ONASSIS CULTURAL EXPORT PROGRAM | Productions on tour 2018-19 by Onassis Stegi

Touring Support Our Mission Onassis Stegi is committed to providing international promotional and touring support for its productions and co-productions on an ongoing and long-term basis. In practice, this means: Involving production theaters and festivals in co-producing new works by Greek artists

Coordinating tours (administrative, logistical and often, technical support)

Keeping international professionals fully up-to-date with the Onassis Stegi upcoming projects and new productions

Organizing speed-meetings between curators, programmers and Greek artists

Providing high-quality communication materials Providing English surtitles for our new theater productions

Covering travel expenses (for selected performances)

The Onassis Foundation was established in December 1975 in accordance with Aristotle Onassis’ last wish to honor the memory of his son, Alexander. It was created to support Greek society in the crucial areas of education, culture and health. Half of Aristotle Onassis’ fortune was the initial funding for the Foundation. Specifically, the 40% of the annual profits of the Business Foundation are given to the Public Benefit Foundation for implementing all its programs and initiatives. The Onassis Foundation has historically supported other cultural institutions; offers financial assistance to universities with Greek chairs, departments or programs around the world; has granted more than 7.000 scholarships and research fellowships for post-graduate and doctorate studies; has established a long tradition of granting educational material and technological equipment to hundreds of Greek schools all over Greece and has diachronically supported Special Education; has acquired the Cavafy Archive (more than 4.600 manuscripts and personal items of the poet) to ensure its openness and accessibility to researchers and to the wider public; has great books’ collections contained in The Onassis Library; has completed and donated to the Greek State in 1992 Onassis Cardiac Surgery Centre (OCSC); has created Onassis Stegi.

The Onassis Stegi is a creative hub for artists,audiences and ideas, which hosts events and actions across the whole spectrum of the arts from theater, dance, music, cinema and the visual arts to digital and hybrid art and the written word. It showcases contemporary cultural expression, supports Greek artists, cultivates international collaborations, explores the boundaries between science, art and society, and promotes lifelong learning for people of all ages. A home for innovation in contemporary culture, engaging both Greek and global communities. The foundations of the Onassis Stegi were laid in 2004. The construction process was exclusively funded and overseen by the Onassis Foundation. The design is the work of the French architectural practice “Architecture Studio”. The building includes two main auditoria, seating 880 and 220 respectively, which are suited to a wide range of events including theater and dance performances, concerts, film screenings (multimedia, virtual reality), lectures and conferences. It opened its gate in December 2010.

The Onassis Stegi produces, co-produces and stages around 40 theater/dance productions and 60 concerts per season. It produces more than 10 music/ theater/dance festivals featuring international and Greek artists and groups. It also hosts and coproduces an average of three major exhibitions, plus ten or so lectures and conferences as part of the “Talks & Thoughts” cycle and more than 70 educational programs for all ages per year. In addition, on an annual basis, it plans and coordinates international tours and exchanges for Onassis Stegi productions, coordinates or takes part in international networks, collaborates with international and nationwide partners in various ways, and promotes interawareness and interaction between science, innovation and the arts. International partners and venues include: Barbican Centre, Théâtre de la Ville, Odéon-Théâtre de l’Europe, Münchner Kammerspiele, Festival d’ Avignon, Holland Festival, Vienna Festival, Festival Internacional Santiago a Mil etc.

Acclaimed artists and theater groups presenting their work at the Onassis Stegi include:

Akram Khan, Israel Galván, Lucinda Childs, Trisha Brown, Pina Bausch, Robert Lepage, William Kentridge, Robert Wilson, Marina Abramovich, Alain Platel / Les Ballets C de la B, Christoph Marthaler, Simon McBurney / Complicite, Schaubühne Berlin, Krzysztof Warlikowski, Matthew Barney, Brian Eno, Kamashi Washington, tgSTAN, Joël Pommerat, Ivo van Hove, Costa Gavras, Konstantin Bogomolov / Chekhov Moscow Art Theatre, Rimini Protokoll, Brett Bailey, Jonathan Coe, David Sedaris, Tim Etchells, Romain Gavras, Adonis, Guerrilla Girls, Pussy Riot, Marjane Satrapi, Don DeLillo, Paul Auster, George Pelecanos, Pascal Bruckner, Yasmina Reza, Alvis Hermanis, Guy Cassiers, Simon Critchley, Christian Boltanski, Steve Vranakis, Constantinos Daskalakis, Jérôme Bel, Dimitris Papaioannou, DV8 Physical Theatre, Rosas / Anne Teresa de Keersmaeker, Philippe Quesne, Boris Charmatz, Heiner Goebbels, Richard Maxwell, Daniel Fish, Tiago Rodrigues, James Thiérrée, Berlin theatre company, Dries Verhoeven.

T H E AT E R

SMALL TO MEDIUM SCALE WORKS

8-10

CLEAN CITY

11-13

ANTIGONE – LONELY PLANET

14-16

HUGO: A UTOPIA

17-19

SCRATCH BAM, A SOUND LAB

20-22

THE INCREDIBLE JOURNEY

ANESTIS A Z AS & PRODROMOS TSINIKORIS

LENA KITSOPOULOU

S O P H I A M A R AT H A K I / AT O N A Λ T H E AT E R G R O U P

GNOUS TEAM

ANGELOS FRANTZIS

23-25

BUBBLE JAM

DANIEL WETZEL (RIMINI PROTOKOLL)

26-28

NOT INNOCENT ANYMORE

G EO R G I A M AV R AG A N I & T H E H A PPY EN D C O M PA N Y

29-31

LATE NIGHT

B L I T Z T H E AT R E G R O U P

MEDIUM TO LARGE SCALE WORKS

32-34

ROB

35-37

THE DIVINE COMEDY

38-40

THE BACCHAE

41-43

WHO’S AFRAID OF VIRGINIA WOOLF?

DIMITRIS KARANTZAS

VA S I S TA S & A R GY R O C H I O T I

ARIS BINIARIS

M A R I A PA N O U R G I A

44-47

THE BIRDS

N I KO S K A R AT H A N O S

50-52

CODE BEND TIME

53-55

162 DANCE MEETINGS

56-58

PEREGRINUS

59-61

BSTRD

62-64

MAINSTAGE

65-67

ANTHEMOESSA

68-70

RISΚ

71-73

ATMA

74-76

BRIGHTER

77-79

DÉPAYSEMENT

80-82

ΑΝΩΝΥΜΟ

83-85

CEMENTARY

86-88

EUROPIUM

89-91

DANDELION

92-94

ΙΟΝ

95-97

EROTIKON / HIGHER STATES, PART 3

98-101

A PUNCH OF LOSERS

A R I A B O U M PA K I

ZOI DIMITRIOU

K AT E R I N A A N D R E O U

SOLO WORKS

E V A N G E L I A K O LY R A

I OA N N A P O R TO LO U / G R I FFÓ N DA N C E C O M PA N Y

DANAE DIMITRIADI & DIONYSIOS AL AMANOS

MYRTO GRAPSA

ROPIS CO

PAT R I C I A A P E R G I / A E R I T E S D A N C E C O M PA N Y

R O OT L ES S R O OT DA N C E C O M PA N Y

ERMIRA GORO & HANNES LANGOLF

C H R I STO S PA PA D O P O U LO S

KIRIAKOS HADJIIOANNOU

P R O L E T O C D / M A R G A R I TA T R I K K A

MEDIUM TO LARGE SCALE WORKS

TZENI ARGYRIOU

DANCE

EI R I N I PA PA N I KO L AO U

SMALL TO MEDIUM SCALE WORKS

ELENA ANTONIOU

T H E AT E R

CLEAN CITY

ANESTIS AZAS & PRODROMOS TSINIKORIS

THE ATER

Maybe, in the end, we’re all the subjects of history? And while we’re at it, why do we use the phrase “a clean sweep” to describe police operations intended to rid public spaces of “undesirables” (immigrants, the homeless, “deviants”)? Azas and Tsinikoris explore the racism of “cleanliness” and “purity”, the perils of fascism, female immigration, and the identity of the “cleaning lady”. As a theater of the real, Clean City traces and redefines stereotypes through the gaze and personal accounts of the real experts when it comes to cleanliness: the immigrant cleaning ladies of Athens, who present their life stories on stage. At the same time, Clean City explores the historical, philosophical and political extensions of “clean” as a concept, which became a central pillar of a racist ideology which sought to exterminate all “Others”.

After many months of research among migrant communities, the directors put the spotlight on female immigrants, a generally silent minority among immigrant populations, with a minimal, if not non-existent representation in the public sphere.

CREDITS

researched, written and directed by Anestis Azas and Prodromos Tsinikoris / dramaturgy Margarita Tsomou / set & costume design Eleni Stroulia / assistant to the set & costume designer Zaira Falirea / lighting design Eliza Alexandropoulou / music Panagiotis Manouilidis / video Nikos Pastras / assistant directors Ioanna Valsamidou & Liana Taousiani / production management Vasilis Chrysanthopoulos / puppet construction Yiannis Katranitsas / appearing in video Nelly Kambouri / performed by Mabel Matchidiso Mosana, Rositsa Pandalieva, Fredalyn Resurreccion, Drita Shehi and Valentina

Ursache

C L E A N C I T Y, A N ES T I S A Z AS & PR O D R O M O S T S I N I KO R I S

WHY ARE THE MAJORIT Y OF ATHENS’ CLE ANERS WOMEN AND IMMIGR ANTS? HOW DO THEIR LIVES DIFFER FROM YOURS?

_THE ATER _

PHOTOS © CHRISTINA GEORGIADOU

TOUR HISTORY

DATES IN 2019

CLEAN CITY HAS BEEN PRESENTED AT 32 VENUES AND FESTIVALS ACROSS EUROPE AND BEYOND.

IT WILL CONTINUE TO TOUR IN 2019 AND 2020. DATES TO BE CONFIRMED.

C L E A N C I T Y, A N ES T I S A Z AS & PR O D R O M O S T S I N I KO R I S

THE ATER

Anestis Azas was born in Thessaloniki in 1978. He studied Theater at the Aristotle University in Thessaloniki and at the Ernst Busch Academy of Dramatic Art in Berlin. As an assistant director, he has worked with Dimiter Gotscheff (The Persians, Greek National Theater, 2009) and with Rimini Protokoll (Prometheus in Athens, Athens, 2010). In May 2011, he was invited to the International Forum at the Berlin Theatertreffen on a Goethe Institut scholarship. Since 2008, he has worked as a stage director, mainly in Greece and Germany. He has collaborated with Onassis Stegi and the Greek National Theater, the Ballhaus Naunynstrasse and Maxim Gorki Theater in Berlin, Schauspielhaus Zürich, Theater & Orchester Heidelberg, Theaterhaus Jena, Theater Konstanz, Kammerspiele München. His work includes classical texts (Aeschylus, Heiner Müller, Koltès), texts by contemporary authors (Dmitrij Gawrisch, Daniela Janjic, Manolis Tsipos, Sakis Serefas) and, from 2011 onwards, mainly documentary theater plays, putting real people on stage. Prodromos Tsinikoris works as a director, dramaturg and performer in Athens and Berlin. Born in 1981 in Wuppertal to Greek immigrant parents, he moved to Thessaloniki in 1999, where he graduated from the Drama Department of the Aristotle University. In May 2008, he was invited to the International Forum of the Theatertreffen, Berlin. In 2009, he moved to Athens where he worked as an actor with the director Dimiter Gotscheff (in the role of Messenger in The Persians, Greek National Theater), and as an assistant director and researcher with Rimini Protokoll (Prometheus in Athens). As a dramaturg, he has also worked with Lola Arias, Ana Vujanović & Saša Asentić, Dries Verhoeven, the “influx artist collective” and with Paul Preciado as part of Exercises of Freedom for Documenta 14 in Athens. In May 2015, he was also part of the dramaturgy team for X Apartments (concept: Matthias Lilienthal), performed in the apartments of Athenian citizens and produced by Onassis Stegi as part of its Fast Forward Festival 2015. For the Athens & Epidaurus Festival, he directed an audio walk in central Athens on the subject of the homeless (In the Middle of the Street). Since 2018, he is artistic advisor for performative arts at the Dimitria Festival in Thessaloniki.

Anestis Azas and Prodromos Tsinikoris have developed many projects together: A Journey by Train (Athens Festival, 2011), Epidaurus: A Documentary (Athens & Epidaurus Festival, 2012), Telemachus – Should I Stay or Should I Go? (Onassis Stegi / Ballhaus Naunynstrasse Berlin 2013), Utopia In Progress (Theater Konstanz, National Theater of Northern Greece in Thessaloniki), an on-stage confrontation of Greek and German juveniles, Geblieben um zu gehen (Maxim Gorki Theater Berlin, 2018), Clean City (2016), a critical portrait of Greece

from the perspective of immigrant cleaning ladies in Athens, and Hellas München (Münchner Kammerspiele, Athens & Epidaurus Festival, 2018), a documentation of the working poor generation that has left Greece over the last few years. Many of these plays have been invited in recent years to appear at a number of important theater festivals across Europe. Azas and Tsinikoris are also the artistic directors of the Greek National Theater’s Experimental Stage.

