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

In a world characterised 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 civilisation in a certain sense,

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,

whilst 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 Interdisciplinary Dramatrugy by Charikleia Tatsi 


2020 EXPO Festival, English Theater Berlin

Funded by English Theatre Berlin, International Performing Arts Center,

Cyprus Ministry of Education and Culture, Cultural Services
Pre-project funded by Kulturrådet, Arts Council Norway
Supported by Temporars by Muzeum Susch, Art Stations Foundation Switzerland



After the death of a man, three women 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 ease with which the look is disoriented becomes the story;

the attitude of man towards death, art and 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 humour 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


January - February 2019
BIOS exploring urban culture | Main Stage



It has been 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


Block 33



the cost of life

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

Laius is hanging over the ground in a power position and at the same time is 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 place accusing him that

he preferred to sacrifice 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 place where men were,

denying to be in a power position.

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

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

until they lie exhausted on the floor.

Based on a Heiner Müller’s poem.

Directed by Artemis Chrysostomidou



death came as half a human

The play takes place in an installation that resembles a uterus

with a red liquid that represents the umbilical chord, to drip through a tube onto Oedipus.

Although Jocasta had recognised her son, she did nothing to prevent the act of incest,

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

The installation is shrinking and 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


© All rights reserved to Artemis Chrysostomidou

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