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Archives: Events

SXEDONFEST

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An indie / folk / neo-psychedelic pop night in the heart of Athens, on the last Thursday of June.

Model Spy return to PLYFA after their sweeping pure indie pop passage from the same stage last September, as part of the Agoraphobic Festival. It will be only their second appearance with this line-up, which includes members of My Wet Calvin, Spiral Trio and Metaman.

Bhukhurah, aka Christos Bekiris, a key member of CHICKN and Callas, has also participated in albums and bands as a guitarist (e.g. Prins Obi & the Dream Warriors), producer (The Model Spy), mixing engineer (in Vassilina) and DJ (Complex Shadow, ATH Kids). Very recently, he filed the wonderful “Hello My Name Is”, which is a fitting introduction to the multifaceted neo-psychedelic indie pop universe that treads with one foot, leaving the other foot in the air, ready to lean on anywhere from folk and blues to Motown and disco.

Jef Maarawi, the Greek-Brazilian troubadour next door, looks like the only solo project in town that can reunion with itself. His sound, familiar flawless indie/folk, which gets better with each release, matters little compared to the exuberant, disarming immediacy of a figure as enlightened as he is self-destructive, who could sing heavy folk or poke minimal techno and be just as riveting.

Timetable:
21.00 Jef Maarawi
21.50 Bhukhurah
22.50 Model Spy
*Door open at 20.30

The Model Spy photo: Philippos Margalias

/oRt I.

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a man can break

an original dramaturgy inspired by peter handke’s “kaspar” and heiner müller’s “horatio”

a performance of self-effacement

a coup breaks out in a peaceful city. in one night, three sisters are forced to change their way of thinking and speaking in order to survive in the new regime. in order to be liked they stop judging, they forget how to think, they give up their ideology. they become the same, clumsy and violent.

director’s note
can i maintain my ideology against survival instinct? do i have an ideology we tell a story of linguistic torture, in which three people are transformed to be useful, smoothed and blunted so as not to annoy. they undergo the invention of typography: their uniqueness is eliminated, they become interchangeable and replaceable. But were they ever truly unique? there is a mechanism that grinds and transmutes, a mechanism that I have unwittingly admired and served. and now i need to exorcise him

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director bio:
Konstantinos Avramis was born in 1998 and grew up in Athens. studied philosophy (Ekpa) and is a final student of the postgraduate program comparative dramaturgy and performance research (Frankfurt/Helsinki). has been involved in playwriting (Kakogiannis Foundation, Marori Theater), acting (Attis Theater), and directing (Mikri Academy). as a dramatist he has worked in theaters in Greece and Finland and in short films, he is a founding member of the Protosi Theater Company. the text of his first complete work “holy agony. on the loom of Eva Palmer Sikelianou” is published by kappa publishing house

ABELARD and HELOISE by Yiannis Kalavrianos

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April 24-25, 2024
1, 8, 13-14, 20-21, 27-28 May 2024
3-4 June 2024

Extra performances from the 17th to the 19th of June at 21:00

This play is performed in Greek.

We wanted to talk
to create order.
I wish there was some beauty
in a world full of chaos, darkness and noise,
like the one who surrounds us.
Because there are things that happen
and things that happen.
And great loves always happen
and they never happen.

Abelard and Heloise is a play based on a medieval story that
it has taken on the characteristics of mythology. One of the most touching love stories took
flesh and bones in modern Greek drama by Yiannis Kalabrianos. A hymn
to eternal love, to elusive happiness, to the chaos of despair. Two lovers
they are sanctified, exalted in their effort to remain faithful to each other against each other
in the world, in the distance and in themselves. Two heavenly bodies, heading towards
their inevitable meeting and at the same time fatal collision, to seduce us as well
us in their unstoppable orbit. A deeply poetic work, written so unconventionally
as well as this love. A group of young actors come on stage as a dance, for
to tell this first love story as if it were the last. To continue
great loves to be sung till the world fades away.

Special thanks to Aggelos Triantafyllou for providing some of his music from the 2014 performance of the same name.

LIVE+ALBUM RELEASE PARTY

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On April 28, shortly before the official release of her first full-length album “Life in Straight Lines” with music by Heroas from Pineline Music Lab, the 0-100 siren appears live at PLYFA’s Polychoros in a pre-release Live!
The already beloved artist from her first singles and EPs (Clause, Optiki Gonia, Taka-Touka, etc.), in a live performance for a limited number of spectators, gives us a taste of her new record shortly before its release.

