MORTALITY HOORAY
A theater play about the impossibility of mistaking a bird for any other animal because of its feathers.
Writer, Director: Artemis Chrysostomidou
Premiere 24 | 4 | 2020
EXPO Festival | English Theater Berlin | International Performing Arts Center
Funded by English Theatre Berlin
Pre-project funded by Kulturrådet | Arts Council Norway
Supported by Temporars by Muzeum Susch | Art Stations Foundation Switzerland
Childhood is a viral infection that causes swelling in the glands of the neck.
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, the ease with which the look is disoriented becomes the story, the attitude of man towards death, art, love.
A story without a psychological or purely logical effect; instinctively, enthusiastic, although enthusiasm is an absurdity because most things suffer from lack of care.
A play made in terms of humoring and collage, suggestive as poetry and irrational as faith. Theater as an erotic composition, an enigma. Enigma is based on reality. Reality is funny.
We are beautiful, when we love each other! How beautiful? Deadly beautiful.
Writer, Director: Artemis Chrysostomidou
With: 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
Theater 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.
Director, Dramaturg: Artemis Chrysostomidou
THESSALONIKI
block 33
WORDS LIKE OEDIPUS I
the cost of life
Theater's planning has changed, the narrator sits in the audience's seats while the spectators are above the stage. Laius is swinging above the ground as a questioning person but also as the superior ruler of the country, the king, 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 after the oracle he preferred to sacrificed him just to protect his own self. Oedipus goes down and takes the place of Jocasta. Jocasta takes the place of her son although she never talks or goes up to the position where the men were. She denied to be in a power position and she sais nothing to defend her self. A loud sound is heard and the game is started with a running for killing each other in the context of a child game, until they exhausted lie down on the floor.
Director, Dramaturg: Artemis Chrysostomidou
WORDS LIKE OEDIPUS II
death came as half a human
The story 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 Oedipus from the beginning although she never did anything to prevent the act of incest. Oedipus wanted to return to the darkness of the womb. The installation is shrinking, enclosing Oedipus and Jocasta in the blood.
As we grow older, the distance from the womb increases; and this fear of separation is called 'the fear of death'.
Writer, Director: Artemis Chrysostomidou