Stathis Livathinos is one of the most influential directors of his generation. Former artistic director of the National Theater of Greece (2015-2019) and its Experimental Stage (2001-2007), he is especially known for his works with his acting company, which celebrates its 25th anniversary this year. In June 2025, Stathis Livathinos was appointed a full member of the Academy of Athens to occupy the new Chair of Theater Arts.

From 2001 to 2007, Stathis Livathinos was artistic director of the Experimental Stage of the National Theater of Greece, where he launched an innovative educational initiative with the creation of Greece's first laboratory for theatrical direction. It was during this period that, through the laboratory's productions, an acting company with a relatively stable composition was formed, celebrating its 25th anniversary this year.

Livathinos has collaborated with Greece's most important theatrical institutions (National Theater, Athens and Epidaurus Festival, Kefallinias St. Theater, Megaron Athens Concert Hall, etc.) and has directed some of the most notable productions of recent years, most of them with his troupe, including: Shakespeare's Love 's Labour's Lost (2002), It Never Ends: Greek Poetry of the 20th Century (2002-3), Euripides’ Medea (2003), Bulgakov’s Moliere (The Cabal of Hypocrites) (2004), Strindberg’s A Dream Play (2005), Dostoevsky's The Idiot (2007-8 and 2012), Vitsentzos Kornaros’ Erotokritos (2011), Homer’s Iliad (2013) -which toured to international acclaim-, William Shakespeare and Thomas Middleton’s Timon of Athens (2017), Döblin’s Berlin Alexanderplatz (2022), Tom Stoppard’s Rosencrantz and Guildenstern Are Dead (2024), and Carlo Gozzi’s Turandot (2025). At the end of October 2025, Livathinos and his troupe will stage a production of Costas Taktsis’ The Third Wedding at the Greek Art Theatre Karolos Koun.

Our sister publication, GrèceHebdo, interviewed the director regarding his views on the art and ephemeral nature of theater, the importance of collective work and the timelessness of classical works.

On the occasion of the establishment of a Chair of Theater Arts at the Academy of Athens, to which you have been elected, I would like to ask you what this signifies for theater arts in Greece, on a broader basis.

It is true that theater does not require academic chairs to survive. It has survived without them even at the extremes of society and history.

However, any recognition and appreciation of theater as an institution is a positive step because, as I said in my acceptance speech, it validates its course, the struggle and the tireless efforts of so many generations of people from a time when theater was synonymous with frivolous entertainment.

The creation of the first academic chair for theater in Greece, the country where theater was born, is on the one hand symbolic, regardless of who occupies it (whether it’s me now or someone else tomorrow), and on the other hand can hopefully contribute to setting the conditions for interesting interventions, studies, and research, from which theater can only benefit.

That's what I want to believe, always looking at the bright side. I do that because that's how I am, and my personal goal is to make the most of all the potential opportunities that this academic chair offers, first of all in the field of education, especially theatrical education, a topic that interests me a lot. We're still at the start, but I already have many ideas, many thoughts, and it remains to be seen how all this will work out.

Speaking of the birthplace of Greek theater: we are a few steps away from the Theatet of Dionysus, considered to be the first theatre in the world, founded at the time of Athenian democracy. Why and how is the birth of theater connected to the Athenian democracy, why was it born here, at that specific time?

I don't think it could be any other way. It turns out that when a society reaches its heyday, it is in need of a mirror, an unsparing, accurate mirror. It is no coincidence that in very important periods of civilization, theater was always there.

I am neither a theater theorist nor a philologist, but what I can definitely say is that for theater to develop as an art, there need to have been phases of human evolution that inspire awe. Especially with regards to the evolution of spatiality, the concept of a public exchange of ideas and the birth of dialogue. Theater was not born on its own, but with it came literature, philosophy and -what's most important, since it encompasses all the above- language itself evolved with it.

And language is what keeps us alive in Greece. Because our history is full of surprises, setbacks and interruptions. But language preserves a continuity. This is a huge tool in theater, which -I believe and will always say it- is a national product. It is not simply a work of art, like, say, a painting or a piece of music.

Theater is a national product. It is directly connected to the nature of the people of each nation, who create it and perform it, and with their language.

I would like to ask you, what is theater for you? What is its contribution to the way we ask or answer life's questions?

Thankfully, theater deals with great issues that never concern just one person. They have to do with the fascinating, difficult and often tragic path of humans on earth. That is why certain works manage to survive and transcend the narrow limits of their time.

At the same time, when we observe life, we see that we need theater and mimesis to offer people something more, something that contains a different appreciation of life. Theater offers something extra, without losing sight of what is vital and fundamental. For me, theater is always an interesting, exciting game, but with great substance.

Are the great issues you mentioned the same issues that are the subject of philosophy? What is it that ultimately makes classic works timeless, whether it is Homer and ancient drama or Shakespeare?

