COLLABORATIONS — AERITES DANCE COMPANY

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The Greek National Opera’s first major summer production for 2022, Giuseppe Verdi’s darkly menacing masterpiece Rigoletto, conducted by Lukas Karytinos and directed by Katerina Evangelatos, is to be presented at the Odeon of Herodes Atticus on 2, 5, 8 and 11 June as part of the Athens Epidaurus Festival. First performed 171 years ago in Venice, Rigoletto has proven itself one of the most popular operas in the repertoire. With his Rigoletto, Verdi opened a new chapter in his career as a composer, presenting a work with its own distinct identity that was also more open to experimentation, with its sudden shifts between formal melody and dramatic recitative ensuring that the action unfolds at lightning speed.
Ο «Βόυτσεκ» είναι ένα έργο-φαινόμενο. Ο Γκέοργκ Μπύχνερ το έγραφε το 1836/7 όταν ήταν μόλις 23 ετών αλλά πέθανε από τύφο προτού προλάβει να το ολοκληρώσει. Και όμως το ρηξικέλευθο αυτό αριστούργημα έχει επηρεάσει σχεδόν όλόκληρο το Δυτικό Θέατρο από τους εξπρεσσιονιστές και τον Μπρεχτ μέχρι τον Μπέκετ, και από τον Γκόρκι μέχρι τον Κολτές και την Σάρα Κέην. Ο Μπύχνερ βάσισε το έργο σε μία γνωστή υπόθεση της εποχής: o στρατιώτης Γιόχαν Κρίστιαν Βόυτσεκ σε μία κρίση ζήλειας μαχαίρωσε την ερωμένη του και καταδικάστηκε σε θάνατο. Παρόλο που μελετά σε βάθος τις κοινωνικές,ποινικές και τις ιατρικές πτυχές της υπόθεσης , ο Μπύχνερ ξεπερνά την σκοτεινή περίπτωση ενός καταπιεσμένου ατόμου και δημιουργεί μία υπαρξιακή τραγωδία που αγγίζει αιώνια ερωτήματα για την εξάρτηση του ανθρώπου από τις κοινωνικές συνθήκες που είναι πέρα από τον έλεγχό του, την ηθική, τις κοινωνικές σχέσεις αλλά και την προκαθορισμένη μοίρα.
Production commissioned by Raphael Bianco to three choreographers with a strong contemporary imprint: Patricia Apergi, Salvatore Romania and Marco Chenevier. “Prometeo – oltre al fuoco” is the third step of the Trilogy of Civilization, conceived by Raphael Bianco, and was preceded by two creations (Orlando and Faust) by the same choreographer who, on this occasion, takes to him only a short piece. The theme of the show is Prometheus, declined to its symbolic, archetypal and social value with all the relative aesthetic, ethical and social reflections on which the different works of the choreographers are centred. From the contemporaneousness of Patricia Apergi, a Greek choreographer with a strong and political sign (already a guest of the Interplay Festival), to the great energy of Salvatore Romania, to the theatrical coreutical contamination by Marco Chenevier and the vision of Raphael Bianco.
One of the 20th century’s operatic masterpieces, Leoš Janáček’s opera combines existentialist drama with elements of fantasy. Emilia Marty, a famous singer, is in fact a 300 year old woman. The secret of her eternal youth is an elixir made in the 16th century by the Cretan alchemist, Hieronymus Makropulos, who was then in the service of Emperor Rudolf II, which he tested for the first time on his daughter Elina Makropulos. Elina survived the centuries as Eugenia Montez, Elsa Müller, Ekaterina Myshkin, and Ellian McGregor, only ever keeping the first letters of her original name. Now as Emilia Marty she comes to realize the cynicism and indifference that her eternal youth has created and grasps how many things, like the sense of a life’s purpose, are determined by the fact that one knows one’s life has a clear end. And so she decides to let death take her.
An Ancient Greek mass grave with 80 dead prisoners was discovered two years ago in Paleo Faliro. The Japanese visual artist Hikaru Fujii returns to the FFF and after extensive research, in collaboration with the choreographer Patricia Apergi and the people in charge of the excavation, he turns his eye to this astounding find, spotlighting the "dark" pre-Golden Age Athens of the 7th century BCE. The audiovisual installation that he mounts in an emblematic building of the academic community, the former Chemistry building, which is now the Law School library, includes interviews with those in charge of the excavation – from archaeologists to dentists – and the reenactment of the execution and the burial by a chorus of young Athenians.
