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1 2014

ONE - DAY CONFERENCE

New Spatialities:
design for outdoor / open performance space
Saturday, 1 November 2014
Michael Cacoyannis Foundation

The Hellenic Centre

of the International Theatre Institute


THE HELLENIC CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE

2014-2016

-

.

BOARD OF DIRECTORS 2014-2016

President
Emmanouil Koutsourelis
Theatre Director / Radio Producer
Vice-President
Thanos Vovolis
Set and Costume Designer
General Secretary
K. Alexis Alatsis
Theatre Director
Treasurer
Dimitris Tsoukas
Composer
Alternate General Secretary
Maria Yiayiannou
Author
Alternate Treasurer
Nikos Pantelidis
Actor
Members
Nikos Vittis
Composer
Dr Sozita Gountouna
Art Theorist
Maria Koliopoulou
Choreographer



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, PQ 2015

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Catalogue edited by
Thanos Vovolis
Set and Costume Designer
Curator for the Hellenic National Participation
& Curator for Theory at PQ 2015
Catalogue Design
Aphrodite Spyropoulou
Graphic Designer
Text editor /
Proofreader
Menelaos Karantzas
Theatrologist

Conference convenor
Thanos Vovolis
Conference Production Team
Neofitos Panagiotou
Administrative Advisor & NSRF Programme Coordinator
Zetta Pasparaki
Venue Manager & Projects Coordinator
Sofia Karagianni
Executive Production Manager
Flora Lenou-Pagkrati
Production Manager
Vasiliki Tsouka
Assistant Production & Communication

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Dear friends
The Hellenic Centre of the International Theatre Institute participates in the present action aspiring to contribute in supporting
contemporary greek culture and to highlight both the potencies and the achievements of domestic Scenography and Architecture,
maintaining a feeling of optimism despite the adverse financial circumstances in a period of social distress.
In recent years, the Hellenic Centre of the ITI has aimed at further developing, updating and harmonizing its various activities with
what current times demand, while concurrently defining a new course of active participation in both greek and international areas of
performing arts.
By supporting and promoting abroad the work of greek artists and by setting off high quality projects, we wish to add not only to
the achievements of the artistic community, but to the expansion of the role that performing arts play within greek society as well.
The current political and financial context intensifies the feeling of insecurity and often leads, erroneously, in questioning the value of
arts as an expensive luxury. Yet, if we consider the many cases where arts have functioned as a souls refuge during a crisis period, we
will realise that they could once again become a counterweight and a topos of meaning. Each one of us deserves and can be substantially conducive to cultures edifice.
With the financial support form the Ministry of Culture and Sports through a National Strategic Reference Framework program we
have been able to organize this one-day conference, which is a precursor of our participation in Prague Quadrennial 2015. It is very
important to proceed with creating the most representative exhibition stands and completing the action with the presentation of
those taking part in PQ in June 2015.
All these and many more issues will be addressed and openly discussed with the audience during the aforementioned one-day conference. Our object is to evoke productive dialogue with people whose life stance and everyday practice is the active engagement with
arts and culture.
With the above in mind, and with the promise that the scientific agenda of our meeting will be particularly attractive and it will offer
the opportunity for information, and exchange and feedback of ideas, I would like to express my warmest thanks to: scenographer
Thanos Vovolis, Vice-President of the Hellenic Centre of the ITI and National Curator for PQ 2015; architects George Parmenidis,
Christine Longueppee and Ifigenia Mari, in charge of the architectural design and construction supervision of national exhibition stands;
scenographer Maria Konomis, Associate Curator for Theory of Greeces participation at PQ 2015; and all the members of the artists
selection committee.
I, personally, and on behalf of the Board of Directors of the Hellenic Centre of the ITI, would like to thank the five-member team
set up to manage, communicate and organize the event for the Hellenic Centre of the ITI, and all the participating artists, as well; we
wholeheartedly wish them the best of success.
Emmanouil Koutsourelis

President of the Board of Directors

of the Hellenic Centre of the International Theatre Institute
http://www.art-syndicate.gr

10

 PRAGUE QUADRENNIAL
OF PERFORMANCE DESIGN AND SPACE
Prague Quadrennial of Performance Design and Space (PQ),
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THE PRAGUE QUADRENNIAL

OF PERFORMANCE DESIGN AND SPACE
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 and it includes three main competitive sections:
Section of Countries and Regions
Architecture Section
Student Section
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. The Greek national participation in the forthcoming PQ 2015 is organized by the Hellenic Centre of the ITI and held under the
auspices of the Greek Ministry of Culture and the Hellenic National Committee for UNESCO. 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.
At the 1991 exhibition, Manos Perrakis was awarded the Gold Medal in the Theatre Architecture section.
In 1995, Giorgos Patsas won the Silver Medal for Publications in Scenography for his book Costumes and Stage Design.
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.
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.
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
Set and Costume Designer
Curator for the Hellenic National Participation at PQ 2015

12

 PQ 2015

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15

THEME OF THE HELLENIC NATIONAL PARTICIPATION AT PQ 2015

New Spatialities: design for outdoor / open performance space

Exploring the core theme of PQ 2015 SharedSpace: Music Weather Politics, the National Participation of Greece will be centered around
the following theme: New Spatialities: performing arts and outdoor space.
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 to be selected for the Greek National Participation in PQ 2015 are expected to follow upon this novel and expanded
understanding of the spatialities of outdoor / open spaces.
More specifically, each performance event must have 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 should 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 must 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).
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.
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 during the 1960s and 1970s 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 meaningmaking 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 sitespecific and site-related.
Exiting 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.

16

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

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. 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.
Junk-space and post-industrial wastelands: gaps, breaks, liminal demarcations and transitional spaces, i.e demolished building sites, urban
voids, abandoned and semi-completed building projects and road works, deserted areas and infrastructures, inactive construction sites,
dump-sites, etc.
On the move: 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. 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; mytho-geographic approaches.
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.
This multi-faceted and expanded spatial approach has 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

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 inter-disciplinarity within
theory and practice.

