ANTIGONE AGAIN, 2022
performance, 25 min.
with: Gaïa Debuchy, Konstantina Tsagianni, Evangelia Danadaki, Christopher Faulkner, Ben Finlay, Ken Nakajima
Antigone is played by six players (performers and musicians). No one plays the role of Antigone. Antigone stands for anti-drasi, a form of reaction to the dynamics of power relations and identity forces towards a paradigm of inter-subjectivity. The performers appear to play as to constitute a public body-space exercising freedom, individually-and-collectively while confirming possibilities of reformations: simple actions become art and art becomes an embodiment of democracy. Antigone stands for anti-thesis, the moment the common logic is gone, when performers and spectators escape the social reality by entering a somewhere else: a zone of polyphony and desire. The artists appear in a state of plurality and transform the space into a reality where the rhythm of being-in-the-world differentiates: a time to slow down and run.
documentation: https://vimeo.com/715040366
exercise of free action, 2022
performance, 20 min.
A collaboration with Konstantina Tsagianni
Exercise of free action is a half-designed live action that follows the open structure of 2 acts: (1). non-conventional warm-up and (2). playing the piano (free improvisation). A co-designed live action that affirms collective identity while testing the relational and experimental dimensions of artworking as friendship and as free play. The two friends-performers, dressed in identical attire, follow a non-linear warm-up thats leads to a four-hand impovisation as a practice of difference, where movements and sounds awaken the space and the bodies.
performance, 25 min.
with: Gaïa Debuchy, Konstantina Tsagianni, Evangelia Danadaki, Christopher Faulkner, Ben Finlay, Ken Nakajima
Antigone is played by six players (performers and musicians). No one plays the role of Antigone. Antigone stands for anti-drasi, a form of reaction to the dynamics of power relations and identity forces towards a paradigm of inter-subjectivity. The performers appear to play as to constitute a public body-space exercising freedom, individually-and-collectively while confirming possibilities of reformations: simple actions become art and art becomes an embodiment of democracy. Antigone stands for anti-thesis, the moment the common logic is gone, when performers and spectators escape the social reality by entering a somewhere else: a zone of polyphony and desire. The artists appear in a state of plurality and transform the space into a reality where the rhythm of being-in-the-world differentiates: a time to slow down and run.
documentation: https://vimeo.com/715040366
exercise of free action, 2022
performance, 20 min.
A collaboration with Konstantina Tsagianni
Exercise of free action is a half-designed live action that follows the open structure of 2 acts: (1). non-conventional warm-up and (2). playing the piano (free improvisation). A co-designed live action that affirms collective identity while testing the relational and experimental dimensions of artworking as friendship and as free play. The two friends-performers, dressed in identical attire, follow a non-linear warm-up thats leads to a four-hand impovisation as a practice of difference, where movements and sounds awaken the space and the bodies.
performance, puppet theatre, wooden frame, fabric, transparent plastic screen, 100x150x150cm
performing: Gaïa Debuchy and Evangelia Danadaki
Sleeping Beauty is a performance that interrogates the interplay between theatricality, gender, and identity. Through the depiction of two women-friends who appear as both subjects and objects, the performance explores the fragility of womanhood, revealing the ways in which women’s lives are constructed by societal forces. Informed by Elfriede Jelinek’s feminist critique of the Sleeping Beauty fairytale, the live action questions the boundaries between theatre and reality, the self and the other. The women are not isolated figures but are being trans-connected through their physical and emotional presence, performing an almost sculptural relationship. A performative connectedness that can be understood as a form of living sculpture, where each woman-artist simultaneously embodies both the role of the subject-artist and that of the artwork, allowing each other to be autonomous and vulnerable, navigating the complexities of their shared existence-depicted through moments of stillness, singing or pretending to be sleeping. By breaking free from the confines of the art school / art space, the work becomes public to underline the idea that everything is theatre; pedestrians became part of the performance showing how we all participate in the ongoing theatre of the everyday.
video: https://vimeo.com/676072503