kassandra
by Sergio Blanco
1+1=1 Theatre Company Direction: Despoina Sarafeidou - Evangelia Andritsanou Kassandra: Despoina Sarafeidou Costumes: Loukia Minetou Music: Vasilis Tsonoglou Photos: Dimitris Gerakitis Graphic design: Dennis Spearman Public relations: Larissa Vergou Production team: Thanos Kappas, Christina Kouli, Dimitra Nikolopoulou, Eleni Panitska, Anneta Pylarinou, Antonis Rokakis, Toula Stavrakoudi
kassandra
by Sergio Blanco
About the play Kassandra by Uruguayan-French playwright Sergio Blanco is performed in broken English by a protagonist who is simultaneously the Cassandra of ancient Greek tragedy and a transsexual immigrant prostitute in any city of the 21st century. Using the mythical figure of Cassandra as the basis, Sergio Blanco creates a monologue in a language foreign to his own, in which the character narrates, in the off-kilter English of an immigrant struggling to survive, the tragic story of her life, while demythologizing her own myth.
Kassandra begins her monologue by trying to sell Marlboro cigarettes to the bar customers, whom she regards as her potential accomplices, companions, and friends. She introduces herself as the daughter of Priam and Hecuba, as a person who was born male but feels female, an exile in her own body. She recalls the absurd Trojan war, Clytemnestra’s crimes, and her many memories of Agamemnon, Helen, Menelaus, and Odysseus. Interspersed with these stories, she talks on her cell phone with a client, the sadomasochist Monsieur Flaubert. She airs the Achaeans’ dirty laundry, drinks milk and smokes cigarettes, broods over her incestuous love affair with Hector, recites Cassandra’s speech from Euripides’ Trojan Women in ancient Greek, sings Abba songs, roots for Manchester United, reads tarot cards and introduces Bugs Bunny – a dear friend and her own personal hero. In the end, she leaves her audience after fervently assuring them, as Scarlett O’Hara, tomorrow is another day!
kassandra
by Sergio Blanco
Kassandra is a woman and a man; she is a de-throned princess, now selling herself for pocket change; she is a prophet trying to gain credibility by means of confession, tantalizing narrative, and allegory. Her own body is the body of exile: once, she was Agamemnon’s loot; now, she is hostage to the bleakness of modern life – a stranger always, both in her new land and within her own afflicted body. Nevertheless, her tears and laughter are expressed with sarcasm, naïveté, and a good dose of humor.
The question of identity in all its facets (gender, social, ethnic) is present throughout the text. Simultaneously, we see the desperate struggle to stave off loneliness; the deliberate and perpetual clinging to hope; the endless attempts at communication. Under such adverse conditions, the last resort is creating one's own meaning for life out of the detritus of the hostile world.
kassandra
by Sergio Blanco
About the 1+1=1 Theatre Company production of Sergio Blanco’s Kassandra
Kassandra is a tragicomical monologue by Sergio Blanco, written for the actress Despoina Sarafeidou.
“Athens always awakens in me the idea that the relation between man and time eludes the austere chronological dimension bestowed upon it by our Judeo-Christian civilisation. Athens is the denial of linear measuring of time: the end of narration as the predominant form of speech, the end of ‘text-centrism’ and, in this sense, of ‘myth.’ Slowly, the process of writing was transformed to a real process of ‘de-writing’: Kassandra is not a written theatrical play but a ‘de-written’ one.” Sergio Blanco
kassandra
by Sergio Blanco
According to the author, the play takes place in a rather “marginal” bar of a modern metropolis, near bus terminals and train stations. In Athens, the play was staged in an “alternative” space, located in Metaxourgeio, an area close to the city centre, where run-down old-world dwellings, brothels, and theatres stand next to brand new luxury hotels and apartment buildings, situated among archeological sites; both locals and passersby are likewise diverse (immigrants, students, small-time thieves, seekers of a bohemian ambiance), all reflecting the personage of Kassandra. The Greek Kassandra: Given that the traditional Greek myth presents the Trojan prophet as a stranger, a barbarian, a great impact is produced within the audience, especially since Kassandra is portrayed by a Greek actress, able to recite in ancient Greek, while at the same time speaking English, the language of “the other” (a foreigner, a transvestite, a refugee.) In the Greek language, Cassandra signifies the messenger bearing dreadful news. In this way, the voice of Blanco’s Kassandra becomes the symbol of the contemporary, not only Greek but also global, crisis.
kassandra
by Sergio Blanco
The show had its first run in Athens, Greece, at the bar Anthropos (March - May 2011). In 2011 it was also presented in the U.S., at KGB Bar in New York City. In 2012 it had a second run in Athens (February - March), and was presented again in N.Y.C. at the Cornelia Street Café. Kassandra participated in the following festivals: Art Festival of Mytilini, Greece (August 2011); APOLLON International Theatre Festival in Fier, Albania (September 2011), where Despoina Sarafeidou received the Leading Female Role Award; 20th FIT (Festival Internationale del Teatro) in Lugano, Switzerland (October 2012); MonoAkt International Festival of Monodrama in Kosova (April 2012); 14th International Monodrama Festival in Bitola, FYROM (May 2012); Pro-Taseis Theatre Festival in Thessaloniki, Greece (May 2012); Bob Theatre Festival in Athens, Greece (May 2012).
