sister present their new album titled “blood” at PLYFA, which was released in February 2026 by the label same difference music. The band will be joined by an additional member for this performance.
Duration: 1.5 hours
Age suitability: 18+
Doors open at 21:00.
Just before setting sail for Amorgos, Rudu Fest makes a stop at PLYFA for its 5th Athens edition.
Thursday 21/5 | Dramachine – Over 9000 – N’Cheezed
Friday 22/5 | The Bonnie Nettles – Loud Silence – Black Body Radiation
Saturday 23/5 | Turboflow3000 – Capétte – Sigmataf
A three-day celebration bringing an island breeze of freedom, music, and authenticity. A diverse lineup that blends a return to guitars, new Greek music, upbeat rhythms, lyricism, sensitivity, and a dynamic urban sound.
HARMONIC DISSONANCE
Dances We Dance
Dances We Dance, a New York-based dance company, presents its first full-evening performance in Athens at PLYFA on May 8, 2026. The program, titled Harmonic Dissonance, features new works inspired by modern dance pioneer Isadora Duncan.
Artistic Director Francesca Todesco reimagines Duncan’s Scriabin Études through new solos, duets, and ensemble works exploring themes of grief, resilience, unity, and conflict-echoing the expressive intensity of Alexander Scriabin’s music and Duncan’s visionary approach to movement. The program concludes with earlier works from the company’s repertory.
Duration: 90′ (with intermission)
NEKROTSOULITHRA live
The return of a live show that made history!
The phenomenon NEKROTSOULITHRA returns to PLYFA for another night of absolute musical chaos.
A live show we need — even if we didn’t know it! One more dance together, one more sing-along, a little more sweat.
Full-time trash mood: full face, tracksuits, scarves, beer cans, sunglasses, mopeds, rave vibes.
If you think you’ve seen it all… you probably haven’t seen anything yet.
Opening act: Pigs Kaput
Doors open at 20:00.
Duration: 120 minutes
The Typists
by Murray Schisgal
directed by Nagia Mitsakou
A masterpiece of American theatre.
For the first time in Greece, the one-act play The Typists by the award-winning American playwright Murray Schisgal will be presented starting April 4, 2026, every Saturday and Sunday.
The typists of the 1960s—with their fears, inhibitions, desires, and dreams—feel almost paradoxically familiar. Typewriters may have been replaced by computers, rotary phones by mobile devices, and mail-order catalogues by online shopping. Yet our needs, fears, desires, and the time that relentlessly pursues us remain unchanged.
Through what appears to be a simple snapshot of everyday life between two typical New Yorkers of his time, Schisgal manages to condense an entire lifetime into a single eight-hour workday. An eight-hour span that transcends the limits of space and time within the play and expands into the very fabric of human experience.
The Typists, one of the most striking one-act plays of modern dramaturgy, was first presented Off-Broadway in 1963, starring Eli Wallach and Anne Jackson, and won the Drama Desk Award. Murray Schisgal became widely known both for his play Luv (1964) and as the screenwriter of the film success Tootsie (1982), starring Dustin Hoffman and Jessica Lange.
When Paul Cunningham arrives on his first day at a new job in a mail-order company, he makes it clear to his colleague Sylvia Peyton that his presence there will be temporary. Paul studies law in the evenings and, with an already established lawyer uncle, his future appears promising.
Sylvia, the head of the department, welcomes him warmly. She too has her own dreams—primarily of an emotional nature. A particular relationship begins to develop between the two colleagues, as Paul’s “temporary” stay in the office keeps extending.
Weeks turn into months, months into years, and years into decades. Paul and Sylvia grow older together, sharing small everyday conversations about life outside the office and about the big things that—someday—the future might hold for them. When, now aged, they say their final “goodnight” to their unseen employer, we realize we have witnessed an entire life cycle filled with thwarted desires and unfulfilled dreams. A life seen through humor, sadness, illusions, and compromises that run through human existence.
Paul and Sylvia are potentially free individuals—like all of us. In a tragicomic way, we watch their desires and dreams being suffocated by their own fear. A fear that becomes a chain, restraining, limiting, and ultimately subduing them.
This potentially free human being is none other than each one of us.
Duration: 70 minutes
Suitable for ages: 12+
Parallel Dreamscapes
A Dialogue of Sound, Voice, and Image
A concert for voice, concert organ, electric guitar, and visuals is not a common encounter, and that is precisely where Parallel Dreamscapes finds its distinctive artistic voice, bringing together contemplative minimalism, reimagined baroque repertoire, and a responsive visual environment.
On 4 April 2026, we will host this interdisciplinary performance, featuring soprano Georgia Balabini, organist Tea Kulaš, guitarist Mislav Režić, and visual artists Hristos Tolis and Marios Fournaris.
The first part of the evening presents works by Arvo Pärt, John Tavener, and Philip Glass for soprano and organ. Their music, often associated with the contemplative language of late twentieth-century minimalism, unfolds through spacious textures and meditative repetition, creating a reflective sonic landscape.