The Comedy of Errors begins with the description of a shipwreck, presenting the significance of the sea and sea travel as forces both separating and reuniting characters and families. By situating his play in the port city of Ephesus, Shakespeare not only changes the setting of his main source (Plautus’s Menaechmi) from the Adriatic to the Aegean, but also opens up a magical “fairyland,” a cosmopolitan city, at the borders between East and West, representing the religious syncretism and the fusion of cultures, worships and rituals of late antiquity. The setting of the play and its palimpsestic nature underlie the Athenian production of 2018-2019 directed by Katerina Evangelatos that unites diverse theatrical traditions, ranging from the magical world of the circus to Kyogen, and from slapstick comedy — replete with allusions to Charlie Chaplin’s The Cure and The Circus – to Meyerhold’s biomechanics. The performance depended on a central double mirror with revolving doors on a rotating base, as well as on the doubling of actors to address the mirroring and transformation of characters and the themes of optical illusion and loss of identity. Focusing on the visual and sound devices of the performance as well as on its mixture of comic genres and idioms, the essay explores its repossession of the composite material and theme of Shakespeare’s play.
Director Katerina Evangelatos makes her Ancient Theatre of Epidaurus debut, tackling one of Euripides’ most intriguing and provocative tragedies, on commission by the National Theatre of Greece. Dramatizing the triumph of life over death, Alcestis (438 B.C.), Euripides’ oldest surviving work, is the subject of endless debates regarding its genre, as it contains both tragic and comical elements. The obvious Sophist influences of the play have triggered a series of moral questions about the nature of interpersonal relationships. In a world where one can take someone else’s place in death, the writer of the “Athenian enlightenment” scrutinizes seemingly selfless relationships, and raises a series of crucial questions, such as: What constitutes a proof of true love? What are the limits of devotion? Whose life is more valuable, and why? Can divine laws provide answers to any of these questions? And what about divine intervention changing the rules of the game?
Rhesus (Greek: Ῥῆσος, Rhēsos) is an Athenian tragedy that belongs to the transmitted plays of Euripides. Its authorship has been disputed since antiquity,[1] and the issue has invested modern scholarship since the 17th century when the play's authenticity was challenged, first by Joseph Scaliger and subsequently by others, partly on aesthetic grounds and partly on account of peculiarities in the play's vocabulary, style and technique.[2] The conventional attribution to Euripides remains controversial. Rhesus takes place during the Trojan War, on the night when Odysseus and Diomedes make their way covertly into the Trojan camp. The same event is narrated in book 10 of Homer's epic poem, the Iliad.
The Tales of Hoffmann (French: Les contes d'Hoffmann) is an opéra fantastique by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three short stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere.

ARCHIVE / DOCUMENTATION

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ARCHIVE / DOCUMENTATION -

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COLLABORATIONS

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COLLABORATIONS -

THEATER

Direction: Katerina Evangelatos

Choreography: Patricia Apergi

EURIPIDES’ RHESUS

THEATER

Direction: Katerina Evangelatos

Choreography: Patricia Apergi

EURIPIDES’ ALKISTIS

VERDI’S RIGOLETTO

OPERA

Direction: Katerina Evangelatos

Choreography: Patricia Apergi

VIDEO INSTALLATION

DoP: Hikaru Fujii

Choreography-Research: Patricia Apergi

THE PRIMARY FACT

THEATER

Direction: Katerina Evangelatos

Choreography: Patricia Apergi

THE COMEDY OF ERRORS

THEATER

Direction: Katerina Evangelatos

Choreography: Patricia Apergi

WOYZECK

OPERA

Direction: Yannis Houvardas

Choreography: Patricia Apergi

THE MAKROPULOS AFFAIR

OPERA

Direction: Theodor Kouretzis

Choreography: Patricia Apergi

THE TALES OF HOFFMANN