Event Category: Θέατρο

ETÚTI Theater Group
Genesis No. 2
by Ivan Viripaev
Directed by: Kali Voikli
2nd YEAR OF PERFORMANCES

After the first cycle of sold out shows, Genesis No. 2 by Ivan Viripaev from
ETÚTI Theater Group directed by Kalis Voiklis returns to PLYFA for
limited number of performances.
Genesis No. 2 by Ivan Viripaev is a “tragedy of meaning” that manages to
combines humor and realism, with deep questions about meaning and existence.
It talks about freedom and imposition, loneliness and connection between people.
He talks about God and with God, who is one of the characters of the work.
“If you believe in God, this does not mean that God also believes in you”

However, it is about a humanized, revolutionary God, who declares defiantly
that it does not exist, forcing man to look for what might exist beyond him.
Is there anything else?
“In everything that exists around us, there is something else, something other than what we see”

Through the text, worlds and characters, current and eternal, are born that have the
flexibility to transform through the eyes of the viewers. This is how they surface
thoughts and feelings that we all have, but perhaps don’t know how to transform
in words.

The polyphony of the text is also reflected in the direction that tries a
innovative approach to the project. Five actors alternate in his roles
play, changing characters in each performance, spontaneously, without existing
pre-agreement on what role each person will take in each scene. So, through
this game of self-determination, each performance will be different, unpredictable and
truly “alive”.
The ETÚTI Theater Group, directed by Kali Voikli and with original music
composed by Viki Kapetanopoulou, they create an alternative performance, where the
Viripaev’s text emerges as the “main person of the work”.

*The show is suitable for people over 16 years old
**Strobe light is used in the performance

Simon Stephen’s RAGE is a vivid collage of a pre-BREXIT society on the edge, performed in English with Greek surtitles.

“I’m not scared”

As the clock strikes twelve on the streets of Manchester the celebratory mood turns into violence, racism, marriage proposals and the opening of portals.

Enter the madness and get whisked into the hedonism of youth.

A show about gambling Greece by the team Who Am I To

Since when is gambling our national sport? Do deflated bubbles re-inflate?

5 actors of the late 90’s generation re-visit on stage the great memory stations of her childhood, adolescence and post-adolescence that outline the course of the Greek reality of the last 2 decades. Stops on this nostalgic journey are the most important moments of Greek sports, moments of national pride and national panic.
A pop generation grows up dancing, singing and scoring goals and baskets with blue and white water tattoos on their arms until they grow up and wonder today what exactly winning and losing means.
Now that our winnings are deconstructed and undermined, all we have left to hope for is the 5+1 numbers of the Joker?A show about gambling Greece by the Who Am I To team
Since when is gambling our national sport? Do deflated bubbles re-inflate?

5 actors of the late 90’s generation re-visit on stage the great memory stations of her childhood, adolescence and post-adolescence that outline the course of the Greek reality of the last 2 decades. Stops on this nostalgic journey are the most important moments of Greek sports, moments of national pride and national panic.
A pop generation grows up dancing, singing and scoring goals and baskets with blue and white water tattoos on their arms until they grow up and wonder today what exactly winning and losing means.
Now that our wins are deconstructed and undermined, all we have left to hope for is the 5+1 Joker numbers?

by Tasos Theofilou

The show “Goodbye Batman” is based on the crime novel of the same name by Tasos Theofilos, which was written a few months before his arrest and published while he was a prisoner in Domokos prison in 2013. The three actors alternate endlessly in strange characters and they constantly transport us to paradoxical situations that develop in Gotham City. The electronic music that permeates the entire play focuses on distorted sounds and the distorted voices of the characters, while the aesthetic of the performance varies between comics, pop art, surrealism and contemporary art. Yiannis Angelakis attempts, both with his direction and his music, to illuminate this strongly political and satirical text, to highlight in a humorous way the absurdity in which the heroes of the city are trapped and, finally, to deconstruct Batman as a superhero of the comics and Hollywood tradition along with all that he symbolizes.

