A R T E M I S C H R Y S O S T O M I D O U
In 2020 she wrote and directed the play Mortality, hooray
about beauty tips, science and love stories
while earlier in the year she was a fellow artist of TEMPORARS
In 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,
she will be one of the mentors of the TRANSMISSION X2 workshop
by ALTER EGO (X) compagnie de théâtre européen in Paris,
and she will participate at TRAVERS multidisciplinary project
at Copenhagen Contemporary.
She was awarded the
for her book Dogs don’t bark in France | Sculpture,
in 2019 she wrote and directed the play
about the fear of death and the love between two women,
she was awarded the fellowship of
she worked at Theater Magdeburg for Düsterbusch, City Lights
and participated in the International Theatre Conference in Dresden,
while her text Utopia and Absence was presented and exhibited
at the Ejerslev Dreaming Festival in Denmark.
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 SGT Onassis Foundation.
In 2012-2013 she co-directed with a molecular immunologist
an educational program in Scotland and Cyprus.
In 2011 she wrote and directed in Thessaloniki
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.
Arts and theatre are no longer interested in a story but in the acceleration of thought.