can the fluidity of such a notion as water be pictured?

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Water in our civilization holds a significant place, affecting almost all aspects of our
culture. It is described as the source of life, as the natural element we all share equally.
Moreover, the flow of water marks the course of life as well as the danger for the unknown. Finally, water stands for transformation, for the luring of the undersea sway and
for a sense of serenity and balance that goes beyond earthy images. At the same time,
it represents the mystery and darkness that resides in the unfamiliar.

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The performance is built upon the complex relation of land and seabed. At first glance,
the seabed remains intact of all things happening above, on land. In the water the
calmness of a secluded world reigns. But the changes in the conditions of the upper
world will put the tranquility of the seabed in turmoil; they will enforce an unexpected
twist.

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.

The performance is an attempt to express the richness of water, through the means of
art and especially scenography and lighting. Stage constructions, moving lighting, live
music and performers in motion are working together in this spectacle which instead
of hiding reveals its stage mechanisms and lighting applications. Theatre is no longer
a closed box and action works in accordance with space in a performance adjustable
and multipurpose.

475

 , ,

School of Drama, Faculty of Fine Arts,

Aristotle University of Thessaloniki.
www.auth.gr
www.thea.auth.gr

/project:
: - , ,

:
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:

Performance/project factors:
Professors of Scenography: Apostolos-Fokion Vettas, Lila Karakosta,
Olympia Sideridou
Dramaturgical proposal: Efi Zioga
Music editing/teaching: Kostas Vomvolos
Directing help: Hara Argyroudi

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Students:
Valani Katerina, Varsami Sotiria, Vastaki Aggeliki, Vafeiadi Katerina, Gogou Haido, Eftaxia
Elina, Ignatiadou Amalia, Kaitatzi Sonia-Maria, Kanakidou Eleni, Karlou Maria, Kosmidis
Vaggelis, Kehagia Anastasia, Kotinopoulos Giannis, Kostoglou Theoni, Leonidou Maria,
Liberi Loukia, Markovits-Monastiridou Aggeliki, Mino Nantia, Mirosnitsenko Anastasia,
Boutari Irini, Nikolaidou Elena, Ognianova Elsa, Papathanasiou Marianna, Samartzidou
Sofia, Simota-El Jagiousi Leda, Stavraki Maria, Stavrakaki Stefania, Tanaki EvageliaDanai, Temiridou Anastasia, Tzimika Ino, Tzortsou Elektra.

- .
...
(2000-2003). Prague Quadrennial
2003 (E ).
.

Apostolos-Fokion Vettas is an architect and scenographer. Emeritus Professor at

School of Drama, Aristotle University. Dean of the Faculty of Fine Arts (2000-2003).
Curator of the Greek participation at Prague Quadrennial 2003 (Special Honorary Diploma). Honoured with the prize Panos Aravantinos for his entire work.

,
.
.
: Bauhaus. Bauhaus
.

Lila Karakosta is an architect and scenographer, Associate Professor at School of

Drama, Aristotle University. She has worked with state theatres and subsidized companies, covering a wide range of classic and modern repertory. Dissertation Thesis: The
Theatre at the Bauhaus. A challenge for the stage.
http://www.thea.auth.gr/theagr.asp

. ,
,
. 1992
.

Olympia Sideridou is a scenographer and visual artist specialized in puppet and mask
making. She teaches drawing, puppet, mask and prop making and at School of Drama,
Aristotle University of Thessaloniki. Since 1992 she has been working as a stage and
costume designer.
http://www. olympiasideridou.com; http://www.thea.auth.gr/theagr.asp

( 160 , 3
). 1994 Primavera en Salonico. 2005 .

Kostas Vomvolos is a composer of music for the theatre and the cinematography
(more than 160 theatre productions, 3 films and 15 documentaries). In 1994 he
founded the group Primavera en Salonico. Since 2005 he teaches Singing for the
Theatre at the Drama Department, Aristotle University in Thessaloniki.
http://www.kostasvomvolos.com

:

, ,
.
.
,
.
.

Project: Water
Water is the title of a short performance in which visual elements is of particular importance. Lighting, music and movement are linked together in an ongoing dialogue.
It is a spectacle where the art of theatre is enriched by puppetry.
Stage constructions, moving lighting, live music and performers in motion are working together in this spectacle which, instead of hiding, reveals its stage mechanisms.

Photos: , - / Chara Argyroudi, Sonia-Maria Kaitatzi

476

477



Athens School of Fine Arts
Scenography Studio

478

479

480

481

Photo 1

Photo 2

Photo 3

Photo 4

Photo 7

Photo 8

Photo 10

Photo 5

482

Photo 6

483

Photo 11

484

485

486

Athens School of Fine Arts

Studio of Scenography

.
1956. ,
. -
, .
2004.

LIli Pezanou is an Assistant Professor. She was born in Athens in 1956. Architect and
scenographer, assistant Professor at the Athens School of Fine Arts. Freelancer scenographer costume designer for theatre and cinema, curator and designer of visual
arts exhibitions. Production Designer of the Opening and Closing Ceremonies of the
Olympic Games ATHENS2004.

, ,
,
.

The material of the exhibition is a part of the students projects, realized in the scenography studio of the School as exercises on scenography, costume design and poster
design, based on theatrical texts.

:
. .
. 2010
, ,
. ....
2011-12, 2012-13. 14
2014 1 ,
.

Students:
Alexandra Petranaki was born and live in Athens. She has degree in radiology and
x-rays and degree in educational studies. She works for the law department of the
Childrens Hospital in Athens. Since 2010 she studies in the Athens School of Fine
Arts. Shes in the sixth laboratory of painting to the final year of studies, occupied with
installations. During academic years 2011-12, 2012-13 she was an honors student.
She has taken part in 14 group exhibitions and I was honored December 2014 with
the first Prize, in an art exhibition organized by the Cultural Foundation of the Bank of
Piraeus.

. 1983 . 2010
, .
2007 2010
, 2001 2007 &
, & .

Maria F. Antonopoulou was born in Athens in 1983. She studied at the Department
of Antiquities and Artwork Conservation, Technological Educational Institute of Athens
(2001-2007), at the Panormos Preparatory and Vocational School of Fine Arts, Tinos
(2007-2010), and was admitted to the Athens School of Fine Arts in 2010 to study
sculpture.

25
1990 . 2010
,
.
. . .

, . , . 2011
.
.

Christos Symeonides was born in Nicosia-Cyprus, on 25 of July 1990 and lives in

Athens-Greece, the last six years. In 2010, he began his studies in Athens School of
Fine Arts, after occupying the second position in the entrance examinations of the
school. Since then, he studies at the third studio of painting under professors, M.
Spiliopoulos and P.Chandris. He has followed the stage design and costumes studio
of the school, under professor L. Pezanou for the last 3 years. Since 2011 he participates in exhibitions and other art events in Athens. e is at the last year of his studies,
working his diploma dissertation.
https://christossymeonides.wordpress.com/

1977.

2010.
, ,
.
....
.

Ioanna Mathopoulou was born in Athens in 1977. Graduated from the Law School of
the University of Athens and practiced law in Athens until October 2010. Now she is
at the final year of studies in Athens School of Fine Arts, 3rd Studio of Painting, under
professors Marios Spiliopoulos and Pantelis Chandris. She also studies at the second
year in the Scenography studio of A.S.F.A. under professor Lili Pezanou.

1981.
(1999-2001),
Bachelor of arts of University Middlesex (2001-2002).
2010
.

.

Marina Maltezou was born in Athens in 1981. She studied interior design in AKTO
College (1999-2001), from where she got a Bachelor of arts from Middlesex University (2001-2002). She has been studing in Athens School of Fine Arts since 2010.
She has attended the subject of scenography with instructor Ms Lily Pezanou. She is
currently working in an Architects office and she has been participated in several collective exhibitions.

19/12/1986
. .
2012
, . . .

Marina Margelou was born on 19/12/1986 and originated from Almiros, Magnisia,
Greece. She lives and works in Athens. Is a graduate of Graphic Design and from 2012
until today studie in the Athens School of Fine Arts in the field of sculpture with supervisor professor Mr G. Lappas.

2011. , Gama Gallery,

.
2012. ....
2013. ....
2014. Performance Rooms 2014.

Exhibitions
2011. Group exhibition titled Young Greek Artists , Gama Gallery, Istanbul.
2012. Annual group exhibition of succeeded students in the ASFA.
2013. Group exhibition of the Engraving laboratory of ASFA.
2014. Performance, in the annual exhibition Rooms, St. George Lycabettus Hotel,
Athens.

1977.
... (1993-1995).
, (2010) 5
. , , ,
Performance. ...
, , (2014).
( 2014)
,
( 2014). , ,
, performance, .

Foteini Matzoglou was born in Athens in 1977. She attended public school IEK in
paramedical professions (1993-1995). Enters at the School of Fine Arts (2010) and
now is, in the 5th year of her studies. attends workshops of Painting, Set Design, Multimedia, and Performance. With a scholarship from the State Scholarships Foundation
studied at the Academy of Fine Arts of Brera in Milan, Italy, (2014). She worked as a
set designer assistant in the play Pope Joan in the Athens Festival (July 2014), and
the shows Fools by Neil Simon, and The Sound of Music as an assistant costume
designer, (November 2014). She has participated with her work, mosaic, painting and
performance, in group exhibitions.

1994. 17
.
. 2012.
2012-2014
,
.
11, 12 13 ,
, .
,
12 12 , .
, , performances.

Nefeli Voutyra was born in Athens in 1994.

Accepted at the age of 17 in Athens School of Fine Arts as person with special ar
tistic predisposition (2011).
Studying sculpture, attending the class of Mr. Tranos Nikos.
2012-2014
Poster creation for the musical A Journey in Lilipoupoli, Athens Concert Hall.
Stage Design for the 11th, 12th and 13th Choral Festivals, attended by Dionysis
Savvopoulos, Alkistis Protopsalti and Marisa Koch.
Assistant of the set designer Mrs. Elli Papageorgakopoulou in the musical play 12 to
12 by Eugene Trivizas, Athens Concert Hall.
Participated in exhibitions, with her sculptures, installations and performances.
Website: http://c-a-s-athens.squarespace.com/#/nefeli-voutira/

,
. , 3
,
, animation .

Sotiris Batzianas former studies on computer programming and graphic design contributed to his decision to explore a wide range of artistic creativity, both applied and
theoretical. Currently, he is a 3d year student at the Athens School of Fine Arts, focusing on the area of Traditional Sculpture, 3D Modeling/Animation and Scenography. His
future plans combine a variety of expressive media, allied with his wish to form an essential connection between them and the initial cause (idea,project,assignment etc.).
https://www.behance.net/abatzio

1991.
.
. , .

Eleni Theodoropoulou was born in 1991. She is studying painting at the School of
Fine Arts of Athens. She has participated in group exhibitions of painting and photography. She lives and works in Athens, Greece.

. o animatr
. 2011

.

Victor Melistas has attended the Technological Educational Institute of Athens where
he studied graphic design. Worked as an illustrator in publishing houses and as an
animator in production companies. Since 2011 he is studying at the University of Fine
Arts in Athens where he attends the scenography workshop under the guidance of
Professor Lili Pezanou.

1978. 4
(...)
. .
... .
. . ...
.

Evdoxia Bakali was born in Arta, Greece in 1978. She is a fourth year student of Visual
Arts of the Athens School of Fine Arts (ASFA) at the third studio of painting under
professors M. Spiliopoulos and P. Handris and second year student of Scenography of
ASFA under professor L. Pezanou. She has participated in several exhibitions. She is an
ENT Medical Doctor. She lives and works in Athens, Greece.