The Greek production of Kassandra is very flexible: it may be staged in various venues, i.e. theatre stage, bar, or lounge. The concept and direction doesn’t call for elaborate structures; there is no actual set. The props are minimal: Kassandra’s suitcase and either a pommel horse or anything resembling one, i.e. long table. The show runs for approximately 60 minutes. The show may be staged with two participants: the actress/co-director and one member from the production team.
kassandra
by Sergio Blanco
Sergio Blanco – Author Sergio Blanco is a French-Uruguayan author and playwright. Born in Montevideo in 1971, he got his degree in linguistics and literature (Universidad de la República de Uruguay.) In Uruguay, he worked with various prominent directors (Atahualpa del Cioppo, Antonio Lareta, Nelly Goitinño, Aderbal Freire-Filho) and has also been acclaimed as an innovative director (Shakespeare’s Richard III and Macbeth, Edmond Rostand’s Cyrano de Bergerac.) Blanco was awarded the Florencio Revelación prize (1992), gaining a scholarship for studies in directing in Paris. At the Comédie Française he worked with famous European teachers and directors such as Alain Françon, Georges Lavaudant, Daniel Mesguich, Matthias Langhoff. In 1993, he moved permanently to Paris, where he currently lives, having obtained French citizenship. From 2000 onward, he has focused mainly on playwriting: La Vigilia de los Aceros or La Discordia de los Labdácidas (1998), Die Brücke (1999), Slaughter (Montevideo, Skené Publications, 2002), .45’ (Montevideo, Skené Publications, 2003), Kiev (Montevideo, Skené Publications, 2004), Opus Sextum (Montevideo, Skené Publications, 2005), Diptiko (vol. 1 and 2) (Montevideo, Skené Publications, 2006), Kassandra (2008) (Athens, Lagudera Publications, 2011), Barbarie (2009) (Skené Publications, 2010.) His plays have been translated and staged both in Uruguay and abroad; Kiev and .45’ were staged in the National Theatre of Uruguay in 2003 and 2007. Most of his works have been translated and published in several countries. He has been honoured with several Dramaturgy Awards (Premio Nacional de Dramaturgia del Uruguay, Premio Nacional de Dramaturgia de la Municipalidad de Montevideo, Premio Nacional de Teatro, Premio Florencio al Mejor Dramaturgo.) In 2010 he was honoured with the Primera Mención of the Premio Internacional Casa de las Americas award for Barbarie. He gives lectures and workshops at theatres and universities throughout Latin America and Europe.
kassandra
by Sergio Blanco
Despoina Sarafeidou – Actress/Co-director Actress Despoina Sarafeidou has interpreted several roles in plays from both the classical and contemporary repertoire (F. Kafka, W. Shakespeare, A. Staikos, Aeschylus, A. Minguella, T. Williams, F. Arrabal, M. Tsvetajeva, M. Yourcenar et al.) in Greece and abroad. Just before Sergio Blanco’s Kassandra she performed the monologue My Name is Rachel Corrie and in Sarah Kane’s Crave. As an actress and assistant director she has worked with Lee Breuer (Libation Bearers) and Roula Pateraki (Oedipus Rex / Oedipus at Colonus, The History of Transformation et al.) Some of her work on film includes A Touch of Spice, Jaguar, and The Wedding List. She has collaborated with composers/musicians such as Ross Daly, Kyriakos Kalaitzidis, and Eve Beglarian in multicultural performances in Greece, the UK, and the United States. She has also translated theatre (H. Ibsen, L. Breuer, A. Minguella, F. Arrabal, S. Blanco), literature, anthropology, and psychoanalysis. She has written plays and adaptations which have been produced in Greece and at La MaMa New York. Sarafeidou is a graduate of the Athens State University in philosophy and psychology. She has studied acting and directing, in addition to various voice and movement techniques with A. Vassiliev, Y. Lanskoy, I. Brown, Z. Molik, M. Volanakis, T. Sudana, T. Espiritu, M. Yementzaki among others. Member of the International Theatre Institute. Recently she received the Leading Female Role Award in the Apollon 2011 International Theatre Festival of Fier for Kassandra.
kassandra
by Sergio Blanco
Evangelia Andritsanou – Co-director Evangelia Andritsanou is a Greek theatre director, actor, writer, and translator. She has directed plays by Euripides, Marivaux, Lee Breuer, Billy Aronson, Sergio Blanco and numerous mises-en-espace of texts by T.S. Eliot, Larry Tremblay and prominent Greek poets (P. Pamboudi, G. Chouliaras, St. Gourgouris, Y. Zervas.) From 2002 to 2005, she planned and run the workshops preceding the performance of Aeschylus’ Libation Bearers in Athens as assistant director to Lee Breuer. Her work as an actor includes productions of Greek drama by the Greek company Amphi-Theatre (Prometheus Bound, Electra, The Bacchants, Trachinian Women, Seven against Thebes.) She has written and produced three plays and one stage poem. Her translations include Euripides’ Suppliants (with M. Marmarinos) for Veenfabriek/Theseum Ensemble, Iphigeneia at Aulis, Lee Breuer’s Red Beads and The Red Horse Animation, Marivaux’ Les acteurs de Bonne Foi, Larry Tremblay’s La hache, as well as poetry by Seamus Heaney, Adrienne Rich, Kenneth Koch, Pierre Reverdy. Member of the International Theatre Institute.
