Choreographer Iris Karayan returns with her new production My Mind Like The Sky, a solo personal and existential quasi-psychoanalytic presented Monday-Tuesday 19, 20 & 26, 27 December 2022, Tuesday-Wednesday 3 & 4 January 2023 at PLYFA Industrial Park . The solo is performed by Ioanna Paraskevopoulou and the music is by Nikos Veliotis, her constant collaborators for over ten years.
The project dives into the archive of their collaboration, revisits past works and renegotiates embodied memories. It begins as an attempt to map the thoughts, sensations and images that appear and disappear when we turn our attention to the present. It is the result of the practice developed during research and rehearsals, a practice of collecting and quoting materials and references, recording and articulating questions and expressing thought and imagination.
The show is sponsored by the Ministry of Culture and Sports.
Not suitable for under 16s
(performance includes nudity)
THE BOX stands. It opens. It transforms.
THE BOX reveals the body, swallows it.
It sets limits for the body to exceed.
Inside the BOX, time expands, space fluctuates.
Inside the BOX, encounters arise.
Redefining physical interaction under a suspended regime.
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THE BOX || that dead space between us takes us on an underground journey between the real and digital, light and shadow, our deepest desires and our worst fears. Between memory and oblivion, this show is one search for self-definition and a recovery of a sense of purpose, of time, of human nature through tangible communication.
The project THE BOX || that dead space between us has been financed by the Ministry of Culture and of Sports for 2021-2022.
In 2021, Penelope Morout founded the Cross iMPact group, an organization that emerged from the deep conviction that artistic avant-garde can be found at the meeting points between multiple artistic expressions and techniques and that art is capable of producing meaning impact, both individually and collectively.
The choreographer Spyros Kouvaras and the contemporary dance group, Synthesis 748 Dance Co., after the residencies in Paris and Montpellier and the first, open studio, presentation of the work, “COYOTE, we used to be humans”, at the International Choreographic Center AGORA of Montpellier Danse, return to Athens for the premiere and four more performances, at PLYFA Industrial Park.
Post-anthropocentrism negates the hierarchy of species and the idea of an intentional and sovereign creature. Into the ontological void thus opened, other species gallop in… (Rosi Braidotti)
Starting from the philosophical, transhumanist, considerations of Donna Haraway and Rosi Braidotti, the choreographer creates a (meta)mythological, performative, environment, within which the individual is no longer considered as an anthropomorphic entity, but as a relationship and as an articulation between humanity and animality, between culture and nature. The work visualizes a hagiographed ecosystem, between archetype, memory and utopian impulse and invites us to imagine the world as the temporary result of the gradual integration of its heterogeneous elements, as a “pluriverse”. On stage, a coming community seems to emerge, a community that does not exist according to any clear temporality but emerges as a choreographic fantasy upon which bodies, as exposed singularities, are “connected” together by an invisible thread, beginning a final dance, a little before man turned into a multiplanetary being.
The performance is sponsored by the Ministry of Culture and Sports for 2021-2023, is a co-production of AGORA-International Choreographic Center of Montpellier Danse and was created with the support of CND-French National Dance Center in Paris and Center Culturel Hellénique.
Animals close to humans, but also far away. Animals with frightening instincts, as well as naive, irrational animals, without awareness of death.
A cat and a fly of the same size, three hens like swans of a lesser god, a parrot and an octopus scurry on the ground, but also strange chimeras that set up a fantastic dance.
A way of seeing the world and a way of studying it, outside the bounds of scientific rigor. A different painting guided by the movements of animals, but also by how they have inspired many creators. Swan Lake, Simon Forti’s Zoo-mantras, Kafka’s Metamorphosis, Leonardo Da Vinci’s zoology, Agaben’s philosophy of “openness” to the animal, are just a few examples.
A choreography of approaching animal life. Their movement in contact with the present and the infinite or the universe. From imitation to transformation, recognition will not be easy.
Stefania Mylona is a dance artist, choreographer and independent researcher of dance and performance. She has a PhD in Dancing Sculptures from the University of Surrey (2012) in which she studied visual dramaturgy in dance as well as a master’s degree in European dance theater from Laban (2005) which she completed as a scholarship holder of the I.K.Y. She has received the SDHS and Glynne Wickham awards from SCUUD and is a Fellow of the British Higher Education Academy. She has choreographed and taught dance in Athens and London. She is a member of the international Performance Philosophy network in collaboration with which she has twice organised the Performance Philosophy School of Athens (2014, E.D.O. and 2017, EMST). Her articles have been published in Performance Research Journal and Theater Topics, among others.
After two unique performances, one at the outdoor sculpture gallery of Zongolopoulos in December 2021 and one at the Municipal Slaughterhouses of Tavros in May 2022, the “Witches” meet their audience again reformed and with new content. This time at PLYFA for only 10 performances.
This play is performed in Greek.
The project
“The Witches” is a performance in progress, which acrobats between stage composition and lyrical performance. It is based on the play by Natasa Sideri, which was written on the occasion of the events of violence against women. With material from historical records of gender-based violence in Europe, but also from the Greek oral tradition, as well as the contemporary paradoxical “Greekness”, the work highlights the timelessness of women’s issues, already present in narratives of the past, but still alive as demands to this day.
The performance is under the auspices of the General Secretariat of Family Policy and Gender Equality and is part of UNESCO’s actions to combat gender-based violence, “Orange the World”.
After the enthusiastic reception of the audience and critics in the spring of 2022 on the main stage of BIOS, the show “Pethaino san Chora” comes to ΠΛΥΦΑ for a few performances
This play is perfromed in Greek.
The play Pethaino san Chora”, written in 1978 by Dimitris Dimitriadis, makes us witnesses of a country that is at the end of time, at a critical historical moment when no woman gives birth to a child anymore. After a thousand years of war and while the enemy army is about to cross the border from time to time, we see the exhausted nation welcoming a new historical cycle. At those moments, the multifaceted kingdom of fantasy is enthroned in all heads and world-historical rearrangements take place. The end of an era has come like the premeditated death of an incurable disease.
Klezmer Yunan perform arrangements of Jewish and Greek traditional songs with a focus on storytelling. The evening is dedicated to the decimal system and image.
Double performances on 18/12/22, 08/01/23 and 15/01/23 – at 18:30 and 21:00.
Important Notice:
Cancellation of performances on December 22 and 23, the following has been added:
Thursday 5 and Thursday 12 January at 21:00
This play is performed in Greek.
Almost a year after “Antonio or the message” by Loula Anagnostaki, a performance that was well received, the Little Things Orchestra returns to PLYFA with Edouard Louis’ work “Who Killed my Father”, which is staged for first time in Greece, directed by Christos Theodoridis.
The show has been sponsored by the Ministry of Culture and Sports.
A musical-theatrical production based on Bost’s play and original music by Henri Kergomard.
Ritsaki, a four-year-old girl, disappears from the face of the earth in the middle of the day while she was fishing with her father. This is where the play begins. Or not. Inside the living room of a 19th century bourgeois family, Bost invites the viewer to see the effects of “civilization” on human life and works.
