The performance Analog Body focuses on the human being itself: on human strength and fragility, on the ability to adapt, endure, and overcome the challenges of existence in the natural world. Through a clear and essential exploration of movement, the performance investigates the organic, neurological, and psychological conditions of survival and transformation of the human body. Drawing inspiration from humanity’s timeless existential crises, the work turns its gaze toward the contemporary era and the challenges arising from rapid technological development. Its central focus is the increasingly close relationship between humans and machines, not only through the senses but also through the integration of technological devices into the body itself. Analog Body offers an artistic reflection on the nature of humanity today, suggesting that the body remains the last stronghold of the analog human.
Return is a dance and music performance for three female dancers and one musician on stage that explores the contemporary human condition through the concepts of the cycle and the ruin. The work approaches the body as an agent of memory and relation, as part of an ongoing process of return and redefinition. Through movement, sound, and materials, a ruin-like field emerges, shifts, and reassembles itself, tracing a path from the individual to the collective.
The composition unfolds through fragments of movement, sound, and action—small events that appear, transform, and re-emerge in new configurations. Rather than following a linear narrative, the work is built through successive encounters in which singular elements acquire meaning through their relation to a larger whole.
The archaeological site of Maroneia functions as a landscape in dialogue with the performance, rather than as a mere backdrop. Parallel temporalities appear and coexist without merging one another, while the personal is repositioned within the collective. Return is not a search for a mere point of origin, but an encounter with the other, the body and the shared space, where movement, transformation and coexistence become a common experience.
A female body encounters the stone, a material historically associated with labor, construction, and endurance. Their relationship does not unfold as domination, but as a gradual shift toward coexistence and care. The body’s ephemeral and vulnerable action coexists with the duration and slowness of geological matter, shaping a layered experience of time. Stonebody is a choreographic solo engaging with materiality. It explores the embodied experience of gravity and the relationship between movement and stillness through the direct contact with stone. Body and gravel form a kinetic continuum: they carry and support one another, creating ephemeral landscapes and shifting compositions. As the dancer responds to the material, she transforms, while the stone, through the choreographic act, acquires corporeality, rhythm, and meaning.
Sirens, A Collective Song is a walking movement and sound installation that maps a landscape of bodies, dances, melodies, and songs, tracing its route through a sequence of transitional actions and states. Like a contemporary ritual, it engages with our inner desires, our present-day melancholy, and a shared grief for what has already been lost.
Referencing the dual meaning of the word “siren”—both as deception and seduction in mythology, and as a warning signal—a choir/choreographic collective of women transforms into contemporary “sirens” who listen closely to the present and imagine a future. It is an invocation of the present moment, at once a cry of anguish and an invitation to gathering, connection, and shared understanding.
The genesis and evolution of the human body towards the perfection of movement is the central theme of Amphibians. From the primordial soup and the earliest amphibious life forms to the emergence of humankind, the biological history of the human body has unfolded through constant struggles with the environment, gravity, and the very imperfection and mortality of matter itself. Ultimately, the body confronts its own limits in order to overcome them and transform into the dancer’s body.
This performance moves dynamically between lecture and dance, scientific findings and personal narratives, Darwinian evolution and philosophical inquiry, proposing beauty as a form of existential salvation. At the same time, it traces the laborious, agonizing, and magical life of the human-dancer, seeking to uncover what it is that makes a human being truly human — both metaphorically and literally.
Where The Water Holes Are is a dance-theatre duet exploring storytelling as a ritual of memory, community, and a “return to the human.” At the core of the performance lies a dialogue between the moving body, the body-as-object, and the body-as-sound. Formless materials and moving objects are animated by the performers, entering into an ongoing relationship with the living body and revealing human vulnerability.
The work draws inspiration from Anne Bogart’s reference to the nomadic poet of the Senegalese desert — the one who remembers where the water holes are and guides the tribe toward survival, both literal and metaphorical. Just as nature remembers through cycles and rhythms, human beings define themselves through stories and traditions. During this performance, and with the intersection of dance, theatre, and puppetry, body and object continuously shift between the roles of narrator, witness, and protagonist, jointly exploring the human condition within contemporary Western society.
The Trace represents the imprint of human presence in time and space, the accumulation of knowledge, experience, and the evolution of humanity. From a historical perspective, traces emerge through conflicts, movements, and transformations, just as civilizations are born: through fire, ashes, and renegotiation. Human traces have shaped the world geographically, culturally, socially, and politically: on the body, in public space, in memory, and in myths. When an action is completed, the trace remains as testimony. For every human being, there is a set of traces functioning as a mirror of their evolution.
The Trace is the highest form of the human being as a possibility achieved through awareness, knowledge, and responsibility. It has no gender or material form. It is pure consciousness and at the same time political, as it carries the marks of collective history. The trace is a carrier of knowledge without being the absolute truth and always remains open to interpretation.
Parallel Activities
- “Embedded Traces: Interpreting the City”: Workshop with Ioannis Karounis | 7–13 July 2026
- “Embedded Traces: Interpreting the City”: Open Public Discussion at the Archaeological Museum of Drama | Following the performance on 14 July 2026
Admission is free.
Breath of Light is a site-specific and participatory dance-theatre performance created especially for the Archaeological Site of Ancient Corinth and the Sanctuary of Apollo. Inspired by the symbolism of Apollo’s seven-string lyre, the work unfolds as a ritual journey through seven stages, where music, movement, spoken word, voice, and light come together to create an experience of transformation from fragmentation to harmony.
Drawing upon Corinthian mythology, the performance engages with the contemporary human need to rediscover balance and inner measure in a world marked by overstimulation, technological acceleration, and social division. Through the active participation of local choirs, volunteers, and audience members, the archaeological site is transformed into a living space of collective memory, rhythm, and reconnection.
A dance and music performance inspired by The Dream, choreographed by Frederick Ashton, and by Felix Mendelssohn’s musical work A Midsummer Night’s Dream. With regard to William Shakespeare’s work of the same title, additional dramaturgical material is drawn from its ending—namely, the idea of a play within a play—as well as from the broader theme of dreams as explored by the English poet, and consequently from the relationship between dreams and artistic creation. Accompanied by acoustic and electric guitar, bass, drums, and voice, the five dancers perform sequences of movements in various combinations. The episodic choreography does not aim at a narrative representation of these references; rather, its primary expressive means is an intense and diverse movement vocabulary, in dialogue with short prose excerpts that introduce the audience to different parts of the performance. Ballet is juxtaposed and brought into dialogue with movements of all kinds, creating a distinctive language that harmonizes with the music and seeks complete focus on movement composition and on the control of the dancer’s instrument—the human body itself.
Ahhh…An expression of frustration and irony about the fact that, despite the progressive image of our times, stereotypes and exclusion still remain strong. Through satire and dance, the work comments on the constructed nature of female stereotypes. Deconstructing the image of the “perfect woman” that society has promoted for years, the two choreographers and performers bring forward the so-called “magkia”* (a Greek word referring to strength and intensity), separating its qualities from being seen as exclusively male-coded. A journey through how the body crosses these boundaries, redefines roles, and connects with expression and identity.
*magkia (μαγκιά) refers to a specific philosophy of life based on street-wise courage, personal honor, and dignity. It is the defining quality of a mangas (μάγκας)- the rebellious, non-conformist “tough guy” of the early 20th-century Greek urban underworld.