DECEMBER 5 2015 – APRIL 2016
Efi Birba — Our beautiful hands
Our beautiful hands, as a play, is mainly a composition of a series of pictures that six persons draw from their memory during their mystical and purifying meeting with each-other. Through the typology of a burial ritual and the peculiar rules of behaviour that this imposes on the participants, we watch the dialectical relation between the individual experience and the sacred element of the existence.
Efi Birba and her collaborators give form to sequences of meanings-images through dispersed acts, actions and fragments of speach that are but pure verbal actions. These distinctive materials of the performative language form a flowing volume of multitudes and ruptures. The overall result has the style and structure of a dream. In whatever happens during the sleep, in Our beautiful hands, time is broken into pieces and is re-constructed to the benefit of the connections and the ruptures that shed light to the non-continuity of the human existence, acknowledging at the same time the concept of mortality. The exit (-parting), the passing to and the entering (-integration) in a symposium-oriented society, is the thread that follows the directing-visual language of Efi Birba this time.
The impossibility, common to us all, to the six persons on stage as well, to perceive death leads the latter to an effort to make possible and visible to the spectators the understanding of what is to come, of what does not belong to the realm of the experience. The roles move around in a waiting space, the foyer of a death to come and by passing from one stage to the other they pass to the inaccessible side of their death.
Our beautiful hands is the result of the interaction between the participants in the performance and the writer Efthimis Filippou, a process during which the text and the performative action are being modeled simultaneously until they are articulated in a definite way for the first presentation of the play before an audience.
Concept, Directing, Sets, Costumes: Efi Birba
Play: Efthimis Filippou
Sound design: Coti K.
Lights: Thimios Bakatakis
Artistic collaborator: Michaila Pliaplia
Artistic collaborator – assistant director: Sofia Georgovassili
In-charge of sets: Michaila Pliaplia
In-charge of costumes: Olga Brouma
Actors: Ippokratis Delveroudis, Nikos Kamontos, Eleni Moleski, Evangelia Rantou, Aris Servetalis, Achilleas Chariskos
OCTOBER 26 2015 – FEBRUARY 2016
Dimitris Karantzas — Ashes to ashes
«They would follow him over a cliff and into the sea,
if he asked them, he said. And sing in a chorus,
as long as he led them. They were in fact, very musical, he said».
Harold Pinter, Ashes to ashes.
The play Ashes to ashes is an encrypted parable for the acceptance of violence, the submission to the force that exercises it and the individual responsibility of anyone who consents to this. Two actors-narrators, who reside in a place which is apparently safe, progressively trap themselves, recalling memories of painful events. This painful procedure becomes an inescapable condition that pushes these two voices to their ultimate limit.
This performance attempts to highlight the dramatic art of Harold Pinter, examining closely the expansion and contraction of time, unfolding a «choreography» that varies from the totally controlled action to an extreme stillness, thus emphasizing the rhythm and musicality of the text, by interpolating in this stage-duet extra voices, standing there, before all, to convey and express the pain of humanity.
Dimitris Karantzas, through his directing, re-shapes time, equally sharpening the tension and the peace, the various nuances of the theatrical speech. He orchestrates the theatrical action just like a polyphonic piece in order to highlight the stylistic variety of the texts and to unfold and reveal the structural elements of each work, that remain –until then– latent.
Rēs Ratio Network, showing its appreciation to the research-based aspect of his work and his accurate perception as a director, chooses to propose, this year, along with others, Dimitris Karantzas, with Harold Pinter’s Ashes to ashes.
Translation: Tzeni Mastoraki
Director: Dimitris Karantzas
Set design - Costumes: Ioanna Tsami
Choreography: Stavroula Siamou
Sound design: Henri Kergomard
Lights: Alekos Anastasiou
Assistant Set designer: Adrianos Zacharias
Assistant Costume designer: Vassiliki Sourri
Assistant directors: Giannis Klinis, Elina Rizou
Actors: Christos Loulis, Evi Saoulidou
OCTOBER 16 2015 – NOVEMBER 2015
Vasistas — DOMINO
«When you're in the shit up to your neck, there's nothing left to do but sing».
DOMINO is a silent choreography for the present that escapes us and for the unknown future. The play deals with the individual as well as with the epidemic collapse of an entire world and with the chained reactions that lead to a generalised state of emergency, focusing on the survivors.
The dramaturgy, taking as a starting point the play of Eugène Ionesco Jeux de massacre, is being constructed through the special narrative code and stage language that the Vasistas team has been developing these past years. Moments follow one another, fragmented pictures of a world, menaced by its end, where people, trapped, face the void, in a way that is rushed, irrational and nostalgic at the same time.
The peculiar directing perspective of Argyro Chioti and the Vassistas «kinetic system» of narration construct, through a vibrating choreography of group formations, what is presented under the title DOMINO. The sound-scape of the play, which is created with the use of forgotten recordings of the end of the 19th and the beginning of the 20th centuries, give a nostalgic tone to the individual and collective collapse of a world.
Rēs Ratio Network chooses to revive this year, in the Roes theatre, this particular show by the Vasistas, as it aknowledges that the method of the team unfolds, through its process, its –always up to the point– very own way of performance. The systematic work on a special theatrical vocabulary, on behalf of the Vasistas, contributes –in a very efficient way– to what Rēs Ratio Network proposes to fully justify the last part of its name.
