ANTIGONE AGAIN concept/direction: Evangelia Danadaki
Participating: Gaïa Debuchy, Konstantina Tsagianni, Evangelia Danadaki, Christopher Faulkner, Ben Finlay, Ken Nakajima
ANTIGONE AGAIN is a trans-disciplinary performance based on openness, experimentation and full participation. Antigone is played by six players (performers and musicians). No one plays the role of Antigone. The players constitute a political body-space exercising freedom, individually-and-collectively and confirming possibilities of reformations: simple actions become art and art becomes an embodiment of democracy. Antigone is the antithesis, 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.
Participating: Gaïa Debuchy, Konstantina Tsagianni, Evangelia Danadaki, Christopher Faulkner, Ben Finlay, Ken Nakajima
ANTIGONE AGAIN is a trans-disciplinary performance based on openness, experimentation and full participation. Antigone is played by six players (performers and musicians). No one plays the role of Antigone. The players constitute a political body-space exercising freedom, individually-and-collectively and confirming possibilities of reformations: simple actions become art and art becomes an embodiment of democracy. Antigone is the antithesis, 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.
Exercise of free action
performing: Evangelia Danadaki and Konstantina Tsagianni
performing: Evangelia Danadaki and Konstantina Tsagianni
A half-designed live action based
on experimentation, openness, playing and
friendship.The production of music operates as a critical intervention, questioning hegemonic modes of music playing and performance-making. The performers, dressed identically, subvert the notion of the singular individual by embodying a multiplicity of selves through repetition. In this act, they challenge the dominant framework of selfhood, presenting an embodied exploration of the plural self. The performance is deliberately underdefined—an experiment in openness, collaboration, and play; to embrace collective identity and underscore the relational nature of the artistic process.
Sleeping Beautyperforming: Gaia 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 deeply trans-connected through their physical and emotional presence in public space—performing an almost sculptural relationship. A trans-connection that can be understood as a form of “living sculpture”, where each woman-artist simultaneously embodies 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 acts of stillness, singing, and sleeping. By breaking free from the confines of the art school/space, the work goes out and becomes public underlining the levels of plasticity of the everydayness; how we all participate in the theatre of the everyday.
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 deeply trans-connected through their physical and emotional presence in public space—performing an almost sculptural relationship. A trans-connection that can be understood as a form of “living sculpture”, where each woman-artist simultaneously embodies 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 acts of stillness, singing, and sleeping. By breaking free from the confines of the art school/space, the work goes out and becomes public underlining the levels of plasticity of the everydayness; how we all participate in the theatre of the everyday.
I am Nora from that playA solo performance that silently reflects on Henrik Ibsen’s play “A Doll’s House” and Elfriede Jelinek’s play “Or what happens when Nora meets the capitalists” to symbolically deconstruct levels of artificial structures the subject-woman-artist embodies and performs with towards the liberation from what she carries.