. ...,
2002 ( ). ....
2011, . , . .
.

Renata Metheniti was born in Athens. She studied architecture in National Technical
University of Athens (NTUA) and graduated with honors in 2002 (TEE awards). She is
currently, an art student in the Athens School of Fine Arts, with Prof. A. Christakis and M.
Spiliopoylos in Painting and Prof. L. Pezanou in Scenography. She also studied photog-

487

Photo 9

(VII Biennale . , Print Fest

..), (III & VI Biennale
..),
( ).
.

raphy in Ph. Kyklos (1997-2001) and published texts about architecture (2010_Kapon
publications, etc). Awards: 2007: A Prize in the Architectural Competition for Heroon
Square in Eleusis-Greece. Exhibitions: 2014_VII BIENNALE of students in Schools of
F.A. of Greece. 2012_PRINT FEST, Athens. 2001, 2010 III & VI BIENNALE of Young
Greek Architects, Athens, H.I.A. etc.

1981.
2010 .
2012
. 2009

.
.

Georgia Tsipoura was born in Athens in 1981. She studied Restauration of Monuments in the University of Patra. She has been studing in Athens School of Fine Arts
since 2010, where she has been attending the subject of scenography with specialisation in the domain of theater for children and the creation of masks. She has been
directing a private school of art since 2009 where she helps students get prepared for
university exams while she is organising workshops for children. She has participated
in collective exhibitions and she has organised many exhibitions of childrens art.
www.asfa.gr

Photo 1: . , E.T.A
Hoffmanns Sandman. . .
Photo 2: . X , . . . .
Photo 3: . , , 2014.
. .
Photo 4: . , .
Photo 5: . , . . .
Photo 6: . X , . . .
Photo 7: . , .
Photo 8: . , .
Photo 9: . , .
Photo 10: . , . . .
Photo 11: . , . .
Photo 12: . , .
.
488

Photo 1: Alexandra Petranaki. Sandmans Ex votos, from E.T.A Hoffmanns tale Sandman.
Photo: Alexandra Petranaki.
Photo 2: Maria Antonopoulou. enrik Ibsens, The Ghosts. Photo: M. Antonopoulou.
Photo 3: Sophocles Oedipus Rex for Epidaurus, 2014.
Photo: Christos Symeonides. https://christossymeonides.wordpress.com/
Photo 4: Ioanna Mathopoulou. Samuel Becketts, Waiting for Godot.
Photo 5: Marina Maltezou. Sophocles Oedipus Rex. Photo: Marina Maltezou.
Photo 6: Marina Margelou. Henrik Ibsens, The Ghosts. Photo: Marina Margelou.
Photo 7: Foteini Matzoglou. Samuel Becketts, Endgame.
Photo 8: Sotiris Batzianas. Henrik Ibsens, The Ghosts.
Photo 9: Victor Melistas. Henrik Ibsens, The Ghosts.
Photo 10: Evdoxia Bakali. Henrik Ibsens, The Ghosts. Photo: Evdoxia Bakali.
Photo 11: Renata Metheniti. Sophocles, Oedipus Rex. Mixed media.
Photo 12: Georgia Tsipoura. Xenia Kalogeropoulous Odyssevah. Mask for the Cyclop.

489




National and Kapodistrian University of Athens,
School of Philosophy, Faculty of Theatre Studies

490

491

Photo 1

492

493

Photo 2

Photo 4

Photo 5

Photo 6

Photo 7

Photo 8

494

Photo 3

Photo 9

....

Translation as an educational tool for set and costume design at the Faculty
of Theatre Studies, N.K.U.A.

Visual Studies

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Visual studies education at the Faculty of Theatre Studies of the School of Philosophy
is optional for undergraduate students and is completed in two half-yearly courses:
Set design-Costume design A and Set design-Costume design B. Students can
select the aforementioned courses any time during their studies. Bearing in mind that
the Faculty of Theatre Studies is integrated in the School of Philosophy, thus making
the syllabus text-centric and speech-centric, the educational methodology selected
is based on the principle of translation, making set-design a continuous and gradual
transformation of the structure, from the drama text to the text of set and costume
designing. A translational action takes place that produces the end result which is a
text about the set and costume designing concept through a series of procedures. The
adopted view for the proposed procedure is that the non-spatial starting point of the
design of the visual elements of a show (literature, dramatic or not) is equally important with the spatial end result (set and costume design proposal) and therefore constitute texts. This view dictates that texts of space and speech are superimposed at a
scientific and visual field of an adequate texture. This acknowledgement allows a unified treatment and leads students towards reading exercises that aim to broaden the
interpretative ability of the dramatic text. The acknowledgement of spatial-set-design
and costume-design proposals as texts prerequisites their wording and structuring
with the use of specific spatial syntax and visual rules. It is duly noted that all lessons
are conducted simultaneously both on the fields of theory and practice.

Set design-Costume design A

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,
. :
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.

The object of the theme for the first half year project is unified, just for methodological
and educational reasons, in the form of three fundamental and for short exercises. The
fundamental exercises are: the two first ones run through a three week program and
the third has a duration of five weeks. The short exercises last one week each and are
mostly concluded in the course workshop in class.

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The exercises aim to make the students: 1. develop an interpretative-reading tool

that will allow them to decipher existent set and costume designs together with foyer
areas for theater events. 2. become accustomed to the process of set and costume
design through the understanding of the spatial translation of the text. 3. to acquire
basic knowledge for a two-dimensional and a three-dimensional representation of
set-design proposals and 4. to structure a spatial-theatrical language that will allow
the direct communication between theatrologists and the rest of the participants of
the theatrical event (theatre writers, directors, set designers, composers, costume designers, light engineers etc.).

Fundamental Long Exercises

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The first exercise is entitled Design as a procedure of spontaneous writing and requires the students to pinpoint through their own personal reading the main key
concept that runs through the entire interpretative and compositional course of their
theme. They are then asked to coherently structure a series of spoken texts (any kind)
and vision (painting, photography, collage, film etc.) as instinctively as possible. Proposed texts that were handed out in previous years (2012-2013, 2013-2014, 2014-

495

Photo 10

Photo 12

Photo 14

Photo 11

Photo 13

Photo 15

.
2012-13, 2013-14, 2014-15 :
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.

2015) include: Der Kontraba by Patrick Sskind, The Liar by Jean Cocteau, Ive Lost
Her by Jean Cocteau, Bamboo Forest from The Battles of Coxinga by Monzeamon
Chikamatsu, The Nightingale and the Rose by Oscar Wilde.

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(, , , , ..)
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The second exercise is entitled The correlation of representational texts makes the
students describe, compare and restructure texts of vision and speech that were
produced during the first exercise. The participants are obliged to determine the syntax
rules of the texts they structured coherently and to create new texts in consistency
with the rules they have used after a clear deciphering procedure. They are asked to
produce spoken word texts and three dimensional text constructions. Every new text
(speech, painting, three dimensional, set designing etc) is treated as a translation of
the starting text. With this procedure there is a gradual transition from the spoken word
to the two-dimensional, and then from there to the three dimensional into space. The
axis that runs through all the translations is the key-concept that was selected by
the student.

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2012-13, 2013-14, 2014-15 : ,
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In the third exercise which is entitled The first set and costume design writing students are asked by following the compositional procedure from the previous two exercises to create a set design (models, three dimensional representations etc) and a
costume design proposal (drawings and collages) in a predetermined theatrical shell
(theatre hall or a theatre foyer) without taking into consideration the concept of function. Proposed texts that were handed out in previous years (2012-2013, 2013-2014,
2014-2015) include: Orlando by Virginia Wolfe, The Death of Tintagiles by Maurice
Maeterlinck, Oneirodrama by August Strindberg.

Short exercises

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2. , 3. - ()
.

These exercises are based on the value of description as a means of scientific conception of knowledge. The proposed methodology is structural. The students are asked to
describe with structural terms: 1. theatrical foyer 2. set design proposals 3. theatrical
and out-of-theater costumes.

Set design-Costume design B

- /,

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: ,

.

In this course students are asked to implement from the viewpoint of the translational
procedure in their set and costume design (as it is taught in the previous course) in
order to explore issues such as: urban set design, film set, and interaction of architectural shells with set and costume designs that are perceived as guests.
The three exercises aim to 1. develop an interpretative and reading tool that will allow them to decipher implemented urban set designs and proposals for ephemeral
architecture. 2. explore the limits of set design in theatre , urban events and film 3.
structure a spatial-theatrical language that will allow the communication for Theatrologists with the other participants (theatre writers, directors, set designers, composers, costume designers, light engineers theatre design architects, theatrical machinery
designers etc.). and 4. to understand the deep relationship that evolves in the art of
theatre between dramatic text, set design and architecture.

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496

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498

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In the first exercise (five weeks) which is entitled Urban set design - design as a
spontaneous writing procedure students are asked to create a spatial (architectural,
set design, set objects) and an un-spatial (spoken word, symbols) interpretation of a
myth-text. The stages followed are: I. reading-deciphering of the myth II. determination
of a personal view of the analysis through the selection of a key concept III. researchdocumentation through texts, photographs, video IV. composition of interpretative
texts (speech-texts, two-dimensional texts, painting, photography, collage, video and
three dimensional texts - models, perspectives, axonometrics) V. tracing, reading, deciphering of the place hosting the event (urban or outer-urban) VI. determination of
the general aesthetic of the event VII. composition of architectural, set designing and
costume designing texts. The myths stem from ancient Greek mythology sometimes
freely and sometimes from the collection by Anastasia Tentokali, The Misunderstood
Monsters of Greek Mythology.

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(, , ).

In the second exercise (three weeks) which is entitled Film set design - from lyrical
speech to image students are asked to form teams and design-compose a filmtext with the text-poem Incident in Athens by Dinos Christianopoulos. This exercise
explores the differences and the similarities between theatre and film set design. The
students hand-in a dissertation that documents the place and time of the action of
the screenplay of the film and the designs of the sets and costumes and they also
make a short film where they experience the role of doing everything (screenplay, set
design, costume design, montage, make up, camera, sound, music score etc) together
with the performers (actors, dancers, musicians, etc).

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,

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.
2012-13 2013-14 : ,
,
.
(350 )
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(1000 ) (
- ).

In the third exercise (five weeks) The theatrical foyer as a factor of determining theatrical expression we explore the way a set designer is influenced by the theatre that
hosts the sets of a performance. The aim is to design two different proposals for the
two shows of the same theatrical play in two different venues. Drama texts selected
for the previous years (2012-2013, 2013-2014) include Ion by Euripides, Salome by
Oscar Wilde, The Game of Love and Chance by Pierre de Marivaux and The Battles of
Coxinga by Monzeamon Chikamatsu. The proposed spaces are a small studio theatre
(350 capacity) with no special stage mechanisms, stable flooring and an Italian style
theatre (1000 capacity) with contemporary stage equipment (The Main Stage of the
National Theatre- Ziller Building).

Participation

13 Prague
Quaddrenial of Performance Design and Space 2015 .

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The Faculty of Theatre Studies of the School of Philosophy of Athens chose to participate in the student competition of the 13th PRAGUE QUADRENNIAL OF PERFORMANCE DESIGN AND SPACE 2015 with two thematic modules. The first one concerns
the part for set design proposals for established enclosed theatrical spaces and the
second one for proposals for urban set design that are hosted in open urban spaces
and historical or traditional city centers (rooftops, plazas, streets, building facades, archaeological sites etc) and outer-urban spaces (manmade and natural) (small forest,
lakes, seaside areas, archaeological sites etc). The participation involves 19 students
from our department with their projects. The selection was made in order to have a
more extensive and wide representation of the students work on a compositional and
a representational level. The variety and the subjectivity of the design proposals is enhanced by the use of the educational method of the translation which was described
in the beginning of this document.

