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Archives: Events

OLYMPIC CHAMPIONSHIP & FESTIVAL

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OLYMPIC CHAMPIONSHIP & FESTIVAL
Tango Acropolis Festivals

Dear dancers and tango lovers, Athens — a city steeped in history and culture — warmly invites you to experience four unforgettable days filled with dance, emotion, and unique moments.

You can look forward to:

Let us celebrate together the magic of Tango in the heart of Athens!


Tango Acropolis Competition 2025

Take part and compete for the title of Tango Acropolis 2025 / Olympic Champion Couple, in the Tango de Pista category.

Prizes:

Registrations are now open.


Competition Schedule

Thursday, May 22 – 16:30
Competition Registration

Friday, May 23 – 13:00
Qualifiers & Semi-Finals – Tango de Pista
Free admission

Saturday, May 24 – 20:00
Finals – Tango de Pista
Entrance: €15 (includes access to the Milonga)


Seminar Schedule

Thursday, May 22 – 19:00
Seminar with Naima Gerasopoulou & Lucas Gauto

Friday, May 23 – 17:00 & 18:30
Saturday, May 24 – 15:30 & 16:45
Seminars with Cynthia Palacios & Sebastian Bolivar


Dance Nights – Milongas

Thursday, May 22 – 20:30
Opening Practica
DJ: Dimitris Megalokonomos
Admission: €10

Friday, May 23 – 21:00
Gran Noche de Baile – Maestros’ Show
DJ: Iv Manos
Admission: €20
(Limited presale tickets available at €17)
Performances by:
– Cynthia Palacios & Sebastian Bolivar
– Naima Gerasopoulou & Lucas Gauto

Saturday, May 24 – 21:30
Finals – Guest Shows & Milonga
DJ: Elli Karadimou
Admission: €15


Contact

Email: [email protected]
WhatsApp / Mobile: +30 694 484 9951

MAY CELEBRATION: NIMA & REGKINIA LIVE

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May Celebration:
NIMA & REGKINIA live

The traditional bands Regkinia and Nima come together for the open-air May Celebration in the courtyard of PLYFA on Saturday, May 17th, to bid farewell to spring with music from Thrace, Epirus, the Greek islands, and more—bringing a summery vibe to the heart of Athens.

Schedule:
20:00–22:00 REGKINIA
22:00–00:00 NIMA

Doors open at 19:00.

LOUD WHISPERS

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LOUD WHISPERS

Loud Whispers is the third part of Athanasia Kanellopoulou’s choreographic trilogy, which focuses on the female gaze. Four powerful performers ‘whisper’ sounds, incomprehensible words, and sacred prayers as they strive to exist, to connect, and ultimately to live within shifting predetermined frameworks. Lovers and mothers, perishable yet sacred figures, converge into the very same person. Elements such as the natural, the supernatural, the silenced, the rebellious and the desired, all find refuge within the body that moves.

Using references from Lauren Groff’s literary world and especially her novel “Matrix” (Polis publications), the choreographer crafts a timeless realm where women’s agonizing need for the essentials of survival unfolds alongside their fight for an authentic self. The successive transformations of the four bodies mirror the change of the social body across mixed eras, generating an urge that breaks through and reflects on what is consolidated within the stereotypical narratives. Illuminating the eternal cycles of creation and rebirth, in the imaginary and real staged world of image hunting, the speed is transformed into a deliberate pace of vital flow, celebrating the strength of women but also of every person of every era who strives, evolves and ultimately lives within the collective in their own, unique way.

 

Athanasia Kanellopoulou

Athanasia Kanellopoulou is an Athens based choreographer, dance performing artist and practitioner, who owns a very rich history of collaborations, with acclaimed choreographers and Dance Institutions around the globe. She creates her own methods from teaching into choreographing, filming, writing and collaborating with various artists from different disciplines.

