The Abduction of Persephone – The Return revisits the ancient myth through a contemporary, dark, and profoundly human perspective. Rather than focusing on the abduction itself, the performance explores its aftermath: trauma, forced coming-of-age, and the return to a world that, although no longer the same, attempts to carry on as if nothing had happened—concealing violence beneath the guise of normality. At the center stands Persephone, trapped within a myth in which her fate appears to be determined by the desires of others: her husband, her mother, and Zeus. The relationship between mother and daughter becomes a field of conflict, as Demeter proves unable to restore Persephone to her former identity solely as her daughter. Combining spoken word, movement, anlive music, the performance creates a theatrical universe in which the gods function as agents of power, desire, and control.
In a country where everyone steals in order to survive, the appearance of one honest man is enough to shatter the balance. The Black Sheep, inspired by the iconic short story by Italo Calvino, transforms its dark allegory into a contemporary theatrical experience filled with farce, black humour and biting social satire. Through a polyphonic world of bodies, sounds, and constant transformations, the performance sheds light on a society where corruption feels natural and honesty almost dangerous. The honest man does not become a hero; he becomes a threat to the system. With a fast pace, live music performed on stage, and continuous shifts between roles and narration, the piece poses an urgent question: when inhumanity becomes the norm, who still dares to remain human? A harsh and timely fable about the cost of dignity — and the power of those who refuse to conform.
The performance draws inspiration from an anthropological finding: a healed femur from prehistoric times, suggesting that an injured person survived thanks to the care of their community. This finding resonates with Margaret Mead’s view that the first sign of civilization is not a technological achievement, but an act of caring for someone in need. From this premise begins a scenic exploration of care, survival, and collective responsibility. Someone stayed, shared the burden and the time, recognizing someone else’s vulnerability as their own.Friendship and mutual support emerge as the smallest yet most essential core of community. Through bodily action and speech, the performance examines the moment when trauma stops being individual and becomes a shared field of experience, an act of care and humanity.
A boat at the center of the stage, two actors, and a musician create a theatrical world inspired by Middle Eastern poetry about the journey of displacement and refuge. The performance is based on real testimonies of refugees and migrants, while recorded voices of the people themselves recounting their experiences in their native languages are heard throughout the play. Through storytelling, multilingual soundscapes, and music inspired by their homelands, the work sheds light on the trauma of displacement, the fear of loss, and the persistent human need to hope and carry on. The sea is transformed into a place of anguish and prayer — an in-between space where humanity is constantly tested, yet continues to seek ways to survive through solidarity, memory, and hope.
In an era where the relationship between artists, their craft, and their survival is being redefined, a company of three actors and a musician grapple with Chekhov’s iconic text. Structured on the principle of “theatre within theatre” the production transforms the stage into a field of existential conflict.
The Seagull is, fundamentally, a play about theatre itself: art, vanity, and failure. Through dramaturgical condensation, the performance highlights the desperate struggle for communication and the rift created by age and the clash between older and younger generations.
On stage, two men, one woman, and a cello alternate roles, capturing the creator’s most intimate confession regarding aesthetics and life. The performance becomes a living mirror reflecting the agony of existence through creation, the erosion of everyday life, and the vital need for expression against the non-negotiable demands of reality.
A contemporary approach to Erasmus’ emblematic The Praise of Folly, that attempts to remind us of our relationship with the theatrical experience. Through a holistic scenic composition, the actors function as Folly’s multiple voices. Folly is the goddess of foolishness and madness, who creates a universe that is poetic, satirical and deeply human. The performance unfolds using movement, rhythm, sound and music in equal terms with the spoken word. In a direct dialogue with the archaeological site of Mystras, the stone, the memory, the silence of the space- the performance creates a juxtaposition between the ongoing line of history and the human nature. In the digital era of constructed images, the Praise of Folly invites us to laugh with our faults and weaknesses, to reconcile with our imperfections and to acknowledge the human measure, the need for connection and coexistence through tolerance and acceptance of the “other”
An original dramaturgical and musical composition, inspired by George Theotokas’ novel Invalids and Wayfarers. Capturing the crisis of values in postwar Greece, we pose the question that resonates even today: shall we remain spiritually “Invalids,” or shall we become “Wayfarers,” even amidst suffering? Three actors, functioning as a collective consciousness, focus on the surviving characters who seek meaning in an unstable world. They struggle to leave their memories behind and, acting as “dowsers,” to uncover the wellspring of love. They confront the existential conflict between ideology and praxis, dream and reality. Concurrently, the contemporary music intensifies their inner anguish, underscoring their trajectory toward freedom.
Our intention is to engage in a dialogue with today’s Greek youth who grew up during the crisis, whether they exist as an “Invalid” in digital stasis, or as a “Wayfarer,” transforming insecurity into action and faith in life. Our aim is to highlight freedom as an ethics of action, vindicating the words of Menander: “How graceful a thing is man, when he is truly a man.”
The stage presupposes faith. An irrational faith on the part of the performer—in themselves, in nothingness, in the “emptiness” of the stage, in the audience’s chairs; faith in the audience itself- those who come to the “spectacle” ready to believe everything, but, essentially, to believe in the people on stage. Brian Friel wrote about this absolute human need for hope through a Promethean exhortation. The directorial approach envisions the play, throughout its entire dramaturgical development, being performed within breathing distance of the audience, often among them, with cinematic immediacy in the performances and the atmosphere of a stripped-down provincial neighborhood. The gaida is one of the oldest folk wind instruments of the countryside. Its raw traditional sound propels the narrative toward a universal dimension and a subtle connection to the collective unconscious and to universal human trauma, as inscribed in the body and memory of theatrical experience.
Two men, former classmates and close friends, find themselves facing a profound crisis of values and personal identity. Existential anxiety, panic attacks,stress , and disappointment have deeply affected their lives, leaving them unable to cope with everyday reality. Seeking an escape, they decide to travel to a rural area of Greece in order to reconnect with one another and redefine the meaning of their lives.
As they distance themselves from the intense pace of the city, they begin to unravel their experiences, disappointments, and forgotten dreams. Through their conversations, they are gradually led to the thoughts of Marcus Aurelius and Stoic philosophy, searching for answers about human existence and the true essence of life. Against the backdrop of the Greek landscape, the two men attempt to rediscover what it means to live with humanity and dignity in a world that becomes increasingly dehumanized day by day.
Far back in the depths of time, Prometheus decides, out of compassion, to help a creature that until then was vague and undefined, a being called Man. He offers him wondrous gifts: awareness of his own existence, wisdom, and knowledge. In doing so, he transforms him into Humanity. Yet an ominous premonition overtakes the deity. Prometheus begins to fear that he may one day regret the power he bestowed upon Man, who now feels fearless and superior to all other creatures. Employing multiple artistic media, the performance seeks to function as a recorder both of the original “predictions” concerning the human species and of the final imprint it leaves upon the contemporary world.
Alongside the spoken text and the theatrical performance of the actor-performers—and in complete synchronization with them—an original visual film-documentary will be projected across the façade and the entire front length of the elevated stage. At times the film will interpret the text, at others undermine it, and at others underscore it. The aim is to create the illusion of a moving metope and living pediments, bringing ancient imagery into dialogue with the human condition of the present day.