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The majority of the selected projects was carried out during the courses Set designCostume design A and B through the academic year 2013-2014. We also have two
diploma projects from the same year, that are of mixed character: theoretical and
compositional. The theoretical part takes a bigger part of the project while the compositional takes up a smaller one because of the essence of the philosophical nature
of the School.

. ...
- C.E.A.A.S .. CL-FD
....

Elias Grammatikos
Architect PhD A. U. Th.
Set Designer - Museologist C.E.A.A.S .. CL-FD
Theatrologist N.K.U.A.
External Professor of the Faculty of Theatre Studies of Athens

Photo 1: / Anastasia Leria

Photo 2: - / Stella Gaspari-Kakari
Photo 3: / Foteini Tourtouni
Photo 4: / Eleni Chatzigeorgiou
Photo 5: / Eleonora Feleki
Photo 6: / Efi Christodoulopoulou
Photo 7: / Dimitra Kontopoulou
Photo 8: / Anastasia Leria
Photo 9: - / Marina-Varvara Zerva
Photo 10: - / Marina-Varvara Zerva
Photo 11: / Chrisanthi Maria Simitsidellis
Photo 12: - / Mary-Helen Soldatou
Photo 13: / Tereza Christodoulou
Photo 14: - / Andromache-Sofia Tsimplidi
Photo 15: / Christos Christopoulos

499

500

National and Kapodistrian University of Athens,

School Of Philosophy, Faculty of Theatre Studies

.
A. M Kunstmuseum
(N). E E (1980-2004). T 2009
T .

Manos Stefanidis is an art historian and writer. He studied archeology at the University
of Athens. Trained at the Kunstmuseum (Dsseldorf). Curator in the National Gallery
(1980-2004). In 2009 he was elected assistant professor at the Faculty of Theatre
Studies.

..., . .. CL-FD,
....,
. .
, , .

Dr. Ilias Grammatikos is an architect A.U.Th., Scenographer E.A. CL-FD, Theatrologist, N. K. U. A., student at the Department of Social Anthropology, Panteion University,
External Professor at the Faculty of Theatre Studies of the N. K. U.A. He works as an
architect, set designer, director and theatrical writer.

:
1.
2.
3. -
4.
5. -
6.
7.
8.
9. -
10.
11. -
12.
13. -
14.
15
16.
17
18.
19.

Students:
1. Stefania Aivalaki
2. Theodora Vestarchi
3. Stella Gaspari-Kakari
4. Stathis Grigoriadis
5. Marina-Varvara Zerva
6. Dimitra Kontopoulou
7. Anastasia Leria
8. Christina Mattheou
9. Marie-Souzanne Mouzela
10. Chrisanthi Maria Simitsidellis
11. Mary-Helen Soldatou
12. Foteini Tourtouni
13. Andromache-Sofia Tsimplidi
14. Eleonora Feleki
15 Ilianna Fragiadakis
16. Eleni Chatzigeorgiou
17 Christos Christopoulos
18. Efi Christodoulopoulou
19. Tereza Christodoulou

project:
, -
.
.

: , -
.

Description of the project:

TRANSLATION from the dramatic text to the scenographic - costumal text is the title
of the participation of the Faculty of Theatre Studies of the National and Kapodistrian
University of Athens. Translation is the teaching method of scenographic design. The
video presents students projects divided in three thematic modules: established theatrical spaces, urban and outer-urban scenographies and diploma theses.

501




University of the Peloponnese
School of Fine Arts
Department of Theatre Studies

502

503

504

505


.
,
,
,
.


.

The Department of Theatre Studies of the School of Fine Arts of the University of the
Peloponnese aims at the theoretical and practical training of students in the art of
theatre. Combining theatre practice with scientific methodology it supplies students
with the necessary qualifications for an artistic or scholarly career in theatre.
The Department offers a four-year Study Programme organized in eight semesters.

,
,
.
:
1.
2.

During the first two years the students acquire basic background in theatre studies,
while in the final two years they choose a specialization and attend courses of more
focused interests. The specializations offered in the Department are as follows:
1. Theatre Studies
2. Performing Arts

. - -

A. Scenography - Espaces: Research interests - Axes

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, ,
,
- ,
,
. .
(,
in situ, performance art)

Analysis, theory, historical evolution and dramaturgical approach of theatrical and scenic space, exploring the boundaries between scenic space and landscape architecture,
re-use of non-theatrical spaces, architectural space and its representation in cinema,
interventions in the city and urban landscape through scenic design. Approach on the
influence of contemporary art on scenic space and the relationship between scenography and modern forms of artistic expression (in situ, installations)

, .
,
.
.
1.

A1. The Urban landscape as a Stage

,
,
,
2006-2007, 2007-2008, 2011- 2012,
2012-2013, 2013- 2014
. -
-

.

Related courses: Scenic Design II, Introduction to Scenic Design and Costume Design Theory and Practice, Stage Design Laboratory, Line Drawing and Model during
the years 2006-2007, 2007 -2008 and 2011- 2012, 2012-2013, 2013- 2014. The
research concerned the artistic intervention in terms of planning reusing non-theatrical
spaces and at creating theatrical in situ performances in the city of Nafplion.

:
-
:
1. 2006-2007: ...


2. 2007-2008: La Strada

3. 2011-2012: X
. .
4. 2012-2013:
.
. .
.
.
506

Research Methods: Specific topics - Actions

Specific topics:
1. 2006-2007, the topic of the course was based on Peter Handkes play The time
that we know nothing about each other.
2. 2007-2008 the topic of the course was based on the film of Frederico Fellini
La Strada.
3. 2011-2012 the topic was the re use of Fougaro (existing industrial building) for
B. M. Koltes play In the Solitude of Cotton Fields.
4. 2012-2013:
a. the topic was the re use of Pelargos (existing industrial building) for the project
Dantons death by G. Bchner.
b. 2012-2013 the topic was the re-use of the abandoned famous hotel Xenia for the
project Midsummer Nights Dream by Shakespeare.

507

508

5. 2013-2014:
. 15 .
. ,
.

5. 2013-2014:
a. The topic was the city of Nafplion as a live scenery.
b. The topic was I have nothing of my own, in situ live installation in the abandoned
home of poet Nikos Karouzos in Nafplio.

:
1. , ...
2. ,

3. ,

4.
.
5. 15 .
6.
.

Actions:
1. Theatre event in Syntagma Square in Nafplion, The time that....
2. A performance - happening La Strada, a visual feast in various parts of the city of
Nafplion.
3. Creation of models for the projects Dantons deathand In the Solitude of Cotton
Fields
4. Installations, in situ event Midsummer Night and Day Dream in abandoned space,
Nafplion beach.
5. 15 Installations in different areas of the city of Nafplion.
6. I have nothing of my own in situ live installation (performance) in the abandoned
home of Nikos Karouzos in Nafplion.

2. -
.
.

A2. The Sceno - graphic Space:

a. Artistic intervention
b. Meeting with special social groups

,
2011- 2012, 2012
2013 2013-2014.
, ,

.

Related courses: Scenic Design II for the academic years 2011- 2012, 2012 - 2013
and 2013-2014. The research concerned the space as live scenery, the meeting and
the student exchanges with artists, and the approach of vulnerable groups and the
promotion of artistic intervention in immigrant feeding spaces.

: - :

Research Methods: Specific topics - Actions:

1. 2012-2013: . ,
( . ),
, ,
.
performance .

1. 2012-2013 the topic was Eros as a resistance, based on sources from literary
texts and semiotic texts (in particular on texts of Roland Barthes and Guy de Maupassant) films, experiential notes, personal objects and others. As a visual result two presentations - expositions as well as a performance based on the same subject.

2. 2011-2012 .

2. During the academic year 2011-2012 was the topic was The artist and special
social groups Rencontres.

:
1.
-,

, 1-2/6/2013.

Actions:
1. Exposition of installations Eros as a resistance during the scientific colloquium
Nafplion-Athens, a Scene of the Department of Theatre Studies of the School of
Fine Arts of the University of the Peloponnese held in Cacoyannis Foundation 1-2 /
6 / 2013.

2.
, ,
3-7/6/2013.

2. Exposition of installations Eros as a resistance at the historic site of the theatre

EMBROS in Athens, Psirri, 3-7 / 6/2013.

3. PERFORMANCE: M
, , , ,
, , , , .

3. PERFORMANCE: Eros as a resistance - the Rencontre A secret rencontre between

students and artists Maria Laina, Andreas Staikos, Peris Michailidis Elena Pega, Chrysa
Kapsouli Tzimaras Tzanatos Lina Zarkadoula, Zorzina Tzoumaka, Julia Siamou.

4.
PRAKSIS 2012.

4. Artistic intervention in living rooms of homeless and immigrants (organisation

PRAKSIS) in June 2012.

Courses related to scenography according to the study programme are:

1. ()

: ,

1. Introduction to Scenic Design and Costume Design Theory and Practice, Compulsory, 4th Semester
Lecturer: Assi Dimitrolopoulou, EEDIP I, Specialized Teaching Stuff
http://ts.uop.gr/images/files/programma_spoudon_2014-15.docx

:
. Project: ...
, 2014

.
. Project: Oui papa, oui patron, oui cheri cest fini, 2014

Related projects:
a. Project: Waiting...
Waiting in life, 2014
Within an under - construction new building four students proceed their concept of
Waiting in life with four different perspectives.
b. Project: Oui papa, oui patron, oui cheri cest fini, 2014

Simone de Beauvoir belle hooks performance art

. ,
( ...)
.
.
:
. performance .

Simone de Beauvoir and belle hooks meet the performance art and explore the identity
of the modern woman through the eyes of feminism. Todays woman is bombarded
daily with ads, behavioral patterns (through media) and is entangled in front of the
limited options of offer. The third wave feminism has dealt extensively with the sexist
treatment of the modern female. Feminism answered the oppressive patriarchal society: how a woman can adopt the sex she wants. Through above axes, the performance
tries to raise questions about the current nature of woman.

2. -
: ,

2. Scenic design I - Performing arts specialization elective 5th 7th semester

Lecturer: Assi Dimitrolopoulou, EEDIP I, Specialized Teaching Stuff
http://ts.uop.gr/images/files/programma_spoudon_2014-15.docx

3. -
: ,

3. Scenic design II - Performing arts specialization elective 6th 8th semester

Lecturer: Assi Dimitrolopoulou, EEDIP I, Specialized Teaching Stuff
http://ts.uop.gr/images/files/programma_spoudon_2014-15.docx

Project:

Project: I have NOTHING OF my OWN

, 2014
, ,

.
.
-
.

, ,
.

In situ live performance, in the house of the poet Nikos Karouzos, Nafplio, 2014. The
poets home converted into an intimate container of memories, thoughts, confessions
of the students who want to give a little of its wasted life. This area is a very important
landmark for the city of Nafplio and has ben abandoned for several years. The aim was
to enable us through our personal stories and the personality of Nikos Karouzos, to
create scenic images and through them to bring life for a few hours.

. .
,

.

The in situ live performance prepared during the spring semester on various automatic
writing combination exercises and out coming images and events. Starting from the
poetry of N Karouzos as well as poems, texts by Baudelaire and certain films we created an interactive relationship between space and personal stories.

.
.
,
.

The building consists of five rooms and a large garden. Each student created his own
story in every room and garden. A student as an angel cross the space and connects
all the stories. She is leading the public as seen only by them.

509

 3

6 8
: ,

3rd Year Course: Scenic Design II

Type of course: Compulsory
6th or 8th Semester
Lecturer: Assi Dimitrolopoulou EEDIP I, Specialized Teaching Stuff

Project:
, 2014.