Our lives are permeated and defined by specific issues that can be counted on the fingers of one hand. Usually they are love, death, creation, doubt…

But strangely enough, our lives are governed by small things. Our short lives pass in this fatal contradiction. And on this fact, I think, theater forms its own questions every time. Theater does not provide answers, because there are no answers in life. Life is a way someone asks questions and feels human because they think, because they are curious, because they wonder, because they are not satisfied…

Let's turn to what I would call, if you allow me, Stathis Livathinos' "obsessions", which are theater education and teamwork.

I wouldn't use the word obsessions. I have the luxury of usually being able to choose -up until now at least- the people I work with.

The team I work with has been relatively stable for the last 25 years and I have witnessed notable young people evolve into great artists. But I have of course worked with other people as well, including Betty Arvaniti and the Kefallinias Str. Theater or the National Theater of Northern Greece, etc.

I've been able in general to choose interesting people to work without losing myself pursuing too many things. I have always wanted my collaborations to be limited and meet certain criteria to make I would call honest, living theater, regardless of whether I always succeed or not.

What are the criteria for this type of theater?

They involve doing research and working with people whose character, talent, approach to creation, indicate that we share a curiosity and an interest in values, such as teamwork. This is not to say that individuality is banished from our work, quite the contrary.

But I don't believe I'm the first to engage myself with this kind of theater. This is what great stage directors, who I profoundly admire (like Strehler or Brook) have worked towards, and we shouldn't forget that. Not to mention great Russian masters of theater, who taught dramatic art as a collective work, and tried to save theater from the pit of self-promotion.

This began at the start of the previous century. The effort to get theater out of what we call a pit.

What would you call "a pit"?

It's the theater of the leading actor, the type that serves personal ambition and functions exclusively as a means of self-promotion. I am only interested in the kind of theater where even the last supporting actor will shine on stage, regardless of whether I always succeed to make that happen.

Would you say that this approach to theater changed thanks to the Russian method?

Yes, absolutely, that's what really changed things. Although I think that the great figures in the history of theater, such as Molière for instance, also needed great and talented people to work with.

I believe that the more talented someone is, the more they wish to work alongside other talented people, instead of the opposite. I think this is more of less obvious if you look at the history of theater.

I consider it very cheap and petty to collaborate with people you consider inferior just so you can easily outshine them.

 I think that real talent lies in being able to assert yourself among people from whom you have something to learn and with whom it is worthwhile sharing your secrets.

In your productions with you troupe, which celebrates its 25th anniversary this year, it is evident that a lot of hard work has been put into it, only to address an audience for a few hours. Is the ephemeral nature of theater -and fleeting time in general- an issue that you are concerned with?

I am always concerned by it, and nowadays we should be even more concerned, because we have found a powerful rival: image. Image as in those sweet, anodyne moments of scrolling, which can distance us from the charged moments of stage time.

We often find ourselves in a state of attention deficit.

Absolutely. And the things that tend to disappear in our days are those exact things that are essential for theater to function; and I believe that theater is what will ultimately preserve the humanity in us. Because time in the theater has real value; people are constantly trying to “buy” time, whereas a theatrical production takes place within a fixed time frame and demands total attention.

What's more, moments on stage or an actor's presence on stage are much more weightful, much more meaningful. A second on stage can be worth a century, while a second in everyday life can seem like nothing.

However, you are also concerned with the past. Judging by your recent book (Three Ages, Patakis Publishers, 2022), I think you want to honor the people who left their mark on you.

That is my true inheritance. And that is every person's inheritance. It didn't just appear out of thin air.

I was lucky enough to meet wonderful, remarkable people, and I feel very fortunate. Also, in a way, every person leaves something inside of us. If your life is meaningful and you give it substance, that leaves something inside of us. So yes, that's what I wanted to write about.

Finally, drawing on the title of one of your productions with the National Theater’s Experimental Stage, It Never Ends: what is that which never ends, in theater, in life?

This title works on many levels. Language never ends, and neither does theater, after we go away.

Until the time comes when it all ends. And we know when that moment is, when we cease to exist and we return to where we started, and someone else takes our place. That too is a way that things go on.

What actually never ends is the mysterious, special, strange thread that is part of the vibrant and sensitive people who care about language, theater, the stage, and art.

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The Municipal Theater of Piraeus, a landmark of the city of Piraeus, celebrates its 130th anniversary this year. With a long and remarkable history linked to that of Piraeus, the Theater, which opened its doors on April 19, 1895, reflects the economic, social, and political life of Greece's leading port.

The decision to build the theater was taken in 1883, at a time when Piraeus was in its economic, industrial and cultural heyday. The presence of eminent figures from the worlds of literature and the arts in the city helped advance the idea of its creation, along with the establishment of other important cultural institutions.