Director: Argyro Chioti
Dramaturgy: Vasistas, Christiana Galanopoulou
Set Design: Eva Manidak
Costumes: Pavlos Thanopoulos
Lights: Tassos Palaioroutas
Assistant director: Dafni Koutra
Sound: Jan Van de Engel
Adaptation and teaching of Cold song: Cornilios Selamsis
Artistic collaborator: Ariane Labed
Actors: Eleni Vergeti, Georgina Chriskioti, Antonis Antonopoulos, Evdoxia Androulidaki, Efthimis Theou, Matina Pergioudaki, Babis Galiatsatos, Rita Litou, Natassa Papandreou, Anastasia Zagli, Fidel Talampoukas
DOMINO is a co-production of Vasistas with the Open Latitudes (3) – european project | KOMM’N’ACT | Théâtre des Bernardines | MIRfestival | with the support of the French Institute of Athens and the OZON RAW Magazine.
OCTOBER 11 2015 - APRIL 2016
KINITIRAS / EK PLIXI — My own fish
My own fish came up in during the action EK PLIXI (Sur prise), with which the team Kinitiras began in 2012. The main element of this action, as its name (in Greek) suggests, is the sudden –for the children– meeting with the stage act, evolving around dance and typical theatre. For the first time, this year, the children are being introduced to the play already during their transportation to the Roes theatre, something that accentuates the element of surprise itself.
My own fish intervenes in an unexpected way to the daily programme of the class, transforming its space to a stage and a field of action. Through body-language, music and video-art, children are being invited to watch and participate in a show that mobilizes them –cheering them up–, cultivating, at the same time, their judgment.
The play is based on the tale, by the Grimm brothers, The fisherman and his wife, which talks about man’s avid desire for more, about his anger when he finally loses his goods but also about his astonishment when faced with the inevitability of death. The sterile passion of greed and the acceptance of loss as an elementary part of the life-cycle are the basic notions that this performance deals with.
For Rēs Ratio Network there is no such thing as «children’s theatre» but rather a performative language which is addressed to the child. This foundational difference constitutes a guideline for the choices Rēs Ratio Network makes each time. The Kinitiras team is another one of the Rēs Ratio Network choices for this year and a part of its network exactly because it does not treat children as deficient adults but, on the contrary, as creative individuals who, full of questions regarding the world, are in a constant quest of all those stimuli that are able to mobilize and excite them.
Concept: Antigoni Gyra
Music: Orestis Tanis
Director, Choreography: Antigoni Gira, Johnny O., Ioanna Kampilafka
Costumes: Konstantinia Vafiadou
Drawings: Iasonas Venetsanopoulos
Videos: Angeliki Hatzi
Dramatic art consultant, lyrics: Chara Giannakopoulou
Lights: Anti Steve
Assistant director: Antzi Valsami
Actors (double cast): Johnny O., Kostis Daskalakis, Anthi Theofilidou, Kanti Karra or Artemis Lampiri, Vassilis Giannelos, Vlassis Pasioudis, Lia Chamilothori
Voices: fish Angelos Papadimitriou, mermaid Aliki Avdelopoulou
21 NOVEMBER 2014 – APRIL 2015
Efi Birba — The Double
In Dostoyevski ’s novella The double, the central character, Goliatkin, maintains, albeit his psychic disturbance, the ability to trace and process the constitutive elements of a world whose structure is based on class and symbols. This reflects, of course, a totally inconsistent process of identifying a utilitarian world, instrumental and intentional, which proves to be exhausting for Goliatkin himself but also for the reader of the novella that follows the story.
Already at the beginning of the narration we are being informed that Goliatkin wishes to be completely integrated to his social milieu: he works as a clerk, he has a valet and an apartment, his relation to time has mostly to do with calculation, he saves money and frequently counts them, he is preoccupied with his looks. He seeks acknowledgment and esteem.
His actions practically remain incomplete and incoherent; his movements obey the law of causality and productivity that defines the function of his world, only on a superficial level. No episode of his life, as Dostoyevski tells us and as is partially presented in the performance, constitutes an affirmation: every task he executes is a task of the negative and he himself is a spot of darkness in an otherwise bright world.
́He departs from a point in space –this, we steadily and securely assume, is the nature of the position he occupies: a non-dimensional one– in order to primarily consume himself in psychic-intellectual events. It seems that every event for him always remains excluded from the order of experience, given that it is something to come.
́The imaginary, pathological duplication or even multiplication of Goliatkin literally places him outside of himself: the emergence of the double only underlines –in a most definite way– the lack of an expandable position for himself, of the ultimate position that is the body itself and at the same time, through this emergence, the pattern of the basic mechanism of his inactivity is revealed: the incessable, conflictual, internal dialogue that results to the deconstruction of the ego.
Director – Set & Costume Designer: Efi Birba
Adaptation: Efi Birba, Aris Servetalis, Michaila Pliaplia
Sound Design: Vangelino Currentzis
Lights: Thimios Bakatakis
Artistic Collaborator – Assistant Director: Michaila Pliaplia
In charge of costumes: Konstantinos Malindretos
Actors: Aris Servetalis, Drossos Skotis, Giorgos Simeonides, Simeon Tsakiris, Konstantinos Karvouniaris