I have NOTHING OF my OWN

In Situ live Performance, in the house of the poet Nikos Karouzos, Nafplio, 2014.

: ,
, , , ,
, .

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- - :

510

1992. 2014

.
,
.

Eleni Georgiadou was Born in Serres in 1992. In 2014 graduated from the Department of Theatre Studies of the School of Fine Arts of the University of Peloponnese.
Attends the Postgraduate program on Anxiety disorders in children and adolescents,
National University of Athens Medical School section.

H /.

.
/ , .
, .

Calliopi Kalpodimou was born in Vonitsa Aitoloakarnania / ment. Degree in Classical

Philology Faculty of Philosophy, University of Ioannina and graduate of the Department
of Theatre Studies, University of Peloponnese. She teaches at B / primary education
at the Music School of Argolis. Studies in hagiography, mosaic and etching.

1993.
.
,
.

Eleonora Katsou was born in Athens in 1993, a student of the Department of Theatre
Studies of the School of Fine Arts of the University of Peloponnese. She has studied
classic and modern dance. Participated in exhibitions concerning costume design and
dance performances.

1992.

. .

Erasmia Makridi was born in Rethymnon in 1992. Graduated from the Department
of Theatre Studies of the School of Fine Arts of the University of Peloponnese. Music
studies at the flute and voice.

1993.
,
ERASMUS .

Eleni Michailidou was born in Athens in 1993, a student of the Department of Theatre Studies of the School of Fine Arts of the University of Peloponnese,
She attends the ERASMUS program in Prague.

1992.

. .

Victoria Ragousi born in Athens in 1992. Graduated from the Department of Theatre
Studies of the School of Fine Arts of the University of Peloponnese. Attends seminars
of theatrical game.

.
,
Kings College ,
.
.

Elena Georgiou was born in Athens. She graduated with high distinction from the
Department of Theatre Studies of the University of Peloponnese and holds an MA in
Cinema Cultures from Kings College London and a BA in Cultural Management from
Panteion University of Athens. She has also attended seminars of improvisation, voice
training.

H ,
, T ( ).
... (
1991) ,
.
- Universit PARIS III, Sorbonne Nouvelle (D.E.A. Arts du spectacle
1995), Universit PARIS I, Panthon Sorbonne (D.E.A. Arts Plastiques et sciences
de lart 1997) Ecole darchitecture Paris Villemin (C.E.A.A.Thories et esthtique de larchitecture 1996).

Assi Dimitrolopoulou is Scenogrpapher, Architect, and Lecturer in Scenography (EEDIP I, Specialized Teaching Stuff) at the University of the Peloponnese in the School
of Fine Arts, department of Theatre Studies. She has been awarded for her work in
theater, architecture and cinema in Greece and was nominated for award production
design in 5th Maverick Movie Awards, New York, Festival art deco de Cinema Sao Paolo,
Brazil, TV Short Film Festival, Malta. She studied architecture in Athens at NTUA (National Technical University 1991).
Postgraduate studies in scenography : DEA Arts du spectacle Universite Sorbonne
Nouvelle - Universit PARIS III (1994-95),

511

512

,
production design 5th Maverick
Movie Awards, , Festival art deco de Cinema Sao Paolo, , T.V.
Short Film Festival, .

plastic arts : DEA Arts Plastiques et sciences de lart Universit PARIS I, Panthon Sorbonne (1996-97)
and theory and aesthetics of architecture : CEAAThories et esthtique de larchitecture
in Architecture School Ecole darchitecture Paris Villemin (1996)

. 80
, ,
, , ,
, ...
. , ,
(T.N. Chaillot Thtre de la Colline)
Theatre National dOrleans).

She works as a scenographer, production designer and architect. Her work as a scenographer and production designer, since 1993, includes over 80 collaborations with
Athens and Epidavros Festival, Greek National Theatre, the National Theatre of Northern Greece, Megaron The Athens Concert Hall, Festival des Eurotopiques, Tourcoing,
France, Sarajevo Winter Festival, Amore Theatre and other theaters in Athens in Municipal Theatres and films. She has also worked in the Paris Opera and Brussels to other
major theaters in Paris (Chaillot and Thtre de la Colline) and the Orleans Theatre
National dOrleans).

, -
B. Myers, . , . , . , L. Bruer, . ,
. , . . , . , . . , .
, . , . , . , . ,
M. , . , . , . , . , . ,
Z. T, ..

In particular, as stage designer and costume designer has worked with B. Myers, P.
Pateraki, A. Avranas, L. Bruer, M. Marmarinos P. Michailidis, , M. Calbari, K. Arvanitaki
Th. Espiritu , ML Papadopoulos, E. Sofroniadou, S. Papathanasiou, M. Gemetzaki, St.
Pavlidis, St. Tsakiris, Z. Tzoumaka, and others.

. , . , . , .
- 8
J. Savary, J. MacFarlane, G. Aillaud,
S. Hasenclever . . .
.

As production and costume designer she has worked with A. Avranas, D. Athanitis, S..
Athanasiou, M. Garefo. and as a partner in sets and costumes with J.Savary, J. MacFarlane, G. Aillaud, S. Hasenclever in Paris.
Scholarships Goulandris Foundation and the Concert Hall.

2

4
: ,

2nd year course:

Introduction to scenic design and costume design: theory and practice
4th semester
Lecturer: Assi Dimitrolopoulou, EEDIP I, Specialized Teaching Stuff

Project ...

Project Waiting ...

.
,
Kings College ,
.
.

Elena Georgiou was born in Athens. She graduated with high distinction from the
Department of Theatre Studies of the University of Peloponnese and holds an MA in
Cinema Cultures from Kings College London and a BA in Cultural Management from
Panteion University of Athens. She has also attended seminars of improvisation, voice
training.

1990. T
.

.

George Tsevas was born in Athens in 1990. Graduate student Department of Theatre
Studies, Faculty of Fine Arts of the University of Peloponnese. He has participated in
many events and exhibitions organized by the Department of Theatre Studies.

( ).
, .
, , ,
().

.

Evi Fourikou is a graduated student of the Department of Theatrical Studies Faculty

of Fine Arts of the University of Peloponnese (direction of Acting-Directing). Internship
in primary education, as animator of theatrical expression. She has attended courses
and seminars on acting, voice, physical theater and acrobatics at the multiplex theater
and arts duende (Thessaloniki). She took part in a lot childrens performances as an
actor and childrens events as clown in animator groups.

Project: Oui papa, oui patron, oui cheri cest fini

Project: Oui papa, oui patron, oui cheri cest fini.

10/09/1994, ,
.
.
: Festival Dei Giovani Delle Dolomiti (2013)
. ,
Blitz heatre Group, ,
, .

Christina Themeli was born on 10.09.1994, in Alexandroupoli, where she grew up.
She is in her third year as a student at the Faculty of Fine Arts Department of Theatre
Studies in the direction of theater studies. She has participated in the festival: Festival
Dei Giovani Delle Dolomiti (2013) in cooperation with the artistic group Counterpoint. Apart from the festival, has attended speeches and workshops with Blitz Theatre Group, N. Karathano, Roula Pateraki, J. Moschos and others.

Photos: / Assi Dimitrolopoulou

513

 ,
,

University of Western Macedonia,
School of Fine Arts,
Department of Fine and Applied Arts

514

515

516

517

518

Performance art

The teaching of performance art at the Schools of Fine Arts in Greece

Performance art
. ,
Performance,
, performance
, , performance .
Performance
()
() .
Performance art
,
media .

(2006) Performance art, .
Performance I
Performance II, Performance
art .

The configuration of the programme of studies of the Departments of Fine and Applied
Arts, at the Schools of Fine Arts, in Greece, did not until recently include the teaching of
performance art as an autonomous course. Despite its absence from the curriculum,
students would declare their interest in performance by creating performance pieces
during their studies, by their participation in performance in group shows during the
course of their study and, occasionally, by presenting performances in their degree
shows. Performance art had also been taught for a short while at the Department of
Theatre Studies of the University of Peloponnese (Nafplio) and is being taught as a
seminar at the School of Fine Arts (ASFA) in Athens. Moreover, performance arts hybrid existence means that it could partake in a variety of programmes of studies that
deal with the arts, the theatre, media and space. Performance art was included in the
programme of studies in the Department of Fine and Applied Arts of the University of
Western Macedonia, in Florina, since its inauguration in 2006, as an elective course.
Performance art is by now being taught in two semesters under the titles Performance
I and Performance II, currently the only autonomous performance art courses taught at
Departments of Fine and Applied Art in Greece.

Performance art

Structure and organisation of the course of Performance Art at the School of Fine Arts
of the Department of Western Macedonia

Performance

media design.
,
projects performance .
,
,
, .

.

.
,

, performers,

Performance .

The course focuses on contemporary art creation in performance and the hybrid practices that are developed in the interaction with other creative fields, such as the media
and design. The course has been set up with theoretical lectures and presentations,
group and one-person exercises carried out during the lesson and, mainly one-person
assignments, for performances of short or lengthier duration. As far as theory is concerned, the presentations encompass issues of identity and subjectivity, the body and
the landscape, time and memory, as well as experimental expansions of architecture.
Classes are framed by lectures from visiting professors and intensive workshops within
the School and offsite. The connection with public space, the public sphere and the
community, locally and beyond is considered especially important. The aim is to equip
students with skills that relate to the medium, that they become able to recognise
and to negotiate the complexity of the relations that are developed with space, the
audience and the other performers, that they experientially explore these relationships
within structured improvisations and, lastly, that they conceptually negotiate the thematic of performance and critically explore its limits.

Thematic structure of the course

Introduction

Performance 20 .
Performance.
.
. .
. .
performance: performance , performance
.

A historical review of performance in the 20th century. Introduction to the basic elements and methods of performance. Exercises in body awareness in relation to space
and others and exercises of presence in the present; movement exercises in different
rhythms, simultaneous movement exercises, ways of moving and ways of looking,
exercises of kinaesthetic response. Introduction in the notion of time in performance:
short length performance, durational performances, and event time.

519

520

Performance

The materials of performance

/.
Adrian Piper, Francis Als, Han Bing .
Pocha Nostra.
persona .
/ .
performance.

Paradoxical and subversive use of everyday materials/objects. The use of objects in the
works of Adrian Piper, Francis Als, Han Bing and others. Exaggeration and grotesque
in the use of objects by the group Pocha Nostra. Personal creation exercises with the
use of objects. Body expansion and mediated/augmented experience of the senses.
Conceptual use of objects for the creation of a one-person performance.

Performance

Performance and instructions

/ (score) Fluxus.
. .
( ). performance. .

Use of instructions/scores from the Fluxus. Examples of instructions use in conceptual art. Group exercises in instructions interpretations. Conceptual interpretation of an
instruction (one-person exercise).The term participatory performance. Creation of a
participatory performance in the public space.

performance

The space of performance as a formative element and an element for

formulation

, .
-. performance.
site-specific ( ) performance.

. performance .

The notion of void in architecture, philosophy and the arts.Exercises in body-space

relationships. Constructions especially created for performance. The notion of sitespecific performance.Indoor and outdoor exercises and exploration of the special characteristics of each space.Characteristics of a performance in public space.

Performance

Performance and landscape

( ). / . . Ana
Mendieta, Arno Rafael Minkinnen, Richard Long Hamish Fulton.
performance.

Body and landscape (integration and difference). Discovering the landscape/microlandscape within group exercises. Durational actions in the landscape. The works of
Ana Mendieta, Arno Rafael Minkinnen, Richard Long and Hamish Fulton. Walking performance.