At that time, Piraeus had a population of 25,000 inhabitants, having become an industrial, commercial and shipping hub. Given the city’s economic prosperity, the founding of the Theater would not only offer a place that could host various events but, most importantly, it would be a status symbol. It should be noted that, by the late 19^th century, not only Athens was the site of the National Theater of Greece, but also the important urban centers of Hermoupolis (the capital of the Cyclades, on Syros) and Patras boasted grand theater buildings (both primarily influenced by La Scala in Milan).

The construction of the Municipal Theater began on April 1884 and lasted for about a decade. The official inauguration, although the work was not yet complete, took place on April 9, 1895, by mayor Theodoros Retsinas.

The building

The theater in the center of Piraeus, facing away from the commercial harbor. It was designed by architect Ioannis Lazarimos, born in Piraeus in 1849, who had studied at the École des Beaux-Arts in Paris, but also in Germany. Lazarimos designed a majestic building, 45 m long and 34 m wide, not including the marble porticos and exterior staircases. It combines elements of French and German traditions, with the portico, entrance foyer, staircase, and large foyer on the first floor clearly inspired by German eclecticism, while the auditorium, stage, two cafeterias, and auxiliary spaces (dressing rooms, offices, etc.) are typical of French theaters. The primary inspiration for the interior design was the Théâtre de l'Odéon in Paris.

The theatre’s façade is impressive thanks to its monumental gateway with its four Corinthian columns, disproportionately slender in relation to their height, and a triangular pediment. The roof of the building is topped by a terrace that also features a pediment.

In addition to the auditorium, which can seat 600 spectators, the theater would include three rows of 23 boxes each, for a total of 69 boxes that can seat 414 spectators, and a balcony with a capacity of 300 spectators. The municipal theater could seat a total of 1,314 spectators and, if necessary, 1,500 spectators.

A history linked with the life of the city

Throughout the 19th and 20th centuries, the heart of the city beat at the Foyer, a meeting place for the bourgeoisie, artists, and the city's intellectual life. The Municipal Theater of Piraeus has had the privilege of hosting some of the leading figures of the Greek theater scene, such as: Aimilios Veakis, Dimitris Rontiris, Mimi Fotopoulos, Vasilis Diamantopoulos, Mimi Traiforos, Mano Katrakis, Alekos Alexandrakis, Dimitris Horn, Kyveli, Aspasia Papathanassiou, Katina Paxinou, and Elli Lambeti.

It has also hosted soirées, exhibitions by important painters, and lectures by important intellectuals, as well as concerts by some of the country’s most important composers, including Menelaos Pallantios, Manos Hadjidakis, Mikis Theodorakis, Dionysis Savvopoulos, and Giorgos Kouroupos.

In the 1910s, Greece -and, by extension, Piraeus and the Municipal Theater- entered a troubled period, with the Balkan Wars being followed by the Great Division, Greece’s entrance in WWI, the Greco-Turkish War and the Asia Minor Catastrophe. According to the needs of the times, the premises of the theater were used as barracks, schools, or to host various public services. Especially following the Asia Minor Catastrophe, in the early 1920s, it housed Greek refugees from the Ottoman Empire who had arrived at the port of Piraeus having left behind their homes and all their belongings.

During the Nazi Occupation (1941-1944), the Municipal Theater was commandeered by the occupying forces to provide entertainment for the troops. Moreover, the frequent bombing of the port during World War II, and in particular the Allied bombing of the city on January 11, 1944, took a heavy toll on the building.

In 1980, the Municipal Theater was designated a protected monument, but it suffered significant damage during the 1981 earthquake, with repairs beginning in 1984. The earthquake of September 1999, combined with the regular use of the building for exhibitions, civil weddings, and school events, added to the existing issues.

Between 2008 and 2013, the Municipal Theater underwent extensive restoration works by the Ministry of Culture's Directorate of Protection and Restoration of Modern and Contemporary Monuments. Since it was restored to its former glory, it has once again become a landmark of Piraeus, housing performances by important figures of the arts, and attracting audiences from all over Attica to its packed auditoriums. The Municipal Theater has hence successfully regained its status and established itself as one of the most important theaters in the Greece.

Translated from the original article from Grèce Hebdo (Photo source: Municipal Theater of Piraeus official Facebook page)

Read also via Greek News Agenda: The architectural treasure of Piraeus documented and recorded by MONUMENTA; The regeneration of Piraeus; Lycabettus Theater opens up again

The post The Piraeus Municipal Theater celebrates 130 years appeared first on Greek News Agenda.

The Athens Epidaurus Festival is Greece’s leading cultural organisation and one of the oldest running festivals in Europe. Spanning 70 years, the Festival has welcomed some of the greatest music, dance, and theatre artists from both the international and local scenes, in collaboration with prestigious Greek and international organisations, attracting large audiences from around the world (Cover photo: poster of the Festival by Beetroot).