17

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 socio-politically 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 sitespecificity, 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.
Thanos Vovolis

Set and Costume Designer

Curator for the Greek National Participation
& Curator for Theory at PQ 2015

Maria Konomis

Scenographer - Theorist
Adj. Ass. Professor University of Patras & Athens
Assosiate Curator for Theory at PQ 2015

18

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Song Traces and Dreams - performance , Mryd Nature Reserve, Lund, , 27-28-08.2011. / : Susanne Rosenberg,
: Sara Erlingsdotter, :

Song traces and dreams site-specific promenade performance, Mryd Nature Reserve, Lund, Sweden, 27-28-08.2011.Performance / Song: Susanne Rosenberg, Dramaturgy:
Sara Erlingsdotter, Scenic installation: Thanos Vovolis
Thanos Vovolis

19

20

ONE - DAY CONFERENCE

New Spatialities: design for outdoor / open performance space

Exploring the main theme of the forthcoming Prague Quadrennial, SharedSpace: Music Weather Politics, and exploring the shift from the
devised visual space of scenography towards the dynamics of public space, the theme for the hellenic participation at PQ 2015 is New
Spatialities: performing arts and outdoor / open space.
Renegotiating the relations among the artistic event, the artist, the space and the participating audience, through an expanded grasp of
the spatiality of outdoor / public space considered as performance space, on one hand, and the new spatialities shaped by its diverse
understandings, on the other, is the core of the hellenic participations questioning.
An important aspect of using public space as a stage is the intention of regaining its form of shared space, which nowadays is challenged,
degraded and under constant diminution.
The caleidoscopic structure of todays event corresponds to the multiformity of artistic works and the multitude of artists selected
to participate in Prague Quadrennial 2015.
This one-day conference has the form of an assemblage, a juxtaposition of disparate and mixed ideas, aspects and works that are simply
gathered together but not interlocked.
In analogy with the curatorship that promotes heterogeneity, ambiguity, multifocality, complexity and chaotic self-organising, as distinctive elements of spectating in open space, the conference follows a fragmentary pattern and moves in various directions, opening up
opportunities for possible correspondences, development of interactions of meaning and the contingent emergence of future collaborative processes.
I hope that our meeting will contribute to the reconstruction and reformulation of some of our conceptions and it will supply the
necessary frame for the emergence of a novel performance paradigm that has recently evolved in our country, raising it to the level of
collective consciousness; this paradigm features an extraordinary dynamic, based on producing new forms, emphasising innovation and
personal artistic identity, and facilitating adaptation in an constantly changing environment.
I wish that the conference will lead up to the formation of an ephemeral collectivity, composed of exceptional, polymorphous and
heterogeneous singularities, almost at the edge of no cohesion, and grounded on common fields of meaning, which is not interested
in pseudepigraphous aesthetic categories of the past but instead in exploring expressive demands of the present and of the society
we live in.
Is this then, a moment of kairological time? The proper temporality for gestating ideas and initiatives? Is it the proper Kairos? Only
time will tell!
Thanos Vovolis
Curator of the Hellenic National Participation, PQ 2015
https://independent.academia.edu/ThanosVovolis

Song Traces and Dreams - performance , Mryd Nature Reserve, Lund, , 27-28-08.2011. : Sara Erlingsdotter,
:

Song traces and dreams site-specific promenade performance, Mryd Nature Reserve, Lund, Sweden, 27-28-08.2011. Dramaturgy: Sara Erlingsdotter, Scenic installation:
Thanos Vovolis
Thanos Vovolis

21

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ONE - DAY CONFERENCE PROGRAMME

10.00-10.30
Registration

10.30-10.35

Welcome speech by the President of the Board of

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

10.35-10.45

New spatialities: performing arts and outdoor space

Thanos Vovolis
Set and Costume Designer, Curator of the Hellenic
National Participation at PQ 2015

10.45-11.00

Transformations of Mediterranean public spaces:

the hybrid city of southern Europe
Lila Leontidou
Architect Planner, Geographer, Professor of Geography and
European Culture at the Hellenic Open University

11.00-11.10

Addressing the city as a body of citizens

Elli Papakonstantinou
Stage director, visual artist, founder & artistic director
of the Art Center Vyrsodepseio/Tannery, co-founder &
artistic director of ODC ENSEMBLE Company

11.10-11.20

The body of the city

Ioanna Remediaki
Theatre Researcher, theatre director, artistic director of the
theatre company Group Equals One, Lecturer of Greek Drama,
Department of Theatre Studies, University of Athens

11.20-11.30

Claim your anger: politics and political art

Connection via skype
Paris Legakis
Multidisciplinary artist

11.30-11.45

Art in the public(?) space in Athens

Christiana Galanopoulou
Art historian, artistic director of MIRfestival

11.45-12.05

Coffee break

12.05-12.20

Experiencing the city outdoors: site-specificity,

mobility and the everyday
Maria Konomis
Theatre designer & Academic researcher, Adjunct Professor, Universities
of Patras and Athens, Associate Curator for theory at PQ 2015

12.20-12.30

Ridicule and transformation - The walk

Euridipes Laskaridis
Stage director, performer, founder of OSMOSIS Theatre Company

12.30-12.40

Public space and theatrical praxis: a research process

Vicky Mastrogianni
Actress, Stage director, founding member of Team 7 Theatre Company

12.40-12.50

The cage and the nest: a promenade site-specific theatre documentary

at the premises of the former Boys Orphanage in Kalamata
Katerina Konstantinakou
Dramaturg

12.50-13.00

Getting outside
Argyro Chioti
Stage director, actress, founding member of Vasistas Theatre Company

13.00-14.00
Lunch break

14.00-14.20

A research mechanism of open design spatialities tools

George Parmenidis
Architect engineer, Professor at School of Architecture,
National Technical University of Athens
Vana Xenou
Visual artist, Professor at School of Architecture,
National Technical University of Athens
Ifigenia Mari
Architect engineer, Lecturer at School of Architecture,
National Technical University of Athens
Chryssoula Karadima
Architect engineer, PhD candidate, teaching assistant at School
of Architecture, National Technical University of Athens
Georgia Antzampou
Shipbuilder engineer, Professor in classical ballet and
modern dance, PhD candidate School of Architecture,
National Technical University of Athens