Performance

Performance the everyday

. performance
Bobby Baker, Martha Rosler
. . :
queer . performance
.

The everyday as a field of contemporary art investigation. The performance of the

everyday in the performances of Bobby Baker, Martha Rosler, Alexandra and Thanasis
Chondros. The everyday and domestic life. The personal and the political: Feminist and
queer approaches. One-person assignment for a performance in their home.

Performance / Performance

Performance and memory/performance for camera

performance . . performance
. Performance . (live) performance.
Performance . Performance . Performance
. , .
.

The performance of the self. Autobiographical practices. Performance as a declaration

of identity. Performance and media. Non-live performance. Performance for camera.
Performance with the use of media. Performance and the internet. Issues of documentation, witnessing and the archive. Connections with contemporary reflections on
the archive and art.

performance

The performance Thessaloniki InBetween

performance
Paraliart ,
2014, 2014, I Need A Hero
, .

The performance Thessaloniki In Between was presented for the first time during the
paraliart festival of events, organised by the Friends of the New Waterfront of Thessaloniki, in June 2014 and for the second time at Action Field Kodra 2014, I NEED
A HERO Valuable Matters in Valuable Times, during September of the same year.

performance

.
performance , performance .

For the performance Thessaloniki In Between the students initially researched the
city of Thessaloniki as a meeting place of nationalities and cultures and experimented
with the dynamics of space. This performance is the result of this research and experimentation, a performance for the alien around us and the alien within us. The space
as heterotopia is realised in its recent past as Dormitories of the (ex) Kodra camp and

()

1922.
performance ,
,
.

its history as a predominate place of hosting for the Asia Minor Catastrophe refugees,
after 1922. The political and social dimension of space is realised in this performance
over time, from the historical past until the present of xenophobia, exclusion and violence.

performance

.
performers,
. performers
, , .
,
. , performers

.
,
. , performers
.
performers ,
performance.

The performances text that is being recited in the performance, originates from a
pastiche of texts promoting Greek tourism and from research and immigration data
for Thessaloniki and the rest of the country. Two performers who guide the action of
the rest are shouting these texts from the loudspeakers. Three performers are balancing on equal wooden seesaws, holding up, just before descending, identity cards of
immigrants. The scattered cloths on the floor are folded and put away revealing two
white sheets. At the intermediate stage, the performers alternate positions in a limited
pre-existing rectangle, designed on the concrete floor. The rhythmis given by data
taken from the research on immigration, which is being shouted from the loudspeaker.
Finally, two performers lie down on the sheets while the rest roll them to the edge of
the site and write numbers on top of them. The rest of the performers sit aside them
on the floor, marking the end of the performance.

Live your myth in Greece. .

Live your myth in Greece.

Photos: / Nikoleta Tsantiki

521

 , ,

University of Western Macedonia, Scholl of Fine Arts,

Department of Fine and Applied Arts

...
Central Saint Martins College of Art and Design, University of the Arts (MA, PhD)
AHRB London Institute.
Performance
Performance Deformes (). Performance
now v.1: in situ ().
. ,
.

Angeliki Avgitidou studied architecture at the Aristotle University of Thessaloniki and

Fine Art at Central Saint Martins College of Art and Design, University of the Arts (MA,
PhD) on scholarships from IKY, AHRB and the London Institute. She participated in all
three Performance Festivals of the Biennale of Contemporary Art of Thessaloniki and
the Performance Biennale Deformes (Chile). She co-edited the book Performance now
v.1: Performative practices in art and actions in situ (ION). She is Assistant Professor
at the School of Fine Arts, Department of Fine and Applied Arts, University of Western
Macedonia.
http://iamartist.info

:
, , ,
, , , , , , ,
, , .
: , , pSari visual productions.
: .
: .

Students:
Ioannidis Avetik Giorgos, Kalogirou Filippos, Karakantzou Theoni, Militsopoulou
Anastasia, Perdikari Panagiota, Roussou Agni, Anna-Maria Samara, Skourtis
Christos, Skourtsidis Panagiotis, Tashounidou Sofia, Tzani Christina, Topakas
Nikolaos, Tsamsakoglou Anna.
Camera: Giorgos Dalis, Giorgos Alexiou, pSari visual productions.
Editing: Giorgos Dalis.
Photos by: Nikoleta Tsantiki.

:

performance /

. performance
, performance
.

Project description
Thessaloniki In Between
For this performance the students researched first of all the city of Thessaloniki as a
meeting point of ethnicities and cultures and experimented with the dynamics of the
space of the Former Kodra Camp. This performance is the culmination of this research
and experimentation, a performance about the alien around us and the alien within us.

http://www.eetf.uowm.gr

522

523

 ,


...
Technological Educational Institute of Athens,
Faculty of Fine Arts and Design,
Department of Interior Architecture,
Decorative Arts and Design

524

525

Photo 1

526

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528

Theatrical - Scenographic - Experiential space.

Spatial representations inspired by the fable and the play

,
...

.

The Department of Interior Architecture, Decorative Arts and Design of the Faculty of
Fine Arts and Design of the Technological Educational Institute of Athens is one of the
five departments of Higher Education of Applied Arts that exist in Greece.

,
(design) ,
.

The curriculum content of this Department has as its discipline the theory and the
practice of Interior Architecture, Exterior Architecture of small scale and the design of
furniture, industrial and decorative objects.

,
,
. ,
,
,
.
.

The curriculum content, implied as a composition of architectural and artistic education at all scales of space and all design levels, is the principle that defines the studies
in this Department. According to this principle, the education widens to an extended
range of art, technology and science that meets the always renewed demands of the
international development of the theory and practice. The Module Theory and Design,
is the main goal of the curriculum.

Architectural space - Scenographic Space

:
.
,
.

The performance event is a major axis on which the courses Interior Architecture:
Recreation and Cultural Spaces and Stage Design, are articulated in. The two fields
of knowledge are exploring the relations and interactions between the built and conceptual space, in order to broaden the horizons of students - creators.

, ,
(
) ,
( ).
, ,
, ,
.

The stage design and architectural design is a process which organizes a sequence of
relations, spatial and visual, so that the translation of a text from the language of words
(dramatic texts) in the spatial language of shapes, colours and sensations (scenography texts) is possible. In the educational process the concept of space is proposed
as an active area, an architecture that implies the narrative, mutation, movement, concepts resulting from the analysis of the dramatic text.

.
,
.
,

, , - .

The theatre architecture in an industrial shell is the subject of the course Interior Architecture: Recreation and Cultural Spaces. The aim is to create modern experimental
spaces related to the spectacle and culture in industrial shells. Exploring the relations
between the spectator and the spectacle, and the relations between the theatre and
the reception room, is the key component for the production of new research ideas
and the creation of modern theatre spaces, highlighting the industrial - cultural heritage.

.
.
,

.

,
.
Projects

The systematic study of the stage space and the interpretation of the theatrical text
in scenographic expression are the subjects of the course Stage Design. Simultaneously, the correlation of the stage design with the architectural interior is attempted.
The aim of this course is to understand the principles of scenographic space, explore
the synthetic procedure and the strengthening of the subjectivity of spacial interpretation of the dramatic text. The stage design is also approached as a synthetic tool for
the creation of interior architecture; a means of transition from the real to the virtual
space, using advanced digital design technologies and spatial representation.

Theatrical Space in an industrial shell

This module includes the architectural design as operator of experiencing the dramatic

Projects

, , .
Dirty hands J. P. Sartre
,
, , , ,
.

: , ,
.

text, the myth, the game. Starting with the play Dirty Hands by J. P. Sartre and with the
Historical Fact Laurion Issue as the major axis of the design process, the spatiality of
concepts such as explosion, strike, time and memory is explored in order to redefine
the architectural space. The theatrical space is transformed into a meeting point of
the theatrical text and the sites memory in the proposal of the group: Sophia Vassos,
Stamatis Kalagkias, Irene Mantinaou.

-, ,
, .
: , ,
, ,
Multiples Container Stories :
, .

Through a space creating procedure-game the container, a means of transport, is

transcribed into a spatial system. In this process, the concepts mutation, time and
motion are introduced, thus redefining the industrial area of Lavrion and transforming it
from an inert and static space into a dynamic and active one in the proposal Multiples
Container Stories of the group: Peter Ampadiotakis, Sophia Daskalaki.

, , --, -, -,
,
:
.

Inspired by the region of Elefsina and the myth of goddess Demeter and Persephone,
the concepts advent, light-dark-shadow, up-down-life-initiation are transformed into
architectural forms by creating polymorphic spaces of theatrical action in the proposal
by Anastasia Vakratsa entitled Advent.

Urban spatial interventions inspired by the play

-.
. ,
-
. , ,
,
, ,
, :
.

This module includes proposals that explore the relationship of the urban landscape
with the dramatic text-myth. Inspired by the play The Blind Spot by Yiannis Mavritsakis, the abandoned railway station of Megara is converted into a transition area, from
the character-action order into a spatial order. From here on, elsewhere, from the
visible to the invisible, from the world of winners to the world of the defeated, the user
explores his position at every moment of the action, going from the present to the
past, from real to the imaginary, in the proposal by Helen Domprogianni entitled Blind
spot in the blind spot

,
, :
:
.

.

The myth of Erysichthon is translated through organic forms and foldings, in an

ephemeral architecture in the pedestrian area in the Aeropagitou street in Athens, in
this proposal by Dimitra Papahatzis entitled From the myth of Erysichthon to Ephemeral Architecture: the hidden power of organic forms as a composition tool. Ephemeral
architecture and digital media interact and display multiple levels of knowledge and
information on environmental and ecological issues in the urban landscape.

,
, : H
.
J. Tanizaki,
--
.

Designing seven hybrid spaces, as a dynamic process of the interaction between light
and shadow, is the subject of this proposal by Epaminondas Moulas entitled The
shadow as a synthetic tool in designing space. Inspired by the play In Praise of Shadows by J. Tanizaki, issues concerning the meaning of shadow-light-space are explored, both as a function and as an architectural statement in the modern landscape
of Lefkada.

Scenographic Space - Urban landscape, operators of the theatrical experience

- .
, , , ,
, - ,

This module includes proposals that explore the relationship of the dramatic text with
the performance-scenographic space. Texts written in, expressed, spatially translated
through concepts, meanings, synthetic tools into scenographic-digital space in the
urban landscape and the theatrical space.

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Photo 2

Photo 4

Photo 6

530

Photo 3

Photo 5

Photo 7

.
,
Frozen B. Lovery :
, : Frozen.
. , ,
, ,
.

The urban landscape is transformed into a theatrical performance reception, inspired

by the play Frozen by B. Lovery,in the proposal of the team Antonia Gkougkouli, Maria
Doudouni entitled Frozen. The theatrical event functions as an organism that produces overlapping interpretations by the spectators-residents, allowing the meeting,
coexistence and interaction with the characters of the play.

, , ,

.
.
---- -
.
:
, -
.

The concepts of the blind spot, flow, displacement, the cerebral process of vision and
perception are spatially translated in the stage design proposals for the play The Blind
Spot by Yiannis Mavritsakis, in different theatrical spaces.
Alternation - lens - focus - eye - blind spot - abrupt change are the main synthetic
ingredients in the stage designing proposal by Nikoleta Bouliari. The blind spot: a slide
projector is spatially transferring the cerebral process of vision and perception projecting the blind spots of the action and the characters for the viewers-recipients.

: , , , ,
P. Mariveaux.

, Butoh
.

.

Concepts such as: power, matrix, illusion, movement, are spatially translated in the
stage designing proposal for the play La Dispute by P. Mariveaux. Aiming to highlight
the power relations between the characters and reducing them to the present time,
the Butoh dance was the core idea of the stage designing proposal by Anna Andreou.
The bodies and the movement of the dancers translate through a space creating process the primitive instincts of the characters of the play.