In this landmark year, with 107 unique productions, more than 3,000 artists, across 14 venues and over 95 days, the Athens Epidaurus Festival promises an exciting artistic season aimed at an even broader audience. Legendary figures from the global stage will be featured, alongside the largest participation of young artists in the Festival's history. Of course, the artistic realms that gave birth to the institution and have been at the heart of its programme ever since —Ancient Drama and Classical Music— continue to hold a central role.

Stage Director and Artistic Director of the Athens Epidaurus Festival, Katerina Evangelatos, stated that “this anniversary marks a moment of reflection, but also the birth of a new chapter. It is the perfect occasion to reassess the Festival’s relationship with its audience and the contemporary artistic scene”... “In this year’s anniversary programme, we welcome prominent figures of the Arts while simultaneously turning our gaze toward the future, offering a platform to the voices of the younger generation—on a scale unprecedented in our history! In addition, we launch thematic Cycles that draw from Literature and our cultural traditions. We give prominence to formidable women who are leading the way in Theatre, Dance, and Music. We create landmark global events in Epidaurus, unveiling a constellation of productions full of surprises. We invite artists from dozens of countries, making the international character of the festival more pronounced than ever. We initiate public discussions on the pressing agonies of our times, participate in film production, expand our free-access events, embark on new artistic journeys, and establish strategic partnerships that thrust the Festival into its next era”.

ODEON OF HERODES ATTICUS

The Odeon of Herodes Atticus - known as the "Herodeon" - is located on the southern slopes of the Acropolis, on Dionysiou Areopagitou Street. Entry to the Odeon is from the pedestrianised Dionysiou Areopagitou Street, a walkway linking Athens’ main archaeological sites (Source: Athens Epidaurus Festival, © Thomas Daskalakis)

The programme at the Odeon of Herodes Atticus is defined by a cohesive Classical Music Cycle, featuring stellar names from the global stage. Grand orchestras and remarkable soloists, such as Yuja Wang, Daniil Trifonov, and Emmanuel Ax, will perform this year at the Roman Odeon, while, the supreme soloist Hilary Hahn will be performing with the Münchner Philharmoniker under the baton of conductor Andrés Orozco-Estrada. Joining the celebration will be Greek “international” conductors, Constantinos Carydis and Teodor Currentzis. The programme of the Odeon of Herodes Atticus includes eminent figures of contemporary music, opera performances from the Greek National Opera, a grand tribute to the legacy of Mikis Theodorakis, Dance and Theatre productions.

The programme at the Odeon of Herodes Atticus includes, among other performances (from upper left to lower right): Greek National Opera, Turandot by Giacomo Puccini (June 1-8), Katerina Evangelatos, Hippolytus by Euripides, National Theatre of Greece (June 18-19), The Stranglers (June 23), Athens State Orchestra – Lukas Karytinos – Emanuel Ax, Works by Beethoven and Mendelssohn (June 28) Sydney Dance Company, Impermanence (July 4), The Munich Philharmonic Orchestra – Andrés Orozco-Estrada – Hilary Hahn, Works by Brahms and Dvořák (July 6), Chamber Orchestra of Europe – Constantinos Carydis – Francesco Piemontesi, Works by Koukos, Liszt, Purcell, Berlioz (July 10), Mikis Τheodorakis – Odysseas Elytis, Axion Esti, Athens State Orchestra conducted by Myron Michailidis (July 13), Greek National Opera—Derrick Inouye—Katerina Evangelatos, Rigoletto by Giuseppe Verdi (July 27-31)

PEIRAIOS 260

The Athens Festival venue at 260 Peiraios Street is a former industrial space  located at the Tavros district of Athens, and shares a city block with the Athens School of Fine Art (Source: Athens Epidaurus Festival)

First-time participants in the Festival, young Greek creators, as well as trailblazing voices from the international stage, will present original works of Theatre and Dance at Peiraios 260. At the heart of this year’s programming lies the representation of as many artistic disciplines and languages as possible, embracing every breath of artistic expression, diverse forms, dramaturgies, repertoires, and creative contributors. However, the 70^th anniversary of the Festival would not be complete without some legendary figures, whose journeys have been intertwined not only with the history of the institution, such as Ariane Mnouchkine and the historic Théâtre du Soleil, and the visual artist and director William Kentridge.

