A R T E M I S C H R Y S O S T O M I D O U
She was awarded the
2018 National Prize of Literature, Best New Writer
for her book Dogs don’t bark in France | Sculpture.
In 2019 she wrote and directed the play
A guide on how to prevent daily life accidents
at the Main Stage of BIOS, Athens,
about orders and the love between two women.
During the same year, she was awarded the fellowship of
European Theatre Convention as a European Emerging Artist 2019,
working at Theater Magdeburg for Düsterbusch, City Lights and
participating in the International Theatre Conference in Dresden,
while her text Utopia and Absence was presented and exhibited
at the Ejerslev Dreaming Festival in Denmark.
In 2020 she was a fellow artist of TEMPORARS
by Muzeum Susch, Art Stations Foundation Switzerland,
in November, her play Mortality, hooray
about beauty tips, science and love stories, will be premiered at the
2020 Expo Festival, English Theatre Berlin,
she will be a mentor of the TRANSMISSION X2 workshop
by ALTER EGO X compagnie de théâtre européen in Paris
and she will be a speaker at the 2020 Nicosia Book Fest.
In 2020-2021 she will be a fellow artist of Frankfurt LAB
presenting her new project
How to manipulate people and other romantic stories,
based on music as a crucial part of dramaturgy,
and she will participate at TRAVERS multidisciplinary project
at Copenhagen Contemporary.
p r e v i o u s y e a r s
From 2015 to 2017 she collaborated with VASISTAS theatre group on dramaturgy
for Apologies 4&5 by Efthimis Filippou at the International Athens Festival
and Divine Comedy by Dante Alighieri at the Onassis Foundation.
In 2012-2013 she co-directed with a molecular immunologist
an educational program in Aberdeen, Scotland and Nicosia, Cyprus.
In 2011 she wrote and directed in Thessaloniki, Greece
the plays The flesh has its own spirit, a work about lust
which has been presented in an old Greek tanner,
Words like Oedipus I, The cost of life
and Words like Oedipus II, Death came as half a human,
about male power and the desperate need for intimacy.
She has MA, BA in Theatre Studies.
h e r w o r k
Moving through different languages and genres
she uses the observation as a study of phenomena and beyond.
She deals with accurate wording and reactions
as existential humorous poetry, considering that:
aesthetics are an ethical statement which manifests our presence.
In her work, scenic space is an area of a major consistency and high risk,
working with terms of reality and absurdity,
precision and minimalism, tenderness and bravery.
Theater is no longer interested in a story but in the acceleration of thought.