She has studied with a scholarship Classical and Contemporary Dance in London and New York, Spanish Literature and Culture and Traditional Lute. Over 18 years she has lived in Europe and collaborated with prestigious Choreographers and Companies worldwide. Among others are: the Tanztheater Wuppertal Pina Bausch, where she toured with the company as a guest dancer in many festivals worldwide (2002-2008), Les Ballets C de la B/ Koen Augustijnen (2008-2010), Jasmin Vardimon Company (2006-2008), Gregor Zoellig/Stadttheater Osnabruck (2003-2005), Rafaelle Giovanola- Cocoondance (2010-2013), Alexandra Waierstall (2012-2014). 

Alongside touring and creating works for her own company, Athanasia creates different projects internationally. She has choreographed more than 25 works, and many of them have been presented in important festivals worldwide, She lives in Athens and she is teaching Improvisation, Choreography and Repertoire Works at the School of the Greek National Opera and at the National School of Dance (KSOT). In 2018, she founded the company ”Athanasia Kanellopoulou Performing Arts”, a platform of cultural and artistic exchange.

www.athanasiakanellopoulou.com

 

With the financial support of the Ministry of Culture

RADIOSOL & BABUSKA LIVE

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RADIOSOL & BABUSKA LIVE

The two Athenian bands finally share the stage!

The reborn Radiosol (with their new album Mestiza in their backpacks) and the ever-active Babuska (who have also just released their debut album) invite you to an explosive live party with a soundtrack of reggae, ska, balkan, and afro beats.

RADIOSOL
With a new album under their belt, Radiosol are ready to enchant and take us on a journey! They set up the generator, plug into the amps, and kick off a non-stop live party—whether in the streets of Metaxourgeio, on Lycabettus Hill, or a beach with friends. It’s a feeling that knows no passport, no borders—just music. Lots of music. And it flows spontaneously through their songs.

It’s an act in the philosophical sense—an expression of need, communication, and the freedom of the “here and now.” They don’t claim that music solves problems, but they do believe it stirs things up.

BABUSKA
Babuska, a seven-member band with a strong brass presence and electrified sounds, are ready for another blowout of reggae/afro/balkan/ska vibes—and of course, lots of dancing.

With their newly released debut album, they arrive for a springtime live show, always in an upbeat mood. Expect Afro-Eastern percussion layered over electric bass lines, vintage groovy drumming, psychedelic guitar textures, and a horn section that sets the stage on fire!

Lineup:
Oleg Dergachiov – Electric Guitar, Vocals
Heraklis Tsopelakis – Percussion
Vangelis Kritikos – Drums
Spyros Mastoras – Electric Bass
Panagiotis Koukoutas – Baritone Sax, Vocals
Michalis Kampourogiannis – Alto Sax, Vocals
Manos Chronopoulos – Trumpet, Vocals

WARNING: BARS

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WARNING: BARS
Improv Comedy meets Freestyle Rap

In a show full of cozy vibes, comic improvisation, and rhymes from hell, Giorgos Garefalakis and Kostantis Bitsis take suggestions from the audience and drop flows until the gold melts in their throats.

Recommended age: PG13

BIRTHLAND

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BIRTHLAND
Good Girls Don’t Talk About These Things
by Mina Petrić, in collaboration with Venia Stamatiadi & Eleni Apostolopoulou

Eleni Apostolopoulou and Venia Stamatiadi collaborate with playwright Mina Petrić to create the theatrical piece BIRTHLAND: Good Girls Don’t Talk About These Things. Rooted in lived experience, the play centers on how a woman artist is treated during pregnancy.

In the film Good Girls Don’t Talk About These Things, Beatrice plays a woman who is at risk of losing her job because of her pregnancy. However, as filming progresses, the characters begin to unravel, the story collapses, and the script starts to resemble her own life more and more. Can fiction really come so close to reality?

A note from the creators
How openly do we talk about workplace discrimination that women face due to pregnancy? How often are abortions not a choice, but a forced decision to keep a job? How freely do we speak about the difficult sides of motherhood?

The play Birthland: Good Girls Don’t Talk About These Things speaks to and about women who struggle to decide whether or not they want to have children. About others who regret the choice and can’t even admit it to their own reflection. About time—how it ticks by and turns against you. About that looming NOW OR NEVER that weighs heavily on women around the ages of 35 to 40.