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, February 2016 produced by Onassis Stegi co-produced by the Goethe-Institut as part of the EUROPOLY project

EUROPOLY is a project of the Goethe-Institutes in Europe, in co-operation with the Münchner Kammerspiele, Onassis Stegi, the Sirenos-Vilnius International Theater Festival, Teatro Maria Matos Lisbon, and the Tiger Dublin Fringe C L E A N C I T Y, A N ES T I S A Z AS & PR O D R O M O S T S I N I KO R I S

“I DON’T FORCE THE COMEDY,” THE DIRECTOR SAYS. “IT’S A FORM OF DESPAIR AND A WAY OF NOT FEELING GUILT Y ABOUT MY BASER SIDE .”

TOUR HISTORY 15 MAY 2018 ‘‘CHANTIERS D’EUROPE’’ FESTIVAL, THEATRE DE LA VILLE, PARIS (FR) DATES IN 2019 APRIL 2019 – THE PUBLIC THEATER, NEW YORK, ONASSIS FESTIVAL: DEMOCRACY IS COMING (US)

Inviting a group of people on stage who call to mind the ancient Greek chorus, author and director Lena Kitsopoulou sets out to graft moments of a satirical and desperate “here and now” onto the Sophoclean myth. Convinced of the relevance of ancient drama, given that “whatever aspect of our contemporary reality someone chooses to analyze, they will inevitably be brought face to face with the ancient tragedies,” Lena Kitsopoulou identifies among her heroes the Antigones, Creons and Haemons who share fears and anxieties with us, ensconced here in our unbearably lonely world. In a production that is of a piece with her work to date, Lena Kitsopoulou remains drawn to the motifs of human madness and loneliness; as she sees it, “we have nothing else: everything else is just lies.” In Kitsopoulou’s world, though, comedy nestles beneath the existential angst, and vice versa. Driven by a need to poke fun at herself and to view reality through a distorting prism, she seeks “a trace of truth” in comedy.

_THE ATER _

LENA KITSOPOULOU

Antigone – Lonely Planet

CREDITS

written and directed by Lena Kitsopoulou / set & costume design Elli Papageorgakopoulou / lighting design Nikos Vlassopoulos / video Aggelos Papadopoulos / sound design Kostas Bokos / production management Polyplanity Productions – Giolanda Markopoulou & Vicky Strataki / performed by Petros

Georgopalis, Nikoleta Grimeki, Lena Kitsopoulou, Sofia Kokkali, Myrto Kontoni, Andreas Kontopoulos, Vassilis Safos and Yannis Tsortekis

A N T I G O N E – L O N E LY P L A N E T, L E N A K I T S O P O U L O U

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage /

Athens – Greece, December 2017

produced by Onassis Stegi THE ATER

PHOTOS © STAVROS HABAKIS

14 A N T I G O N E – L O N E LY P L A N E T, L E N A K I T S O P O U L O U

In October 2016, a first version of her new work Antigone – Lonely Planet was presented at the Onassis Cultural Center New York. Apart from her own plays, she has also directed plays by Grigorios Xenopoulos (Hail Nymph), Yorgos Chronas (The Woman of Patras) and Federico García Lorca (Blood Wedding, Athens Festival, 2014). In February 2016, she directed Ibsen’s Hedda Gabler at the Oberhausen Theater in Germany. In May 2017, she wrote and directed the play Tyrannosauri Rex for the Greek National Theater’s Experimental Stage.

A N T I G O N E – L O N E LY P L A N E T, L E N A K I T S O P O U L O U

Lena Kitsopoulou writes and directs for the theater and works as an actress for the stage and screen. Her plays and other works are performed by various theater companies, in Greece and internationally. Her novella M.A.I.R.O.U.L.A. (Kedros Publishers) has been translated into a number of languages and has been performed in theaters around the world (England, Spain, France). Her play Athanasios Diakos – The Return (Athens Festival, 2012) was awarded the 2013 International Authorprize in Stuckemarkt, Heidelberg. Her play Little Red Riding Hood – First Blood, which premiered at Onassis Stegi and was performed in May 2014 at Théâtre de la Ville in Paris as part of its Chantiers d’Europe Festival, was also presented as reader’s theater at the Saint Gervais Theater in Geneva. Her play A Day Like Any Day in a Flat (…) or The Futility of Living (Art Theatre, 2015) was performed in December 2016 at the Saint Gervais Theater in Geneva.

_THE ATER _

BIOGRAPHY

HUGO: A UTOPIA

SOPHIA MARATHAKI / ATONAΛ THEATER GROUP

THE ATER

“What was emerging at that point in time was not the Europe of nations; it was the Europe of kings,” wrote the great poet, novelist and visionary of a United Europe, Victor Hugo, in the mid-19th century. Marathaki asks “What is Europe?” but also “What could Europe be?” if the revolution of 1789 and those that followed had achieved their goal. Marathaki tackles the subject with the sensitivity of a young person broaching the essence of Europe, its history, its course and its future. With the collaboration of the actors of the ATONAλ theater group, she led to the theatrification and realization of a utopia for the Europe they have dreamed of. With its often playful means, the performance guides us through an indirect comparison of yesterday and today to the conclusion that nothing has really changed, since there is no peace, no abolition of borders, no priority conferred to the demands of the people of Europe. 16

TOUR HISTORY 17 OCTOBER 2018 GREEK GERMAN THEATER FESTIVAL, PFALZBAU BUHNEN LUDWIGSHAFEN (DE) DATES IN 2019 TO BE CONFIRMED

HUGO: A UTOPIA , SOPHIA MAR ATHAKI / ATONA Λ THE ATER GROUP

PHOTOS © STAVROS HABAKIS

_THE ATER _

TAKING VICTOR HUGO’S HYMN TO A UNITED EUROPE AS HER STARTING POINT, SOPHIA MAR ATHAKI CRE ATES A PERFORMANCE ABOUT UTOPIA AND THE RE ALIT Y OF EUROPE IN THE ER A OF HUMANISM.

CREDITS

directed by Sophia Marathaki / dramaturgy Elena Triantafyllopoulou / set & costume design Eva Marathaki / original music Vasilis Tzavaras / movement Briseis Solomou / lighting design Sakis Birbilis / performed by Georgina Daliani, Foteini Papachristopoulou, Konstantinos Papatheodorou,

Giorgos Syrmas and Michalis Valasoglou

HUGO: A UTOPIA , SOPHIA MAR ATHAKI / ATONA Λ THE ATER GROUP

THE ATER

BIOGRAPHY

Sophia Marathaki graduated from the Theodosiadis Drama School, Athens, from the Central School of Speech and Drama, London (MA Acting), and from the Middlesex University, London (MA Theatre Directing). She studied at the Stage Directing and Acting Workshop of the Greek National Theater Experimental Stage (dir. Stathis Livathinos), at the Spyros Sakkas Vocal Art Workshop, and participated in various drama seminars: Stanislavski’s System at Gitis, Moscow, stage direction at the Royal Academy of Theater in Madrid, and more.

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, October 2017 produced by Onassis Stegi

She is a founding member and the main director of ΑΤΟΝΑλ theater group, a team of collaborators interested in stage musicality, in the non-naturalistic movement of the acting body, but also in exploring the grotesque, masks, and ritual. ΑΤΟΝΑλ is interested in exploring the infinite forms of stage narrative, and in staging both theatrical and non-theatrical texts. Her directorial works include The General Secretary, by Greek playwright Ilias Kapetanakis (Greek National Theater, 2016), La Dispute, based on La Dispute by Pierre de Marivaux (Athens Festival 2016), Philip Glass Buys a Loaf of Bread by David Ives (Theater 104, Athens 2015), and Interior by Maurice Maeterlinck (Neos Kosmos Theater 2014).

HUGO: A UTOPIA , SOPHIA MAR ATHAKI / ATONA Λ THE ATER GROUP

GNOUS TEAM

How can we creatively use the sounds of a stapler or a cooking pan? How can a water bottle and metal sheet be used to create sound effects? What sound does a line moving across the screen make, and how does the accompanying sound alter the way we perceive this movement?

TOUR HISTORY 26 & 27 NOVEMBER 2016 – BIG BANG FESTIVAL, OPÉRA DE LILLE (FR) DATES IN 2019 TO BE CONFIRMED

The Scratch Bam sound lab is an interactive audio-visual performance that immerses children in the magic world of foley – the art that gives sound to images through the use of everyday objects. Two musicians go on a journey into an abstract collage of projected digital animations and old films, where moving images come to life with the help of sounds created by everyday objects. Inside this strange sound lab, that looks more like a kitchen or a storage space, kids encounter all sorts of everyday objects: cooking pans, whistles, clown horns, fruit, vegetables, balloons, glass marbles, papers, door bells, hoses, typewriters and much much more. The two musicians play this orchestra of objects at a very quick pace and in comic ways in order to to trigger kids’ imaginations and observational skills. Children follow these “sound scientists” rhythmically, and take an active part in this imaginative game of knowledge. For the interactive part of the performance, children need a pair of kitchen gloves, a newspaper, a piece of kitchen foil, and an empty plastic bottle.

CREDITS

conceived, created and performed by GNOUS TEAM (musicians Vassilis Tzavaras & Michalis Moschoutis / video design & animation Erato Tzavara)

SCR ATCH BAM! A SOUND L AB, GNOUS TE AM

A FUN AUDIO -VISUAL PERFORMANCE FOR CHILDREN AGED SIX TO NINE YE ARS OLD, WHERE E VERYDAY OBJECTS GIVE SOUND TO MOVING IMAGES.

_THE ATER _

Skrats-Bam! A Sound Lab

BIOGRAPHIES

Michalis Moschoutis – a musician (primarily a guitarist) and composer – focuses in his work on the materiality of sound and the physicality of live music. He runs the experimental music label HOLOTYPE EDITIONS, and curates INMUTE and the Borderline Festival. Since 2017, he has been co-curating the Athens editions of the Tectonics Festival in collaboration with the orchestra director Ilan Volkov. Michalis regularly performs with the French filmmakers’ collective Nominoë. THE ATER

PHOTOS © STAVROS PE TROPOULOS

PRODUCTION CREDITS

created for Onassis Stegi / Athens – Greece, September 2015 produced by Onassis Stegi SCR ATCH BAM! A SOUND L AB, GNOUS TE AM

Vassilis Tzavaras – a musician, composer and improviser – studied guitar, jazz improvisation and composition. Since 1993, he has been a member of the groups Occasional Dream, Take the Money and Run, Project 37, 4+1, Silent Move, and the Atonaλ Theater Company. He took part in the Biennale for Young Artists of the Mediterranean twice (1999 in Rome, and 2003 in Athens). He has performed in several concerts and live performances in Greece, Turkey and England. As a performer and teacher, he has been active in free improvisation for the last ten years.

Erato Tzavara is a video artist specializing in digital scenography and moving image techniques for live performance. Her work mixes analogue aesthetics with digital compositing tools. She collaborates with choreographers, musicians and media artists, researching the plasticity of the digital image in space, and digital media as a tool for dramaturgy. She also works as an interdisciplinary educator, designing and facilitating workshops for kids of various ages and abilities, and for vulnerable adult groups.

SCR ATCH BAM! A SOUND L AB, GNOUS TE AM

_THE ATER _

THE ATR E

THE ATER

The Incredible Journey ANGELOS FRANTZIS

THE ATER OR CINEMA? SCIENCE FICTION OR A COMING - OF-AGE ADVENTURE?

Above all else, The Incredible Journey is a hymn to the incredible power of the imagination. A sci-fi cinema lab performance with music, film techniques and movement from the films of Georges Méliès made by a collective of talented artists.

The stage is transformed into a film set, in a production for all the family that transports us back in time to the silent movie era, when the French pioneer filmmaker and conjurer, Georges Méliès, was making his first sci-fi film, A Trip to the Moon (1902). Méliès is the invisible protagonist of this magical show staged by the distinguished filmmaker Angelos Frantzis, with live music, digital projections, cinematic effects, dance and movement.

DATES IN 2019 TO BE CONFIRMED

CREDITS

direction & dramaturgy Angelos Frantzis / choreography & assistant editor Chrysanthi Badeka / video design & animation Erato Tzavara / musi c Vassilis Tzavaras / costume design Despina Chimona / set design Andrianos Zaharias / performed by Chrysanthi Badeka, Konstantinos Papatheodorou,

Erato Tzavara and Vassilis Tzavaras

T H E I N C R E D I B L E J O U R N E Y, A N G E LO S FR A N T Z I S

PHOTOS Â©

STAVROS PE TROPOULOS

T H E I N C R E D I B L E J O U R N E Y, A N G E LO S FR A N T Z I S

THE ATER

Chrysanthi Badeka is a choreographer/ director, dancer, editor and curator, as well as a co-Artistic Director & Production Manager of the AVDP – International Dance Film Festival, a co-founder of the BelleVille artists’ collective, and a videography archivist for the directors Theodoros Terzopoulos (Attis Theater) and Savvas Stroubos (Zero Point Theater Group).

