This project creates a multidimensional experience of music, memory, and visual art centered on the former Ursuline Monastery in Loutra, Tinos, and the women whose presence shaped its history. Inspired by the Ursuline order, the musical program features works by Hildegard von Bingen and Guillaume de Machaut, performed by five musicians on period string instruments. Their interpretations create a sonic bridge between past and present, evoking the spiritual and cultural world of the monastery.
Alongside the musical performance, a visual installation composed of fifty white nightgowns printed with cyanotypes derived from photographic and published archival material from the monastery brings to light the often-unseen stories of the women who lived, worked, and studied there. Through images, sounds, and symbolic elements, the work illuminates the intangible cultural heritage of Tinos, transforming memory into a lived and immersive experience.
The event concludes with the offering of baked goods inspired by historical recipes from the monastery and by the island’s local culinary traditions, extending the audience’s engagement with the cultural memory of the place through taste and hospitality.
This musical performance explores the idea that human beings are shaped through coexistence with others and through their relationship with nature. These two dimensions are presented as fundamental conditions for humanity, balance, and personal maturity. At the heart of the event is a performance of Franz Schubert’s String Quartet No. 14, Death and the Maiden by an ensemble of four musicians. This iconic work approaches mortality, fear, and acceptance with both intensity and sensitivity, leading not to despair but to a deeper reconciliation with the inevitable.
The performance is complemented by the photographic exhibition Promenade, presented along the pathway leading to the Roman Odeon of Kos. Through images that explore the relationship between humanity and nature, as well as themes of time and decay, the exhibition serves as an introduction to the immersive experience of the musical event. Together, music and visual art invite the audience to reflect on the human condition, the passage of time, and the enduring connections that bind people to one another and to the natural world.
In this music-theatre performance, virtuosic piano playing enters into dialogue with theatrical play, highlighting humanity’s creative potential. Drawing from an extensive musical anthology ranging from Bach and Mozart to André Jolivet, Friedrich Gulda, Philip Glass, Ernest Bloch, and the Beatles, Alexandra Papastefanou navigates with remarkable artistry through diverse styles and rhythms, moving seamlessly between classical, contemporary, and jazz idioms.
Through this musical journey, she invites the actor Konstantinos Georgopoulos, on stage, into an ongoing dialogue—to improvise, respond, and embody a variety of characters. In turn, he develops a repertoire of texts, constructing a self that acts according to the principles of humanism and the spirit of a universal cultural play shared across humanity.
The performance draws upon texts by William Shakespeare, Sue Jennings, Johan Huizinga, Donald Winnicott, and Albert Camus, alongside myths and folktales, weaving them into a theatrical and musical exploration of play as a fundamental expression of human existence.
The site-specific musical performance “The Paste of Apollo” offers an original journey into the world of Archaeology, transforming science into an experiential theatrical event. Taking as its starting point the fairytale “On My Hill” by archaeologist Konstantina Chavaki, a newly discovered statuette of Apollo narrates its own story: its passage through the centuries and, ultimately, the moment it was brought back to light by the excavation. Through this narrative, young audiences are introduced to the facets, practices, and specialized terminology of the scientific excavation process. Within the archaeological site, children step beyond the role of passive observers and become archaeologists and conservators, participating in a hands-on excavation simulation. The performance’s soundscape—a complex blend of natural ambient sounds, the rhythmic pulse of excavation tools, and percussion using the most primal musical instrument, the human body—orchestrates a modern-day Paean in honor of Apollο.
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.
The Magic Lantern is a site-specific visual and sound installation inspired by Plato’s Allegory of the Cave and the history of early optical devices. Within the vaulted space of the St. George Bastion, light and shadow activate a series of simple projection mechanisms and handcrafted forms, exploring representation as a process through which the world is constructed via images and systems of depiction. Shadows are transformed through movement and spatial arrangement, creating an open-ended narrative that unfolds over time.
Through symbols and codes, the image functions as an active mechanism that both produces and distorts reality. Systems of representation are exposed and deconstructed, revealing the conventions upon which they are built. The installation is complemented by live sound performances, forming a unified multisensory environment in which image and sound coexist and interact in real time.
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.
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.