The programme at Peiraios 260 includes, among other performances (from upper left to lower right): Christina Gouzelis - Paul Blackman, Far from the End (June 6-8), Back to Back Theatre, The Shadow Whose Prey the Hunter Becomes (June 6-8), Idio Chichava, Vagabundus (June 6-8), El Conde de Torrefiel, La luz de un lago (June 12-14), Alexandra Waierstall, HEART MOMENT (June 12-13), Io Voulgaraki, Comemadre, based on the book by Roque Larraquy (june 13-16), Alexandros Stavropoulos, Who’s gonna tell her? (June 14-16), Thanasis Dovris, Sotiria, based on the short story collection by Chara Romvi (June 19-21), Faye Driscoll, Weathering (June 27-29)

Panagiota Kallimani Somehow, if not, at all, together (June 27-28), Carolina Bianchi—Cara de Cavalo, The Bride and the Goodnight Cinderella /A Noiva e o Boa Noite Cinderela (July 5-6), Christos Thanos, War correspondents (July 5-8), Emily Louizou, Blindness, Based on the novel by José Saramago (July 5-8),  Miet Warlop, INHALE DELIRIUM EXHALE (July 7-8), Dafin Antoniadou, Darkest White (July 21-22), Katerina Giannopoulou, Phenomenon, By Greg Liakopoulos (July 21-24),  Sofia Antoniou, Life, Old Age, and Death of a Working-Class Woman Based on the book by Didier Eribon (July 21-24), Patricia Apergi, Hystory (July 21-24)

Handspring Puppet Company – William Kentridge, Faustus in Africa! (June 20-22). Within a meticulously orchestrated universe—populated almost entirely by puppets!— Kentridge tells the story of the protagonist who sells his soul to the devil in exchange for unlimited joy and everlasting youth—this time, setting it in Africa!

Live at the Platea: Live performances will take place throughout the artistic programme at Peiraios 260, following the main performances. Musical groups performing a diverse array of styles—from gypsy jazz, funk, and Latin to hip-hop, world music, and Balkan rhythms (May 30-July 27)

ANCIENT THEATER OF EPIDAURUS

The Ancient Theatre of Epidaurus is located within the archaeological site of the Sanctuary of Asklepios, in the Argolis prefecture of the Peloponnese. It is a half-hour drive from Nafplio and approximately two hours from Athens (Source: Athens Epidaurus Festival)

A cornerstone of programming at Epidaurus, Ancient Drama remains the unwavering protagonist of a rich, pulsating tradition that constantly seeks new avenues of expression and communication with the current cultural momentum. In recent years, the Festival has designed and established initiatives that strengthen research, foster fruitful dialogue, and renew the genre. The Contemporary Ancients Cycle, is a project celebrating its fifth anniversary this year. From 2021 to 2024, thirteen original works have been presented at both theatres of Epidaurus by internationally acclaimed creators who responded to our call, demonstrating the timeless appeal of ancient myths.

This year, the Cycle is significantly enriched, among others by the distinguished dramaturg and director Wajdi Mouawad who will present Europa’s pledge, leading an international cast, celebrated French film actress Juliette Binoche.  Masters of theatrical Αrt, such as Theodoros Terzopoulos, Yannis Houvardas, and Michail Marmarinos, will bring their creations to the stage of the Ancient Theater of Epidaurus—a distillation of their remarkable journey in Theatre.

National Theatre of Northern Greece - Cyprus Theatre Organisation - Michail Marmarinos, ζ – η – θ The stranger, A return to the sources: a visit to three Odyssey rhapsodies (July 11-12)

Yannis Houvardas: Oedipus, Ancient Theater of Epidaurus. The story of a transformation: from darkness to light.  (July 25-26)

National Theatre – Theodoros Terzopoulos, Oresteia by Aeschylus (August 22-23)

LITTLE THEATER OF ANCIENT EPIDAURUS

The Little Theatre of Ancient Epidaurus is located in the Argolis prefecture of the Peloponnese. It is a half-hour drive from Nafplio and approximately two hours from Athens (Source: Athens Epidaurus Festival, © Thomas Daskalakis)

At the Little Theatre of Ancient Epidaurus, the month of July is purely dedicated to the Contemporary Ancients Cycle, featuring a programme not strictly theatrical but also rich in music-theatre and film projects, initiating an intriguing fusion of diverse genres and languages that proposes a brave and multi-dimensional approach for the future.

In an unexpected collaboration, the Festival joins hands with the Hellenic Film Academy to produce a film inspired by Sophocles’ Electra, directed by seven filmmakers—a direct nod to the seven decades of the institution’s existence.

GRAPE

GRAPE, the platform dedicated to promoting and exporting Greek performing arts worldwide, has reached its third year and become an indispensable part of the Festival. This year’s edition (July 21–26) welcomes more than 90 guests from over 30 countries. Alongside its rich programme of dynamic Greek artists—whose work will be showcased to artistic directors and heads of programming from across the globe—it launches a major collaboration with the European Festivals Association, and hosts an international forum on performing arts on July 23.