BIOGRAPHIES

Angelos Frantzis (Greece, 1970) studied film direction at INSAS in Brussels. Among other films, he is known for Symptoma (2015), Mesa sto dasos (2010) and Still River (2018). Besides film directing, Frantzis has been involved in art projects that combine multi-disciplinary techniques (installation, performance).

created for the Onassis Stegi Upper Stage / Athens – Greece, February 2018 produced by Onassis Stegi

T H E I N C R E D I B L E J O U R N E Y, A N G E LO S FR A N T Z I S

DANIEL WETZEL (RIMINI PROTOKOLL)

_THE ATER _

BUBBLE JAM

The interactive installation Bubble Jam leads a group into an experiment with itself. On this digital stage, the characters exist not in space but on our screens. We follow and respond to their messages. Who is on the other end of the Internet, and what are the processes that occur between us when communicating online?

DATES IN 2019 TO BE CONFIRMED

An interactive play and an experiment among our own selves, Bubble Jam invites visitors to act as members of a cloud that explores itself. How are joint decisions made? What happens when algorithms enter that process? And who or what do we “like” and “follow”? In asking these questions, Daniel Wetzel sets up an interactive installation for YouTubers; for those who use messaging services despite their age restrictions; for the upcoming generation of digital natives.

CREDITS

conceived and directed by Daniel Wetzel / written by Daniel Wetzel, Nikolas Hanakoulas, Giorgos Panagiotakis / space Dido Gkogkou / lighting design Guy Stefanou / software system design & implementation Dimitris Trakas (ViRA) / graphics Dimitris Trakas & Renia Papathanasiou (ViRA) / sound design & programming Lambros Pigounis / script editors Andreas G. Andreou & Kostis Kapidakis / project coordinator Nikos Voyatzis / consultant psychologist Florentia Bakomitrou / production management Juliane Männel (Rimini Protokoll) & Yalena Kleidara (Apparat Athen) / technical director Martin Schwemin (Rimini Protokoll) / performers in the code Andreas G. Andreou & Dimitris Trakas / performers in the crowd Nikolas Hanakoulas & Kostis Kapidakis

BUBBLE JAM, DANIEL WETZEL(RIMINI PROTOKOLL)

HOW ARE JOINT DECISIONS MADE? AND WHO OR WHAT DO WE “LIKE” AND “FOLLOW ”?

PHOTOS Â©

THE ATER 26 BUBBLE JAM, DANIEL WETZEL(RIMINI PROTOKOLL)

STAVROS HABAKIS

Athens-based Daniel Wetzel (born 1969) is a founding member of the leading European company Rimini Protokoll, who propose alternative formats for the stage as well as site-specific works, creating groundbreaking projects often not with actors, but with “experts of their own lives”.

_THE ATER _

BIOGRAPHY

PRODUCTION CREDITS

created for the Onassis Stegi Youth Stage / Athens – Greece, November 2018 produced by Onassis Stegi and Rimini Apparat co-produced by The Cultural Schoolbag Norway / DKS Asker (Asker Municipality)

using technology and elements developed for the Rimini Protokoll project Dreaming Collectives. Tapping Sheep written by Daniel Wetzel and Ioanna Valsamidou (Staatstheater Dresden and others, 2017)

BUBBLE JAM, DANIEL WETZEL(RIMINI PROTOKOLL)

NOT INNOCENT ANYMORE GEORGIA MAVRAGANI & THE HAPPY END COMPANY

THE ATER

What does it mean to be a teenager today? What’s it like to bid your childhood innocence goodbye and enter the “adult” world? If you wrote a letter to your parents, how would you tell them what they already know but pretend not to? What sort of a letter would you write to love? To boredom? To anger? To fear? To your own self?

In this devised theater production, the talented director and educator Georgia Mavragani and her Happy End theater company initiate us in the fascinating world of adolescence. Teenagers have driven the creative process, sharing their dreams and struggles, their favourite lyrics, music and writing with the team through interviews, workshops and a blog set up especially for the project. Above all, these young people have lent Mavragani their captivating voices and become co-creators of a caustic, unique, moving production in which a small teenage chorus employs forms that allow them to address the audience directly – the letter, the satirical song – and entrust their secrets to us, in a whisper. “I’m beautiful and full of life, just turned 18. So I wonder – when’s life going to hit the fan…”

CREDITS

stage play composed and edited by Georgia Mavragani and the Happy End Company / directed by Georgia Mavragani / assistant director Elina Rizou / set & costume design Artemis Flessa / lighting design Tasos Palaioroutas / educational blog design & administration Eleni Papadimitriou / performed by Mikes Glykas, Romana Lobac, Theano Metaxa, Antonis Panagopoulos and

Konstantinos Plemmenos

NOT INNOCENT ANYMORE, GEORGIA MAVRAGANI & THE HAPPY END COMPANY

STAVROS PE TROPOULOS

PHOTOS Â©

_THE ATER _

WHAT DOES IT ME AN TO BE A TEENAGER TODAY?

DATES IN 2019 TO BE CONFIRMED

NOT INNOCENT ANYMORE, GEORGIA MAVRAGANI & THE HAPPY END COMPANY

BIOGRAPHY

THE ATER

Georgia Mavragani is a stage director and educator based in Athens. She studied at the Theater Studies Department of the National & Kapodistrian University, Athens, and attended the preparatory master’s program at DasArts in Amsterdam, The Netherlands. Between 2000 and 2004, she worked as an assistant director for several established Greek directors. Since 2004, she has directed numerous productions, including performances that belong to the genre of documentary and devised theater, such as: A Long Nostalgic Song, Fragile, The Roof of the Suicide, Lockjaw, Not Innocent Any More, First-hand: A Performance on Tobacco Workers, and Old Age – A Choral Ode. Theatrical works she has directed include plays by Jean Genet (The Maids) and Bernard-Marie Koltès (Tabataba), as well as stage adaptations of Dimosthenis Papamarkos’ short story collection Giak, and Tennessee Williams’ Suddenly, Last Summer. Mavragani teaches acting and has presented several staged readings featuring her students. She has also run acting and performance workshops, featuring professional and amateur actors, investigating the possibilities and techniques of documentary theater.

PRODUCTION CREDITS

created for the Onassis Stegi Youth Stage / Athens – Greece, November 2014 produced by Onassis Stegi

NOT INNOCENT ANYMORE, GEORGIA MAVRAGANI & THE HAPPY END COMPANY

BLITZ THEATRE GROUP

DATES IN 2019 TO BE CONFIRMED

CREDITS

directed by the blitz theatre group / dramaturgy blitz theatre group & Nikos Flessas / lighting design Tasos Paleoroutas / music supervision blitz theatre group

& Giorgos Konstantinidis /

choreography & movement Yannis Nikolaidis / set design Efi Birba / costume design Vassilia Rozana / performed by

The blitz theatre group, the best-known Greek devised theater group, in their most internationally renowned production: a bizarre dance soirée dedicated to the surrealism of existence. The strange allegory they construct in Late Night tells us what it means to live through the end of an era. Late Night takes places in the early hours in a down-at-heel dance hall. As an otherworldly voice gives directions and orders and a neon sign flashes on and off, the melancholy, inebriated crowd sing, dance and offer up personal confessions. The twilight atmosphere recalls the films of Lynch and Cassavetes, the trapped state of Bunuel’s Exterminating Angel, and the marathon dance of Poitier’s They Shoot Horses, Don’t They? – another stage on which the victims of a financial crisis danced until they dropped. In this work, the group explores the relationship between the individual and the mechanisms of society and history in a country and on a continent (the European) facing a harsh financial and ethical crisis.

Maria Filini, Sophia Kokkali, Aggeliki Papoulia, Christos Passalis, Fidel Talaboukas and Giorgos Valais

L ATE N IG HT, B LIT Z T H E ATR E G R O U P

TOUR HISTORY LATE NIGHT HAS BEEN SUCCESSFULLY TOURING FOR MORE THAN FIVE YEARS, AT THE MOST PRESTIGIOUS VENUES AND FESTIVALS ACROSS EUROPE AND BEYOND.

_THE ATER _

LATE NIGHT

PHOTOS Â© STAVROS PE TROPOULOS

THE ATER 32 L ATE N IG HT, B LIT Z T H E ATR E G R O U P

blitz theatre group was formed in October 2004, in Athens, by Aggeliki Papoulia, Christos Passalis and Giorgos Valais. The group’s basic principles are the following: Theatre is a field where people meet each other and exchange ideas in the most essential way, not a field for virtuosity and ready made truths. There is a need for answers to what society asks from art today and what theatrical structures stand for in the dawn of the 21th century. All members are equal throughout conception, writing, direction and dramaturgy process, everything is under doubt, there is nothing to be taken for granted, neither in theatre nor in life.

_THE ATER _

BIOGRAPHY

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, October 2012 produced by Onassis Stegi co-produced by blitz theatre group and La Filature scène nationale de Mulhouse

L ATE N IG HT, B LIT Z T H E ATR E G R O U P

ROB

TEXT: EFTHIMIS FILIPPOU DIRECTION: DIMITRIS K ARANTZAS

THE ATER

A PRODUCTION THAT IS AN UNORTHODOX CEREMONY ABOUT VIOLENCE , STEREOT YPES, MEMORY, IDENTIT Y, R ATIONALIT Y AND IRR ATIONALIT Y.

Efthimis Filippou writes and Dimitris Karantzas directs a production about a serial killer. Rob the murderer is already dead, and ten characters, some dead and some alive, speak, shout, blame, judge, or justify him, composing something that resembles a conversation, but that is in fact a composition of monologues. Loosely inspired by Bernard-Marie Koltès Roberto Zucco, Filippou and Karantzas create a mysterious ceremony about a dead man who was murdered. He is reborn through the narrations and testimonies of victims and his followers. He comes back to life to be glorified and eventually devoured by a society that always needs to create leaders, saints, or mere scapegoats.

DATES IN 2019 2 & 3 APRIL 2019 – FOCUS: UN PRINTEMPS ATHÉNIEN, LE LIEU UNIQUE – SCÈNE NATIONALE DE NANTES (FR) 34

CREDITS

written by Efthimis Filippou / directed by Dimitris Karantzas / dramaturgy of sound & original music Dimitris Kamarotos / dramaturgy consultant Theodora Kapralou / set design Cleo Boboti / costume design Ioanna Tsami / movement Tasos Karahalios / lighting design Alekos Anastasiou / first assistant director Geli Kalabaka / second assistant director Rania Kapetanaki / costume design assistant Ifigeneia Daoudaki / assistant to the set designer Katerina Arianoutsou / set building Panagiotis Lazaridis / chair construction d.Mod / costume manufacture Panagiota Tsompanaki / surtitle translation Memi Katsoni / line production Theodora Kapralou / music recorded by L’Anima String Quartet (Lefki Kolovou, Brunilda-Eugenia Malo, Elias Sdoukos, Stella Tsani) / performed by

Konstantinos Avarikiotis, Giannis Klinis, Christos Loulis, Vasilis Magouliotis, Aggeliki Papoulia, Elina Rizou, Evi Saoulidou, Michalis Sarantis, Stavroula Siamou and Maria Skoula / special thanks to Dimitris Dimitriadis for his significant contributions ROB, EFTHIMIS FILIPPOU & DIMITRIS KARANTZAS

_THE ATER _

PHOTOS Â© ANDREAS SIMOPOULOS

ROB, EFTHIMIS FILIPPOU & DIMITRIS KARANTZAS

THE ATER

BIOGRAPHY

Acclaimed Greek stage director Dimitris Karantzas works with Efthimis Filippou for the first time to create a performance that raises fundamental questions about logic and absurdity, right and wrong, moral rules and boundaries. Karantzas is an artist who stands out thanks to his unique theatrical idiom. He has been prolific in the recent years, directing plays for the Greek National Theater, Onassis Stegi, the Athens & Epidaurus Festival, the Amore Theater, the Karolos Koun Greek Art Theater, the Odou Kykladon Theater, and others. His directorial works include Dimitris Dimitriadis’ Faethon and The Circle of the Square, Euripides’ Helen and Medea, Shakespeare’s Twelfth Night, Thomas Berhard’s Heldenplatz, Virginia Woolf’s The Waves, Harold Pinter’s Ashes to Ashes, and Henrik Ibsen’s When the Dead Awaken. His work has been programmed and presented (with the support of Onassis Stegi) at the 68th edition of the Avignon Festival in 2014 (The Circle of the Square), at the Gulbenkian Foundation in Lisbon as part of the Proximo Futuro Festival in 2015 (The Circle of the Square), and at the Nationaltheatret Norway’s Ibsen Festival in 2016 (When the Dead Awaken). He has participated in KunstenFestivalDesArts as a guest artist of the Residence and Reflections Project. He was the recipient of an Onassis Foundation Artist’s Fellowship in 2018.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, January 2018 produced by Onassis Stegi

ROB, EFTHIMIS FILIPPOU & DIMITRIS KARANTZAS

VASISTAS THEATER GROUP & ARGYRO CHIOTI

Faced with the sheer volume of Dante’s trilogy, VASISTAS create a highly concise version of the poet’s text by selecting those sections that convey its deeply personal qualities: the difficult journey made by one individual, from the dark ordeals of the everyday, through times of painful crisis, to life’s light-filled moments of escape; from immersion in a world of shadows to an exit towards the light.