In the second part, Georgia Balabini and Mislav Režić turn to music by Henry Purcell, presented through new arrangements for voice and electric guitar as part of the project (C)halcyon Days. In this setting, baroque expression is not simply preserved but reframed, allowing historical material to resonate through a contemporary music language.
Throughout the performance, visual works by Hristos Tolis and Marios Fournaris shape an evolving visual layer that interacts with the music and deepens the sense of immersion.
Moving between stillness and intensity, early music and modern sonority, Parallel Dreamscapes offers an atmospheric meeting of sound and image, an invitation to experience familiar musical worlds in a new and unexpected light.
Duration: 60 minutes
BONES
The choreographic work BONES explores the relationship between structure, support, and fracture through the human body. The body appears as a living system that continuously adapts to pressure, altering its form in order to endure.
The creative process began with observing the body as a dynamic anatomical structure. In the course of this exploration, trauma also emerged as a material for creation, with memory approached not as something to be overcome, but as something that returns and transforms through the body and artistic practice.
On stage, bodies meet that, carrying their own distortions and histories, create new systems of support and balance. Movement is born from the encounter of these bodies, from their need to support one another, to shift, and to redefine their form.
Through this exploration, relationships emerged. Narratives and traumas were transformed into connection, contact, and expression, creating a choreography where structure, deformation, and survival coexist.
BONES is the second part of the body trilogy Skin – Bones – Heart.
Choreographer’s Note
I am interested in the idea that bodies are not only forms but also archives. That they carry memories—our own and those of others. Family memories, historical memories, collective memories. Things that were spoken and things that remained silent.
In the process of BONES, we wrote texts, poems, and narratives around these memories. Gradually, the words shifted into the body, becoming movement, contact, and relationships. We were interested in studying how bodies meet while already carrying their own fractures. How they support one another, how they shift, how they invent new forms in order to continue existing.
Perhaps, in the end, bones remember what we forget.
Biography
Teti Nikolopoulou is a dancer, dance teacher, physical education teacher, and choreographer. She is a graduate of the Nikis Kontaxaki Professional Dance School and the School of Physical Education and Sport Science in Athens (PhD and Master’s degree in Physical Education, specializing in Somatics practices and contact improvisation). She has attended dance and contact improvisation seminars with important teachers and has been dancing and choreographing since 1992.
She has collaborated with choreographers, directors, musicians, and visual artists, and has participated in international dance platforms and festivals. In addition to working as a physical education teacher in public education, she teaches contemporary dance, improvisation, and contact improvisation in both professional and amateur dance schools. She also gives lectures, writes articles, and conducts workshops and seminars on somatics practices.
She has taught contact improvisation at international festivals of the practice in Freiburg, Halkidiki, Istanbul, and Bristol. Since 2017, in collaboration with Zoe Chatzidaki and the Anima-Soma dance group, her work has been supported by the Greek Ministry of Culture, while she also organizes free training workshops for dancers in contact improvisation and the Axis Syllabus in collaboration with Timos Zechas.
The performance was funded by the Hellenic Ministry of Culture for the 2025–2026 artistic season.
Duration: 45 minutes
Suitable for ages 10 and above
JUNE JULY
Why did I come in here again;
‘Here’, Richard McGuire
Maybe the present is the strangest place to live.
JUNE JULY is a cosmology of the Now, of our microcosm and the macrocosm, drawing references from sci-fi and retrofuturism. A performance about nostalgia, anticipation and time, unfolding through the creation of choreographic haikus, condensed, fleeting, fragmentary impressions.
It takes its initial inspiration from the groundbreaking graphic novel/comic Here (2014) by Richard McGuire. In that, the same location, a corner of a room, is depicted across multiple moments in time, from thousands of years of past into the future. The piece invites us into a choreographic liminal space, a zone of reminiscence and anticipation, an undefinable feeling that connects the familiar with the unknown, everyday glimpses with imaginary futures.
How do we inhabit -literally and metaphorically- places of personal and collective nostalgia? Of intimacy and vastness? How can the ephemerality of the natural world and human nature unfold in parallel with cosmic time and the time of everyday life? What remains if we “blow this cosmic dust”?
Maybe a trace of a Japanese hip-hop song is heard from the depths as a background on a spring afternoon, or somewhere on a night screen, the first scenes of 2001: A Space Odyssey playing. The performance weaves a narrative of an imaginary story without end, containing traces and memories. It expands and self-ignites to create something new, an alchemy of nostalgia, memory, surrealism and fantasy.
In the context of an expanded choreography, JUNE JULY becomes a living hybrid landscape of bodies, movements, sounds, objects, voices, words, microphones, neon signs, screens, and minimalist digital elements. They are activated and evaporate, creating an open composition that unfolds within a multi-layered universe.