Greek artistic performances presented in the framework of GRAPE 2025. The performances included are also scheduled on dates outside the duration of the platform

SUBSET FESTIVAL – ATHENS CONSERVATOIRE

The Athens Conservatoire remains a steadfast companion in the organisation of the Subset Festival—returning this year with a more pronounced international character than ever. Featuring Ryoji Ikeda, Mouse on Mars ft. Dodo NKishi, Christina Vantzou, and many more artists and soloists, ensembles, and groups from Greece and abroad, the festival further boasts workshops, commissioned works, sound installations, and an enveloping electrifying atmosphere that showcases the new music right here in the heart of Athens. The series of concerts will take place across the Ioannis Despotopoulos Amphitheatre, the New Stage, and the Arts’ Foyer of the Athens Conservatoire.

VISUAL ARTS

On the occasion of the 70^th anniversary of the Festival, Objects of Common Interest, the award-winning design studio, presents an innovative light installation at the spaces of Peiraios 260. The installation consists of tube lights in various shapes, arranged in countless configurations (June 1 – July 24)

Tenant is the title of a video installation by artist and video designer Pantelis Makkas, presented at Peiraios 260: a translucent house filled with images born and crafted for theatrical productions in which he has collaborated over the past fifteen years (July 5-24)

A travel back in time through posters that have adorned the Athens Epidaurus Festival during its 70 consecutive years of operation. In order of appearance, creators of the posters are (from  upper left to lower right): 1955 Giorgos Anemogiannis, 1968 Nikos Kostopoulos, 1975 Nikos Kostopoulos, 1989 Nikos Kostopoulos, 1994 Takis, 2022 Kostas Tsoklis, 2017 Iphigenia Vasileiou, 2024 Beetroot (Source: Athens Epidaurus Festival)

I.A.

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Olga Pozeli is a stage director, actress and writer; she is a prolific artist and arguably the most important representative of devised theater in Greece.

Pozeli has studied English Literature at the Aristotle University of Thessaloniki and trained as an actress at Roula Pateraki’s Drama School. She then took her MA in Drama and Theatre Studies, on a British Council’s and the Academy of Athens’ scholarship, at the Royal Holloway and Bedford New College, University of London, with a major in Directing. On her return to Greece she formed a theatre company, NOITI GRAMMI, the productions of which she directs ever since. NOITI GRAMMI has presented several devised theater productions, but also plays by David Mamet and Steven Berkoff, among others.

Olga Pozeli has been nominated for two awards (one by the Hellenic Association of Theater and Performing Arts Critics and the other by the Athinorama magazine) for the productions Do you love me?  and Kvetch. In 2012, the International Festival of Monoperformances Vidlunnja awarded her the Festival Directors’ Award for the monodrama When the red Toyota went off the road and sank in black water. In November 2016, at the International Experimental Theater Festival held in Hanoi, Vietnam she received the Award for Experimental Innovation for the production I remember.

Since 2008, Olga Pozeli is the Secretary of the International Monodrama Forum of the International Theatre Institute (ITI), while at the same time she acts as an advisor for Fujairah International Monodrama Festival (UAE). From 2004 to 2011, she taught Theater Direction in the Department of Theater Studies of the University of Patras. She is in charge the European Theatre Project PEEP at Moraitis School.

Greek News Agenda spoke* with Olga Pozeli on the art of devised theater the way it defies traditional hierarchies in the process of theater-making.

You are one of the most important representatives of devised theater in Greece. Tell us about this method; what are its main differences from both traditional theater and improvisational theater?

Devised theatre is not a movement in itself, nor a distinct theatrical genre, hence an attempt to historically chart the course of the art of devising until the term "devised theater" was officially introduced into theatrical dictionaries, into the curricula of theater departments in universities and into the audience’s collective conscious, would inevitably end up as an inexhaustive record of individual artists and productions scattered over several decades.

The method of devising in theatre is a process in which a group of people start creating from scratch, without a pre-existing theatrical text. And it is usually a group of people who share a common ideology, believe in the equality of partners, and wish to express their social and political concerns through their art. Among them there are those who are more extroverted, who explore the human condition in society, analyze social institutions, study political issues, and those who are more introverted, who are concerned with the way we perceive, feel, think, the structure of thought, the nature of consciousness, the self in relation to art. We belong to the latter group.

What were your goals when you founded the theatrical group NOITI GRAMMI?

The basic principle which permeates every performance by NOITI GRAMMI during its 25 years of presence in Greek theater, is restoring parity between the different theatrical codes that make up a performance (text, acting, stage design, costume design, kinesiology, music, etc.). We do not believe that one of the above codes is the focal point of the performance event and the others merely frame or enhance it. On the contrary, we are convinced that a contemporary performance is a complex sum of many different but completely equal elements. For this reason, our productions are more in the logic of stage composition. In such a light, the role of the director is not limited to merely proposing an interpretation of the dramatic text and directing the actors, but rather extends to designing and then composing the entire universe of a production from a collection of diverse elements. It is natural for such an approach to elevate the role of the visual in such a way as to restore its parity with speech.