14.20-14.30

a space within the space

Tzeni Argyriou
Choreographer, performance maker and media artist

14.30-14.40

Creating a gps drama on Patision Avenue

Dimitris Bampilis
Theatre Researcher, Theatre director, member of
the multidisciplinary group Reformers

15.20-15.40
Coffee break

15.40-15.50

Transcendence: symbols / archetypes / cellular memory / morphic resonance

Apostolia Papadamaki
Choreographer, stage director, performer

15.50-16.00

Contemporary topography: the gaze or else how

could I see instead of looking
Annetta Spanoudaki
Visual and performance artist, set designer

16.00-16.10

Summer grass - where warriors used to dream

Michael Klin
Choreographer, artist, writer

16.10-16.20

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

Barbara Dukas
Director-Performer and educator

16.20-16.35

Reorganizing theatrical landscapes with students of architecture

Stavros Gyftopoulos
Architect engineer, Assistant Professor at School of
Architecture, National Technical University of Athens

City soundscape and recorded narrative as means of

spatiality and artistic creativity, the Alexandros project
Connection via skype
Panos Amelides
Composer, sound artist, PhD candidate in sound
& music at De Montfort University, UK

14.50-15.00

16.35-16.50

14.40-14.50

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

Thalia Istikopoulou
Set and costume designer

15.00-15.10

Structures on Marathon dam

Giorgos Sachinis & Eirini Alexiou
Theatre director & Choreographer, co-founders of the ohi
pezoume/ UrbanDig Project Performing Arts Company

15.10-15.20

The poetics of public spaces representations on stage

Ariadni Vozani
Architect, stage designer, Assistant Professor, School of
Architecture, National Technical University of Athens

Toward an ecology of the theatre

Connection via skype
Olga Touloumi
Architect, historian of Architecture,Visiting Assistant Professor
in the Art History program at Bard College, ew York

16.50-17.00

Final Thoughts, Questions, Conclusions

17.00-18.30

Film Screening: Polytopon de Mycnes


Lila Leontidou
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Transformations of Mediterranean public spaces: the hybrid city of southern Europe

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Mixed land use is characteristic for Mediterranean cities; Mediterranean public spaces, piazzas, linear walks, small parks, quays
and ports with various land uses mixed with residence and economic activity, allow for many kinds of action and performances.
Throughout the European South and in Greece during the 21st
century the digital element is added to enhance the hybridity
of the Mediterranean city. However, when the crisis breaks out
with the consequent fragmented empty spaces of disurbanization, dispersed abandoned private and public spaces are opened
up in the South, instead of the large dilapidated areas which were
created in Northern cities by de-industrialization. The challenge
is to enliven these spaces by human action, intervention and performance.
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.

https://eap.academia.edu/LilaLeontidouwww.arch.ntua.gr/person/127
http://media.eap.gr/images/stories/pdf/CV_Leontidou_Lila_F29298.pdf

Theatre du Soleil , , 18.06.2011

29

Theatre du Soleil at Syntagma square, Athens, 18.06.2011

Lila Leontidou


Elli Papakonstantinou

Addressing the city as a body of citizens

:
.
; ;

;
: .

;
.
Royal Holloway, University of
London (MA). 2011 ,

. , ,
ODC Ensemble.
, , , (
1997, 2004), , (
2012) (Princeton University, La MaMa ).

The hidden city and its utopian synergies: challenging the confrontational relationship between audience and artists, reactivating
secret urban spaces. What is the city? How is a body of citizens
formed? How to tell the story of the many in the frame of a new
narrative? Is there a method of dramaturgy? What is the positioning of the citizen within this new model of creation? Searching for
a new model of creation: visible versus utopian. How does visible
become utopian in terms of dramaturgy and spatial use?
Elli Papakonstantinou is stage director and visual artist. After studying Theatre at the School of Fine Arts of Aristotle University of Thessaloniki she
moved in the UK (credited an MA at the Royal Holloway, University of London). In 2011 she returned to Athens where she founded Vyrsodepseio, a versatile space for the arts and an independent network of artists and activists.
She is also the co-founder and artistic director of the ODC Ensemble company.
Her productions have been staged in Greece, Cyprus, Egypt, UK (Edinburgh
Festival 1997, 2004), France, Iraq (International Theatre Festival of Kurdistan
2012), and USA (Princeton University, LaMaMa etc.).

http://www.vyrsodepseio.com/el/odc/about

& ODC Ensemble: , - performance

, , , , 06.12.2012- 26.02.2013 & 26.10-01.12.2013
& ODC Ensemble

31

Elli Papakonstantinou & ODC Ensemble: Skin, site-specific promenade performance,

Vyrsodepseio,Votanikos, Athens, 06.12.2012- 26.02.2013 & 26.10-01.12.2013
Elli Papakonstantinou & ODC Ensemble


Ioanna Remediaki

The body of the city

- 2
. ,
,
/ . (
, ,
, )
- ,
.
, [ , : (1850-2000)]. , performance: (2006-7),
(2007, 2008), (2008), (2009),
(2010, 2011), 2 (2011-12) (2013), , ,
, , , , ,
, .

Teatro Valle Occupato.
.

The sight-seeing tour / performance Sacred Way 2 is 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), we exchange glances full of
meaning, in present (and thus historical) time and space.
Ioanna Remediaki holds an MA in Classical Literature and a BA and PhD in
Theatre Studies [thesis: The translations of Sophocles Antigone for the Modern
Greek Stage (1850-2000)]. She is the Artistic Director of the theatre company
Group Equals One and Lecturer of Greek Drama, at the Department of
Theatre Studies of the University of Athens. She has written, directed and
performed the plays: The Table, Vacuums Excavation, Museum Stories, Hamlets
Space, Sweet Ophelia, Sacred Way 2 and Chorico in Greece, Italy and Germany,
in theatres, museums, festivals and open public spaces.

http://omadaisonena.blogspot.gr

: 2, -
: 07.2011 & 09.2011, 07.2011 & 06.2012, 08.2011
Tiziana Tomasulo

33

Group Equals One: Sacred Way 2, sight-seeing tour-performance organized in

Athens 07.2011 & 09.2011, Rome 07.2011 &06.2012, Ierapetra 08.2011
Tiziana Tomasulo


Paris Legakis
:
Claim your anger: politics and political art

.