TOUR HISTORY 1-3 FEBRUARY 2017 – THÉÂTRE DU GYMNASE, MARSEILLE (FR) 1 OCTOBER 2017 – DIMITRIA FESTIVAL, THESSALONIKI, (GR) 16-17 JANUARY 2018 – FESTIVAL LES VAGAMONDES, MULHOUSE (FR) DATES IN 2019 TO BE CONFIRMED 37

The text of the performance is based on The Divine Comedy by Dante, revised by the dramaturg and poet Nikos A. Panayiotopoulos. The performance includes poetry from Edgar Lee Masters’ Spoon River Anthology, as well as Ezra Pound’s Cantos XIV and XV.

_THE ATER _

The Divine Comedy

CREDITS

directed by Argyro Chioti / dramaturgy Nikos A. Panayiotopoulos & VASISTAS / set design Eva Manidaki / costume design Christina Calbari / lighting design Tasos Palaioroutas / sound design Jan Van de Engel / music supervisor Markellos Chrysikopoulos / director’s assistant Geli Kalampaka / assistant to the set designer Myrto Megaritou / dramaturgy assistant Artemis Chrysostomidou / executive production Geli Kalampaka / production assistant Vassiliki Georgiopoulou / artistic associate Ariane Labed / string quartet Alexis Karaiskakis Nastos (cello), Phaedon Miliadis

& Migen Selmani (first violin), Angeliki Kasda (second violin), Krystalia Gaitanou & Ilias Livieratos (viola) / performed by Evdoxia Androulidaki, Antonis Antonopoulos, Georgina Chryskioti, Yiannis Klinis, Matina Pergioudaki, Fintel Talampoukas, Efthimis Theou and Eleni Vergeti

T H E D I V I N E C O M E DY, VA S I S TA S & A R GY R O C H I OT I

PHOTOS © STAVROS HABAKIS

THE ATER 38

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, April 2017 produced by Onassis Stegi co-produced by Les Théâtres (Gymnase, Bernardines, Jeu de Paume, Grand théâtre de Provence)

Marseille and Aix-en-Provence co-production organization KOMM’N’ACT – Platform for Young International Creation (Marseille)

T H E D I V I N E C O M E DY, VA S I S TA S & A R GY R O C H I OT I

Argyro Chioti has worked as actress and theater trainer, but for the last twelve years mostly directs with her theater group VASISTAS. Argyro Chioti received the prestigious Greek Eleftheria Sapoutzi Prize for her artistic work (September 2013), and since 2015 has been supported as an artiste associée by Les Théâtres Marseille, Aix-en-Provence. Onassis Stegi produced and is supporting the tour of the work Bloods / Emata (a 2014 theatrical play written by the renowned author, playwright and screenwriter Efthimis Filippou); Onassis Stegi also produced and presented the group’s latest large-scale work, The Divine Comedy.

T H E D I V I N E C O M E DY, VA S I S TA S & A R GY R O C H I OT I

The VASISTAS theater group is based in Athens and works between Greece and France. Searching for dramaturgies that are not defined by text-based logic or linear story-telling, and with limited use of technical means, the group orchestrates detailed moving images, and focuses on a theatrical idiom which they call “sensitive body language”.

_THE ATER _

BIOGRAPHIES

THE BACCHAE BY EURIPIDES DIRECTION: ARIS BINIARIS THE ATER

The Bacchae is not only considered to be Euripides’ greatest tragedy, but also one of the greatest ever written, ancient or modern. In the Bacchae, the chorus is integrated into the plot, and the god is not a distant presence but rather the protagonist.

DATES IN 2019 TO BE CONFIRMED 40

Aris Biniaris turns the clash between Pentheus the king and Dionysus the god into an angry hymn to the division of the human soul into logic and instinct. When rock music electrifies Euripides’ words, when punk plugs the myth of the Bacchae into the mains, then Dionysus – the great, the divine – sings. The original music is written by Victor Couloumbis and Panos Sardelis. The director dares couple the subversive power of rock music to the violent tragedy of the Bacchae. A band of select performers – accompanied by three musicians – are invited, through music and theater, to reflect on the relationship between freedom and dogma, isolation and creativity.

CREDITS

adaptation based on the modern Greek translation by Yorgos Chimonas / directed by Aris Biniaris / dramaturgy Theodora Kapralou / set & costume design Paris Mexis / lighting design Lefteris Pavlopoulos / original music written and performed by Victor Couloumbis (electric bass guitar) & Panos Sardelis (drums) / movement Amalia Bennett / sound designer & sound engineer Harris Kremmidas / production management Maria Dourou / performed by Amalia Bennett, Aris Biniaris,

Charis Charalambous, Giorgos Gallos, Anna Kalaitzidou, Karyofyllia Karabeti, Christos Loulis, Onisiforos Onisiforou, Evi Saoulidou and Konstantinos Sevdalis THE BACCHAE, ARIS BINIARIS

_THE ATER _

PHOTOS Â© ELINA GIOUNANLI

THE BACCHAE, ARIS BINIARIS

BIOGRAPHY

THE ATER

Aris Biniaris is a fan of on-stage interaction between music and drama, and a dedicated scholar of ancient tragedy. Biniaris began his theater training and work in 1999 by doing street theater. With a directing career that started out with a psychedelic reading accompanied by rock music of Giannis Skarimbas’ The Divine He-Goat (2011) and culminated with his appearance at the Ancient Theater of Epidaurus with Aeschylus’ Persians, Biniaris has spent recent years seeking out those corners of the theatrical repertoire that set out to illuminate issues relating to personal freedom, social dogmatism and historical memory. In 2011-12, he prepared one of his trademark works – ’21 – a pastiche of authentic texts from the 1821 Greek Revolution and Independence Era, exploiting yet again the theatrical form of a rock narrative concert. In 2017, he directed as well as acted in Aeschylus’ The Persians, representing the Cyprus Theater Organization at the Athens & Epidaurus Festival. This work was immediately followed by his latest large-scale directorial work THE BACCHAE, produced by and presented at Onassis Stegi. For the 2018-19 season, Biniaris collaborated with the Greek National Theater on Wake up, Bill – an adaptation and directorial take on the play by Dimitris Psathas, a very popular Greek author of the mid-20th century.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage /

Athens – Greece, March 2018

produced by Onassis Stegi

THE BACCHAE, ARIS BINIARIS

_THE ATER _

Who’s Afraid of Virginia Woolf? TEXT: EDWARD ALBEE DIRECTION: MARIA PANOURGIA

Maria Panourgia directs this classic American play with which Edward Albee rocked 1960s audiences, presenting us with a bourgeois sitting room stuffed full of relics from the past, and with the radio on. She is interested in the morbidity of relationships, but also in encapsulating the era in which Who’s Afraid of Virginia Woolf? plays out – like a time capsule.

DATES IN 2019 TO BE CONFIRMED

CREDITS

directed by Maria Panourgia / dramaturgy Tassos Koukoutas / set design Poulcheria Tzova / costume design Ioanna Tsami / lighting design Eliza Alexandropoulou / movement Zoe Hadjiantoniou / music & sound Blaine L. Reininger / assistant director Rania Kapetanaki / hair design Chronis Tzimos / costume maker Panagiota Tsompanaki / digital model Nicol Chorinopoulou / set painting Iasonas Kampanis & Katerina Psaradeli / set building Stelios Lampadarios / line production Eleni Kotsifidou – Blackbird Production / performed by Konstantinos Avarikiotis, Lena Kitsopoulou,

Yannis Papadopoulos and Stella Vogiatzaki

WHO’S AFR AID OF VIRGINIA WOOLF?, MARIA PANOURGIA

A LEGENDARY PL AY STAGED AS A “LIVING MUSEUM” OF BEHAVIORS FROM DECADES PAST

PHOTOS © ELINA GIOUNANLI

THE ATER 44

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage /

Athens – Greece, December 2018

produced by Onassis Stegi

WHO’S AFR AID OF VIRGINIA WOOLF?, MARIA PANOURGIA

Who’s Afraid of Virginia Woolf? is the fourth play she has directed, and her first at Onassis Stegi. The three other plays she has directed are Minion: A Christmas Story (Bios, 2013–2014), The Master and Margarita: A Picnic with the Devil (Greek National Theater Experimental Stage, 2016) and The Legend of Saint Kartak and the Little Flower (Athens Festival, 2017).

WHO’S AFR AID OF VIRGINIA WOOLF?, MARIA PANOURGIA

Maria Panourgia could have been a painter but chose to be an actor, director and stage designer instead. Born in Corinth, she studied painting at the Athens School of Fine Arts, and acting at the Akis Davis Studio. As an actor, she has worked with many of the most important Greek stage directors, including Akis Davis, Elena Penga, Dimitris Mavrikios, Yorgos Lanthimos, Michail Marmarinos, Dimitris Nakos, Akyllas Karazisis, Sofia Vgenopoulou, Sotiris Hatzakis, Dimitris Karantzas, Angela Brouskou, Dimitris Xanthopoulos, Yannis Skourletis, and others. She was one of the leads in Russian director Konstantin Bogomolov’s production of Dostoyevsky’s The Demons, which had its world premiere at Onassis Stegi in 2017.

_THE ATER _

BIOGRAPHY

THE BIRDS

BY ARISTOPHANES DIRECTION: NIKOS KARATHANOS THE ATER

On a set which owes as much to Eden as it does to the Amazon, a romantic and insightful Greek director – Nikos Karathanos – stages The Birds: a modern ritual built from the flesh and bones, the visions and idiosyncrasies of his actors and his own fixations. His adaptation is both true to Aristophanes’ original, and creatively adapted to reflect contemporary concerns. A playful feast for the senses that includes performers of all physical abilities, and an exceptional score performed live on stage.

“...IT IS THE MUSIC OF E ARTHLY E XISTENCE , WITH ALL ITS MYSTERIOUS, TANTALIZING PROMISES, JUST WAITING TO BE FULFILLED — AND THWARTED’’ THE NE W YORK TIMES, 6 MAY 2018 TOUR HISTORY 17-23 SEPTEMBER 2016 – ONASSIS STEGI MAIN STAGE, ATHENS (GR) 2-13 MAY 2018 – ST. ANN’S WAREHOUSE, BROOKLYN NY (US)

Following its Epidaurus premiere in 2016, a sold out run in Athens at Onassis Stegi that same year, and its American debut in Brooklyn NY at St Ann’s Warehouse in May 2018 that met with major critical success, The Birds will continue to tour in 2019, 2020 and 2021.

DATES IN 2019 TO BE CONFIRMED

CREDITS

directed by Nikos Karathanos / adaptated by Nikos Karathanos & Giannis Asteris / translated from the ancient Greek by Giannis Asteris / set & costume design Elli Papageorgakopoulou / music Aggelos Triantafillou / lighting design Simos Sarketzis / movement Amalia Bennett / assistant director Marissa Triantafyllidou / assistant to the director Ioanna Bitouni / executive producer POLYPLANITY Productions – Yolanda Markopoulou & Vicky Strataki / live music by Sofia Efkleidou, Michalis Katachanas, Dimitris Klonis, Vasilis Panagiotopoulos and Dimitris Tigkas / performed by Amalia

Bennett, Kostas Berikopoulos, Konstantinos Bibis, Maria Diakopanagiotou, Vasiliki Driva, Haris Frangoulis, Galini Hatzipaschali, Nikos Karathanos, Emily Koliandri, Ektor Liatsos, Christos Loulis, Grigoria Metheniti, Foivos Rimenas, Michalis Sarantis, Aris Servetalis, Giannis Sevdikalis, Elena Topalidou, Marissa Triantafyllidou and Aggelos Triantafillou BIRDS, NIKOS K AR ATHANOS

_THE ATER _

PHOTOS © STAVROS HABAKIS PHOTOS © KIKI PAPADOPOULOU

BIRDS, NIKOS K AR ATHANOS

THE ATER

BIOGRAPHY

Nikos Karathanos is an acclaimed director, actor and writer. Born in Athens, he studied at the Pedagogical Academy of Rhodes and graduated from the Greek National Theater Drama School. As an actor, he has collaborated with the directors Anatoli Vassiliev, Dimiter Gotscheff, Yorgos Lanthimos, Yoshi Viler, Matthias Langhoff, Yannis Houvardas, Michael Marmarinos, Dimitris Mavrikios, and Vasilis Papavasiliou. He has played the lead role in many classical and contemporary repertory plays and has taken part in tours across Greece and around the world. Among other plays, he has directed The Cherry Orchard by Chekhov for the Onassis Stegi, Salome based on the oratorio San Giavanni Battista by Alessandro Stradella, Operetka by Witold Gombrowicz for the Athens & Epidaurus Festival, The Decameron by Boccaccio, Golfo by Spyridon Peresiadis, Syrano de Bergerac by Edmond Rostand, and Julius Caesar by Shakespeare for the Greek National Theater.