NOITI GRAMMI has successfully staged many productions representative of devised theater, but not exclusively. How different from the traditional approach is your approach to staging a pre-existing play?

In terms of performance, an actor in NOITI GRAMMI move away from the principles of psychological-realistic theater: they are not encouraged towards an emotional-psychological portrayal of the roles -often descriptive of emotion- but are guided towards a more abstract -and therefore open- kind of acting, which enables the audience to choose for themselves what their attitude will be towards the events on stage. On a physical level, we try to explore the personal expression of the body - a body that carries its own history. In the rehearsal room, the actors question current kinesiological forms and try to discover their own very personal improvisational material, thus emphasizing the creative process rather than the result. In this way, the natural potential of the body comes to the foreground, but so do its limitations. This disparity - the regression between virtuosity and weakness - is a basic axis of the way in which each theatrical persona is represented on stage. We also move away, as far as possible, from traditional theatrical spaces, arguing that the separation between audience and actor prevents both from feeling that they belong to a community and from sharing the same theatrical experience. That's why we've done two promenade shows so far - EX LIBRIS, in libraries, bookstores and cultural venues, and CONFESS in private houses.

Your group is staging for the second year the show Bites, which you describe as "an adult show about animals". What prompted you?

Animals have been and always will be a central element of the human world. We may completely ignore, or choose to ignore, the vast majority of them (let's not forget that insects comprise more than two-thirds of living organisms) but those we interact with are of immense and essential importance to us. In recent years we have noticed that society has begun to re-examine its relationship with them. It’s now more than small, utopian minorities that are concerned with animal welfare issues; there is a large number of advocates at the forefront of these battles, articulating their positions eloquently and boldly. So we too are making an attempt to explore what the place of animals is in a socially conscious art. We move the animal from the position of victim/object, transforming it into an active subject.

You have taught Stage Direction at the University of Patras and since 2013 you have been in charge of the European project PEEP International Theatre Project at the Moraitis School. How much does your experience in theater -especially in this particular method- help you in the process of teaching, and how does teaching influence your work as a director?

Teaching has always been an important component of my work. The six years I taught at the Department of Theatre Studies of the University of Patras were probably the most creative in this respect. Young people inspire you and remind you that life goes on and you have to keep up with it! I taught at the Moraitis School for ten years and now I have kept the PEEP Theatre Project at its high school - a European project that brings us every time together with different schools in Europe, with the common goal of creating a small theatrical production.

This year, as a guest of the Egyptian government at the 31st Experimental Theater Festival, you gave experiential seminars on devised theater to young people from Egypt. Would you like to tell us about this experience?

It was an eye-opening experience! I introduced 12 Egyptian actors to the art of devised theater. Although they had no previous contact with this art form, they offered me their trust and were willing to experiment, take risks and become, during the five days of the seminar, an unexpectedly close-knit group that managed to create small scenes of devised theater.

The production Does it Bite? is presented Fridays at 21.00, at Fournos Thater

*Interview by Nefeli Mosaidi

The post Olga Pozeli on the art of devised theater appeared first on Greek News Agenda.

Aiming to shine a spotlight on Greece’s lesser-known ancient theaters, a new cultural initiative has been launched by the Diazoma association and the National Theater of Greece, in collaboration with the Ministry of Culture. The project, supported by a 100,000-euro grant from the ministry, seeks to introduce the public to lesser-known ancient theatres around Greece through a contemporary staging of Aristophanes' comedy “Plutus.”

From July to September, audiences across Greece will have the unique opportunity to experience “Plutus,” the last surviving work of Aristophanes, in its latest version. The play has been translated by Dimosthenis Papamarkos and is directed by Manos Vavadakis. The production features a talented company of new-generation Greek actors, bringing fresh life to the classic comedy.

The tour will visit 16 ancient theaters, allowing the public to appreciate these cultural treasures in their natural, open-air settings, and enjoy "Plutus," which elegantly crowns the poet’s experimentation with the comic genre, in natural light and sound.