, , , .
,
.
.
1981 . Performance Studies () Tisch School of The
Arts New York University Public Art and New Artistic Strategies Bauhaus University-Weimar
. 2013 Hongeun Seoul Art Space Incheon Art Platform .

.

. performances
.

If there is a quest for new spatialities, then I suggest that we

should speak first and foremost about the political attributes of
these new imaginary spatialities. On this regard, I argue for three
main features that specify or should specify politics, namely multitude, exposure and responsibility. I approach these three characteristics as decisive ones for the definition of political art which,
in return, I consider as one of the crucial means for social and
political change. In my presentation I will talk about my manifesto
on what is political art today.
Paris Legakis was born in Athens in 1981. He is a student of the MA in Performance Studies at Tisch School of The Arts, NYU and he has completed
an MFA in Public Art and New Artistic Strategies at the Bauhaus UniversityWeimar, in Germany. In 2013 he participated in the art residencies Hongeun
Seoul Art Space and Incheon Art Platform in South Korea. In his work, Paris
researches mainly the notion of borders in social and geopolitical level. He
focuses on the relationship between art and society, and his projects balance
between visual and performing arts. His works and performances have been
presented internationally.

www.parislegakis.com

: Voices of the People, performance, , ,

, 02.08.2013 AndrewMoon

35

Paris Legakis: Voices of the People, performance, Han river, Seoul, South Korea,
02.08.2013 AndrewMoon


Christiana Galanopoulou
(;)
Art in the public (?) space in Athens

MIRfestival

. , .


.
2008 MIRfestival
.
MIRfestival
,

.
X , , , .
, , University of Essex ()
(DEA
[Master II]), Universit Paris 1, Pantheon-Sorbonne. 2000
VideoDance, .
2008 MIRfestival, . MIRfestival .

.

Named after the old orbital station, MIRfestival welcomes adventurous creations at the meeting point of arts, presenting cutting
edge contemporary performance in the public space. During its
past 3 editions (2008, 2010, 2012), MIRfestival has been encouraging artists to open up the dialogue about social and political issues
in the heart of the city, provoking the reactions of citizens, aiming
to question their concept of citizenship. Using visual material and
examples from the interventions of MIRfestivals artistic projects
and through the reactions of the Athenians to them, I would like
to discuss the shifting notions of what is being conceived as art in
the public space in Athens.
Christiana Galanopoulou is an art historian, curator, festival programmer,
dramaturge and author of texts on art. She studied archaeology and art history at the University of Athens, and she holds an MA in Gallery Studies from
Essex University and a DEA in Art History from Paris 1 Panthon-Sorbonne
University. In 2000 she founded VideoDance, a festival on movement and
the moving image, which she directed until 2007. She is currently the artistic
director of MIRfestival in Athens, which she founded in 2008. She has collaborated with Greek and European cultural institutions. Her work focuses
on the intersection between contemporary audio-visual culture and the performing arts as well as on revealing new forms of performing arts.

http://www.mirfestival.gr/el/

: 2010, 3 , ,
MIRfestival 2010, 18.09.2010

37

Dimitris Alithinos: Happenings 2010, 3rd position, Athinas and Armodiou str,
MIRfestival 2010, 18.09.2010 Dimitris Alithinos


Maria Konomis
:
-,
Experiencing the city outdoors: site-specificity, mobility and the everyday

,


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


Prague Quadrennial 2015.

Operating out of the box and having introduced its own fluid typologies, the performance space expanded in the public realm of
the urban environment provides a participatory, shared locus for
contemporary performance artists and audiences alike. Among
the basic traits of the complex reconfigurations of the -literally
and metaphorically- outdoor performance spaces and places are
site-specificity, mobility and the everyday, that work both as its
basic locating realm and as liminal aesthetics, expressed foremost
with investigations of the found objects/ space/ sound/ text.
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

Rooftop Nexus 2, CaLarts, 2013-14

39

Rooftop Nexus 2, CaLarts, 2013-14 Maria Konomis


Euripides Laskaridis
-
Ridicule and transformation - The walk

2013,
thens,

.
, ,


.
, ,
2009. 2000
, , New York City Fringe, 11 ..

: .

In October 2013, as part of the Athens IETM International Festival of Performing Arts, OSMOSIS Theatre Company orchestrated
a unique walk in a small part of the city, in order to familiarize
a group of foreign artists with Athens and the companys work.
Using ridicule and transformation as basic performative tools, OSMOSIS Theatre Companys promenade was set as a movement in
space and time, in order to reintroduce and relocate the monument and the memory of the city.
Euripides Laskaridis is a stage director and performer; he founded OSMOSIS
Theatre Company in 2009. He leads workshops on the performing arts and
has been directing since 2000. His work has been hosted in various venues
and festivals, like the Athens and Epidaurus Festival, the Greek National Theatre, the New York City Fringe, the 11th Biennale of European & Mediterranean
Artists etc. In his work he revolves around the two dominant themes that
run his artistic identity: ridicule and transformation.

http://euripides.info

& , -
performance- ,
17-20.10. 2013

41

Euripides Laskaridis & OSMOSIS, Ridicule and transformation - The walk

performance-promenade from Panathenaic Stadium to Zappeio park, Athens
17-20.10.2013 Dimitris Triantafilou


Vicky Mastrogianni
:
Public space and theatrical praxis: a research process

7,
( )
project.
project Yapi a very nice place
,

, -
/
,
(
) .
,
1998-2001, . - . , 19961998 , 2003

, 1986-1989.
. 1997 ,
, .
7.

