Concept-Direction: Elli Papakonstantinou
    Music – Multichannel Sound Installation: Lambros Pigounis
    Choreography: Pauline Huguet
    Artists: Mary Zygouri, Telis Karananos, Alexandra Siafkou
    Dramaturgy: Dimitris Bambilis
    Performers: Ioannis Voulgarakis, Valia Papachristou, Adrian Frieling, Electra Tsakalia, Pauline Huguet, Larisa Vergou, Lambros Pigounis, Nikolas Stravopodis, Dimitris Bambilis and many volunteers.
    Music Improvisation: Lambros Pigounis (Violin, live electronics), Panos Tsekouras (Theremin), Anastasia Eden (Vocals).
    Light Design: Adrian Frieling, Elli Papakonstantinou
    Production: ODC
    The performance’s main theme is the meaning of the “end” - the relation of people to society in a moment of disaster/crisis and the period after. It is a site-specific performance that incorporates theatre, dance, music and visual arts.

    "META" emerged through the creation of a network society, through an open dialogue on the role of art today and the need for parallel clusters. We mobilised aound a common feeling: something is breaking in our society, something is getting irretrievably lost, and something is being identified as the need for teamwork. These meetings have led us to conclude that the performance is not an end in itself. Moreover, the mechanism of "open discussion" runs as a narrative mechanism of the dramatic fabric of the show.

    In "META", the simple everyday comunication (through the text of the actors) runs in parallel with the reason of grand narratives (political, religious, literary texts).
    We choose a non-theatrical space as the site of the show for many reasons: a) META has not been conceived from the desire to make a play, but from a collective need to open a dialogue with our fellow citizens about our present, and our future. That is the reason why the chosen site ought to exceed the "closed" theatre. b) The fact that this site is in the midst of a deprived area of Athens was also a motivation for the choice, since it would bring the public into an unknown area of the city and it would initiate a first contact with its residents. Devolution became a basic need, as we realised throughout our discussions the importance of finding areas where the residents had no previous contact with the urban art. c) The site is suitable for a site-specific project because of the significance of the architecture (listed 19th) d) It worked until recently as a tannery, which the performance fully integrates in the dramaturgy. In a tannery, the workers came into contact with the skin of animals, offal, germs, blood and contaminated water. The idea of cleansing is a key thread of the dramatic fabric of the show and, with appropriate textual support, the space will be used not only as a literal place (as a performance space), but also as a metaphorical space (as a tannery "purgatory").

    "META II" emerged from a wide path through an open dialogue on the role of art today, the need for parallel clusters. Something we leave behind us, something ends and this separation is a cause for collective grief, anger, fear of what is coming and hope. There is a need for the expression and management of this mourning, and the theater is the perfect place for expressions of public sentiment, unmentionable desires and fears. The work in question discovers, in this political heartbreaking, its true role: part confessional and therefore comforting. "Let us therefore celebrate the destruction of us!"

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