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 text recited by actor Giacomo Dominici emerged from a creative process (Dada poems). Excerpts from the following texts heard in Greek and Italian: “The Window” by Yannis Ritsos [from the book “Fourth Dimension”, published by Kedros], “Theories of Performance” by Jay Besemer and “WJD: A Phenomenology” by Khashayar Mohammadi WJD [Gordon Hill Press & The Porcupine’s Quill].
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 William Shakespeare’s 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.
MOUTH places the spectator in a transitional world. The mouth as opening, pas-sage, 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 condi-tion of rupture: a human in dissolution, suspended between memory and decay, body and mind, indi-vidual 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 anthropocen-tric thinking, searching for new ways of being.
Four performers from 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 singular experience that opens toward the collective, 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.