© All rights reserved to Artemis Chrysostomidou

ARTEMIS CHRYSOSTOMIDOU

In 2018 she was awarded the National Prize of Literature | Best New Writer

in Cyprus for her book “Dogs don’t bark in France|Sculpture”.

In 2019 she wrote and directed at BIOS Athens the play “A guide on how to prevent daily life accidents”

about orders, the love between two women and the hidden fear of death. 

At the same time she was awarded the scholarship of European Theatre Convention (ETC)

as European Emerging Artist, while she worked at Theater Magdeburg

for "Düsterbusch, City Lights" directed by Cornelia Crombholz.

During the summer of the same year her text “Utopia and Absence”

was presented at the Ejerslev Dreaming Festival in Denmark.

In 2020 she received the scholarship of Temporars by Muzeum Susch |

Art Stations Foundation Switzerland

and also the scholarship of Frankfurt Lab.

Upcoming theatre premiere:

"Mortality, hooray"

A play about the impossibility of mistaken a bird for any other animal because of its feathers.
April 2020, EXPO Festival

English Theatre Berlin | International Performing Arts Center

Previous years:

From 2015 to 2017 she collaborated as a dramaturg with VASISTAS theatre group

for “Apologies 4&5” by Efthimis Filippou at the Athens Festival

and “Divine Comedy” by Dante Alighieri at the Onassis Foundation.

In 2012-2013 she co-directed in corporation 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 presented in an old Greek tanner,

“Words like Oedipus, The cost of life” and "Death came as half a human”

about male power and the desperate need for intimacy.

HER STUDIES 

In 2005 she began her studies as a scholar student at the National Theatre of Northern Greece

and she continued studying Theory of Theatre, Acting and Theatre Directing

at the Theatre Department of the School of Fine Arts,

Aristotle University of Thessaloniki.

In 2011 she received an MA in Theatre Studies.

HER WORK

Let’s imagine a natural ecstasy.

It’s not about the story, it’s about speeding the thought.

Scenic space as an area of aesthetic consistency,

working with terms of minimalism and precision,

questioning if art is able to reunite the human vision with the perception of the world,

the high risk of love, the grief and the tenderness, the braveness and the present,

finding at the same time the sense of humor. 

 
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