Doors open: 20:00

“He grabbed the brushes and started painting.
He went for a spin,
but circles are complete, harmonious shapes.
What he feels, he knows neither what it is nor where it ends
and it is certainly not harmonious.
So press the circle with lines,
An endless straight line
a boring monotony
an inexplicable boredom..
Write the title , in small letters.
the page awoke to the cry of the words,
-stupid…!
he said,…
– and now?”

“Life in Straight Lines”
Athens, 2024
0-100 sirene/Hero
Pineline Music Lab

CROSSING THE LIGHTbridge_EXIT

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The internationally renowned performer and choreographer of Butoh, Yuko Kaseki, is coming to Athens together with avant-garde composer musician and performer Kriton Beyer at the invitation of performer and choreographer Vickys Filippa and the Quantum Body Athens Butoh Dance Group.

On Saturday, April 27, PLYFA is transformed into a live sound, lighting and kinetic installation, exclusively inspired by the space itself and vibrating to the rhythms of Butoh, with DIY dark instruments, live electronics and real time responsive lighting.

The three artists will explore the relationship of sound, light and movement based on butoh, as well as the phenomena of (inter)connections, transmission and maximization of the senses aiming at synaesthesia — building live, a bridge, composed power of all these elements, not only for to cross it themselves but to (pro)invite the public to cross this bridge with them.

In the performance “Crossing the LIGHTbridge”, handmade instruments made by Kriton Beyer will be used. His main instrument, the Daxophone, is a dark electric wooden experimental musical instrument, inspired by the original construction plans of its inventor Hans Reichel, slightly adapted to suit Kriton’s aesthetic temperament. Alongside the daxophone, Kriton controls a large number of lamps, fluorescent tubes and projectors in real-time, which are connected to a specially developed proprietary, pedal-like light control system.

Kriton Beyer is a Greek-German musician and composer, who – as a performer and improviser – works mainly with the harmonium and daxophone. He studied musicology in Greece where he collaborated with various local music groups as well as musicians such as Sakis Papadimitriou and Floros Floridis. In 2004 he moved to Berlin, where he was heavily involved in the improvisational music scene of the city.

Since then he has collaborated with many musicians such as Phil Minton, Audrey Chen, Steve Noble, Fred Lonberg-Holm, Axel Dörner, Liz Kosack, Kresten Osgood, Tristan Honsinger, Tomomi Adachi, Richard Scott, Willi Kellers, Matthias Bauer, Antonis Anissegos, Olaf Rupp, Alexei Borisov, Els Vandeweyer, Harri Sjöström, Nicola Hein and Liz Allbee, dancers such as Yuko Kaseki and visual artists such as Akiko Nakayama. Kriton Beyer founded ‘FRAGMENTATION ORCHESTRA’, is a member of the electro-acoustic music trio ‘Uproot’ and the bands ‘Redox Reaction’ and FDBK EXPT.

In his harmonium work, Kriton Beyer uses both the natural sound of the instrument and ‘traditional’ playing techniques as well as preparations, objects and extended playing techniques, while his daxophone playing is characterized by a very personal musical and sonic aesthetic and unconventional playing technique, sometimes supported by the subtle use of electronics. As an improvisational musician, he has performed throughout Europe. His compositions are usually characterized by conceptualism.

Kriton Beyer has also designed and commissioned CinePrompt® music software, which was developed specifically for use in live music performance and live film recording.

Kriton Beyer also curates and manages the concert series and record label “THE PROCRUSTEAN BED”, dedicated to Experimental & Improvisational Music.
www.kritonbeyer.com

Yuko Kaseki is a director, choreographer, teacher and Butoh dancer from Japan based in Berlin. Her artistic research focuses on finding mediums that unite the spiritual with the physical, and every day she trains her perception to find intersections between the unusual and the familiar.
Website

She studied Butoh dance and Performing Art at HBK Braunschweig with Anzu Furukawa and danced in Dance Butter Tokio’s company and Verwandlungsamt in 1989-2000.