A few words about the project

The story unfolds through the eyes of D., a girl, who was born and raised in a Gotham City slum, worked many odd jobs, was arrested and imprisoned for her political views, and was recruited by Mafia and organized crime gangs. . Through this path of her life, where she interacts with otherworldly characters from the basement of society to the highest social strata, D. is constantly confronted with the parastatal mechanisms of Gotham City. He realizes the true role of Batman, who is revealed, no longer as a superhero who saves humanity or a saint of the modern metropolis, but as a postmodern version of the parastate that enjoys prominent social and political legitimacy. D. is planning an ambitious venture…

Play performed in Greek

A shocking work from Robert Schneider about the “stranger” among us, loneliness, hope and dreams that cross borders

“My name is Sad. I am thirty years old. Sad in English means sad. I’m not sad.”
With this sentence, Sad begins to tell his story.
Sad was born and raised in Iraq. Now he is another immigrant, in Germany. He is now in the place he dreamed of and loved through his readings, but he is alone and afraid.
He would like to be like everyone else. He wishes he could talk to them. To be able to enter the subway. To belong somewhere.

But he is a stranger.
He lives locked in his room.

“This is my chair. Here I sit. I love my chair… Even though it doesn’t belong to me, this chair is my homeland.”
Inside this room, which is his whole world, Sad longs and dreams. He talks about his life and people, struggles to hold on to everything he loves, pokes fun at himself and juggles loneliness and hope with heartbreaking humor and disarming honesty.
Sad is the Other, the different one who is to blame for everything. The one we pass by every day without seeing him, without ever really getting to know him. Sad is among us. Or maybe inside us?
“Vromia” was staged for the first time in Greece in 1997, by the New World Theater directed by Vangelis Theodoropoulos and starring Konstantinos Markoulakis.
Konstantinos Famis presented “Vromia” for the first time in 2016 while touring Greece, while in 2018, he performed in Athens and Thessaloniki.

“… I heard a phrase somewhere in Arabic, but I know someone thought of it in German. Now I will say this sentence.
For what you cannot speak, it is better to be silent.
Now I know that this sentence is wrong.
What you can’t talk about, you have to talk about!”

This play is performed in Greek

Performance duration
70 minutes without a break

Information – reservations
Tel.: 6946649550

VROMIA facebook page

They wrote about Vromia:

CheckinArt
A FIST IN THE RACIST STOMACH OF ALL OF US
“Amazing acting by Konstantinos Fami that makes you question and loathe the existing racist trends that exist around us and are spreading rapidly.”

Fourketa
“Sad’s story is a mesmerizing monologue, with a Konstantinos Fami who performs the role exceptionally well, keeping the viewer’s interest and emotional involvement undiminished. A show worth watching.”

Fragile
“Konstantinos Famis is simply sensational on stage. Although he had an extremely difficult monologue in his hands, full of symbolism, he was revelatory interpretatively.”

Koita-magazine
“Konstantinos Famis dives into the shelters of the hero Sad, covers his body, soul and spirit with the “white sheet” where Robert Schneider wrote.”

newsbeast
“The sensational performance emphasizes the popular saying ‘is John afraid of the beast or the beast of John?’ After all, the relations between citizens and States function like communicating vessels, and fear metaphorically does not have the same density.”

#Realnews
“Be sure to see Konstantinos Fami in ‘Vromia’. It’s worth it!”

tetragwno.gr
“Through a difficult work, with sharp, often fragmentary speech, with rapid emotional changes and with sudden dramatic climaxes, Konstantinos Famis successfully outlines the personality of the saddened Sad.”

3point magazine
Sad by Constantinos Fami and Katerina Polychronopoulos gave me chills”

Noizy.gr
“Konstantinos Famis was simply wonderful. Even though he was constantly on stage alone, you never lost interest and this is purely due to his talent. Amazing in the transitions from Iraqi immigrant to German citizen, in such a simple way and easy to to be perceived by all viewers. Whatever anyone says will be a bit. Just brilliant.”

Theatro.gr
“Constantinos Fami’s performance as Sad is riveting! Absolutely natural in his performance… sometimes sensitive, touching, proud, humane, kind and sometimes sharp, raging full of rage, anger and fear. Emotional transitions with silences, pauses and repetitions captured with aptness and absolute precision.”