PRODUCTION CREDITS

created for the Ancient Theater of Epidaurus / Greece, August 2016 produced by Onassis Stegi as part of the Athens & Epidaurus Festival supported by the Onassis Foundation

BIRDS, NIKOS K AR ATHANOS

_THE ATER _ 49 BIRDS, NIKOS K AR ATHANOS

DANCE

code bend time EVANGELIA KOLYRA

DANCE

INFINITE VARIATIONS OF TONE , PITCH AND TIMBRE BROUGHT TO BE AR UPON THE PHONEMES OF THE ENGLISH L ANGUAGE AS SPOKEN BY HER AUDIENCES.

A durational solo work by the talented Evangelia Kolyra, an artist based in the UK, code bend time is a participatory, durational choreographic and performance installation that can be situated in indoor public spaces such as galleries, warehouses, foyers, museums and the like. In code bend time, Evangelia Kolyra responds physically to the infinite variations of tone, pitch and timbre brought to bear upon the phonemes of the English language as spoken by her audiences. Variations in pronunciation are relayed back to the speaker as movements that are as distinct as the voices they are responding to. The audience is invited to experience and participate in the making of a performative work, taking the roles of performer and/or viewer. The result is a thrilling and humorous narrative-building performance that questions the nature and nurturing of language, and the interaction between art and its audience.

DATES IN 2019 TO BE CONFIRMED

CREDITS

conceived and performed by Evangelia Kolyra / set & costume design Lina Motsiou / executive producers Xavier de Sousa & Steve Goatman

C O D E B E N D T I M E , E VA N G E L I A KO LY R A

DANCE

PHOTOS Â© STAVROS HABAKIS

C O D E B E N D T I M E , E VA N G E L I A KO LY R A

BIOGRAPHY

DANCE

Evangelia Kolyra is a Greek, London-based choreographer and performer interested in performative work which takes place within theater-space, site-specific, film, and installation contexts. Her work aims to offer audiences a kinesthetically rich experience of the unexpected, humorous and sometimes dark or sinister sides to the psychology of human experience, presented within highly detailed and physically demanding choreographies. Her work, supported by organizations in the UK and Greece such as The Place, Onassis Stegi, Dance4, Citymoves, Arts Council England, Chelsea Theater, Greenwich Dance, King’s College London, University of Roehampton, Dance City and Yorkshire Dance, has been featured as part of various platforms and festivals in Europe (England, Scotland, Greece, Italy, Sweden, The Netherlands). As a performer, she has worked with Marina Abramovic, Nicole Beutler, Willi Dorner, Simon Ellis, Deborah Hay, Rosemary Lee, Tino Sehgal and Matthias Sperling, among others. Evangelia has an MFA in Choreography from Roehampton University (UK), a BA in Dance from the Despina Grigoriadou Professional Dance School (Greece), and a BA in Greek Philology and Linguistics from the National & Kapodistrian University of Athens (Greece).

PRODUCTION CREDITS

created for the Onassis Stegi Fifth Floor Young Theater Workshop / Athens – Greece, April 2018 produced by Onassis Stegi – Young Choreographers Festival 5 co-produced by Dance4 commissioned by Dance4 and Lace Market Gallery supported by Siobhan Davies Studios supported using public funding by the National Lottery through Arts Council England

C O D E B E N D T I M E , E VA N G E L I A KO LY R A

ARIA BOUMPAKI

TOUR HISTORY 9 & 10 JUNE 2018 – FOREST FESTIVAL 4 – NATIONAL THEATER OF NORTHERN GREECE, THESSALONIKI (GR)

A site-specific, adaptable solo work by Aria Boumpaki, dance meetings is a project based on human, physical encounter. It investigates how a dance project can be born from the society that surrounds it. One choreographer, 81 bodies and 162 dance meetings converge in one dance solo which relates everything that went into its creation in unique fashion. Eighty-one different bodies jointly shape the work through personal meetings with the choreographer. People completely different from each other work with the choreographer in order to bring together two bodies that will be invited to walk together, to dance, to observe, to discuss, to write, to test, to play; Boumpaki finally presents a solo that brings on stage the essence of this long journey. The show can be accompanied by a photo exhibition, and an installation.

DATES IN 2019 TO BE CONFIRMED

DANCE

162 dance meetings

CREDITS

c onceived, choreographed and performed by Aria Boumpaki / visual environment, special constructions & outfit: Ioanna Plessa / exhibition curators Aria Boumpaki, Christina Pantelatou, Ioanna Plessa / special constructions assistant & curatorial assistant Konstantinos Chaldaios / choreography & mental health consultant Marieta Vetta / sound design Nikolas Kazazis / lighting design Miltos Athanasiou / production assistant Christina Pantelatou / video director & editor Νefeli Sarri / director of photography & camera operator Alfonso De Munno Gallardo / sound recording Dimitris Koukouvanis / soundtrack mixing Roberta D’Angelo

162 DANCE MEETINGS, ARIA BOUMPAKI

DANCE 56 PHOTOS © VALENTINI PANTELAIOU

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, April 2017 produced by Onassis Stegi – Young Choreographers Festival 4

162 DANCE MEETINGS, ARIA BOUMPAKI

Having graduated from the Greek National School of Dance and the Rallou Manou Dance School, Athens, Aria Boumpaki continued her studies at the Centre Chorégraphique National (CNN) in Montpellier, France, pursuing an Ex.e.r.ce postgraduate choreography program on an Onassis Foundation scholarship. There, she met dance luminaries including Simone Forti, Deborah Hay, Mathilde Monnier, Valerie Castan, Antonia Baehr and La Ribot. Influenced by their work, she was inspired to take her own first steps as a choreographer. Boumpaki is drawn to and researches what she calls “human dance”, meaning dance which does not seek simply to present a work, but rather to mold it through the experiences of the choreographer and the viewers during their encounters. In Boumpaki’s own words: “The final performance-solo is actually the distillation

DANCE

BIOGRAPHY

162 DANCE MEETINGS, ARIA BOUMPAKI

Peregrinus ZOI DIMITRIOU

DANCE

PEREGRINUS, DERIVES ITS TITLE FROM A L ATIN WORD THAT HAS ME ANT MANY THINGS: “PILGRIM” AND “ WANDERER”, “FOREIGNER /STR ANGER” AND “TR AVELER”, AND BOTH “A PERSON FROM SOMEWHERE ELSE” AND “A TEMPOR ARY RESIDENT”.

TOUR HISTORY 20-22 JULY 2018 – FIRKIN CRANE, CORK (IE)

DATES IN 2019 TO BE CONFIRMED

In her previous work You May!, Zoi Dimitriou explored risk margins through the strict structures of contemporary society. In Peregrinus, she explores issues of flight and exile, willing wandering and imposed nomadism. The choreographer recorded stories/accounts of people in a state of “peregrinatio”, and it is these interviews we hear in the darkened van that is a central part of the first half of the performance, on our way to its destination: an installation-labyrinth that is its second part. There, audience and performers become fellow travelers traversing together the twisting routes and impasses of a peripatetic experience which has everything to do with the suspended progress of the individual in times of crisis and turmoil. Nicholas Minns, in writingaboutdance.com, wrote of the work after its presentation on July 20, 2017 at Firkin Crane: “Dimitriou is using the distance and abstraction of the theatrical presentation to give the audience the opportunity to focus on her references to the current social and political reality. Peregrinus thus reflects on and interferes with our Western sense of carefully mediatized detachment from the crisis.”

CREDITS

concept, artistic direction, choreography & performance Zoi Dimitriou / dramaturgy Joe Kelleher / artistic consultant Peter von Salis / set & costume design Eva Manidaki (Flux Office) / lighting design Eleftheria Deko / sound design Coti K.

PEREGRINUS, ZOI DIMITRIOU

DANCE

PHOTOS Â© STAVROS HABAKIS

PEREGRINUS, ZOI DIMITRIOU

BIOGRAPHY

DANCE

Zoi Dimitriou, a top graduate of the Greek National School of Dance, continued her studies at the Trisha Brown School in New York on an Onassis Foundation scholarship. Dimitriou is a conceptual artist, dancer and choreographer. She is based both in London and Athens. The main aspiration of her work is the exploration of contemporary artistic practice with movement being the organizing principal. Her work is invested in interdisciplinary methodologies and in promoting forms of collaboration that are responsive to the environment and to the conditions of production. Previous works include You May!, produced by and presented at Onassis Stegi in 2012, In the Process of (2010), The Chapter House (2014), Side Effects (2015), and her latest, Vanishing Points (2018). She has won awards like the Robin Howard Foundation Award 2008, the Bonnie Bird Choreography Fund Award 2009, the CfC Award 2010 (Choreography for Children) and has participated in the European Network Aerowaves. Her works have featured at such internationally renowned venues and festivals as Onassis Stegi – Fast Forward Festival 4, Arnolfini, BE Festival, Lilyan Baylis, the Athens & Epidaurus Festival, Operaestate Festival Veneto, Scala di Milano, Europe in Motion Festival, Springloaded/The Place, and elsewhere.

PRODUCTION CREDITS

created for Onassis Stegi / Athens – Greece, May 2017 produced by Onassis Stegi – Fast Forward Festival 4 supported by Firkin Crane, Laban Theater, Metal Southend,

and the Isadora and Raymond Duncan Dance Research Center

PEREGRINUS, ZOI DIMITRIOU

BSTRD is a solo performance based on the notion of multiplicity and hybridization: what if the idea of purity is an illusion and everything was made out of much more complex stuff, so that the overarching question would focus not on origins (or originality), but on the final function and/or impact on everything else? The work is inspired mostly by house culture’s practice of amalgamation: house music and dance is the best example of a practice of amalgamation – developed by people and sometimes professional dancers of different ethnic, cultural and/or

technical backgrounds, dancing together to the same music. The physicality (and the whole cultural statement that comes with it) is an interesting example for Andreou’s research for the dance in BSTRD. Another important source of inspiration has been the popular Greek “zeibekiko” dance of the 1960s. A vinyl turntable is Andreou’s only partner on stage, the voice of her bastardized figure, at once multiple and unique, vague and precise, anonymous and nameable, common and solitary.

TOUR HISTORY

DATES IN 2019

5 JUNE 2018 – JUNE EVENTS FESTIVAL, CDCN ATELIER DE PARIS, VINCENNES (FR) 22 & 23 SEPTEMBER 2018 – KANAL – CENTRE POMPIDOU (FR) 3 OCTOBER 2018 – LES PLATEAUX, ESPACE LINO VENDURA DE GARGES-LÈS-GONESSE (FR) 19 & 20 OCTOBER 2018 – TANZQUARTIER VIENNE (AT) – STUDIO VERSION 23 NOVEMBER 2018 – NEXT FESTIVAL, BUDA KUNSTENCENTRUM, KORTRIJK (BE) 15 DECEMBER 2018 – BNMFEST, MARSEILLE (FR)

15 & 16 MARCH 2019 – CENTRE POMPIDOU, PARIS (FR) 30 & 31 MARCH 2019 – FESTIVAL PROGRAMME COMMUN & FESTIVAL LES PRINTEMPS DE SÉVELIN, THÉÂTRE DE SÉVELIN 36, LAUSANNE (CH) 6 APRIL 2019 – SPRING FORWARD FESTIVAL (AEROWAVES) MAISON DES ARTS, CRÉTEIL (FR) 12 JUNE 2019 – MILANO INCONTRA LA GRECIA, PICCOLO TEATRO STUDIO MELATO (IT) 28 SEPTEMBER 2019 – CIRCULAR PERFORMING ARTS FESTIVAL, VILA DO CONDE (PT)

CREDITS

choreographed and performed by Katerina Andreou / sound design Katerina Andreou in collaboration with Eric Yvelin / outside eyes Myrto Katsiki & Lynda Rahal / lighting design Yannick Fouassier / sound engineering Eric Yvelin / production and touring manager Elodie Perrin BSTRD, K ATERINA ANDREOU

DANCE

KATERINA ANDREOU

BSTRD

PHOTOS Â© STAVROS HABAKIS

DANCE 62 BSTRD, K ATERINA ANDREOU

Katerina Andreou, born in Athens, is based in France and makes dance, music and choreography. She has collaborated with DD Dorvillier, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, Anna Gaiotti, Ana Rita Teodoro, and Jocelyn Cottencin. She participated in the TRANSFABRIK France-Allemagne project, directed by Franz Anton Cramer and Yvanne Chapuis, was member of the Emanticipation Collective, a project initiated by Emmanuelle Huynh and François Quintin, and participated in the event with other invited artists at the Lafayette Anticipation Foundation in Paris (2014). She was a danceweber of the ImPulsTanz Festival in Vienna in 2015. Her last solo dance piece A Kind of Fierce was awarded with the Prix Jardin d’Europe at the ImPulsTanz Festival in 2016. She is a Panorama Artist of the Departures and Arrivals Network.

DANCE

BIOGRAPHY

As a choreographer, she is interested in developing states of presence that negotiate between contrasted tasks, fictions and universes. Her work questions relations to such ideas as authority and autonomy, communication and censorship. She regularly creates the music score of her pieces. She graduated both from the University of Athens Law School, and the Greek National School of Dance. She attended the ESSAIS program in CNDC d’Angers, under the direction of Emmanuelle Huyhn, and holds a master’s degree from Paris 8 in research and choreography.

