MOUTH is a hybrid dance opera that places the spectator in a transitional world. The mouth as opening, passage, scream and song: a threshold where language dissolves and communication before language emerges. Meaning arises through breath, vibration, rhythm, and movement. Like the mouth of a river merging with the sea, it becomes a site of passage and transformation. Inspired by the existential landscape of Samuel Beckett’s The End, the work is built through a condition of rupture: a human in dissolution, suspended between memory and decay, body and mind, individual and collective. MOUTH weaves a parallel reality within this crack, where whispers and breaths open alternative modes of existence. It imagines a humanity exhausted by isolation and anthropocentric thinking, searching for new ways of being. Four performers with and without disability from the En Dynamei ensemble construct a modular narrative through dance and music made of human voices and cello. MOUTH unfolds as a practice of coexistence with rupture: a collective, ritual, and playful experience where fragmentation does not disappear but transforms into rhythm.
In the heart of the forest, for years I wandered.
And at the foot of the mountain I slept, just to dream of you. The nymphs whispered in my ear the secrets of the world and now for Pan I dance . Inside those concrete trenches I lost
more than I was searching for. I grew wild and shut the windows of my heart.
With my own hands I builded prisons that, with my own blessing, enslaved me. A torturer of my own life. I searched for a better self
by strangling the one living within me. Risk and sacrifice are inevitable
for those who seek freedom. And in the midst of struggle, I despised the whole world beyond myself. Now I dip my feet into the water,
I gaze at my reflection.
When the surface calms from the breath of the wind,
I once again recognise the one I used to be.
A shield of lead, no eye may behold
LEAD is a ritualistic site-specific choreographic performance with spoken text for three women, presented at the Twin Ottoman Bath in Trikala. Through stillness, micro-movement and breath, the work approaches the body as a site of memory, trauma, protection and vulnerability. Lead becomes the central metaphor: a material that is heavy and toxic, yet also protective and insulating. Three women form a collective body that breathes, synchronizes, shields itself and remains exposed. Breath becomes pulse and a mechanism of connection, while stillness is approached as a way of remaining present within a world of constant pressure, speed and exposure. Developed through low intensities of sound and light, the performance creates a space of shared silence and coexistence, where the body is allowed simply to exist.
In a place historically connected to the communication between the living and the dead, the performance invites each spectator to a personal ceremony of remembrance, participation, and reflection. Spectators enter at different times, in small groups they move through the archaeological site, engage in dialogue with the performers, encounter choreographic moments which they are invited to interpret, and actively participate in shaping the evolution of the experience.
Central questions: Which of your dead would you wish to dialogue with? What would you say to them? Would you understand what they tell you?
The performance features dancers with and without disabilities—artists with mobility impairments and blind dancers—who co-create the performance through their own physical and sensory experiences.
The title I shall be forgotten, yet I shall not forget you encapsulates the heart of the performance. Memory is presented not as an obsession with immortality, but as an act of relation, devotion, and responsibility toward others.
Stumbles is a contemporary dance performance that explores the notion of stumbling as a physical, emotional, and historical process that reveals our fragility and vulnerability.
Through movement and sound, two dancers and two musicians create a world, in which the loss of balance and the ongoing effort to regain it forms the central theme. Circular movements, spiral pathways, and weight shifts reflect the cyclical nature of time: the body remembers, the past returns, and the stage transforms into a space where today becomes tomorrow and yesterday.
The performance encourages us to remain standing in a world that is constantly changing. It serves as a reminder that balance is not a solitary achievement but the result of solidarity and interaction with others. It is a journey from the little stumbles of movement to the great, existential falters that shape our memory, our identity, and our collective history.
The performance Friend with the Mountain converses with the historical identity of zeibekiko, a warlike, Dionysian, and improvisatory male solo dance. From the solitary figure of the fighting man to the ecstatic rhythm of personal struggle, zeibekiko has always represented a field of tension and honour. The piece does not negate this legacy; it retranslates it. Memory and identity are embodied in the figure of a dancing woman.
Choreographer Eva Georgitsopoulou, along with Elina Rizou’s onstage music supervision, creates a ritualistic space where solo dancing returns not to fight but to remember and transform through memory into a collective experience. Friend with the Mountain is a personal tribute, a quiet revolution, and an attempt to establish roots through the body.
The new work by Mariela Nestora / YELP danceco. explores the forms adorning red-figure and black-figure vases of ancient Greek pottery. It brings these forms to life, not as mere representations of the past but as a potential arena for questioning and creating narratives. The choreography – as a mechanism of appropriation, repetition, and reformulation – stirs and inscribes memories, rendering time fluid and porous. This excavation of movement takes place in the here and now in ongoing interaction with live music.
Is movement form or energy, action or context, embodiment or transformation, positive or negative space, sensation or thought, source or echo, perception or transmission, reproduction or comment? In the dance performance Appropriations: Excavation of Movement, the past, present, and future are not distinct entities, but interrelated manifestations of the same experience. What do we choose to place in the background and what in the foreground of our attention?
The performance Hounds of Madness draws from Euripides’ The Bacchae, exploring notions of collectivity, ritual, and ecstasy. Through a dynamic blend of movement, voice, and music, the choreographic work brings forth the Chorus’s autonomous artistic status, reimagined as a collective of women who are bound by both tender support and sharp resilience.
Hounds of Madness is an invitation to engage in a transformative game that directly confronts the deep-seated fears within us. It asks urgent questions relevant to our increasingly fear-driven world: What truly unites us? What fuels our motivation? And what ultimately sets us free?
This production delves into one of history’s earliest fictional accounts of female bodily autonomy. Hounds of Madness brings together a diverse group of women with and without sensory and motor disabilities, a group that in Modern Greece struggles to find their place both within society and on the stage. Their presence mirrors the women of Thebes in Euripides’ play, who defiantly fled to Mount Kithairon to escape patriarchal control, emphasizing a shared spirit of defiance and liberation.
Α choreographic work that bridges the historical trace with contemporary readings on the role of women as subjects of resistance and emancipation of their bodies. A transcendent dance composed in a post-Bacchae universe.
*Many thanks to Katia Savrami, Christos Papamichael
* The performance will be accessible to individuals with visual and mobility disabilities. There will be a tactile guided tour before the start of the performance for blind and visually impaired people.
A performance that uses space as a living observer of time’s flow. Three generations of performers symbolize the past, present, and future on both a real and an imaginary time horizon. They interact in a shared space, shaping and changing it, adding or destroying elements. Time is observed through the earth and the surrounding space. Music is added as a fundamental component of the performance to play the role of time and directly and substantially affect the events. The live music converses with the movements of the performers, both moulding and being moulded by their actions. The performance structure is based on philosophical Taoism, introducing an additional central axis, alongside the temporal one, into the stage space, choreography, and dramaturgy.
In a time filled with idols – created by humans for superhumans – the dance solo Hero Unplugged presents an ordinary individual who wants to follow a heroic path and reach the top. His journey seems predictable, until – willingly or unwillingly – he becomes “unplugged” and disconnected.
This piece is a choreographic attempt inspired by the allure of Plato’s Cave and its contemporary interpretations, drawing parallels between the shadows in the cave and the dubious modern demands that shape our lives. At the center of the story is a young boy who, through his physical imagination and the choreographer’s eyes, conveys the importance of disconnecting and heroism—concepts that continue to seek their place in both the present and the not-so-distant future.