In this presentation, the objectives of the work of Team 7 will be

discussed; they have to do with the use and overall management
of a certain area (public or private) that is considered as visual
environment.With reference to the project Yapi a very nice place
it will be shown how an idea eventually led to the commencement of the show in public space, how the necessity to plan and
organise specific outdoor routes within the neighborhoods of the
city-country has arisen, and how the interactive reaction of the audience led to the gradual increase of outdoor activities. Furthermore, the possibilities of continuous development and reconfiguration of the (similar but not identical) project will be explored.
Vicky Mastrogianni has studied theatre at the Theatre of Changes, 19982001, the Theatre Workshop of K. Kazakos & V. Diamantopoulos 1996-1998,
and the Postgraduate Workshop of the Centre of Ancient Drama 2003 and
has also completed the course on administration of tourism enterprises at
the School of Administration and Economy of the Athens Technological Educational Institution, 1986-1989. She attends seminars on theatre and its techniques, with teachers and artists from Greece and abroad. Since 1997 she has
been working in theatre as an actor, assistant director, director and invigilator
of theatrical movement. She is a founding member of Team 7.

https://www.facebook.com/pages/-7/145215469006072?fref=ts

7: Yapi a very nice place, in situ performance, :

06.2013, Studio 06.2013, ACT 10.2013, Studio
11-12.2013, , 03-04.2014

43

Team 7: Yapi a very nice place, an in situ performance, has been performed at
Vyrsodepseio 06.2013, Studio Kinitiras 06.2013, ACT theatre of Patras 10.2013, Studio
Kinitiras 11-12.2013, Polychoros KET 03-04.2014
Giorgos Zafeiriou


Katerina Konstantinakou
: -
()
The cage and the nest: a promenade site-specific theatre documentary
at the premises of the former Boys Orphanage in Kalamata

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

.


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

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

& : :
, - , 06.10.
2012
,

.

45

The performance was a combination of site-specific and documentary theatre. Guided tours were organised for the visitorsspectators, led by former inmates of the orphanage. The site was
treated as a found space, complete with memories, found objects
and found texts (official documents as well as personal oral accounts by the guides that capture collective counter-memory).
The aim was to activate the place as a heterotopia, at the same
time subverting its character through collective commemoration.
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 free-lance dramaturg since 2004.

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


Argyro Chioti

Getting outside

Domino . , , ,
. / .



.

The Domino performance had been created indoors. In its completed version, though, it was presented for the first time in an
open space, on the flat roof of the French Institute of Athens.The
open / public space influenced in an extreme and unexpected
way the final form and the overall function of the performance. In
my presentation I will try to share the experience of the above
adjustment and the new facts that turned up about the performance in the open space as far as its dramaturgy and its scenic
form are concerned.

vasistas, ,
Domino, Spectacle, Phobia: , Silence,
, , Get over it (), ( ) performances
.

(Masters 2 , 2004-2006) Universit de Provence
(1996-2000). (2013).

Argyro Chioti is the founding member of the theatre group vasistas and
she works between Greece and France. As stage director she has created
the performances Domino, Spectacle, Phobia: a spectacle, Silence, Little red riding
hood: me and my wolf, Get over it (Faedres), Faust (collective direction for the
National Theatre), while as director or actress she has also collaborated to
or worked on other performances. She holds a Bachelors degree in Theatre
Studies and a Masters degree (2 years, 2004-2006) in the Practice of Stage
Direction and Dramaturgy from Universit de Provence, in France. She has
studied acting at the drama school of the theatrical organisation Morfes in
Athens at Embros theatre (1996-2000).

http://www.vas.eu.com/gr/spectacle/

Vasistas: Domino, performance ,

09.2013

47

Vasistas: Domino, performance on the flat roof of the French Institute of Athens,
09.2013 Dafni Koutra

 ,
,

, ,
.

:
. :

-.

.
. ,
:
,
.

:
:

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

49

, , , .
.
https://www.arch.ntua.gr/person/204
, ,
, , , , . ,
, .
www.parlon.gr, https://www.arch.ntua.gr/person/217
, ,
, ,
, , , .
https://www.arch.ntua.gr/person/1258
, ( 1997), ,
( 2003). .

(2009 ).
, ( 2004),
, , ( 2006), MSc (University College London 2007).

. , (2012
).
https://www.arch.ntua.gr/person/1281
, ( 1994), . ,
, ( 2009).
.
www.atzabougeorgia.gr

Choreogenic, ,
02.2014, : ,
Choreogenic, an action at the staircase of NTUAs School of Architecture, 02.2014,
dancers: Angela Patseli, Tasos Mpekiaris Chryssoula Karadima

George Parmenidis, Ifigenia Mari

Chryssoula Karadima, Georgia Antzampou
A research mechanism
of open design spatialities tools

During the association of a PhD seminar with an undergraduate

course we have attempted the constitution of a research mechanism of open tools for composing objects, actions, spatial and
kinetic developments by drawing dance movement events in familiar and unfamiliar spaces.
In the context of the PhD seminar, the products of this mechanism are:
a. The development of choreogenic events which incorporate the
elaboration of a specific cellular movement phrase: In a field of
absent objects, the dancers bodies kinetically keep the memory
of these objects in a reciprocal constitution of subject object.
This memory is applied to different spatial frames extending the
meaning of each spatial field.
b.The emergence of potential spatialities that are activated by the
deconstruction of familiar spatial experiences: by the engagement
of the primary spatial elements in the unexpected dance movements, a perceptual gap reveals spatial dynamics which, in turn,
activate transformations of the primary spatial structures.
In the context of the undergraduate course, the products of this
mechanism are:
The establishment of continuities of the fragmentary experience
of space: by the introduction of dance movement in a specific
place behaviours and negotiations are clustered, which when distinguished as events allow diagrammatic representation of space
and the potential creation of diagrams of objects and actions.