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, April 2018 produced by Onassis Stegi – Young Choreographers Festival 5 co-produced by Onassis Stegi, CDC Atelier de Paris, Centre Chorégraphique National d’Orléans,

Centre Chorégraphique National de Caen en Normandie, La place de la danse CDC de Toulouse, and Ballet de Marseille supported by Ménagerie de verre Studiolab, Kunstencentrum BUDA, Réservoir Danse Rennes, ImPulsTanz Festival (résidence Prix Jardin D’Europe) / CND Paris (résidence augmentée) / La CABINE (PAD), Monitor Fest Heraklion institutional support from DRAC Ile-de-France, ARCADI BSTRD, K ATERINA ANDREOU

MAINSTAGE ELENA ANTONIOU

DANCE

Elena Antoniou presents a performance that re-examines and deconstructs existing spatio-theatrical conventions, calling upon those present to form living connections with her art in spite of its intangible and ephemeral nature. Her aim is to overturn deep-seated hierarchies that order viewer/performer interaction, and to venture a shift in the ways staged experience is viewed more generally.

DATES IN 2019 TO BE CONFIRMED

CREDITS

choreographed and performed by Elena Antoniou / music & sound design Stavros Gasparatos / costume design & artistic collaborator Maria Tavlariou / lighting design Evina Vassilakopoulou / production management Delta Pi / participants in the performance a group of people aged 16

through 65+, with or without previous performing experience

MAINSTAGE , ELENA ANTONIOU

DANCE 65 PHOTOS Â© MICHALIS KLOUKINAS

MAINSTAGE , ELENA ANTONIOU

BIOGRAPHY

DANCE

Elena Antoniou is a first-class graduate of the Greek National School of Dance in Athens, and of The Place’s London Contemporary Dance School as a member of the EDGE Dance Company. She received scholarships from the Koula Pratsika Foundation in Athens and the ImPulsTanz danceWEB Programme in Vienna. She was awarded the Choreography Prize at the Cyprus Theater Awards for her work on the Cyprus Theater Organization production Diary of a Madman, and was nominated in the same category for the Solo Gia Treis Theater Company production Beckett X 5. In 2016, she took part in the joint NEON and Marina Abramovic Institute project AS ONE, presenting her long-durational performance An Eight-Hour Journey at the Benaki Museum in Athens under the curatorial oversight of Marina Abramovic, Serge Le Borgne and Paula Garcia. Her collaborative works with the artist Polys Peslikas have been presented in Athens, Berlin, Tel Aviv and Cyprus. She has also served as a choreographer and movement coach for various theater productions in Cyprus and Greece. Her most recent work, a longdurational performance titled In Situ, has to date been presented over 13 days for a total of 81 hours at the Cyprus Museum, the Rialto Theater, the Neues Museum in Berlin, and the Limassol District Archaeological Museum.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, March 2019 produced by Onassis Stegi – Young Choreographers Festival 6

MAINSTAGE , ELENA ANTONIOU

DANCE

ANTHEMOESSA EIRINI PAPANIKOLAOU

WE FOLLOW FOUR TR AVELERS ON THEIR ENDLESS JOURNE Y, UNTIL THEIR ARRIVAL ON THE ISL AND OF THE SIRENS CHANGES E VERY THING.

A highly personal work from the up-andcoming Eirini Papanikolaou, Anthemoessa was selected out of 480 choreographies from around the world to participate – with the support of Onassis Stegi – in the third edition of the “Danse élargie” International Dance Competition, where it won the Audience Prize and the Technicians Prize. After its premiere at Onassis Stegi, Anthemoessa’s first tour stop was the Chantiers d’Europe Festival at Théâtre de la Ville aux Abbesses, where it was presented on 9 May 2017. An early version of the work was presented as part of the Choreographic Attempts section of the seventh Arc for Dance Festival in May 2015. The work is inspired by Greek mythology.

TOUR HISTORY

CREDITS

9 MAY 2017 – THÉÂTRE DE LA VILLE – THÉÂTRE DES ABBESSES, PARIS (FR) DATES IN 2019 TO BE CONFIRMED

conceived and choreographed by Eirini Papanikolaou / music composer Vaggelis Kourastis / set design Myrto Lambrou / lighting design Nikos Vlassopoulos / costume curation Marianthi Papanikolaou / line production Yolanda

Markopoulou – POLYPLANITY Productions / performed by Erato Chatira, Myrto Delimichali, Despina Kavouri and Vicky Spachou

ANTHEMOESSA, EIRINI PAPANIKOLAOU

DANCE 68 PHOTOS Â© LAURENT PHILIPPE

ANTHEMOESSA, EIRINI PAPANIKOLAOU

Eirini Papanikolaou was born in Athens in 1986. She graduated from the Niki Kontaxaki Professional Dance School in Athens. In 2008, she joined the dance company Tilt. She has worked for several artists including Despina Kavouri, Pil and Galia collektiv, and Elina Stamateli, and has performed at the Dance Days Chania and Ionikes Giortes festivals, and at the fourth Athens Biennale. In 2014, she took part in a dance seminar taught by Patricia Apergi (Aerites Dance Company). In May 2015, she created Anthemoessa, which opened the Arc for Dance Festival in Athens. In November 2015, Anthemoessa was performed in several central Athens locations as part of the European Dancehouse Network event. Eirini is also a biology graduate of the National & Kapodistrian University of Athens. She has been a ballet teacher since 2008.

DANCE

BIOGRAPHY

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage /

Athens â&#x20AC;&#x201C; Greece, April 2017

produced by Onassis Stegi

â&#x20AC;&#x201C; Young Choreographers Festival 4

supported by the Dance Cultural Center Dan.c.ce.

ANTHEMOESSA, EIRINI PAPANIKOLAOU

RISΚ

IOANNA PORTOLOU / GRIFFÓN DANCE COMPANY

DANCE

What happens when you follow five dancers who do not fear plunging into the void at great speed in pursuit of happiness? Ioanna Portolou’s new work focuses on risk. Her approach, though, does not explore the physical aspects of the notion, but rather the costs entailed in subjective risk, in conquering or losing what is important to each of us. She positions herself on that fine dividing line where the body is freed from fear and resistance, loses control, and opens itself up to what remains secret, repressed and untold. Six performers take as their starting point a musical universe that flirts with the excess and lightness of the 1980s, chasing fleeting aspects of happiness, carefree fun, and the sense of sharing this unexpected joy with others without censorship.

DATES IN 2019 TO BE CONFIRMED

CREDITS

choreographed by Ioanna Portolou / dramaturgy Ioanna Portolou & the performers / music dramaturgy Antonis Palaskas / set & costume design Ioanna Tsami / lighting design Tasos Palaioroutas / assistant choreographer Danae Giannakopoulou / costume maker ARGIS / production co-ordination & communication Yorgos Katsonis / production manager Manolis Sardis – PRO4 / assistant production manager Christina Polychroniadou / performed by Ioanna Apostolou, Ilias Hatzigeorgiou, Nikoletta Karmiri, Cecil

Mikroutsikou and Yiannis Nikolaidis

RISΚ, IOANNA PORTOLOU / GRIFFÓN DANCE COMPANY

HAPPINESS IN LIFE PRESUPPOSES RISK . BUT DO WE TAKE RISKS IN ORDER TO BE HAPPY?

DANCE

RISΚ, IOANNA PORTOLOU / GRIFFÓN DANCE COMPANY

BIOGRAPHY

DANCE

Ioanna Portolou studied Fine Arts at Central St. Martins and the Slade School of Fine Art in London, and continued her studies in dance and choreography at the Laban Center, London. After returning to Greece, she founded Griffόn Dance Company in 2000, for which she has choreographed 15 dance productions.

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, January 2018 produced by Onassis Stegi supported by the Greek Ministry of Culture & Sports

RISΚ, IOANNA PORTOLOU / GRIFFÓN DANCE COMPANY

DANCE

ΑΤΜΑ

DANAE DIMITRIADI & DIONYSIOS ALAMANOS

Endless transformations of the body. Danae Dimitriadi and Dionysios Alamanos experiment with that most familiar of tools – the body – exploring its fragility but also its endurance, using movement as a means of conveying transformations into and back out of whatever constitutes the natural origins of humankind, whatever has been effaced by culture.

T WO YOUNG ARTISTS GIVE THEIR TAKE ON THE PRIMORDIAL STRUGGLE BET WEEN WHAT WE ARE AND WHAT WE ONCE WERE . A TORRENTIAL FLOW OF IMAGES ON THE COMPLEMENTARIT Y OF THE HUMAN AND THE BESTIAL .

DATES IN 2019 TO BE CONFIRMED

CREDITS

choreographed and performed by Danae Dimitriadi & Dionysios Alamanos / original music Constantine Skourlis / costume design Vaya Nikolakopoulou / lighting design Llorenç Parra / production, management & booking Big Story Performing Arts Services / outside eyes Olga Alvarez, Jordi Ribot,

Nadine Gerspacher

ΑΤΜΑ , DANAE DIMITRIADI & DIONYSIOS AL AMANOS

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, March 2019 produced by Onassis Stegi – Young Choreographers Festival 6 co-produced by Big Story Performing Arts Services, the One Dance Week Festival

and Centre Cívic de la Barceloneta

supported by Centre Cívic de la Barceloneta and L’Estruch de L’Ajuntament de Sabadell

ΑΤΜΑ , DANAE DIMITRIADI & DIONYSIOS AL AMANOS

Born in Athens, Greece, and raised on the island of Zante, Dionysios Alamanos started his arts education from a young age at the Ionian Islands’ School of Music and Arts. He began experimenting with various styles of street dance alongside his own research into movement before studying at the Greek National School of Dance. As a freelancer, he has collaborated with the Hellenic Dance Company as both a dancer and an assistant choreographer for Anton Lachky’s No More Fairytales, and has also performed an excerpt from Akram Khan’s Vertical Road. He has also worked with CocoonDance Company. He is currently touring with the Akram Khan Company and Sue Buckmaster’s production Chotto Desh. In 2015-16, in collaboration with Danae Dimitriadi, he created his first piece – Uncia – which has been performed at numerous theaters and festivals to date, and is currently being developed as a full-evening work.

ΑΤΜΑ , DANAE DIMITRIADI & DIONYSIOS AL AMANOS

Danae Dimitriadi is a graduate of the Greek National School of Dance. As a member of the Hellenic Dance Company, she has appeared in the production Open Frontiers, presented at the Athens Megaron Concert Hall and the Athens & Epidaurus Festival. More specifically, she performed repertory works choreographed by Akram Khan, Anton Lachky and Martha Graham. In 2014, she also took part in the production Panorama, presented at the New York City Hall and the Odeon of Herodes Atticus in collaboration with the Martha Graham Dance Company. She danced with the ZfinMalta Ensemble in 2016 and 2017, where she worked with such artists and choreographers as Mavin Khoo, Jose Agudo, Ivan Perez and others. She was also invited by Jose Agudo to join him as his assistant for his ImPulsTanz seminar series. Since 2016, she has been working with Dionysios Alamanos on their own piece, ATMA, which recently premiered at the One Dance Week Festival in Plovdiv and continues to tour through Europe and Asia. They are currently developing their new work, a co-production with Theater Rotterdam, to premiere in June 2019.

DANCE

BIOGRAPHIES

BRIGHTER MYRTO GRAPSA

DANCE

Four dancers throw light on questions that touch upon pain, pleasure and happiness. The body is a blank page waiting to be written. “What stays familiar and alive inside us?” wonders the choreographer Myrto Grapsa. In her new work she reframes a series of questions concerning pain, pleasure and happiness.

DATES IN 2019 TO BE CONFIRMED

CREDITS

conceived and choregraphed by Myrto Grapsa / dramaturg Kiriakos Hadjiioannou / choreography assistant Maria Nikoloulea / outside eye Eleutheria Iliopoulou / music Alexis Grapsas / lighting design Sakis Birbilis / costume design Charalampos Nikolaou / line producer Ubuntu / head of production Aris Laskos / created with and performed by Ioanna Apostolou, Myrto Grapsa, Antonis Vais and

Dimitra Vlachou

BRIGHTER, MYRTO GRAPSA

DANCE

HOW CAN WE PINPOINT WHAT STAYS FAMILIAR AND ALIVE INSIDE US?

BRIGHTER, MYRTO GRAPSA

BIOGRAPHY

DANCE

Born in 1986, Myrto Grapsa is a graduate of the London Contemporary Dance School and the Greek National School of Dance. As a performer, she has collaborated with Marianna Kavallieratos, Jorge Crecis, Kiriakos Hadjiioannou, Jonathan Lunn, Athina Vahla, Simonetta Alessandri, Andrew Hardwidge, the Hellenic Dance Company, and Trumpet Creepers. She has appeared in theater productions by Rufus Norris, Yannis Kakleas, Ηeiko Lange, Terre de Semis, and Aris Laskos. She has worked with the English National Opera and the Royal Opera House. As a choreographer, she has presented pieces at Onassis Stegi, the Athens Biennale, the Athens International Dance Festival, the Greek Choreographers’ Association Festival and the Athens Video Dance Project, as well as on German 3Sat television. Since 2017, she has served as the artistic director of Artiria Athens. She teaches at the Greek National Opera Dance School and the Greek National School of Dance.

