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.
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.
Exercise of free action
performing: Evangelia Danadaki, Konstantina Tsagianni
performing: Evangelia Danadaki, Konstantina Tsagianni
The production of music becomes a free action questioning hegemonic ways of playing-producing music. The performers dressed alike are challenging the perception of the subject as an individual embracing through repetition the plurality of the self. A half-designed live action based
on experimentation, openness, playing and
friendship.
exercise of free action, performance, 2022.
Sleeping Beauty
performing: Gaia Debuchy and Evangelia Danadaki
Highlighting the levels of theatricality in the social enactment of the subject-woman, this public action is the embodiment of a dual self- fragilization. The two silenced women-friends appear interconnected following one another as two living sculptures, subjects-objects, with sudden breaks-moments of singing and sleeping.
performing: Gaia Debuchy and Evangelia Danadaki
Highlighting the levels of theatricality in the social enactment of the subject-woman, this public action is the embodiment of a dual self- fragilization. The two silenced women-friends appear interconnected following one another as two living sculptures, subjects-objects, with sudden breaks-moments of singing and sleeping.
Sleeping Beauty, performance, London, 2021.
I am Nora from that play
A 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.
A 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.
I am Nora from that play, performance, 2021.
I am Nora from that play, performance, 2021.