The performance Her Veils weaves its dramaturgy through poetic voices and narratives of women from the Middle East, intertwining them with myths, rituals, and folk traditions of the West. At the core of the composition lies female corporeality, not as a representation, but as a living field upon which historical and social inscriptions are imprinted.
The veil emerges as a symbol open to multiple interpretations: at times it protects, at times it conceals; at times it separates, and at others it reveals. Upon its delicate surface collide desire and prohibition, visibility and disappearance, the allure of revelation and the violence of concealment.
The voice and musical compositions of Savina Yannatou and Primavera en Salonico meet the visually driven directorial approach of Maria Lappa in a performance where the female voice becomes supplication, whisper, prayer, and cry. Through this encounter, worlds are illuminated in which the body is transformed into a monument, a site of resistance, and a space of transformation.
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.
“I give you the time of silence.” A vigil, a quiet place by the sea, three people—friends and loved ones of a deceased person about whom we learn very little—speak about death in order to understand how to live, and how to love. They search for the sýssimon, the sign that “means the same to you and to me.” Throughout the night, music permeates the space: it watches over it and tends to it, becoming the only equal interlocutor of silence. In this suspended nocturnal landscape, speech, memory, and absence intertwine, forming a fragile space where meaning is not declared but shared—if it can be shared at all.
A grey-white metropolis: towering buildings, a diminished horizon. An anti-heroic age, much like our own. Obstacles, dilemmas, and traps demand both personal and collective feats in order to be overcome. Beneath the shadow of ignorance, exhaustion, and fear, five individuals manage to connect with one another, discovering new strengths within themselves. This original theatrical work is an ode to the unsung heroes of the world, inspired by the myth of the greatest of heroes, the demigod Heracles.
Torn between his divine origin and human vulnerability, Heracles confronts and tames untamed natural forces through strength, intellect, and guilt. Sometimes invincible, sometimes tragic, sometimes reduced to comic caricature, the heroes of this story grapple with questions of justice, solidarity, and ultimately transcendence—the essence of the Labour itself. Blending existential reflection with neo-noir aesthetics, the performance unfolds as a bittersweet journey filled with unexpected action, chance encounters, animal presences and absences, stories drawn from both Ancient Greece and Japan, conflicts, moral dilemmas, and surprising moments of hope.
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 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.
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.
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.
Flowers have been silent witnesses to acts of sacrifice since the dawn of time. In mournful songs, medieval ballads, and folk beliefs, eternal roses are born from tales of love and blood. From Narcissus and the roses of the Middle Ages to poppies (which symbolize remembrance for World War I, among other things), flowers shape, inspire, and lead us to new stories of our own through the stories they witness. From folk songs to medieval legends, flowers appear where sacrifice leaves an indelible mark on memory.
The Alcedo Folk Band guides us through a sound and narrative journey, where folk tradition meets contemporary musical creation. The Greek and European civilizations are bridged with precious elements from folk poetry, mythology, and medieval tradition.
How does contemporary society perceive the significance of ideas? Can we put a price on an idea and sell it, as a model of life? Under what conditions and by whom can its value be determined?
Following the satirical spirit of Lucian’s original work Vitarum auctio (Βίων πράσις) and assigning the role of the buyer to the audience, this performance contrasts the philosophical theories of ancient thinkers with the culture of modern influencers, exploring the impact of the past’s intellectual legacy on the present, as well as the fate of philosophical concepts in the contemporary world and its future versions. Through stark sarcasm and humour, and a unique fusion of the ancient and modern worlds, this performance transforms into a philosophical journey, inviting us to join in, if not as interlocutors, then at least as observers.