The performance is based on “The Professor’s Will”, a short story from Dimitris Hatzis’ collection The End of Our Small Town (1963). With sharp insight, the story reveals how those in positions of power behave within a provincial Greek town. Through a melancholically comic lens, it vividly exposes conflicting interests, passions, malice, and the distortion of the social institutions that are meant to serve the community. The action begins with the death of Professor Rallidis, a man who sought to fulfill his duties with integrity and to serve as a source of inspiration for his students. In the performance, two women critically observe and document the events that unfold. Engaging in a continuous game of role-playing, they give voice to the characters of the story while parodying the pettiness and narrow-mindedness of some of them. At the same time, they seek to find their own place within a society governed by male authority. Rejecting the models imposed upon them, they attempt to imagine and construct new ones—models that might contribute to the moral and social renewal of the community. A theatrical exploration of power, hypocrisy, and social responsibility, the production revisits Hatzis’ enduring critique of provincial life while foregrounding questions of gender, agency, and collective transformation.
A documentary theatre performance with elements of fiction and an ongoing documentary film come together in a performative piece exploring the lives of exiled women on the island of Trikeri from 1948 to 1952, during the final years of the Civil War and the period that followed. An original dramaturgy and musical composition based on historical research, testimonies, letters, interviews with close relatives, songs and poems of the exiled women — as well as on our own attempt to enter into dialogue with them, approaching these women not as heroic monuments but as human beings. The prison camp on Trikeri island was a non-place where the bare lives of exiled women had been rendered killable. In such conditions, can collective life and the idea of community become a vital source of strength and a form of resistance? And arriving at the present day: how can historical memory and an encounter with the past become tools for the present? How can people confront collective, intergenerational trauma and imagine a radically different future?
A play about humans, who are still searching for an existential meaning, while entering into a posthumanist era. Three people enter a museum, with an implied, undeclared intention of imminent violation. Their presence carries the weight of a forbidden act, threatening the sanctity of the museum and what is considered appropriate behavior towards Art and History. As the play unfolds, the characters’ different attitudes towards life begin to emerge and clash. MAN A approaches meaning as something that can and must be constructed, MAN B constantly deconstructs it, refusing any form of existential consolation and WOMAN C is oscillating between the need to believe there is meaning in existence and her inability to do so. The scenes of the play lead the characters to the realization that meaning may not pre-exist, but may be produced by man himself and may cease to exist without him. This is not presented as redemption, but as a double experience of liberation and responsibility, raising the question of what is lost and what is at stake in a world that tends to transcend humans, making the boundaries between the physical and digital worlds increasingly unclear.
Beside the Archaeological Site of Lerna, in Argolis, lies Lake Alcyonia. In myth, it is bottomless: a passage to the Underworld and the lair of the Lernaean Hydra. It is the starting point of our walking performance. Spectators follow journeys of water: from the lake, along the Pontinos River, to the sea: Water-cycle journeys of beauty and endurance. They follow human paths of anguish, resilience, and daring, ultimately arriving at harmony. Paths of mortals led to immortality, as mythological figures or even deities. They follow the Danaids, Ariadne, and Semele: female figures from the myths of a place known for Heracles and Dionysus. Hera, goddess of women, order, and Argos, guides the spectators along these routes, singing and conversing over electronic music. In a present marked by water scarcity and the need for endurance and courage, the performance sows mythological figures in the land of Lerna, revealing its contemporary significance.
The performance Analog Body focuses on the human being itself: on human strength and fragility, on the ability to adapt, endure, and overcome the challenges of existence in the natural world. Through a clear and essential exploration of movement, the performance investigates the organic, neurological, and psychological conditions of survival and transformation of the human body. Drawing inspiration from humanity’s timeless existential crises, the work turns its gaze toward the contemporary era and the challenges arising from rapid technological development. Its central focus is the increasingly close relationship between humans and machines, not only through the senses but also through the integration of technological devices into the body itself. Analog Body offers an artistic reflection on the nature of humanity today, suggesting that the body remains the last stronghold of the analog human.
The performance directed by Dimitra Dermitzaki, focuses on the dreams of people who have experienced or are experiencing war conditions. Her dramaturgy develops as a synthesis of such dreams: the starting point is Emil Szittya’s short stories, “27 Dreams During the War 1939–1945.” They are interwoven with dream testimonies that emerged from contemporary conversations with people who have recently experienced the war, as well as dreams recorded by writers after World War II. Three performers move through successive, sculptural poses and traverse a path through the archaeological site of Heraion Perachora, narrating fragments of wounded dreams. Each dream is abandoned as a votive offering in a ritual procession towards the sanctuary of Hera Akrea. Ira Spagadorou’s exhibition consists of paper narratives, incomplete, elliptical in their genesis, like dreams, which struggle to reveal a solid image, a complete map of man.
The performance The Lysistratas approaches Aristophanes’ comedy as a deeply political and profoundly human-centered work, highlighting the power of collective speech, collaboration, and peaceful female resistance against a patriarchal world of violence. This research-based approach to ancient drama, centered on ritual and the circular orchestral spiral, is framed by musical percussion sculptures that function simultaneously as musical instruments and visual installations, serving the rhythm of the text. In this way, a shared pulse is created, within which speech, as music, activates the spatial memory of the ancient theatre as a place of communal attunement and collective experience. Within this framework, the body functions as an instrument of rhythm, memory, and shared lived experience, while the actors align themselves with the purpose of the work, serving a fundamental principle of the collective art of theatre and the legacy of ancient drama, as it resonates through the sites of the Asklepieia. The Ecclesiasterion of Ancient Messene (Odeion) constitutes the research site of this work: a living field of inquiry into the relationship between speech, rhythm, body, space, and collective memory.
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 The Dream, choreographed by Frederick Ashton, and by Felix Mendelssohn’s musical work 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.
“Ek Kormou” is a contemporary music-theatre composition for four female voices, piano, and trombone, inspired by figures from ancient Greek tragedy. Phaedra, Iphigenia, Antigone, and Cassandra appear not as mythological heroines, but as human consciousnesses carrying memory, desire, sacrifice, action, and truth. Through polyphonic textures, solo passages, and choral interaction, ancient language meets contemporary musical expression, transforming the stage into a space of inner dialogue and collective experience. Music functions as an integral dramaturgical element, where sound and silence shape the dramatic action equally with the spoken word. The work explores the female voice as a place of resistance, responsibility, and existential confrontation. Rather than retelling myths, the performance focuses on the emotional and ethical condition of the human being when faced with difficult choices. “Ek Kormou” ultimately reflects on coexistence, truth, and the enduring human need to speak, remember, and be heard.