In 1995, Yuko Kaseki and Marc Ates founded the cokaseki dance company. cokaseki is an ensemble for performative research around dance, visual arts and experimental music in live events and improvisations in theatre, gallery, venue and film… Since then various members have joined the group in different roles and shifting creative responsibilities. There have been collaborations in numerous international projects with performers such as Christine Bonansea, Sherwood Chen, Megumi Eda, Shinichi Iova Koga, 4RUDE, Minako Seki, Lisa Stertz, Valentin Tszin, Teo Vlad, musicians such as Antonis Anissegos, Kriton Beyer, Audrey. Chen, Contagious, Kirikoo Des, Axel Dörner, Echo Ho, Emilio Gordoa, miu, Nguyễn + Transitory, Yasumune Morishige, Olaf Rupp, Tot Onyx, Sasha Pushkin, SEQUOIA, Kazuhisa Uchihashi, Xenon, and visual artists such as Nikhil Chopra,
Morvarid K, Sarane Lecompte, Arata Mori, Justin Palermo, Chiharu Shiota, Peter Zach and others.

Solo and ensemble performances, collaborations and improvisations are performed throughout Europe, Georgia, Turkey, Russia, Japan, Taiwan, Korea, Malaysia, Thailand, Indonesia, India, Burkina Faso, Canada, Mexico, Brazil, Chile, Uruguay, Argentina, Australia , and the USA.

These works are accumulations of poetic and vivid images that embody the spirit of Butoh, and her interpretation aims to reflect the existence of openness.

Her strong interest in breaking the boundaries of physical expression leads to inclusive works with mixed artists such as Theater Thikwa (Berlin), Roland Walter (Berlin), Sung Kuk Kang (Seoul), Zan-Chen Liao (Taipei).

Yuko Kaseki has been performing and hosting the ‘AMMO-NITE GIG’ improv series (vol. 1-48 and on) with international performers and musicians since 2004.

Nominations/Awards:
– “Ame to Ame” won “Best Ensemble Performance” and was nominated for “Best Choreography”, – “Best Composition”, “Best Visual Design”, 2004 Isadora Duncan Dance Award in San Francisco, USA.
– “c(H)ord” collaboration with inkBoat received “Out standing Achievement in Performance-Company”, 2009 Isadora Duncan Dance Award in San Francisco, USA.
– “Tooboe” was nominated for “Outstanding Production”, The 2007 Dora Mavor Moore Awards in Toronto, Canada.
– “To” Collaboration with Tableau Stations nominated for “no-ballet, International Dance Competition 2012”, Ludwigshafen, Germany.
– “Let My Fish Loose” nominated for “no-ballet, International Dance Competition 2007”, Ludwigshafen, Germany
– “Kudan” was nominated for the “Toyota Choreography Award 2004” in Tokyo, Japan.

Vicky Philippa is a dancer, choreographer and teacher of butoh, one of the few representatives of the genre in Greece. From 2008 until today, she has been intensively teaching, directing and choreographing, presenting her works in Greece and abroad, while organizing seminars and performances with international artists and teachers of the genre with whom she has entered into several important collaborations.

He has studied, among many others, with the masters of the genre: Yumiko Yoshioka, Valentin Tszin, Koseki Sumako, Yuko Kaseki, Sainkho Namtchylac, Atshushi Takenouchi, Katsura Kan, Imre Thormann, Espartaco Martinez, etc.

In 2015 he founded the performing arts group Quantum Body Ahens Butoh Dance Group, which over the years has developed into a butoh community in the heart of Athens, counting over 40 permanent members and is one of the largest butoh groups worldwide. It is an independent group that with its actions tries to transmit the radical practices and aesthetics of butoh and bring the Greek public into greater contact with the genre, while building bridges of cooperation with foreign artists. Her vision is to contribute to the alternative scene of Athens by creating a new vocabulary, kinesiology, acting and speech called “quantum body”. The group is supported by its members and by the people who follow it in its actions.

Finally, she has studied mathematics, graduating from the University of Crete and then continued her studies at postgraduate level in the field of Bioinformatics and is a PhD candidate at the Medical School of Athens.

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B(L)ALLOON

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Choreographers Iota Peklaris and Vasia Zorbalis explore the imprinting of time through the materiality of the body – organic and non-organic – in the direction of the multi-sensory accessible artistic work.

In a space overwhelmed by polymorphic balloon formations, the performers create kinetic and sonic dilutions and densities, mapping its dimensions. The performative dimension of the work brings to the surface a very interesting counterpoint: the balloons, like dancing butoh beings freeze time, making visible the air that occupies the shape of the space and fills the gaps between the bodies. They thus interrupt the uncontrollable alternation of past, present and future events necessary for the understanding of time, while contemporary sound-kinetic composition glorifies periodicity and synchronicity. In this fluid, performative hospitality space, an ever-moving human resonator acting in a condition of pre-established harmony echoes and tunes in a constant reminder of the unpredictable and ephemeral.