George Parmenidis, architect engineer, Professor in Architectural Space and

Communication, in the Department of Architectural Language, Communication and Design, School of Architecture, NTUA; Director of Postgraduate
Studies for the Interdisciplinary Course Architecture, Design of Space, NTUA.
www.parlon.gr, https://www.arch.ntua.gr/person/217
Ifigenia Mari, architect engineer, Lecturer in Theoretical Research and Design
of Public and Private Spaces and Objects, in the Department of Architectural
Language, Communication and Design, School of Architecture, NTUA.
https://www.arch.ntua.gr/person/1258
Chryssoula Karadima, architect engineer (NTUA 1997), MPhil in the Interdisciplinary Postgraduate Course Architecture, Design of Space (NTUA 2003);
PhD candidate and Teaching Assistant in undergraduate courses, School of
Architecture, NTUA (since 2009).
Anna Laskari, architect engineer (NTUA 2004), Phil in the Interdisciplinary Postgraduate Course Architecture, Design of Space (NTUA 2006), MSc
(University College London 2007). She is a registered architect in Greece,
currently working as a freelance in Athens, while pursuing a PhD at School
of Architecture, NTUA, where she is lecturing as a Teaching Assistant. She
also teaches at the Athens School of Fine Arts Greek-French Postgraduate
Programme the module Art, Virtual Reality & Multi-User Systems of Artistic
Expression (since 2012).
https://www.arch.ntua.gr/person/1281
Georgia Antzampou, shipbuilder engineer (NTUA 1994), and teacher of
classical ballet and modern dance; MPhil in the Interdisciplinary Postgraduate Course Architecture, Design of Space (NTUA 2009); PhD candidate and
assistant in workshops of undergraduate courses, School of Architecture,
NTUA.
www.atzabougeorgia.gr

School of Architecture, National Technical University of Athens (NTUA)

Vana Xenou (professor), George Parmenidis (professor), Ifigenia Mari (lecturer), Chryssoula Karadima (teaching assistant), Anna Laskari (teaching assistant), Georgia Antzampou (teaching assistant)
Vana Xenou, visual artist, Professor and Director of the Painting Workshop,
in the Department of Architectural Language, Communication and Design,
School of Architecture, NTUA.
https://www.arch.ntua.gr/person/204

51

Choreogenic, , 04.2014,
:
Chorogenic, an action at the propylon of NTUAs School of Architecture, 04.2014,
dancers: Angela Patseli, Tasos Mpekiaris Chryssoula Karadima


Tzeni Argyriou

a space within the space

;

. ,
,
.

,
. , ,

.
, performance maker media artist.
.
. 2003 amorphy.org.

. : Memorandum, : Memoria Obscura,
Pleas(e)nter, Dr. Maybe Darling, : Land(Scape), Lights on You, See you
In Walhalla, Psycho/Cycle.

How do we process space and how much influence do we allow

it to have on the projects we create? One of the tools I use to
explore these questions is digital art. Without using a solid material but only through light and shadow new spaces are created
within the one existing for each presentation, whether it takes
place in a theatrical or a public space.The use of digital media aims
at providing spatial and dramaturgical information thus becomes
an important tool for comprehension. This way a separate space
is created within space, an illusion, which has a dialogue not only
with the artwork but also with the space/place where the whole
presentation happens.
Tzeni Argyriou is choreographer, performance maker and media artist. She
was born in Kavala and she graduated from the Greek National School of
Dance, in Athens. After receiving a scholarship from Onassis Foundation,
she continued her studies in New York. In 2003 she co-founded the nonprofit company amorphy.org. Although initially in her career she used dance
as her expressive means, she quickly adopted the use of new media and
started creating multimedia performances and installations. Selected performances: Memorandum, Memoria Obscura, Pleas(e)nter, Dr. Maybe Darling,
Land(Scape), Lights on You, See you In Walhalla, Psycho/Cycle.

www.amorphy.org
www.tzeniargyriou.com,
https://vimeo.com/tzeniargyriou/videos

& amorphy.org, : , 05-07.10.2012

53

Tzeni Argyriou & amorphy.org, performance: Memoria Obscura - Grevena, 0507.10.2012 Eugene Tzafestas


Dimitris Bampilis
gps drama
Creating a gps drama n Patision Avenue

,
Reformers []
.

,

Benjamin, , Fral Goffman.
1985.
.
- ,
.

Wodzimierz Staniewski Rimini
Protokoll
. ,
gps
drama .

Reformers: gps drama , 10.2014

55

Starting from the belief that every aspect of the public is subject
to an obscure dramaturgy, the multidisciplinary group Reformers
is working on the creation of a multimedia theatrical route on Patision Avenue. The purpose of this presentation is to describe the
groups research on concepts of the public sphere, the theatricality of inhabiting public space and the interaction of the theatrical
process with urban environment through the essays of Benjamin,
Stavridis, Fral and Goffman.
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 interested 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 like Vasilis 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 Arapostathi and Xenia Koghilaki he participates in the creation of a gps drama on
Patision Avenue.

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

Dimitris Bampilis


Stavros Gyftopoulos

Reorganizing theatrical landscapes with students of architecture

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

.
. .
, 29 19 .
, , .

City is the heart of human activity. Public space, despite its regular
downgrading, still predisposes to an intense relationship between
citizens-spectators and outdoor actions. The researches of students of architecture as part of their module on Transformations
of Theatrical Space, target in an intense flexible and open interrelation between theatrical act and 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.
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.

https://www.arch.ntua.gr/person/142

, 03.2008
-

Proposal for Euripides Electra, an exercise as part of the module on Transformations

of Theatrical Space, 03.2008
Christos Chontos - Charis Gerekos


Thalia Istikopoulou

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

1988
. Emilio Isgr, Orestea di Gibellina,

Gibellina.

: ()
, () , , , () Roger Agache
, , .
-.
. Politecnico di Milano
Piccolo Teatro di Milano.
40 . Teatro dellElfo-Teatridithalia
25 .
150 , ( : Mediterraneo, 1992).
( 100
, 2000,
, , ).
.