PRODUCTION CREDITS

created for the Onassis Stegi Upper Stage / Athens – Greece, March 2019 produced by Onassis Stegi – Young Choreographers Festival 6 rehearsal spaces provided by Onassis Stegi and Artiria Athens

BRIGHTER, MYRTO GRAPSA

ROPIS CO

DATES IN 2019 TO BE CONFIRMED

A room – the proposed space of coexistence for the audience and performers. A simple enough idea when one realizes that the theater, as a physical space, has always functioned in reference to something outside ourselves that also resonates inside us at the same time. A note, a word, a movement, a shaft of light – all have the potential to provoke a shift in the audience, a shift that can lead into other worlds, worlds knocking at the other side of the door. Dépaysement (“displacement”) brings in a narrator, two dancers and three musicians. But it also brings audiences in close too, since their inviolate spaces, both private and personal, are placed quite literally center stage. Words accompany the movement, and the stage action borders closely on the audience, both to dissolve boundaries between the here and there, and to plunge the audience into the transience of the now unfolding before them.

CREDITS

concept, research, texts, direction, movement and sound by Anastasia Chintzoglou, Nikos Kalyvas, Eva Papadopoulou and Michalis Paraskakis (RopisCo) / dancers Dafni Douli & Yiannis Tsigkris / narrator Michalis Paraskakis / set design George Perrakis / musicians Christos Giakkas, Katerina Konstantorou, Panagiotis Sioras / production assistant Myrsini Linou / special thanks to Lenio Liatsou, Michail Marmarinos, Angeliki Stellatou, Sofia Dona, Gregory Petropoulos, Nicolas Tzortzis / clothing provided by Atelier Parthenis

D É PAYS E M E N T, R O PI S C O

ONE NARR ATOR, T WO DANCERS AND THREE MUSICIANS IN A WORK THAT TOYS WITH THE SAFET Y THAT E XISTS IN THE INTERPERSONAL DISTANCES BET WEEN AUDIENCES AND PERFORMERS.

DANCE

Dépaysement

DANCE 80

PRODUCTION CREDITS

created for the Onassis Stegi Exhibition Hall / Athens – Greece, March 2019 produced by Onassis Stegi – Young Choreographers Festival 6 commissioned by Onassis Stegi and the Munich Biennale 2018

– Festival for New Music Theater

D É PAYS E M E N T, R O PI S C O

The newly-founded RopisCo is configured like a workshop where music, theater and dance can creatively co-exist. RopisCo formed in Athens during the course of 2016 and 2017, when Nikos Kalyvas and Eva Papadopoulou were invited by Angeliki Stellatou, Michalis Paraskakis by Lenio Liatsou, and Anastasia Chintzoglou by Michail Marmarinos to take part in the “Private Matter” platform, organized by the Munich Biennale – Festival for New Music Theater in partnership with Onassis Stegi. Interested in multifaceted approaches to the performing arts and springing from the worlds of dance, music and theater, the group’s four members fuse and interweave their respective arts, working and interacting with each other to the point where each of them directs, choreographs and composes, blurring in this way the dividing lines between each art form within the framework of performance.

DANCE

BIOGRAPHY

D É PAYS E M E N T, R O PI S C O

ΑΝΩΝΥΜΟ TZENI ARGYRIOU

DANCE

The latest creation for a large stage by the prolific multidisciplinary artist Tzeni Argyriou. A journey to the source of dance. ΑΝΩΝΥΜΟ looks back to a time when art wasn’t something created by particular, named individuals, but a practice which brought people – and kept communities – together. It immerses itself in these societies’ dances and modes of expression, which are rooted in human contact, holding, group cohesion and shared joy. It observes our lives through collective bodily memory, the experience of passing traditional dances on, and their complete transformation into a contemporary movement idiom. It is the representation of a dance which, though it has creators, insists on defining itself as “anonymous” as it seeks its roots in rites of initiation and participation.

TOUR HISTORY AFTER ITS PREMIERE AT THE ONASSIS STEGI, ΑΝΩΝΥΜΟ HAS BEEN PRESENTED BY ITS CO-PRODUCERS, IN FRANCE AT THE RENCONTRES CHORÉGRAPHIQUES INTERNATIONALES DE SEINE-SAINT-DENIS IN JUNE 2018, AND IN GREECE AT THE KALAMATA INTERNATIONAL DANCE FESTIVAL IN JULY 2018.

DATES IN 2019 21 & 22 MAY 2019 SPRING PERFORMING ARTS FESTIVAL, UTRECHT (NL) 14 JUNE 2019 THEATER ROTTERDAM (NL)

ΑΝΩΝΥΜΟ, TZENI ARGYRIOU

WHEN TECHNOLOGY DEFINES OUR LIVES AND OUR REL ATIONSHIPS, ISN’T IT TIME TO START OVER?

DANCE

CREDITS

conceived and directed by Tzeni Argyriou / dramaturgy Miguel Angel Melgares / set design & visual concept Vassilis Gerodimos / original music & sound design Pepe Garcia Rodriguez / lighting design Vangelis Mountrichas / costume design Ioanna Tsami / sound engineer Antonis Nikiforos / choreographer’s assistant & production assistant Danai Giannakopoulou / production design & executive producer Konstantinos Sakkas / production & touring manager Delta Pi / performed by

Hermes Malkotsis, Dimitra Mertzani, Konstantinos Papanikolaou, Ioanna Paraskeuopoulou, Stavroula Siamou, Nancy Stamatopoulou and Dimitris Sotiriou

ΑΝΩΝΥΜΟ, TZENI ARGYRIOU

BIOGRAPHY

DANCE

Tzeni Argyriou studied dance and choreography. For more than ten years, she has been generating choreographic artworks that focus on the integration of the performing arts with other artistic genres. One of her major interests is the creation of projects that propose the active engagement of audiences. After exploring the merging of media constructions with performative explorations, she is currently making a return to the “analogue” body, and to the empowerment of collective physical experiences.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, May 2018 produced by Onassis Stegi co-produced by Rencontres chorégraphiques internationales de Seine-Saint-Denis and theKalamata International Dance Festival supported by the Isadora & Raymond Duncan Dance Research Center

ΑΝΩΝΥΜΟ, TZENI ARGYRIOU

PATRICIA APERGI / AERITES DANCE COMPANY

CEMENTARY IS THE FUTURE , E VEN THOUGH TODAY WE ARE UNABLE TO IMAGINE IT.

CREDITS

choreographed by Patricia Apergi / dramaturgy Roberto Fratini / music composition Vassilis Mantzoukis / lighting design Nikos Vlassopoulos / set design Dimitris Nassiakos / costume design Vassiliki Syrma / choreographer’s assistant Dimitra Mitropoulou / performed by Ilias

Chatzigeorgiou, Nondas Damopoulos, Eva Georgitsopoulou, Chara Kotsali, Giorgos Michelakis and Ioanna Paraskevopoulou 85

Cementary (a play on the words “cemetery” and “cement”) by choreographer Patricia Apergi and her Aerites Dance Company, is a work of mourning for a generation without a future. Apergi treats the realities of city life as a field for a singular artistic expression, an artwork through which the city is reconstructed and molded through the treatment of its images. Cementary is an imaginary city that belongs to the future, taking contemporary issues and the present day as examples. Cementary is a city that has survived crisis but still mourns its victims. It is a blended city. A city where voices scream under the cement.

DANCE

CEMENTARY

TOUR HISTORY 17 OCTOBER 2018 – THEATER IM PFALZBAU, LUDWIGSHAFEN (DE) AS PART OF THE GREEKGERMAN THEATER FESTIVAL 28 OCTOBER 2018 – KURTHTEATER, BADEN (CH) AS PART OF THE CULTURESCAPES FESTIVAL

8 FEBRUARY 2018 – GUIDANCE FESTIVAL, GUIMARAES (PT) 7 & 8 JULY 2017 – GREC FESTIVAL, BARCELONA (ES) 11 MARCH 2017 – KLAP MAISON POUR LA DANCE, MARSEILLE (FR) 8 & 9 MARCH 2017 – LE TOBOGGAN, LYON (FR)

DATES IN 2019 TO BE CONFIRMED

C E M E N TA RY, PAT R I C I A A PE R G I / A E R I T ES DA N C E C O M PA N Y

DANCE 86 C E M E N TA RY, PAT R I C I A A PE R G I / A E R I T ES DA N C E C O M PA N Y

Patricia Apergi founded the Aerites Dance Company in 2016, with which she has choreographed the pieces Polittes (Citizens Defeated) (2018), Cementary (Onassis Stegi, 2018), TANZheimer (2014), Planites (2013), Era Povera (Onassis Stegi, 2012), and more. She has toured with Aerites Dance Company to various dance festivals around the world. In 2015, she choreographed the opera The Tales of Hoffmann for the Perm Opera (Russia), directed by Katerina Evangelatos under the musical direction of Teodor Currentzis. In 2018, she choreographed visual artist Hikaru Fuji’s installation Τhe Primary Fact as part of the Onassis Stegi Fast Forward Festival 5 in Athens, and the piece Polittes at the Ancient Stadium of Epidaurus, as part of the Athens & Epidaurus Festival. She was selected as Modul-dance project artist of the European Network EDΝ for the period 2013–14, and as an associate artist at Maison de la danse (Lyon) for the period 2016–17.

DANCE

BIOGRAPHY

She has taught improvisation and choreography workshops at the Dance Cultural Center as part of the ARC for Dance Festival, and has been teaching the dance program for the over-65s at Onassis Stegi. She co-wrote the book The History of Theater and Theatrical Education (Greek Ministry of Education, 2007), and is a member of the International Festival of Emerging Artists (London, 2008).

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, May 2018 produced by Onassis Stegi co-produced by / with residency support from Maison de la Danse, Lyon,

Centro Cultural Villa Flor, Guimaraes, O Espaco do Tempo, Montemor-o-Novo

C E M E N TA RY, PAT R I C I A A PE R G I / A E R I T ES DA N C E C O M PA N Y

Europium

ROOTLESSROOT DANCE COMPANY

DANCE

A work by the choreographic duo Jozef Fruček and Lina Kapetanea (RootlessRoot) reflecting and commenting on Europe’s uncertain future, on what is called “Western culture” and the “Western world”. It has already been presented on numerous stages, and continues to tour, remaining ever more relevant. While working on and researching Europium, Fruček and Kapetanea read stories and myths about the origins of the European culture, and it is the story of the raft of the Medusa, with its horrible chain of events, that seemed the clearest story about Europe, and thus became the symbol and inspiration of the work’s creation.

TOUR HISTORY EUROPIUM HAS BEEN SUCCESSFULLY TOURED INTERNATIONALLY FROM 2015 THROUGH TO 2018, AND WILL CONTINUE TO TOUR IN 2019 AND 2020.

DATES IN 2019

22-23 MARCH 2019 L’ APOSTROPHE / NOUVELLE SCENE NATIONALE DE CERGY-POINTOISE (PARIS, FR) 10-11 MAY 2019 LA VILLETTE (PARIS, FR)

CREDITS

conceived and directed by RootlessRoot – Linda Kapetanea & Jozef Fruček / visual concept & set design Jozef Fruček / original music Vassilis Mantzoukis / dramaturgy Martin Kubran / sound engineer Christos Parapagkidis / lighting design Sofia Alexiadou / costume design Isabelle Lhoas / production management Konstantinos Sakkas / toured by Delta Pi / created and performed by

Paul Blackman, Konstantina Efthymiadou, Jacob Ingram-Dodd, Linda Kapetanea and Manuel Ronda

EUROPIUM, ROOTLESSROOT DANCE COMPANY

DANCE

EUROPIUM, ROOTLESSROOT DANCE COMPANY

BIOGRAPHY

DANCE

The RootlessRoot Dance Company was founded by Linda Kapetanea and Jozef Fruček in Athens, Greece in 2006. It formed out of their need to develop their own artistic language, which is defined as primal and raw. RootlessRoot is the artistic vehicle hosting their practical philosophy, helping them to discover their capacities and fulfil their desire to dive into the depths of the human being. Their works – solos, installations, medium- and large-scale performances – have been presented in 21 countries around the world. They have collaborated with Akram Khan (on his dance solo DESH), with Staadsteater Kassel Dance Company, Dot 504, Helsinki Dance Company – Finland, and many other companies and institutions. Onassis Stegi produced and presented their works Eyes In The Colors Of The Rain (2011), Kireru (2012) and Europium (2015), and has been the company’s touring supporter. Since 2006, Jozef Fruček and Linda Kapetanea have been developing the “Fighting Monkey Practice”, focused on the basic principles of human motion and human development, and have been travelling around the globe to teach it.