The choreographic research balances between the visual and the auditory, having a parallel address to sighted, non-sighted, hearing and non-hearing people. Delving into an interdisciplinary performative practice, body music, the kinetic performance explores the physicality of sound, which manages to vibrate both the ears and the eyes/gaze. The extra-verbal language of b(l)alun transforms the viewing into a universally experiential, collective experience, an artistic meeting-prompt, which is not limited to the standard tools of accessibility but discovers and cultivates innovative, alternative interpretive tools of inclusion.

SIRENS

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Ermira Goro’s new dance performance entitled “Sirens” invites the audience on a sensual and mysterious journey into the world of desire and its social expression.

Hara Kotsali and Antonis Vais are transformed on stage, expressing through their movement a story of dreams and freedom.

The two bodies appropriate and reject stereotypical gender roles, creating an idiosyncratic language of self-expression. The original musical composition of the show is signed by Jeph Vanger.

VALIA CALDA, MOb TRIO

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Scenius [at] Athens organizes an evening dedicated to the new jazz scene, presenting the experimental folk psych-jazz band from London, Valia Calda, and they will be joined by the Greek jazz punk trio MOb.

As part of their European tour, Valia Calda comes to Athens with their second album entitled “Homeland” (2023, Deep Mountain Records). The redefinition of the idea of homeland and immigration are the central musical quest of Valia calda who are inspired and converse with the folk songs of the Greek diaspora, the traditional music of Epirus, along with psychedelic jazz, punk aesthetics and free improvisations. A record with influences from Polar Bear, Get the Blessing, Nels Cline, sunn O))), Black Midi, Bill Frisell, Medeski Martin and Wood, Earth, The Dwarfs of East Agouza.

A little earlier, the explosive jazz trio MOb will take to the PLYFA stage. Having just released their 1st album titled ‘MOb 1’ (2024, Veego Records), they have already made an impression internationally. MOb is the mob, a name that suggests a dynamic and a lack of static, qualities that characterize the band’s moods during composition. Their music is described as a crossroads between electronic melodious jazz, kraut, filmic and exploratory post punk. Synthesizers, effects, loops, drones and tonal deviations share a primary role in creating the trio’s unparalleled soundscape. The group’s compositions are mainly based on open forms, using both tonal and non-tonal linear material, while improvisation tends to balance between the production of melodic material and the creation of multifaceted sonic atmospheres.

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OH JESUS: MAGDALENE

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A performance by Iro Karras, ending in a live jam. The performance is inspiring from the novel “familiar places and monsters” by Manolis Tsipou (Enypnio publications, 2023). The Magdalene, a personality who carries many titles with the main one being that of a prostitute, lives inside in a strange universe beyond time. He is a lonely man who nevertheless desires me with passion his personal “Resurrection”. We watch her very own daily actions, with each step bringing her closer and closer to the longed-for self-forgiveness for what she is
was in the past, in order to make room for something new to be born. It is thus a symbol for us of an existential – completely personal – emancipation, which Magdalene realizes that can only realize through the Other.

MR OIKONOMIDIS

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The performance was presented as part of the Graduate Examinations of the Directing Department of the Drama School of the National Theatre. Since then we have created a stable team and the show is developed and modified (dramatically, musically, scenographically and acting) through rehearsals as well as personal work of the actors.

Information about the project

Leonidas Oikonomidis was born in the early 1990s in a seaside town in the Peloponnese. Leonidas is born on stage by the actors. He loves pop music, the sea and wants to be a swimmer. At some point he needs money. He will look for them in various types of credit institutions. For security if he cannot pay his debt, he will be asked for something valuable. The blue notebook. The blue notebook is his main object of memory, as he writes there from a young age about everything that moves him and does not want to be lost in oblivion.

The project mainly draws its references from the Millennials generation. They are the generation that studied and started looking for work during the crisis years. The anxiety of running away from the parental home, economic dependence and parental/societal projections regarding the profession and personal life determine her today significantly. Between absolute reaction or absolute submission, she is called upon to find her own voice and become visible in today’s Greek reality. What is the collective memory of this generation? How does financial insecurity refine the romance of youth and how do we react to it?