The participating ancient theaters include:

• Kabireion, Thebes
• Demetria, Volos
• Maroneia, Rhodope
• Mieza, Naoussa
• Gitana ,Filiates, Thesprotia
• Cassope, Preveza
• Amvrakia, Arta
• Pleurona, Messolonghi
• Aigeira, Aigio
• Ecclesiasterion, Messene
• Ancient Theatre of Gythio, Gythio
• Ancient Theatre of Arcadian Orchomenos, Tripoli
• Ancient Theatre of Eretria, Eretria
• Ancient Theatre of Orchomenus , Boeotia
• Ancient Theatre of Zea, Piraeus
• Ancient Theatre of Thoricus, Lavrio

The Central Archaeological Council (KAS) has granted unanimous approval for these 16 venues to host the performances of Aristophanes' comedy; the approval comes with the stipulation that no fees or tickets will be required for the performances, aside from standard admission to the archaeological sites where the venues are located. The schedule of the program running from July to September was presented at a press conference at the National Archaeological Museum, during which, minister of Culture Lina Mendoni emphasized the importance of integrating cultural heritage into citizens' daily lives. “Our inventory of monuments is neither static nor simply a part of a tourism product. A cultural inventory is something very important because of the values it carries, and that is why it should be a part citizens' daily lives," the minister said. She highlighted that the ministry’s policy since 2019 has been to open archaeological sites and monuments to use for modern plays and performances, noting that cultural heritage is a source of energy and inspiration for modern creativity.

National Theater's Artistic Director Yannis Moschos, expressed excitement about the institution's new venture into lesser-known territories. "Our company will find itself for the first time in its history in new places, while local communities will come into contact with the activity of the National Theater," Moschos said. He noted that the troupe performing "Plutus" comprises younger generation actors from the National Theater, offering new artists the opportunity to engage with ancient drama and present Aristophanes through a contemporary lens.

Stavros Benos, founder the Diazoma association for preserving ancient theatres and former minister of Culture called the program "a triumph of synergies" and said that in its 15-year existence, Diazoma has showcased and to studied a total 0f 50 ancient theatres around Greece «in order to unlock European (funding) programs" for their preservation. Benos noted that the maturity and funding of each project occurred in record time, demonstrating the effectiveness of collaborative efforts.

Free passes for the performances, with the exception of venues requiring paid entrance, will be distributed two hours before each show. Detailed information on dates and times is available on the National Theater’s website.

This initiative not only aims to promote Greece’s rich cultural heritage but also fosters a deeper connection between local communities, modern audiences and ancient drama, ensuring the timeless works of Aristophanes continue to resonate with new generations.

About Plutus

Old Chremylus goes to the oracle of Delphi to ask Apollo if he should raise his son by teaching him the value of injustice, thereby ensuring his future prosperity. The god does not answer directly, but urges him to follow the first person he sees when he leaves the temple. Taking Apollo’s advice, Chremylus finds himself hot on the heels of an old blind man. With the help of his slave, Carion, he discovers that the man is actually Plutus, the god of wealth. Chremylus plans to cure Plutus’s blindness with the help of the god of healing, Asclepius, so that he can fairly distribute his gifts to the virtuous citizens. The goddess of poverty, Penia, who has championed the city until now, tries to stop them, reminding Chremylus – but also the audience – of the need and value of a life lived in moderation. However, Penia will lose the argument hands down.

Asclepius performs his miracle and Plutus regains his sight, and with it his wits. Chremylus’s house is packed with visitors who want to meet his guest. The new situation has not only changed the balance of society but has also brought disruption to Mount Olympus. Hermes, the messenger of the gods, has no work, and asks for help from Plutus, while the priest at the temple of Zeus is starving because the Athenians have stopped making sacrifices to the god. Finally, good sense prevails and Plutus, accompanied by the Chorus, is led back to his old home, at the back of the temple of Athena in the Parthenon, where the city’s coffers are kept.

Plutus (338 BC), the last of Aristophanes’ surviving comedies, abandons the structure and motifs of Old Comedy, marking a shift to New Comedy. Aristophanes removes the choric interludes, the parabasis (addressing the public directly) and the derisive jokes from his play, turning his attention to the problems of everyday life.

Director’s note

The blind god, Plutus, regains his sight and shares the wealth equally in society. An early socialist or just nostalgic for a lost golden age? The play, written in 388 BC, after the defeat of Athens in the Peloponnesian War, suggests another Aristophanian utopia. But is a society whose material needs are fully met a happy one? Does individual prosperity precede social well-being? When is one truly free? When do the bonds of happiness break?

In this late-period play, the presence of the Chorus is negligible; it is a simple observer of developments. A Chorus that is absent is symbolic of a city that is indifferent. A small company of actors travels around Greece, inviting audiences to a new gathering in places where society once went for entertainment, debated, and made decisions. It invites us to listen together, to laugh together, and ultimately to return to being together, abandoning technological (or any other kind of) loneliness.

Read also from Greek News Agenda

• The Ancient Theater of Cassope opens to the public after 21 centuries
• The Cultural Route of the Ancient Theatres of Epirus
• Dimosthenis Papamarkos: “I would like to see more works of the fantasy, sci-fi, and horror genre in Greek literature”

I.L., with information from AMNA-MPA and the Greek National Theatre

The post Shining a Spotlight On Lesser-Known Ancient Theatres in Greece with Aristophanes’ “Plutus” appeared first on Greek News Agenda.