kassandra
by Sergio Blanco
Reviews The monologue Kassandra, by Sergio Blanco, presented by Despoina Sarafeidou, was an unexpected pleasure. The playwright offers fragments of the Trojan war seen through the eyes of a transsexual Kassandra, who talks in the off-kilter English spoken by Eastern European immigrants. Despoina co-directed the monologue of a war refugee at the bar Anthropos, in a neighborhood full of immigrants and refugees. Neither Sarafeidou nor Blanco allow the dramatic situation of the play to tarnish the decency of Kassandra. Humor, irony, heartbreaking directness, in a play written by the author specifically for Despoina. The amalgam of words, directing and interpretation in Despoina’s Kassandra equals the work of top Greek actress Roula Pateraki. Dimitris Yiatzoutzakis I thoroughly recommend Kassandra. An extremely interesting and “alternative” show! And a terrific interpretation by Despoina Sarafeidou! Dimitra Nikolopoulou
(From the official site “Cinematographers in the Mist” of the Greek Film Directors Association)
kassandra
by Sergio Blanco
At the bar Anthropos, Despoina Sarafeidou presented a totally unfamiliar Cassandra. Sarafeidou acts, and also co-directs with Evangelia Andritsanou. The story of this bizarre and deeply human Kassandra was devised by the Latin- American playwright Sergio Blanco. A refugee, pursued and far away from her devastated country, Kassandra “pushes” cigarettes in low class dives; she subjects herself to sadomasochistic clients, and narrates her sad story in awful broken English. Sarafeidou exudes a unique artistry, she bestows on the pathetic story of Kassandra dramatic acuity and deceptive humor. Heraklis Logothetis, PontikiArt (newspaper) The presentation of Sergio Blanco’s Kassandra is a unique achievement by the great actress Despoina Sarafeidou. A truly blissful theatrical experience in the fullest sense. Mihalis Tamboukas, Eleftheriotypia (newspaper) The performer is overly made up, wears red patent-leather boots, gazes at us with piercing and sultry eyes. She introduces herself as Kassandra and tells her story. This attractive woman comes up with many a trick. Why? So that she can become credible? So that she can get our attention? Does she appropriate our own myth or is she its best reenactment? Is she really intending to bring to light her own Odyssey, next to the overexposed and overrated Iliad? Do all stories include sex, war, and power, winners and losers? And, is childishness (like myths, like fairytales, like reverie) a shelter for every wretched soul? So is it “the winner takes it all, the loser has to fall” or “tomorrow is another day”? Which of the two statements conceals greater traps and illusions? The heroine/actress of the play seeks friendship and communication. The only thing she wants is, by means of her poor English and the universal language of her body and the way she looks at us, to share the metaphor of modern day “immigration”. Lambros Skouzakis, Pandoxeio blog
kassandra
by Sergio Blanco
Contrary to what happens when one normally goes to see a show, the viewer here goes into a totally postmodern situation. Despoina Sarafeidou holds the controls of the play so that it takes off to another dimension. The distance between myth and reality, performer and audience, space and text collapses; while the sense that one saw a worthwhile show expands. A real stand-up tragedy! Sergio Blanco’s text doesn’t hesitate to slice up the myth in order to reveal its universal tragedy, composing a Kassandra unbearably contemporary but simultanously timeless. The sliced up space of the bar is a wisely chosen setting, and its flowing use in the theatrical direction ideally serves the goals of the play. Sarafeidou’s imperceptible and continuous transitions from naïvete to pain, from optimism to endurance are astonishing. D. Sarafeidou is remarkable! The text has great flow. You leave with a smile on your face – it reminded me of a Fellini film: “e pure la vita è dolce” (“nevertheless, life is beautiful.”) It has been a long time since I’ve seen something so alive, so unpretentious – just delightful! You find the most important things where you don’t expect them! A great show, a surprisingly interesting text, an exemplary interpretation from Despoina Sarafeidou! Sincere congratulations to the whole team! I would most gladly see it again, no question about it! The show is excellent. Sarafeidou puts on a performance in which the viewer does not care if the performer is a man or a woman, if it’s a real persona or not. There is a well engineered back-and-forth between comedy and tragedy, splendor and fall and human misery, that pulls you to the center, to the essence of things. Anthropos is the ideal setting for this play; it reminded me of places in Berlin. In my opinion, an “alternative” must-see performance! (Audience feedback, as published in Athinorama [magazine])
kassandra
by Sergio Blanco
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