Because even though many of us now choose to walk away from social expectations, we still carry the anxiety. About our jobs. About whether we’ll have a family—and what shape that family will take. We constantly face dilemmas.

We believe this anxiety is something our whole generation feels. And we wanted to write a play about that: about the fear of trying to remain professionally active while facing the question of motherhood. And whether a child can grow up happy in the midst of all this chaos.

VASILIS PRODROMOU SOLO

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Vasilis Prodromou SOLO

Vasilis Prodromou, armed with his guitars and his baglamas, says NO to all kinds of war and YES to all kinds of spring.

Following his last sold-out performance in the small hall of the multi-space venue PLYFA, he now moves to the larger hall of the same beloved venue and invites you to experience his SOLO show.

We will hear stories filled with existential and political concerns, songs about love, memory, and revolution, fairy tales about “forever,” “never,” or “never again.”
All of this with the mindset of “embracing everything of his own — both his rights and his wrongs,” as he sings in the track from his debut album (Life Starts from Now), titled At the Foot of the World.

Let’s get acquainted…

Vasilis studied at the Music School of Serres, while also taking lessons in folk guitar and three-string bouzouki from Stavros Vasdekis and Dimitris Psarras respectively.
As an Architecture student at the Democritus University of Thrace, he was active as a musician and singer on various stages and concerts across northern Greece.

In December 2013, upon completing his architectural studies, he made his debut appearance in Athens, performing with Glykeria and Babis Tsertos.
Since then, he has collaborated with top composers, songwriters, and performers both live and in studio, and continues to present his own music on stages within and beyond Athens — with his main musical companions being composer and accordionist Dasho Kurti, multi-instrumentalist and songwriter Dimitris Sindos, and drummer Thanos Tselebis.

He is also a member of Pagan, a progressive ethnic band, where he plays acoustic guitar and sings.

Live Collaborations:
Glykeria, Eleni Vitali, Natassa Bofiliou, Pagan, Dimitra Galani, Vasilis Tsitsanis Orchestra, Christina Maxouri (Songs of Sotiria), Pitsa Papadopoulou, Manolis Lidakis, Christos Nikolopoulos, Nikos Dimitratos, Ioulia Karapataki, Anatoli Margiola, Aspasia Stratigou, Manolis Pappos, Giorgos Merantzas, Melina Kana, Lizeta Kalimeri, Fotini Velesiotou, Sofia Kourtidou, and others.


Reservations can be made for groups of 4 or 6 people at seats with small side tables, based on a first-come, first-served basis, by calling 697 272 4257.

All other seating is assigned randomly.

I AM THE REINCARNATION OF SYLVIA PLATH

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I Am the Reincarnation of Sylvia Plath

A woman, in a kitchen—though a different kind of kitchen. Because in this kitchen, nothing is being cooked. Perhaps only a suicide. After all, she flirts with death every day. But before she makes her decision, she must first confess what weighs on her.

And manage, for once, to reach completion—since in sex, she never quite does.

And to share some of her psychological traumas with her vibrator.

And to try to understand why her body, and her very existence, feel so profoundly lonely.

And to do a little sexting.

And to watch some of her favorite films.

And to leave behind a will.

And to write a few songs.

And to not ask for one last kiss. From someone who might be worth dying for.

As open as we’ve become as a society on issues that were once considered private, the stigma around our emotional and sexual difficulties remains insurmountable. We speak easily about our physical health, but we still find it incredibly uncomfortable to talk about anxiety, depression, our sexual entanglements or fantasies, or the uncontrollable sense of futility and loneliness.

“She” – with sharp humor and raw honesty – satirizes the digitization of sexual life, the power of trauma, the deep roots of patriarchy which, no matter how consciously we now try to cast it off, has already—subtly or obviously—defined us to a large extent; and the fear of what we most deeply desire: the exposure of our true selves and a deeper connection with another being. Or two. Or three. Or countless.

“Is there an app where people can cuddle to sleep? Just for a night, a one-night nap. And in the morning, each goes home or to work, wherever they want. No strings attached—you just show up in your pajamas, we lie down, and sleep holding each other. We might not even exchange names, not even say goodnight. But we hold each other like we’ve known each other forever. There isn’t one? What a shame.”