,
. , ,
.
, , , ,
,
.

The spacial perception consists of the individual spatial meanings, attributed with architectural and digital elements simultaneously displayed on the scenographic space.
Illusion, mirage, exclusion, are spatially defined in the proposal by Ioannis Kelpetzidis.
The properties of the built space, geometry, volume and material substance are affected and changed by acoustic and visual stimulation composing a scenographic
space where the boundaries between the real and the virtual space are unclear.

, , ,
,

Calderon W. Shakespeare.

The space of a dream, as an experiential space, of is or is not, where the boundaries

between dream and reality are vague and undefined, is the theme of the scenography
starting with the plays Life is a dream by Calderon de la Barca and A Midsummer
Nights Dream by W. Shakespeare.

,
, .
, , ,
, , ,
.

The representation of space tends to merge the interior with the exterior, emphasizing
the sense of confinement in the proposal by Kleoniki Charvaki, just as in the play Life
is a dream. The components that shape the space, real and virtual, interlock, engage,
decompose or even are eliminated, as in the structure of a dream.

,
, ,

. ,
,
.

The correlation of real and virtual space, the organization of movement and narration,
the interaction between man and space, is the scenographic approach of Dimitris
Xyderos for the play A Midsummer Nights Dream. The emphasis given on intangible
and material world, from the architecture to virtual reality, transcribes the dream experience into a new spatial experience.

.

, .

Linking Architecture and Scenography driven by a play, a special approach of space

planning is created. The aforementioned proposals cover a small range of questions
and concerns that arise through the interaction of real, virtual and intellectual space.

Chara Agaliotou
Loukia Martha
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Photo 10

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Photo 9

Photo 11

,
, ,

Technological Educational Institute of Athens, Department of Interior

Architecture, Decorative Arts and Design

:



-

Students:
Abadiotakis Petros
Andreou Anna
Vacratsas Anastasia
Vaso Sofia-Florida
Vasileiou Maria
Gkougkouli Antonia
Daskalaki Sofia
Dobrogianni Eleni
Doudouni Maria
Eleftheriou Athina
Katsiaouni Stamatina
Kalaitzidis Alexander
Qabanis Yornik
Kalagias Stamatis
Kelpetzidis Ioannis
ourtidis Christos
Leftheriotis Fillipos
Ladikou Niki
Madinaou Irene
Mavromanolaki Persefoni
Markouizou Kalliopi
Bouliari Nikoleta
Moulas Epamindodas
Boura Georgia
Nika Chrisanthi
Nikolopoulou Georgia
Xideros Dimitris
Panagou Eleni
Papachatzi Demetra
Polikandrioti Andriani
Papadogianni Ioanna
Papoutsi Georgina
Sakarellou Katerina
Stampoulopoulou Eleni
Stamati Lina
Tsiami Nefeli
Chourmouziadi Triathafillia
Fragkopoulou Sofia
Charvaki Kleoniki
Xideros Dimitris

- -

.
E :
,

.
:

Theatrical - Scenographic - Experiential space triggered

by the fable and the play
The presentational event is the keystone on which the courses Interior ArchitectureRecreation and cultural spaces and Stage Design of the department of interior architecture, decorative arts and design, are articulated on.

1.


. Dirty
Hands - , ,
, ,
.
.

.

Section 1.
Theatrical rchitecture in industrial shell
The first section contains the architectural design as a source of experiencing the play.
Starting with the play Dirty Hands by Jean Paul Satre, the spatiality of concepts like
explosion, strike, time and memory is explored, aiming to redefine the architectural
space. The industrial space, from being inactive and static is altered in a dynamic and
active space via the space-creating process. The fable of Demeter, the goddess of
harvest is transcribed into an experiential route in the space of the old oil mill in Eleusis.

The presentation is divided in three sections:

533

 2.


, .

,
. .

. .

Section 2.
Urban spatial interventions triggered by the play
The second section contains proposals that explore the connection between the urban
scenery and the play. The abandoned railway station of Megara City is altered into a
transition area via the system action-character in a spatial system, triggered by the
play The Blind Spot by Yiannis Mavritsakis. The ephemeral architecture is altered into
a narrative space of the fable of Erysichthon via the hidden power of organic forms in
the pedestrian in Areopagitou street in Athens.

3.
/


,
,
.

, , ,
,
Frozen B. Lovery.
, , ,

. .
, , ,
,
, H
Calderon de la Barca, W.
Shakespeare.

Section 3.
Stage design, theatre / urban scenery
The third section contains proposals where the stage design is approached as a process which organizes a sequence of relationships, both spatial and visual, so that the
translation of the play from the language of words to the language of space is possible,
in the urban scenery as well as in the theatrical space.
The Monastiraki Square is transformed into a reception room of a theatrical happening,
an experiential journey with benchmarks such as exclusion, vacancy and the transition
of one of the characters of the play into the space, based on the play Frozen by B.
Lovery.
The concept of the blind spot, the flow, the relocation, the cerebral process of vision
and perception are translated spatially in the stage design proposals for the play The
Blind Spot by Yiannis Mavritsakis.
The space of a dream, as an experiential space, of real or not, where the boundaries of dream and reality are blurry and unclear, is the main topic in the stage design
starting with theatrical plays sych as Life is a Dream by Calderon de la Barca and A
Midsummer Nights Dream by W. Shakespeare.

534

, , 2010)
.
( , ,
, , ).

, ,
, . ,

, ,
, ( ,
- , ,
).

publications, 2010), Interior Architecture: Residential Spaces, Recreation and Cultural

Spaces. She has remarkable scientific and research project (participation in research
programs, competitions, conventions, publications, [ ] pre-doctoral research). She has remarkable work,partcipation in research projects.Her research
focuses on renovating industrial spaces that incorporate events, transforming the theatrical space, the connection of the spectator, the space and the event.
Additionally, she has developed research about space and the disabled, the interaction
between sensing the space and the body, architecture without vision, (Institutional
space and disabled children, educational space and disabled children, The target is a
school for everybody, architecture without the eye sight).

,

.
- ,
.

. 2004

,
/ :
. ,
.

Panagiotis Panos holds a Diploma of Interior Architecture, Decorative Arts and Design
from the Technological Educational Institute of Athens. He is undergraduate at the
department of master in Informatics at the T.E.I. of Athens Information Technology,
Image Synthesis and Conception Graphics. In parallel he studies at the department of
master in Lighting Design and Multimedia at Open University of Greece and achived
excellence scholarship. Since 2004 works as a special technical staff in the Department of Interior Architecture, Decorative Arts and Design of the Faculty of Fine Arts and
Design of the Technological Educational Institute of Athens, and supports the lessons
Computer Aided Design Methodology and Decorative arts: Digital applications.
He participated in many architectural projects, mainly public works, as well private projects.
http://www.teiath.gr
http://www.teiath.gr/sgtks/index.php?lang=el
http://www.teiath.gr/sgtks/eadsa/articles.php?id=4320&lang=el
http://www.teiath.gr/sgtks/eadsa/articles.php?id=39751&lang=el

Agaliotou Chara
Martha Loukia

H Ecole Speciale d Architecture

PARIS III (DEA ). 2012
.
,
, ,
, .
.
, , design,
. .
2005
, .
: , ,
Design , . 2013
.

Loukia Martha was graduated from the Ecole Speciale d Architecture in Paris with
honors degree and she went on with post graduate studies, by gaining a scholarship from Onassis institution, in Theatrology, Scenography in Sorbonne Paris III (D.E.A
with honors degree). Since 2012 she has been working out her doctoral thesis in
the Department of Architecture in the Technical University of Crete. She works as an
architect, having her own architectural bureau which deals with architectural projects,
projects of interior design, scenographical projects for the theatre and television, curating expositions, graphic applications in Greece and abroad. She has participated and
distinguished in Pan/Hellenic and International architectural contests. She has participated in Architectural expositions, ephemeral architecture design, congresses and
research projects. Her works are published in scientific magazines. Since 2005 she
has been working as collaborator professor in the Department of Interior Architecture,
Decorative Arts and Design of the Faculty of Fine Arts and Design of the Technological
Educational Institute of Athens, Decorative Arts and Design. The objects of teaching \
Architecture of Interior Space, Design of Furniture, Design of Interior space, Introduction to Scenography. Since 2013 she is responsible for the Scenography course.

,
1980 (), (Universit degli Studi
di Firenze, Facolta di Architettura).
(, , , ,
, ).
, ,
.
: (

Chara Agaliotou is an Architect engineer, graduate of the 1980 class of the Architecture School of the University of Florence with honors degree, (Universit degli Studi di
Firenze, Facolta di Architettura). She has a rich self-reliant architectural work independent architectural work (studies, constructions and renovations of residential and commercial buildings, interior design, furniture design). She is an assistant professor in the
Department of Interior Architecture, Decorative Arts and Design of the Faculty of Fine
Arts and Design of the Technological Educational Institute of Athens. She is the main
teacher of the courses: Design Methology (accompanied by a textbook she wrote, O

/ Photos
Photo 1: / Papachatzi Demetra
Photo 2: , / Stamati Lina, Boura Georgia
Photo 3: / Moulas Epamindodas
Photo 4: / Moulas Epamindodas
Photo 5: / Xideros Dimitris
Photo 6: / Bouliari Nikoleta
Photo 7: / Doudouni Maria
Photo 8: / Polikandrioti Andriani
Photo 9: / Vacratsas Anastasia
Photo 10: / Vasileiou Maria
Photo 11: -, , /
Vaso Sofia, Kalagias Stamatis, Madinaou Irene

535


Laboratory of Scenography
(LSA)

536

537

Photo 1

538

Photo 2

Photo 3

Photo 4

539

Laboratory of Scenography
A Laboratory on Art, Laboratory of Scenography Athens (LSA)

-
, Laboratory of Scenography Athens (LSA), 2000.


.
, ,
.
.

I started the operations of the Laboratory of Scenography, Athens A Laboratory on

Art (LSA) in 2000. My belief that young people are the ones who you should trust
the most and share your knowledge and dreams with, led me to the formation of the
Laboratory.
The goal of the Laboratory of Scenography is the study of Scenography (set and costumes) in theatre, dance and opera, as it is internationally studied and taught.

. .
.
,

.

The whole learning process of the Laboratory is based on the study of the theatrical
text, on the belief that the stage and the costume designing is an undeniable dramatological element of any play. Scenography is primarily theatre..

, , .
. 1,
.

The element of time is a very important aspect of our study.

Labor in theatre and in theatre space is essentially a labor on time, says Yannis
Kokkos1. A special focus during the teaching process of the Laboratory is given to
the research on the text. This research intensifies the senses, cultivates the ability of
observation and leads to the discovery of the elements that are present in the text. This
quest to the theatrical text is a necessary journey of utmost importance.

, .
Valere Novarina :
2.

The creation of a set design is not merely the outcome of an order of what to do..
However, this is rarely the Scenographers fault.
As Valere Novarina has said, every stage design that can be directly translated as this
or the other idea, should be immediately destroyed2.

, :





-
,


,
..

Above, the fields of study of the Laboratory can be divided in the following areas
From theatrical text to theatrical space
The space and body
The poetics of space
The use of masks
The codes and spaces in Byzantine art
The space in Western painting
No theatre, Shadow theatre
Lighting design and others

,
,
video slides ( ).
, ,

.


, , story board, ,
Portfolio
540

The Laboratory, further, works in collaboration with distinguished practitioners from the
fields of theatre, dance and cinema, who assist the students in understanding the role
of Scenography through a wide range of artistic views.