With the financial support of the Ministry of Culture of Greece
With the support of International Theatre Institute – German Centre and Motion Bank Project, in the framework of an artistic residency program, Berlin, 2024
Eleonora Siarava is a choreographer working between Greece and Germany. She has presented her work in Greece and internationally. She studied ‘Dance Μaking and Performance’ (MA-Distinction, Coventry University), ΜΑ ’Choreography and Performance’ (Justus Liebig University, Germany) under the direction of Bojana Kunst & MA/CoDE-Academy for Music and Performing Arts of Frankfurt. She creates enigmatic multilayered performances experimenting with aesthetic forms, imaginary-real spaces, overlapping temporalities, hybridity, atmospheres. For her piece The Body and the Other~ premiered at Tanzhaus NRW, TEMPS D’IMAGES Festival, was supported by the program »Transfer International« of NRW KULTURsekretariat of Germany, Ministry of Culture and Science of NRW, artistic grant I-Portunus/Creative Europe and collaborated with Mixed Reality and Visualization Institut for the implementation of digital technology. Since 2020 is supported by the Ministry of Culture of Greece. She created the pieces BLUE BEYOND presented in National Theatre of N. Greece, Theseum Theatre Athens, Tanz:digital/ITI Berlin, Frankfurt LAB Emerging Artists 2023, Who knows where the time goes- potential destination #1 (Roes theatre, residency at SE.S.TA Centre for Choreographing Development/Interdisciplinary Incubator, Prague), I am Dancing in a Room (MOMus-Stereoma Festival). She participated in Moving Digits/Creative Europe project for Dance and Digital Technologies, Tanzhaus Düsseldorf & STL Tallinn (2018-2020) and in ‘TANZ:DIGITAL – Process, Dynamics, Discourse’ (Dachverband Tanz Deutschland & International Theatre Institute Germany, Berlin 2023). Siarava has been awarded the S. Niarchos Foundation (SNF) Artist Fellowship by ARTWORKS 2022-2023 in the field of Choreography, was fellow of START/Robert Bosch Stiftung & Goethe Institut and resident choreographer at UniArts Helsinki, Finland 2025 and ITI International Theatre Institute Germany/Motion Bank, Berlin, 2024. Her works have been included in the Media Library for Dance and Theatre – ITI International Theatre Institute Germany, one of the most extensive audiovisual documentation archives for the performing arts in Germany.
Three Sisters (better days will come)
by Eirini Lamprinopoulou & Danae-Arsenia Filidou
Directed by: Eirini Lamprinopoulou
Somewhere out there, there is surely something better. Don’t be afraid. Don’t be afraid of anything.
Three Sisters (better days will come) is a contemporary Greek adaptation of Anton Chekhov’s play of the same name, shedding light—through sharp humor and sensitivity—on the fractures within the Greek family. Prompted by an inheritance issue, questions emerge around memory, loss, and the separation from the first home. What does family mean? How do we deal with unfulfilled dreams? And what is the “Moscow” we continue to seek today?
It’s strange, really—how time passes. On a day like today, exactly a year ago, father died. And now here we are. One year later. In exactly the same house.
Olga, Maria, and Eirini return to Kefalonia one year after their father’s death. Their decision to sell the family home—a space filled with memories, traces of childhood, and familial illusions—brings them back together after eight years, during which each has followed a different life path in Athens. As they wait for prospective buyers, they are forced to coexist in a house that functions as a living archive: old conflicts resurface, unfinished conversations return, and personal choices are once again called into question. Their balance is tested and their certainties collapse, as each of them is compelled to redefine what she has left behind and what she still claims.
The performance is directed and dramaturgically co-signed by Eirini Lamprinopoulou, who, for the first time, also moves into playwriting, continuing her stage research on female identity, power, and the mechanisms of the family as a field of conflict and redefinition.
The performance Three Sisters (better days will come) was presented under the auspices of the Greek Ministry of Culture’s program “All of Greece, One Culture,” at the Castle of Agios Georgios in Kefalonia, leaving a strong impression on audiences.
Duration: 80 minutes (no intermission)
Suitable for ages: 13+
IN-Visible
Digital Participatory Performance
How does it feel to watch a couple’s abusive behavior in public?
Is there anything you can do?
New media intersect in the private space of a relationship offering the opportunity of making public the well-hidden.
How many stories can we narrate all together and how many of them might be possible to prevent by speaking up?
IN-Visible is a community oriented digital participatory performance on Gender-based Violence, focusing on Intimate-Partner Abuse issues. Combining new media and performance practices as a way to engage the community by retaining anonymity and empowering people to speak up about abusive behaviour. The spectators become the dramaturges of the performance by creating the text collectively, though protecting their anonymity.
The performance becomes interactive and participatory through the use of platforms and applications like youtube, mentimeter, OBS studio and arduino.
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or EACEA. Neither the European Union nor the granting authority can be held responsible for them.
Duration: 45 minutes
Disclaimer
The performance includes symbolically performed acts of violence that might trigger
emotions and experiences
Age: 16+