Through the desperate “baring” of her most hidden and unseen sides before an audience—without fear or shame (after all, she’s probably going to die right after)—she discovers that there is beauty even in the darkest places. Because the more we accept them and share them, the more we step into the light. And then we see—we’re not really that alone.

“I Am the Reincarnation of Sylvia Plath” is a work that references Sylvia Plath. A work inspired by Sylvia Plath. And a work that is certainly not just about Sylvia Plath.

Suitable for ages 18 and over.

CHANGE: METHOD

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Change: Method
A stage adaptation based on the eponymous book by Édouard Louis

It’s evening. We are in a room, filled with books, papers, and notes. In this room, a young man is trying to write. He wants to become a writer. Suddenly, another young man appears in the room, deciding to help him remember his past. The two men dive into the memory of the first one. Through this dive, we travel with them from a village in northern France to Paris. The young man who wants to become a writer will remember his high school years, faces, and situations that marked him, but mainly the process of reinventing himself and the need to escape from his past. From the beginning of the narrative, we realize that these two men are the same person. The self that wishes to become a writer is the present self, the self that wants to evolve, to move forward, while the other is the past/teenage self, a self filled with guilt and fear of the future, the self that would like to stay and constantly blames the present self for the people and places left behind. The conflict between the past and present self is inevitable.

Édouard Louis’ book, Change: Method, served as the starting point for a journey with Dionysis and Konstantinos, exploring the concept of identity in its broader sense, including sexual, class, and social identity, and how a personal story can take on social and political dimensions. Through this story, we follow the personal struggle of a person to change, to transform, to evolve, and to escape from their past.

Directorial Note:

We were not all born with the same opportunities, and not all of us were born in privileged environments. Some people come into this world learning to live under conditions of degradation. The story of this boy, from a poor family in a village in northern France, gives voice to these social classes and people who have a pre-determined and difficult future. Although I was much luckier than this boy, his story speaks to my heart, because which person doesn’t ultimately want to be loved? Which person doesn’t want to be accepted by others? Who hasn’t felt different from others, even once, at some point in their life? Who doesn’t want to find their place in this world? Only inspiration, strength, and courage do I draw from this story that Louis offers us, to move forward, to evolve, and to change myself as well. And perhaps one proof of this is the fact that I am making this performance.

I will close with a quote from Sartre, in which I believe the essence of the play Change: Method is encapsulated: “What matters is not how they made you, but what you do with what they made you.”

Eva Fraktopoulou


Important Note
Entrance is recommended for individuals aged 16 and above.

(I AM THE) LABYRINTH 2.0

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(I am) The Labyrinth 2.0

After a highly successful run with continuous sold-out performances, I am The Labyrinth returns for a limited number of shows, inviting the audience into an experience unlike any other.

I am the monster, I am the myth, I am the Labyrinth.

Directed by Riginos R, 14 international performers invite you to step into the heart of the narrative and immerse yourself in Europe’s oldest myth.

I am The Labyrinth enacts, experiences, and embraces this descent, guiding the audience through the threads of art—dance, poetry, video installations, and music—leading to the depths of the human soul. As the myth’s red thread unravels, the audience is drawn into an initiation, a journey of discovery through spectacle and experience.

The Labyrinth manifests as an expression of the collective subconscious and its mystery. Entering and solving the Labyrinth is an archetypal initiation into the self, culminating in the encounter with the Minotaur—the symbol of the ancient, the unknown, and the deeply personal. The monster within us lurks, and the exit illuminates the journey.

I am The Labyrinth invites you to surrender to an experience that leads through unpredictable, dark paths. Here, love, power, and myth converge to awaken the deepest and most unspoken aspects of our being. The Labyrinth and the Monster embody our fears of the unknown, of the forbidden. This ritualistic, immersive performance places the human body at its core—a body that narrates, records, desires, and suffers. It seeks to penetrate the Labyrinth while simultaneously searching for the way out. The Labyrinth becomes an experience for the audience.

What to Expect