Inspired by the work The Earth Gods by Khalil Gibran, the performance explores the relationship between human beings and the divine through a subtle sense of humour and irony towards power and human vanity. What is the relationship between humans and the divine? Who are the gods we believe in, the earthly gods of our time? Three “earth gods” observe humanity and engage in dialogue about its nature: decay, fragility, and desire. At the same time, a human stands before them, moving through a continuous process of conflict, worship, questioning, and acceptance. The performance combines live performance and visual art practice, creating a ritualistic stage environment in which body, natural materials, light, and decay are constantly transformed. At its core emerges love as an enduring force of relation and transformation—a presence that permeates tensions and silences, ultimately connecting the human being with themselves and the world.
The production “Antigone: I Was Born to Love” is a contemporary tragedy that bridges ancient myth with living historical and social experience. Its starting point is Sophocles’ Antigone — not as a re-enactment, but as a timeless archetype of defiance in the face of injustice.On stage, Antigone ceases to be a single character and transforms into an enduring presence that resurfaces across different eras and circumstances. Her figure traverses time and is embodied in women who are called upon to choose between silence and action, between safety and responsibility. Each incarnation illuminates a different version of the same conflict: where human dignity clashes with fear, and the inner voice resists every imposed law.The production does not glorify heroism; rather, it brings into focus the moment of choice — the moment where love, memory, and accountability toward the other become acts of resistance. As a contemporary theatrical composition, it functions as an act of remembrance and vigilance, posing a vital question to the audience: when injustice becomes the norm, is silence a choice — or complicity?
A performer stands before a digital mirror – a digital image of himself. Is it real? What does he see reflected in his own likeness? Agon: A Contest of Logos is a staged confrontation between human and artificial intelligence, between creator and creation, structured according to the principles and ritual form of the Agon – the contest of arguments at the heart of ancient Greek tragedy and comedy. Taking as its point of departure the Antikythera Mechanism, the world’s oldest known analog computer and an object-symbol of human ingenuity and imagination, the arguments of both sides of the mirror unfold through classical texts, from antiquity to the present day. An original performance in the form of a digital staged reading. A contest without a judge. An agreement without a winner. Theatre, music and digital installation at the Zinzirli Mosque, Serres, the «mosque of the chains», a monument of exceptional acoustics dating to the 16th century, on 27 and 28 July.
What would a world without birth and death look like? A site-specific performance exploring humanity’s attempt to control life itself through reason and science. During the period of Athenian rule, Delos became a place of strict ritual regulation over life and death. In the pursuit of sacred purity, the island’s population was displaced three times throughout its history, while both birth and death were forbidden.
Drawing from mythological and historical references, “Delos” reconstructs on stage the story of an island struggling to liberate itself, only to be surrendered once freedom is achieved. In an era where science and technology promise a world free from pain and loss, “Delos” investigates the limits of this promise and its consequences for human existence.
In “The Square Gets Smaller,” time condenses and memories come alive within a stage space suspended between past and present. Guided by a deeply human narrative, the performance touches on the fragile nature of memory and the quiet strength of loss. Music on stage does not simply accompany the action, it narrates, interacts, and leads the audience’s emotional journey. Through minimal imagery and strong performative presence, an intimate world unfolds where each spectator can recognize something of their own experience. The performance becomes a shared encounter—a reminder that even as the “square gets smaller,” the need for human connection remains vivid and enduring.
Are there male and female “purposes,” gender-based inclinations and talents? Are fields like science, pharmaceuticals, architecture, or astrophysics suitable for girls?
Spring 1960, Missolonghi. A group of students from the Girls’ Junior High School crosses the city streets in protest against the establishment of a Practical Junior High School exclusively for boys, which would exclude them from STEM subjects. This is a story about women born in the Greek countryside after World War II and during the outbreak of the Civil War, who envisioned a life equal to that of men for themselves. Self-luminous girls, and therefore strange for their time and ours, in a world where gender roles still define the dominant national narrative, despite their superficial transformation. A work about youth and the talents that nature hides within people, regardless of time, place, gender, or social mores. An original performance inspired by true and (truly Greek) stories.
Where do ideas that have never reached their final form go? The unfinished films, plays, or poems? And what about the people who leave? Where do they go? What happens to incomplete reports? Farewells that never turned into embraces? Can the trace of those absent inhabit our present, opening a window for us to look the future in the eyes? These questions inspired a performance, a piece about unfinished artistic creations that continue to fuel, like combustible materials, both art and life itself.
This work is a poetic stage composition that proposes a metadramatic and transcendent meeting ground for both absent and present creators, their unfinished works, their communities, and humanity. Relying on a fragmentary dramaturgy, the performance employs words – images, sounds, concepts, and reflections – left hanging by great “poets” to challenge itself against the existential, artistic, and political anguish of a life that passes, ends, and is cut, while also touching upon the comforting, humanistic dimension of great art.
Contradictions is a theatrical production that brings together two powerful texts in a bold dramaturgical synthesis: Plato’s Apology of Socrates and Kostas Varnalis’ The True Apology of Socrates. A contemporary Socrates stands before his accusers, answering with the philosophical clarity of Plato and the sharp, ironic voice of Varnalis. Through this staged dialogue, a timeless clash is brought to life—thought against authority, truth against deception, responsibility against apathy. Language reigns supreme on stage: philosophical, poetic, and provocative, supported by original live music that underscores the emotional and intellectual tension. Bridging two millennia of critical thought, Contradictions invites audiences to reflect anew on questions that still resonate today: What is truth? What place does the thinking individual hold in society? And what is the price of truth in our time?
A Sunday family lunch featuring Greek flavours that have endured over the years sparks stories about traditional dishes and their contemporary perception. As different generations meet and interact, we become aware of how our culinary traditions, as well as life itself, have changed.
Moussaka, pies, dolmadakia, and the spices of the famous Constantinopolitan cuisine evoke stories of our grandmothers, while bobota, also known as the pie of the poor, transports us back to the challenging period of the Occupation and the Greek people’s struggle to survive.
Traditional melodies intertwined with the bustling sounds of frying pans and boiling pots, along with stories about people and recipes we’ve all tried, create a performance that pays tribute to the meals that raised us.
Following a dream that foreshadows disasters for her son, Queen Atossa of Persia is informed that the Persian army has been destroyed. Emerging from the underworld, her dead husband, Darius, explains the reasons that led to the defeat and urges them to stop the attacks against the Greeks.
In this new production, Aeschylus’ ancient drama converses with Samuel Beckett’s play, Happy Days. The performance draws upon Beckett’s masterful conception, creating a striking spectacle that employs Aeschylus’ poetry intact. The Queen of Persia, immobilized by the weight of her memories, gradually immerses herself in the burden of tragic past events. Sitting next to her, her deceased companion reads the devastating news in the newspaper.
This new piece reminds us that our past cannot be cut off from our future; they both co-exist intact within our present.