Roger Agache

59

In this presentation I discuss my scenography project based on

Emilio Isgrs play Orestea di Gibellina; in 1988, after an invitation
from Spoleto Festival, I participated with the above project in an
exhibition presenting trends in contemporary stage design. Photographs taken during aerial surveys performed for archeological
researches played an important part in the concept of this project
along with (a) my adherence to relating designs for the theatre
with natural landscapes, and (b) my beliefs about the very important relationship between space, landscape and view that exists in
ancient theatre and (c) photographs taken by Roger Agache during aerial surveys performed for archeological researches played.
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 dellElfoTeatridithalia 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.

 &
George Sachinis & Eirini Alexiou

Structures on Marathon dam

2009
:
. 2010 2012
- . performer: ,
. performance

(performers, ).
mise-en-scne performance,
.

After the catastrophic fire in summer 2009 a large landscape fragment at the downstream side of Marathon dam had been bared:
an arena of burnt land separated from the life-giving lake by the
dams wall. Our performances of 2010 and 2012 structure a novel
fragment-dam relationship in space and eventually in meaning.The
cut off space and the dam become the unified journey of the performer: the dam becomes a passage and the terrifying image of
the wall softens. From the way the performance moves, arcs are
outlined and sounds are written thus creating new equilibriums
between natural and artificial scenery and people on it (performers, spectators). The landscape of the performances distant miseen-scne is disturbed by Lilliputians so that the overall image resembles a photograph from the time the dam was constructed.

, UrbanDig
Project. Central School of Speech and Drama
( Advanced Theatre Practice) Duke
( ) Berkeley .
.
,
Susan Klein School (Susan Klein technique)
Atmananda Yoga Centre ( ). .

The director George Sachinis and the choreographer Eirini Alexiou are the
co-founders of the ohi pezoume company that comprises the UrbanDig Project.
George has studied at Central School of Speech and Drama in London (MA
in Advanced Theatre Practice) and at Duke University (at the Institute of the
Arts and at the Engineering School) and Berkeley University in USA. He also
works as civil engineer. Eirini holds a BA in Theatre Studies from the University of Athens, and she has studied dance at the professional dance school
Rallou Manou in Athens and at Susan Klein School (Susan Klein technique) in
New York and also yoga at Atmananda Yoga Centre (New York). She works as
yoga instructor as well.

http://www.ohipezoume.gr

61

EYDAP SA Archive
Photo reproduced by kind permission of the EYDAP SA Archive.


Ariadni Vozani
:

The poetics of public spaces representations on stage

.


,
. , ,

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

.
,
(2011-2014). 1998
9 .
20 .

In this brief presentation I will attempt to discern the different

roles that public space and urban context acquire through their
multiple representations on stage. Thus public space is not addressed here as the possible physical context of a performance
but as one of the main referential spaces of drama from antiquity
until nowadays.Through different examples I will argue that these
representations offer interpretations of the urban and public
landscape that eventually reconstruct the original by stimulating
our perception about the meanings and the characteristics of the
urban reality.
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).

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

. ,
P. Noefert, Old Vic Theatre, , 02.2000

63

Model-box photo for the production of Mayfly by Chr. Christofis, directed by

P. Noefert, Old Vic Theatre, London, 02.2000 Ariadni Vozani


Apostolia Papadamaki
: / / /
Transcendence: symbols / archetypes / cellular memory / morphic resonance

. performance

,

, performance.
H , performer.

.
-
(2004). 2001 Jan Fabre. 2010
- performance The Death series.
.

Our cells have memory as old as the creation of the world. With
my performances I aim to approach the collective unconscious as
it exists within our cells and to connect with it; in other words,
to open an entrance to a transcendent state in which I am fully
aware of the surroundings and of reality while simultaneously I
draw from the collective memory during the performance.
Apostolia Papadamaki, is choreographer, director and performer. She graduated from the Greek National School of Dance in Athens and she completed her postgraduate studies in New York. Her works have been presented
around the world. She directed - choreographed the Opening Ceremony of
the Athens Paralympics in the Olympic Stadium (2004). Since 2001 she has
collaborated with the director and visual artist, Jan Fabre. Since 2010 she
has created The Death series, a series of site-specific solo performances. She
teaches in courses and seminars in Greece and abroad.

http://apostoliapapadamaki.com/

: The Death series#3 UN/INHABITED, , 04.09.2012,

: , : Out of the box Intermedia
MEdIES: the Mediterranean Educational Initiative for Environment &
Sustainability http://outoftheboxintermedia.org
Tasos Papapanos

65

Apostolia Papadamaki: The Death series#3 UN/INHABITED, Delos island,

04.09.2012, curator: Dr Sozita Goudouna, production: Out of the box Intermedia
under the auspices of MEdIES: the Mediterranean Educational Initiative for
Environment & Sustainability http://outoftheboxintermedia.org
Tasos Papapanos


Annetta Spanoudaki
: , ...
Contemporary topography: the gaze or else how could I see instead of looking

; , , ...;
,
,
,
;
;
.
HdK Fb4 Visuelle
Kommunikation
.
three points.
, , .. .
, , .

How long should one stand in a spot and observe without being
characterized as tourist or mere spectator?
Hours, days, weeks?
Is the plain arrangement of signs, symbols or traces a mere resemblance of a place or is it a means to divide space, public or
private, a way of storing our own projections intending to its familiarization? How can a gaze develop spaces within a space using
analogy and metaphor?
Annetta Spanoudaki was born in Berlin. She attends the Academy of Fine
Arts HdK, department Fb4 Visuelle Kommunikation, in Berlin, and she holds
a degree in painting from the School of Fine Arts of the Aristotle University
of Thessaloniki. She is a founding member of the visual artists group three
points, and she lives and works in Athens. Selected collaborations as set designer include the National Opera, the National Theatre, the State Theatre of
Northern Greece, etc. She has participated in many solo and group exhibitions in Greece, Germany, Austria and Holland.

www.annetspanoudaki.weebly.com

: corpus#, performance-, ,
, , 20092010 H

67

Annetta Spanoudaki: corpus#, performance-installation, Pagrati park, Papagou

park, Zappeio park, 2009-2010 Elias Vakis

Michael Klin
: , *
Summer grass - where warriors used to dream*

Michael Klin

. Parliament/ ,

.
Michael Klin . ,
.
Parliament/ Jerusalem
2014.