The Scenography and costume design proposals, for plays or for operas, that are created by the students of the Laboratory are accompanied by stage models, drawings,
story boards, 3D constructions, studies on the costumes and inclusive portfolios.
Every year, the students of the Laboratory showcase their work in an Alumni Final exhibition.
The pedagogic philosophy of the Laboratory is based on the personal relations, the
mutual support and the encouragement of the students. Furthermore, the different
backgrounds of our students, who range from Fine Art graduates to Architects and
from theatre students to actors, provide key opportunities in understanding and utilizing all of the aspects of Scenography.

.
,
,
.

. , background
(, , ,
, )
.
- , Laboratory of Scenography Athens (LSA), .

. : Performance art
(space/time Art) Performance, Installation art, ,
Video art, , , ,
, ( ) .

Adding to the Scenography course, LSA also provides a course under the title of A
Laboratory on Art that is primarily aimed to those students who have finished the first
year of Scenography and wish to advance their knowledge to areas connected to all
aspects of art. Its main interests revolve around Performance Art (space/ time art),
Performance Installation Art, Scenography and Sculpture, the Work of Art, the image
and the view, the time in art, the poetics of space, the movement of body and space
and Music Poetics.

(project)
. (projects)
video art, (installation) video
installation, .

The study is completed with the creation of a project that has been realized by each
individual student. The procedure is based on the spontaneous and the serendipitous.
The individual projects may, and often do, lead to personal exhibitions of the students,
in the form of video art, installations or video installation.

,
BIOS , ,
- .

Many events have become a reality, stemming from the cradle of the Laboratory.
A great example is this of the Inverted thread, a performance installation that was
staged in BIOS in Athens and was later adapted to a childrens play under the title
Inverted Thread The fairytale.

,
,
.
.

Both plays were focused on the theatrical image rather than on word. Both performances were created based on the work of students of the Laboratory of Art.

, -
.
LSA

.

Our over 300 alumni of both courses of the LSA have successfully continued to work
in theatre and fine art, and pursued postgraduate studies in leading institutions both
in Greece and abroad.

/
,
Pamela Howard3.

An Aesthetic and Theoretical Approach to Scenography and Performance Space.

Pamela Howard3, the renowned English Scenographer, has eloquently expressed the
fact that stage decorators and Scenographer are not the same thing.

.
-.
.
H , , .
( , , ).
.

. .

The understanding of the poetic space/scene is a prerequisite if we seek to explore

what is the thing that we want to share with the audience.
A door that aims to open way for the creation of a scene oughts to always keep in mind
that the play at hand was written by a writer-A Poet.
Poetry, however, does not seek to describe, tell a certain story or seek novelties...
Poetry, much like art, speaks the truth. (Martin Heidegger, The origin of the work of
art). Imagination does not express the unreal. The essence and spirit of things is
expressed through the obvious and the real. The most difficult thing to express is the
real, naked truth.

,
, . Peter Brook : To be artistic in theatre is horrible.

The relationship of Stage Design with Art clarifies how the Scenography and the costumes are not artwork, nor fine art, despite their evident relation through aesthetic
identity, colour and composition.
Peter Brook has said: To be Artistic in Theatre is horrible.

541

542

Boris Aronson :
, ,

.

American Stage Designer Boris Aronson summarizes the role of a Scenographer: At

best, the Designer must be a sculptor, painter, architect and engineer and also have an
intimate knowledge of the theatrical scene and the Philosophical and poetic dimension of his work.

.
, ,
.

The stage design is the synthesis of the relationship of things happening and existing
on stage. A relationship between the volumes of the form, the color and the movement of actors and of time.

/ project/s
-
PQ Shared spaces music weather politics, ,
. [Music].

On the Issue and the Thematics of the Project(s)

Laboratory of Scenography and Costume Design
Taking into consideration Shared Spaces music weather politics, the theme of
the 2015 Prague Quadrennial, the LSA decided to work on Birds by Aristophanes, a
text that itself constitutes music. [Music].

To
, . [Politics].

: ; [Shared
Spaces].

The text refers to a society being overturned by a new society in the clouds,
Nefelokokkygia[Politics]. This coexistence of reality and imagination leads us to ask
the question of What is it that, which drives the action in a real space; [Shared
Spaces].

, ,
. . [Weather].
H ()
(),
260, () -
()
.

In the text, birds give the signal for the coming of any and all seasons. [Weather].
Our study starts from the Ancient Theatre of Dionysos (Summer), continues at the
bottom end of the Klathmonos Square (Autumn), then moves to the theatre of Piraeus
260, Room D (Winter) and rends in the outdoor area - atrium of the Benaki Museum
- (Spring), with the questions and quests that all these different spaces provide being
the axis of the study.

: /
. story boards / .
PQ,
[student section],
. .

In our models we decided to showcase the Second Act: forest / bird entry.
The arrival of several characters, including gods is shown on story boards.
What will be discussed is how to create and capture the questions that we are going
to investigate. Studying the Birds by Aristophanes, an ancient Greek text proposes a
challenge, as well as the contemporary use of masks.

20132014. ,
.
,

,
.

The group consists mainly of students of the academic year 2013-2014. Our work is
presented in its final form in video, as per the request of the Greek Mission to the PQ.
The video follows our original intent which is the meeting of the ancient text with the
modern viewer and the attempt to not only record our proposal, but pose an exploration of the feeling of containment, that incorporates the viewer in the experience of
our proposal.

projects .
PQ.

Laboratory on Art
The Group of the Laboratory on Art participates with material from five different projects that have arisen during the course of the Laboratory for Art.
With this material we have created a video for the final PQ Exhibition.

/projects:
Do not be a fool, Installation by Mayra Baziana
Waiting Room, Performance by Aggeliki Tomara
The Box, Performance by A. P. Papatheodorou
Fibrils, Video Installation by Olga Chalkidou
May be, Installation by Irini Tzelepi.

The projects are:

Do not be a fool, an Installation by Mayra Baziana,
Waiting Room, a piece of Performance by Aggeliki Tomara,
The Box, a piece of Performance by A Papatheodorou
Fibrils, a Video Installation by Olga Chalkidou, and
May be, an Installation by Irini Tzelepi.

E,
.
.
o PQ 2015.

I would like to thank each and every one of the students of the Laboratory who worked
with trust, consistency and love since last June.
Special thanks have to be expressed to the Hellenic Centre of the International Theatre
Institute and Mr. Thanos Vovolis for the great honor to be included in the Greek Mission to PQ 2015.

,
. , .
.

We would also like to thank Mr. Michael Marmarinos, Mr. Antonis Daglidis and Ms Martha Focas.

o Kokkinou-Kourkoulas Architects,
,
.

We also like to thanks Kokkinou - Kourkoulas Architects, The Ministry of Culture of

Greece, and Athens Festival.

Maria Chaniotaki

Notes

, , .

Yannis Kokkos, Le scnographe et le hron, Kastaniotis Publications.

Valere Novarina, , .

Valere Novarina, Letter to the actors, Agra Publications.

Pamela Howard, ;, .

Pamela Howard, What is Scenography?, Epikentro Publications.

Photo 1, 2, 5, 9: Maria Chaniotaki, Birds by Aristophanes - research collages

Photo 3: Maria Chaniotaki Birds by Aristophanes - Benaki Museum, Athens, Research
model scale 1-50
Photo 4: Maria Chaniotaki, Do not be a fool -work in progress by Mayra Baziana
Photo 6, 7, 8: Dimitra Katsaouni, Birds by Aristophanes - research
Photo 10: / Chris Agnousiotis

543

Photo 5

544

Photo 6

Photo 7

Photo 8

545

Photo 9

546

- ,

, Laboratory of Scenography Athens (LSA)

Maria Chaniotaki
Theatre and Costume Designer MA- Artist
Head and Founder of the Laboratory of Scenography Athens (LSA)

. . . (), ,
Wimbledon School of Art (WSA) Master of Arts
().
.
- .

Maria Chaniotaki was born in Heraclion Crete. She studied T. Civil Engineering (BA),
Music Piano, and Scenography at the Wimbledon School of Art (WSA) where she received her Master Degree of Arts in Theatre Design/Scenography(MA).
She has exhibited works as an Artist in personal and group exhibitions.
She is working as a Theatre Designer in Theatre and Dance at the same time is teaching Scenography in several educational Institutions.

2000 -
- Laboratory of Scenography Athens (LSA)
.

With the foundation of the Laboratory of Scenography, Athens (LSA) in 2000 she
starts a new productive and educational activity.

- o

(LSA)
. , ,
,
.
. ,

.

Her first attempt in directing was Thread A Performance Installation that weighs
image more than speech, created by her collaboration with a group of LSA students.
The play also aimed at a child audience brings for the first time in Greece, professional
actors and people with disabilities in an equal role.
She has published her books Fairies, a Kite named shark and a flower that wanted
to become a butterfly.

LSA
(student Section) PQ 2015.
(SBTD),
()
() .

She is the Head of the team of the Laboratory of Scenography, Athens (LSA) that will
participate in PQ 2015 (student section) as part of the Greek Participation of the Hellenic Centre of the International Theatre Institute.
She is a member of the Society of British Theatre Designers (SBTD) ,the International
Institute of Theatre (ITT), the Chamber of Fine Arts of Greece (EETE) and the Greek
Society of Theatre Designers

:

() -

Department: Laboratory of Art

Maira Baziana
Adriani (Anna) Panou- Papatheodorou
Irini Tzelepi
Aggeliki Tomara
Olga Chalkidou

: -


-






-

Department: Theatre and Costume Design

Dimitra Katsaouni
Marianna Katsoulidou
Michael Socrates Kafousias
Jona Kokkalari
Myrto Lambrou
Lena Lekkou
Mary Bisbiki
Dimitra Bouritsa
Klelia Ninou
Dimitra-Gabriella Roumelioti
Eleni Palogou
Maro Tsakonakou
Galaxias Goufas Spanos
Panagiotis Kafousias
Myrto Chronaki

: -
PQ Shared spaces - music weather - politics
.
.

Department: Theatre and Costume Design

Considering the subject of Shared spaces - music weather - politics that is prevalent
in the 2015 Prague Quadrennial, we are working on The Birds, by Aristophanes; a text
that, itself, is music. We focus our interest on studying the rhythm, the colours and

547

Photo 10

[Music].
To
, . [Politics]

other musical elements we discover hidden inside the text. [Music]

The play depicts a society that is being overturned. A new society named Nephelokokkygia is created in the clowds. [Politics]

:
; [Shared Spaces].

, . . H
()
() 260,
() - - ()
.
- , ,
; [Weather].

The co-existence of reality and fantasy is what intrigues us and leads us to ask the
question of Whats this that moves the action into a real space? [Shared spaces]. The
birds are the ones giving the signal for every season First of all, they mark the seasons
for them, springtime, winter, and autumn.
Our study of The Birds will be made for the ancient theatre of Dionysus (summer),
the Klafthmonos square in Athens (autumn), Space D in the Peiraios 260 venue of the
Athens festival (winter) and the Atrium of the Benaki Museum in Pireos street (spring).
The birds change with the seasons, they migrate; which birds fly and in what altitude?
[Weather]

: /
story boards / .

.
PQ, [student section],
.

In our model boxes we will present Act II: Forest / entrance of the birds and in our
storyboards we will tell the story of the several characters, as well as the entrance of
the gods.
Through our preparation, we wonder on how to create the questions for all the issues
mentioned. We believe that an international exhibition like the PQ, especially in the
department of education [student section] should aim to investigate all the questions
that still remain unasked.

, .

.
[weather].
.
2013-2014.
,
.
.