PRODUCTION CREDITS

created at the Oulu Dance Center in Finland in 2015 produced by Onassis Stegi co-produced by the JoJo-Oulu Dance Center, Oulu City Theater

EUROPIUM, ROOTLESSROOT DANCE COMPANY

ERMIRA GORO & HANNES LANGOLF

DANCE

DANDELION

DATES IN 2019 13 APRIL 2019 – MOTUM FESTIVAL, MEGARON, THESSALONIKI (GR) 12 JUNE 2019 – EAST WEST FESTIVAL, SOFIA (BG)

This poetic production mixes imagery and physicality with the aim of magnifying fleeting moments of inner conflict, and explores our constant human quest for communication, connection and happiness. It reveals subtle experiences of our anxiety to change, and examines our delicate trepidation to exist in a changing world where human connection is becoming ever more elusive.

CREDITS

conceived and directed by Ermira Goro & Hannes Langolf / choreographed by Ermira Goro, Hannes Langolf & the performers / set & costume design Christos Delidimos / original music Coti K. / lighting design Richard Godin / assistant to the directors Dimitris Koutsoubas / research & associate producer Lia Prentaki / executive producer Konstantinos Sakkas / production & touring management Delta Pi / performed by Ermira Goro, Dimitris Karageorgos, Hannes Langolf, Dimitra Mertzani,

Rafael Pardillo, Antonis Stamopoulos, Alexandros Stavropoulos and Andi Xhuma DANDELION, ERMIRA GORO & HANNES LANGOLF

DANDELION is the first joint work by two established artists: Greek-Albanian choreographer Ermira Goro, and the London-based Hannes Langolf, who works mainly as DV8’s Creative Associate. After nine years performing together, this work marks a departure point, towards their artistic collaboration as directors. Their shared passion is to create meaningful work that sits in the subtle space between reality and metaphor, closely connected to life and its stories.

DANCE 92

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, April 2017 produced by Onassis Stegi – Young Choreographers Festival 4 supported by Arts Council England and The Place research partners South East Dance and Hackney Showroom

DANDELION, ERMIRA GORO & HANNES LANGOLF

Ermira Goro and Hannes Langolf first met on the DV8 Physical Theatre production To be Straight With You. They subsequently appeared together in Can We Talk About This? (2011–12) and more recently in John (2014– 15), in which Langolf took the lead role. John was staged in Athens, at the Onassis Stegi, as part of a world tour. Ermira Goro worked as an independent choreographer during her time in the US and featured in that role most recently at the 2016 Athens Festival with her work After Party.

DANCE

BIOGRAPHY

DANDELION, ERMIRA GORO & HANNES LANGOLF

ION

CHRISTOS PAPADOPOULOS

DANCE

BECAUSE WE ARE ALL IONS OUT THERE , ELECTRICALLY CHARGED.

TOUR HISTORY ION HAS ALREADY BEEN PRESENTED IN PARIS, BRUSSELS, LAUSANNE AND DUBLIN DATES IN 2019 & 2020

27 & 28 MARCH 2019 – LE LIEU UNIQUE – SCÈNE NATIONALE DE NANTES, FOCUS: PRINTEMPS ATHÉNIEN (FR) 13 JULY 2019 – JULIDANS FESTIVAL, AMSTERDAM (NL) 25, 27 & 29 FEBRUARY 2020 – THÉÂTRE DE LA VILLE, PARIS (FR)

With ION, Christos Papadopoulos poses questions about human nature. ION focuses on the microphysics of motion, the volume of detail that can derive from a kinetic pattern allowing the eye to wander, to travel through the boundless field of human relations. A living system of ten dancers, pulsating and coordinating, attracting and repulsing, tracing orbits that follow the mechanisms of nature. The flight of birds, the coordination of fireflies, a series of microphenomena that comprise the world of nature become a starting point for the kinetic research of Christos Papadopoulos. In a minimalist language that has been a defining feature of his work up to now, he looks for the mechanisms or the algorithm that lies behind the function of coordination. Ten dancers test our powers of observation with imperceptible changes and noiseless transitions, in order to reveal the fragility of human relations that validate the pace of life, the natural order of things.

CREDITS

conceived and choreographed by Christos Papadopoulos / dramaturgy Tassos Koukoutas / music Coti K. / lighting design Tasos Palaioroutas / costume design Angelos Mentis / set design Evangelia Therianou / first assistant choreographer Katerina Spyropoulou / production management Theodora Kapralou / performed by Maria Bregianni, Nontas Damopoulos, Nanti Gogoulou, Amalia Kosma, Hara

Kotsali, Giorgos Kotsifakis, Dimitra Mertzani, Efthymis Moschopoulos, Ioanna Paraskevopoulou and Alexis Tsiamoglou

ION, CHRISTOS PAPADOPOULOS

DANCE

ION, CHRISTOS PAPADOPOULOS

BIOGRAPHY

DANCE

Christos Papadopoulos studied dance and choreography at the School for New Dance Development (SNDO) in Amsterdam (2003), theater at the Greek National Theater Drama School (1999), and Political Science at Panteion University (2000). His first works, OPUS and ELVEDON, met with great acclaim when presented at the Porta Theater in Greece, and at a number of European festivals. ELVEDON was the first choice of the Pan-European network Aerowaves 16 – Dance Across Europe and was later presented with equal success in Paris (Théâtre de la Ville and La Briqueterie), Amsterdam, and other European cities. OPUS was selected by Aerowaves 18, and is touring internationally. ION, his latest work on a larger scale, has attracted international co-producers (Théâtre de la Ville, Le Lieu Unique), has obtained the support of the Hermès Foundation, and has met with great international interest. As a performer, Christos Papadopoulos has worked with Dimitris Papaioannou (2, NOWHERE, INSIDE), Fotis Nicolaou, Mariela Nestora and Alexandra Waierstall, among other acclaimed choreographers. He was part of the Athens 2004 Olympic Opening and Closing Ceremonies team. He has choreographed the performances of numerous theater directors in Athens, and has been teaching movement and improvisation at the Athens Conservatoire Drama School since 2003.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, February 2018 produced by Onassis Stegi co-produced by Théâtre de la Ville supported by the Hermès Foundation in partnership with the Dublin Dance Festival

ION, CHRISTOS PAPADOPOULOS

VIBR ATING BET WEEN THEORY AND LIVED E XPERIENCE , POETIC L ANGUAGE AND THE EMANCIPATED BODY, A SERIES OF PERFORMATIVE FR AGMENTS PRESENT AN ODE TO EROS, OR WHATE VER REMAINS OF IT.

DATES IN 2019 TO BE CONFIRMED

How have our erotic and sexual selves been transformed by the contemporary environment of imagification and new modes for mediating human communication? To what extent has our understanding of love changed in an era of social media and dating apps? Can we still imagine alternatives, or have we become entirely reconciled to the versions of eros that saturate the media? Which social conventions does feminist and queer theory yearn to destroy so that eros reclaims its vital momentum? Kiriakos Hadjiioannou poses pending questions concerning the diachronic nature of erotic phenomena in this third installment of his Higher States choreographic body of work. Hadjiioannou attempts to construct an erotic meta-vocabulary, a language that can give physical shape to unexplored aspects in the field of everyday human relationships. A multi-modal experience, an ode to eros â&#x20AC;&#x201C; or whatever remains of it.

CREDITS

directed and choreographed by Kiriakos Hadjiioannou / concept by Kiriakos Hadjiioannou in collaboration with Margarita Tsomou / dramaturgy & text editing Anastasios Koukoutas & Margarita Tsomou / original music & sound design Maria Sideri in collaboration with Orestes Benekas / set design Urs August Steiner / lighting design Nyssos Vasilopoulos / costume design Christina Lardikou & Kiriakos Hadjiioannou / outside eyes Myrto Grapsa & Bernhard Siebert / voice coaching Yiannis Vryzakis / Feldenkrais method instructor Marilena Petridou / photography Kostis Fokas & Elina Giounanli / production assistant Katerina Drakopoulou / production management Stelios Georgalis / c reated with and performed by Kiriakos Hadjiioannou, Mickey Mahar, Maria Sideri and Nancy Stamatopoulou EROTIKON / HIGHER STATES, PART 3, KIRIAKOS HAD JIIOANNOU

DANCE

KIRIAKOS HADJIIOANNOU

Erotikon / Higher States, Part 3

DANCE 98 EROTIKON / HIGHER STATES, PART 3, KIRIAKOS HAD JIIOANNOU

Kiriakos Hadjiioannou is multidisciplinary artist. He divides his time between teaching, research, and choreography. Ηis triptych Higher States, which treats transcendent mental states, was awarded the June Johnson Dance Prize (specifically for Hyperion / Higher States, Part 2). Beyond his collaborations with educational institutions (La Manufacture – Haute école des arts de la scène, Lausanne) and the major support he receives from the Swiss Arts Council ProHelvetia for his choreo-graphic research, Hadjioannou continues to experiment as a performance artist, both in his own works and in collaborations with visual artists, cinematographers, and other choreographers of international repute.

DANCE

BIOGRAPHY

Kiriakos Hadjiioannou has appeared at Onassis Stegi as part of the Young Choreographers Festival 2 in 2015, with the work Or Who Owns the World. He graduated from the Greek National School of Dance, Athens and holds a master’s degree in choreography and performance from the Department of Theatrical Studies at the University of Giessen (Germany).

PRODUCTION CREDITS

created for the Onassis Stegi Exhibition Hall / Athens – Greece, January 2019 produced by Onassis Stegi partner Tanzhaus Zürich

EROTIKON / HIGHER STATES, PART 3, KIRIAKOS HAD JIIOANNOU

A Punch of Losers PROLET OCD / MARGARITA TRIKKA

DANCE

Six dancers on stage are defeated yet unrelenting, ridiculous yet dignified, tireless defenders of their own defeat, melancholy Don Quixotes – and the perfect antiheroes. With her Punch of Losers, Margarita Trikka comes out “in favor of the defeated living amid the makings of history.”

DATES IN 2019 TO BE CONFIRMED

100

CREDITS

choreographed by Margarita Trikka / choreography assistant Paraskevi Lypimenou / dramaturg Dimitra Mitropoulou / music Sancho 003 / set & costume design Artemis Flessa / assistant set & costume designer Ioanna Rampaouni / lighting design Nikos Vlassopoulos / production management Aris Laskos / performed by Candy Karra, Hara Kotsali, Konstantinos Papanikolaou, Dimokritos Sifakis, Katerina Spyropoulou and Alexis Tsiamoglou

A PUNCH OF LOSERS, PROLE T OCD / MARG ARITA TRIKK A

101

DANCE

IF HISTORY IS WRIT TEN BY THE VICTORS, HOW BEST TO THROW LIGHT ON THE BAT TLES OF THE WE AK AGAINST THE STRONG?

A PUNCH OF LOSERS, PROLE T OCD / MARG ARITA TRIKK A

BIOGRAPHY

DANCE

Margarita Trikka was born in Chalcis and lives in Athens. She works and creates as a performer, choreographer, and movement coach for the theater. She has worked with such choreographers and directors as: the Chto Delat collective, Evi Souli / Stereo Nero Dance Co., Cie Stella Spyrou, Patricia Apergi / Aerites Dance Company, Bread and Puppet Theater, Apostolia Papadamaki, Artemis Lampiri / MAN Dance Company, Ha! Theater Ensemble, Antigone Gyra / Kinitiras, Mariela Nestora / Yelp! danceco., Froso Korrou, Εammon Farrel, Vassilis Koukalani, Giorgos Paloubis, Irene Fanarioti, Kostas Papakonstantinou, Sofia Karayianni, Grigoris Hatzakis, Michalis Kilakos, Dimitris Bogdanos, and others. She has worked with such institutions and festivals as: the Greek National Theater, Onassis Stegi, the Athens Megaron Music Hall, the Hellenic Theater/Drama & Education Network, the Chalcis Theater, Festival Danza Urbana Bologna, Festival Ammutinamenti Ravenna, Agitart: Figueres es Mou Festival, Trayectos International Contemporary Festival of Dance, Cádiz en Danza, La Fundición Bilbao, the Masdanza International Contemporary Dance Festival, the Arc for Dance Festival, Akropoditi DanceFest, the Athens Video Dance Project, MIRfestival, the Dimitria Festival of Thessaloniki, the Aeschylia Festival, the Bob Theater Festival, and more.

102

For twelve years now, she has taught contemporary dance and improvisation techniques at studios, social hubs, institutions, dance schools and drama schools. A founding member of the Prolet OCD Dance Co. (2016), she choreographed the works Trajectory: A Tragedy of a Victory and Delenda Est, which were presented at such Greek and international dance festivals as Arc for Dance, Akropoditi DanceFest, the Rematia Festival, the International Performance and Dance Festival (Mainz, Germany), the Masdanza Contemporary Dance Festival (Las Palmas and Tenerife, the Canary Islands), and elsewhere. The company was awarded funding by the Greek Ministry of Culture for 2018-19.

PRODUCTION CREDITS

created for the Onassis Stegi Main Stage / Athens – Greece, March 2019 produced by Onassis Stegi – Young Choreographers Festival 6 co-funded by the Greek Ministry of Culture and Sport

A PUNCH OF LOSERS, PROLE T OCD / MARG ARITA TRIKK A

DANCE 103 A PUNCH OF LOSERS, PROLE T OCD / MARG ARITA TRIKK A

NOTES