Michael Klins presentation will focus on the deep social and

political entanglement of artistic works with the spaces they are
produced and presented in. Based on his work Parliament, he will
outline a vision of space that supports our individual and collective thoughts to dance differently.
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. Most recent projects in Greece included the exhibition Parliament for Benaki useum and Jerusalem for the Athens Festival
2014.

www.michaelklien.com

Michael Klin: Parliament/ ,

, , 29.09.2013 Michael Klin
* haiku Matsuo Basho.

, ,
, 2004.

69

Michael Klin: Prologue to Parliament, a choreographic citizens space, port of

Hydra, 29.09.2013 Michael Klin
* The presentations title is the English translation of a haiku poem written by
Matsuo Basho.


Barbara Dukas
- x
In the mind of Lafcadio Hearn - The spatiality of the subconscious

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

19
.

.
, . ,
.
, , .
, .

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.
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

Para.Site.Art: Lamda Project, , , ,

19.05.2013

71

Para.Site.Art: Lamda Project, performance promenade, National Garden, Athens,

19.05.2013 Dimitris Bouras


PanosAmelides
o
:
City soundscape and recorded narrative as means of spatiality
and artistic creativity: the Alexandros project

.
.
, ,

(, , .).

.
O sound artist.
. , University
of Manchester De Montfort University
. , .
, De
Montfort University.

The term spatiality refers to all the factors that contribute to

the experiencing of space; the mixing of these factors over time
creates various experiences of spatiality. In acousmatic art, which
is based solely on recorded sounds reproduced by loudspeakers,
spatiality is a lived space, a felt space, where sounds and listeners
coexist for a certain period of time in a particular space whether
it be a home, a concert or an installation space. In my presentation, elements of spatiality of the Athenian soundscape and of the
recorded narrative, and the way they have been utilized for the
creation of Alexandros project will be examined.
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

73

Panos Amelides


lga Touloumi

Toward an ecology of the theatre

27 , , .
, ,
, , ,
, -
, .

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

Thresholds, Platform, Culture Machine, Xenakis Matters Architecture is
All Over.

After 27 years of exile in Paris, Iannis Xenakis returned to postrestoration Greece with the proposal for a multimedia spectacle
in the midst of the valley of Argos: the Polytope des Mycnes. With
anti-aircraft searchlights, locals, international performers, artilleries, flocks of goats, amplifiers, multichannel consoles, and walkietalkies Xenakis proposed a new ecology of the stage, where the
boundaries between nature and civilization, stage and audience
would be blurred. My presentation will interrogate the new model of theatricality that Xenakis proposes in his effort to reclaim
the natural and historical landscape.
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

, , 02-05.09 1978
. .

75

Polytope des Mycnes, Mycenae archaeological site, 02-05.09.1978

S.V.Skopelitis

 PQ 2015
ARTISTS SELECTION COMMITTEE FOR PQ 2015

-
, PQ 2015

President
Thanos Vovolis
Set and Costume Designer
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

Members
K. Alexis Alatsis
Theatre Director
General Secretary, Board of Directors of the Hellenic Centre of the International
Theatre Institute

Nikos Vittis
Composer
Member, Board of Directors of the Hellenic Centre of the International Theatre
Institute

MIRfestival

- -
, , &
, PQ 2015

- -

, Senior Fellow
London School of Economics, UK, & Johns Hopkins University, USA

Christiana Galanopoulou
Art Historian
Artistic Director of MIRfestival
Maria Konomis
Scenographer -Theorist
Adjunct Assistant Professor, Universities of Patras & Athens
Associate Curator for Theory at PQ 2015
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
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

 PQ 2015
HELLENIC PARTICIPATION CURATORIAL TEAM FOR PQ 2015

Organising Institution
Hellenic Centre of The International Theatre Institute

National Curator
Thanos Vovolis
Set and Costume Designer

Curators for Theory

Thanos Vovolis
Set and Costume Designer

- -

Maria Konomis
Scenographer -Theorist
Architectural Design and Construction Supervision
George Parmenidis
Architect Engineer
Ifigenia Mari
Architect Engineer

Christine Longuepee

Christine Longuepee
Interior Architect

Production Manager
Sofia Karagianni
Theatre Researcher

-






Video Artist

Communication Supervisor
Vasiliki Tsouka
Communication Specialist
Communication Sponsors Advisor
Zetta Pasparaki
Technical Coordinator
Thomas Economacos
Stage Lighting Designer
Technical Advisor
Thetis Parmenidou
Video Artist


ADMINISTRATIVE AND OPERATION TEAM
OF THE HELLENIC CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE


&

. ,

&

&
-
&

Executive Secretary of the Hellenic Centre of the ITI

Eugenia Somara
Administrative Advisor & NSRF Programme Coordinator
Neofitos Panagiotou
Venue Manager & Projects Coordinator
Zetta Pasparaki
Executive Production Manager
Sofia Karagianni
Production Manager
Flora Lenou-Pagkrati
Assistant Production & Communication
Vasiliki Tsouka

The organising team would wish to express its warmest thanks to:
the Vice-President of Michael Cacoyannis Foundation
Mrs Xenia Kaldara
Mrs Melina Varoutsikou
Mr Andreas Ambatzoglou
Mr Thomas Economacos for his technical support
Mr Angelos Tonios for audio-visual editing
and the volunteers who helped in organising the one-day conference



206, 177 78,
T & F: +30 210 3303149
e: office@hellastheatre.gr, itigr@otenet.gr
www.hellastheatre.gr
www.athensystem.gr
https://www.facebook.com/helleniccentre.iti
https://twitter.com/HellenicCentre
https://www.linkedin.com/pub/hellenic-centre-of-the-iti/9b/644/2a1
http://gr.pinterest.com/hellenicc/

Hellenic Centre of the International Theatre Institute

Michael Cacoyannis Foundation
206, Piraeus Str., Tavros, Athens 177 78
T & F: +30 210 3303149
e: office@hellastheatre.gr, itigr@otenet.gr
www.hellastheatre.gr
www.athensystem.gr

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