This ancient Greek play of Aristophanes, proposes a challenge. It is about an allegorical,

dreamy utopia that is characterized by the sense of flying. By the lightness of the humans as birds and by the creation of a state between the earth and the sky. [Weather]
The use of the mask in our days proposes yet another challenge.
The team consists mostly of LSA students of the 2013-2014 academic year.
In the final exhibition our material will be presented in video.

Department: Laboratory of Art

PQ
Shared spaces-music-weather-politics
project .
/project
.
,
.

The concept of Shared spaces music- weather - politics will be presented through
the material of five discrete projects. The study that LSA will be presenting will consist
of these five projects, all of them created from scratch and individually by the students
themselves. The research process that was followed is based on the development of
the spontaneous and the random. At the same time, in order for the initial idea to
be able to be fully expressed, a deep understanding of the concept of the artistic event
is necessary.

/project
video art, performance, (installation) video installation.

PQ.

In order to showcase this work, a video will be created with pieces and excerpts of the
projects and will be presented at the Prague Quadrennial.

/Project:
Do not be a fool Installation by Mayra Baziana,
Waiting Room Performance by Aggeliki Tomara,
The Box Performance by A. P. Papatheodorou
Fibrils, Video Installation by Olga Chalkidou
May be Installation by Irini Tzelepi.

The individual projects are:

Do not be a fool Installation by Mayra Baziana,
Waiting Room Performance by Aggeliki Tomara,
The Box Performance by A.P. Papatheodorou,
Fibrils Video Installation by Olga Chalkidou and
May be Installation by Irini Tzelepi.

(LSA)
,
2013-2014.

The team consists of five students of LSAs A laboratory of Art section, mainly from
the 2013-2014 academic year.

www.mariachaniotaki.gr
548

549

550

551

credits

552

553

554

HELLENIC CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE

PQ 2015

ARTISTS SELECTION COMMITTEE FOR PQ 2015

2014-2016

BOARD OF DIRECTORS 2014-2016

President
Emmanouil Koutsourelis
Theatre Director / Radio Producer

Vice-President
Thanos Vovolis
Scenographer

-
, PQ 2015

President
Thanos Vovolis
Scenographer
Curator for the Hellenic National Participation & Curator
for Theory at PQ 2015
Vice-President, Board of Directors of the Hellenic Centre
of the International Theatre Institute

General Secretary
K. Alexis Alatsis
Theatre Director

Members
K. Alexis Alatsis
Theatre Director
General Secretary, Board of Directors of the Hellenic Centre of the International
Theatre Institute

Treasurer
Dimitris Tsoukas
Composer

Nikos Vittis
Composer
Member, Board of Directors of the Hellenic Centre of the International Theatre
Institute

Alternate General Secretary

Ioannis-Alexandros Vamvoukos
Actor

MIRfestival

Christiana Galanopoulou
Art Historian
Artistic Director of MIRfestival

--

Alternate Treasurer
Maria Konomis
Scenographer-Theorist

Members
Nikos Vittis
Composer

- -
, , &
, PQ 2015

Maria Konomis
Scenographer - Theorist
Adjunct Assistant Professor, Universities of Patras & Athens
Associate Curator for Theory at PQ 2015

Dr Sozita Gountouna
Art Theorist

- -

, Senior Fellow
London School of Economics, UK, & Johns Hopkins University, USA

Lila Leontidou
Architect - Planner - Geographer
Professor of Geography and European Culture
at the Hellenic Open University; Senior Fellow, London School of Economics, UK,
& Johns Hopkins University, USA

Maria Koliopoulou
Choreographer

George Parmenidis
Architect Engineer
Professor, School of Architecture, National Technical University of Athens

,

, 2012-2014

Katia Savrami
Choreologist
Assistant Professor, Department of Theatre Studies, University of Patras;
Former Vice-President, Board of Directors of the Hellenic Centre of the
International Theatre Institute, 2012-2014

George Sampatakakis
Theatrologist
Assistant Professor, Department of Theatre Studies, University of Patras President

555

556

(.....)

ADMINISTRATIVE AND OPERATIONS STAFF OF THE HELLENIC CENTRE

OF THE INTERNATIONAL THEATRE INSTITUTE

PQ 2015

HELLENIC PARTICIPATION PRODUCTION TEAM PQ 2015

.....

Executive Secretary of Hellenic Centre of the ITI

Eugenia Somara

Organising Institution: Hellenic Centre of the International Theatre Institute

&

National Curator, Curator for Theory

Thanos Vovolis

&

Administrative Advisor & NSRF Programme Coordinator

Neofitos Panagiotou

Architectural Design and Construction Supervision

George Parmenidis

. ,

Venue Manager & Projects Coordinator

Zetta Pasparaki

Associate Curator for Theory

Maria Konomis

&

Executive Production Manager

Sofia Karagianni

Production Manager
Sofia Karagianni

&
-

Production Manager
Flora Lenou-Pagkrati

Project Coordinator
Neofitos Panagiotou

&

Assistant Production & Communication

Vasiliki Tsouka

, Christine Longuepee

Architect Engineers
Ifigenia Mari, Christine Longuepee

&

Architectural & Curator Assistant

Klelia Ninou

Cube construction
Nikos Moniodis

Audiovisual Supervisor
Makis Faros

Technical Advisor
Thetis Parmenidou

Video Concept

Video Concept
Thanos Vovolis

Video Cinematography
Zafeiris Haitidis

Video Editing

Video Editing
Thanassis Totsikas

Graphic Design
Manos Saloustros

- :

Communication Sponsors Advisor

Zetta Pasparaki

& :

Assistant Production & Communication

Vasiliki Tsouka

557

, concept, / Concept

Idea, concept, catalogue editing / Cover concept

Thanos Vovolis

Editor assistant / Proofreading

Sofia Karagianni

Graphic design
Manos Saloustros

Text editor (greek)

Tonia Karaoglou

VA Translations

Text editor (english)

Va Translations

There are innumerable persons who contributed to the realization of the Hellenic Participation at PQ 2015. Each offered their unique input which helped in opening doors,
providing inspiration, lending support and feedback. I feel privileged to have had them
walk this long explorative and demanding path with me. I would like to thank wholeheartedly:

For her friendliness, willingness to assist, sharp efficiency and vision I am deeply thankful to the Artistic Director Sodja Zupanc Lotker.
I would like to thank the Board of directors of the Hellenic Centre of the International
Theatre Institute and especially the Secretary General K. Alexis Alatsis for his continuous support and commitment.

First and foremost, the participating artists and performing arts companies:
A4M, amorphy.org - Argyriou Tzeni, Avgitidou Angeliki, Dukas Barbara, Klien Michael,
Laskaridis Euripides - OSMOSIS Theatre Company, Legakis Paris, Marketou Jenny,
Marmarinos Michael - Theseum Ensemble, minimaximum improvision, Ohi Pezoume
Performing Arts Company, Omada7, Omada Ison Ena, Papadamaki Apostolia, Papakonstantinou Elli - ODC Ensemble, ROOTLESSROOT - Jozef Frucek, Linda Kapetanea,
Spanoudaki Annetta, VASISTAS theatre group - Argyro Chioti, Zamboulakis Giorgos Experimental Theatre of Thrace and Zygouri Mary.

My deepest thanks to the Hellenic Participation Production Team:

Project Coordinator: Neofitos Panagiotou, Architect Engineers: Ifigenia Mari and Christine Longuepee, Audiovisual Supervisor: Makis Faros, Technical Advisor: Thetis Parmenidou, Video Cinematographer: Zafeiris Haitidis, Video Editor: Thanassis Totsikas,
Graphic Designer: Manos Saloustros, Communication Sponsors Advisor: Zetta Pasparaki and Social Media Supervisor: Vasiliki Tsouka.

I would like to thank all the students of the nine participating educational institutions
from all over the country for their creativity and enthusiasm and their Professors: Vana
Xenou, George Parmenidis, Ifigenia Mari, Stavros Gyftopoulos, Apostolos-Fokion Vettas, Lila Karakosta, Olympia Sideridou, Lili Pezanou, Manos Stefanidis, Ilias Grammatikos, Assi Dimitrolopoulou, Angeliki Avgitidou, Chara Agaliotou, Loukia Martha, Aris
Klonizakis, Panagiotis Panos, Maria Chaniotaki.
Particular thanks to the artists performing live in Prague during the Exposition:
Laskaridis Euripides, Vicky Mastrogianni & Omada7, Papakonstantinou Elli & ODC Ensemble.
I am highly appreciative of the support provided by the PQ 2015 production team:
PR manager Eva Riebova, Exhibition Coordinator Karina Kotulkova, PQ Producer Josef
Balous, Producer Nikola Bratrychova, Production /Location Manager at Clam-Gallas
Palace Marie Kasparova, Office Manager/Accreditations Josefina Lubojacki, Production, Location Manager at Kafkas house Jan Valter, Production Assistant of the ClamGallas Palace Ivo Kssler.
For her generous and continuous support I am greatly indebted to the PQ2015 Chief
Coordinator Alice Doleelova.

The organising team would wish to express its warmest thanks to:

The Vice-President of Michael Cacoyannis Foundation

Mrs Xenia Kaldara
Mrs Stella Aggeletou
Mrs Melina Varoutsikou
Mr Pierros Loubropoulos
Mrs Venia Papathanasopoulou
Mrs Rania Skordili
Mr Andreas Triantos
Mrs Fani Kyrkou
Mrs Alkistis Dimaki
Mr Vasilis Giakamozis

T :
, , , Jennifer
Margaret Bailey, Elisa Galluzzo, Fortuna Hernandez, Cahaya Lituhayu

The volunteers:
Mariza Soulioti, Eleni Michailidou, Ifigeneia Daoudaki,
Jennifer Margaret Bailey, Elisa Galluzzo, Fortuna Hernandez, Cahaya Lituhayu

T , , ,

.

Antigoni Katsadima, Eleni Kostopoulou, Maria Spyropoulou, Mara Stylianou and

Kalliiopi Tarasi for their contribution to the translation of the texts.

I would like to thank them for their time and valuable contributions to this project.
Especially I would like to thank the Architectural & Curator Assistant Klelia Ninou. Her
commitment was genuine and unwavering and her contributions complementary.
I would like to thank Niki Orfanou for proofreading my curatorial text and the Associate Curator for Theory Maria Konomis for her intellectual sharpness and stimulating
thoughtful discussions. The reflective and motivating exchanges emerging out of our
collaboration are very much treasured.
I am deeply grateful to Production Manager and Editor Assistant Sofia Karagianni for
her intensive work, insistence, persistence and immovable belief in the value and necessity of the project. Her superb all-round tireless support and her sharp efficiency,
always investing so much of herself in this process and keeping me afloat with her
encouragement.
I feel deeply grateful toward the Architectural Designer & Construction Supervisor
George Parmenidis. Our meetings were always creative and pleasurable and our cooperation was highly rewarding and gifted me some of my fondest memories. I graciously
thank him for all of his work and the privilege of working with him.
Thanos Vovolis

All artists, companies, photographers, authors and editors retain the copyright, control
and ownership over their own work permitting the Hellenic Centre of the International
Theatre Institute to use the material only for this specific dvd- catalogue edition, created on the occasion of the Exposition of the Hellenic Participation at the Prague
Quadrennial of Performance Design and Space 2015.
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Hellenic Centre of the International

Theatre Institute

206, 177 78,
T & F: +30 210 3303149

Michael Cacoyannis Foundation

206, Piraeus Str., Tavros, Athens 177 78
T & F: +30 210 3303149

find us on:

e: office@hellastheatre.gr, itigr@otenet.gr
www.hellastheatre.gr

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