MORTALITY, HOORAY!

Childhood is a viral infection that causes swelling in the glands of the neck.

In a world characterized by rules, two women fall in love with each other,

a woman follows beauty tips and a man considers himself to be the victim of paranormal activity.

The mystery of the human soul creates a poetic universe full of absurdity,

contradictions and hope, interrupted by scientific information.

It’s an accurate erotic composition, an enigma based on reality.

Reality is funny.

The play encapsulates eastern civilization in a certain sense,

examines responsibility, the high risk of love, aesthetic blindness

and the role of art in the modern world, providing a humorous perspective

on human relations as an incredibly unique cosmos in need of revision and reunion;

an attempt to make the gaze more tender and brave,

while it envisions the present as a moment of coexistence, as eternity.

In the end, even death unites us.

Written and Directed by Artemis Chrysostomidou

Performed by Heiki Riipinen, Ivy Sayers, Marina Argyridou, Kleopatra Markou

Associate Dramatrugy by Charikleia Tatsi 

BERLIN

2020 EXPO Festival, English Theater Berlin

Postponed due to the corona crisis, new dates will be announced.

Funded by English Theatre Berlin, International Performing Arts Center
Pre-project funded by Kulturrådet, Arts Council Norway
Supported by Temporars by Muzeum Susch, Art Stations Foundation Switzerland


 

A GUIDE ON HOW TO PREVENT DAILY LIFE ACCIDENTS

Three women after the  death of a man are stuck in a walled safety zone

following an array of orders to avoid accidents.

The two of them fall in love with each other, the story goes away

and the easy with which the look is disoriented becomes the story;

the attitude of man towards death, art, love.

A play without a psychological or purely logical effect; instinctively, enthusiastic,

although enthusiasm is an absurdity because most things suffer from lack of care.

A work made in terms of humoring and collage,

suggestive as poetry and irrational as faith.

We are beautiful, when we love each other! How beautiful? Deadly beautiful.

Written and Directed by Artemis Chrysostomidou

Performed by Matina Pergioudaki, Natasa Papandreou, Nefeli Ananiadi, Fidel Talampoukas

ATHENS

January - February 2019
BIOS exploring urban culture | Main Stage

 

THE FLESH HAS ITS OWN SPIRIT

presented in an old Greek tannery, based on texts about lust

Theatre through theology. The desire as a deliberative need to meet the other person. The human body and the holiness of love in a performance where the actors never touch each other on stage.   

Directed by Artemis Chrysostomidou

THESSALONIKI

Block 33

2011

 

WORDS LIKE OEDIPUS I

the cost of life

The narrator is sitting in the audience seats while the spectators are above the stage.

Laius is hanging over the ground in a power position and at the same time under interrogation,

while Oedipus and Jocasta are nailed on the floor as slaves of his decisions.

The three of them form a recycled triangle as each gradually passes by the position of the other.

The play acts as a narration, interrogation and revival of what happened.

Laius and Oedipus begin their trip, the killing is happening

and Oedipus goes up to his father's position accusing him that

he preferred to sacrificed him to protect his own self.

Oedipus goes down taking the place of Jocasta while she takes the place of her son,

although she never talks or goes up to the position where men were

denying to be in a power position.

A loud sound is heard and the game is started with a run

in an attempt to kill each other in the context of a child game,

until they exhausted lying on the floor.

Based on a Heiner Müller’s poem.

Directed by Artemis Chrysostomidou

 

WORDS LIKE OEDIPUS II

death came as half a human

The play takes place into an installation that resembles the shape of the uterus,

while a tube drips over Oedipus a red liquid like an umbilical cord.

Jocasta had recognized his son although she did nothing to prevent the act of incest

while Oedipus wanted to return to the darkness of the womb.

The installation is shrinking, enclosing them in the blood.


As we grow older, the distance from the womb increases; and this fear of separation is called 'the fear of death'.

Written and Directed by Artemis Chrysostomidou

 
 

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