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Archives: Events

BETWEEN SPACES – BETWEEN FACES

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BETWEEN SPACES – BETWEEN FACES
LUNA PARK / Nikoleta Koutitsa

Two dancers wake up in a world of gymnastics benches. They begin to explore new spaces, together and on their own, strangers to each other and yet also close, face to face: BETWEEN SPACES – BETWEEN FACES. The search for a meaning in their everyday madness between loneliness and togetherness drives them on again and again, but their questions are only answered with ever new questions. So they finally leave behind what they once were, strip off their shells and throw them away, forgetting their own expectations and those of the others. They no longer play by rules that are not their own. And in the end, they smash their old world, and use the debris to build a path into something new.

To develop BETWEEN SPACES – BETWEEN FACES, the Initiative LUNA PARK e.V. worked with the choreographer Nikoleta Koutitsa who was educated at the National School of Dance in Athens and at DANCE START UP in Bologna. She has worked with the Hellenic Dance Company in New York and with Emanuel Gat at the 2016 Venice Biennale, among others. In 2017, she founded the KN Dance Group with Karolina Theleriti, whose choreographic works and video dance films were presented at festivals in Greece and abroad. Nikoleta Koutitsa has lived in Berlin since 2019, where she is regularly involved in LUNA PARK’s productions and educational projects in addition to her own artistic work as a dance artist.

BETWEEN SPACES – BETWEEN FACES is a production of Initiative LUNA PARK e.V., in cooperation with Greek association LOUNA PARK ERGA, supported in the frame of the artist residency program “tanz(t)räume” (dance rooms/ dreams) funded by TANZPAKT Stadt-Land-Bund (DANCE PACT Local-Regional-National) and the Berlin Senate Department for Culture and Social Cohesion. The performances on October 23 and 24, 2025, take place within the framework of the international exchange program “How to dance in times of crisis?”, which is funded by the German-Greek Youth Office.


LUNA PARK, founded in 2002 as an initiative of independent artists, has been realizing contemporary dance productions with performances in Germany, Greece and abroad, diverse extracurricular artistic education projects for children, teenagers and young adults and international exchange and encounter programs for young dance professionals and dance education specialists for over 20 years. 

With the work BETWEEN SPACES – BETWEEN FACES, the group explores how, despite alienation, a new form of coexistence can emerge.

Duration: approximately 60 minutes without intermission
Suitable age: The performance is intended for audiences aged 4 to 104. Some scenes include loud sounds, intense lighting effects (strobe light), and darkness.

MELPO

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KIOURIAMARIA
MELPO

The idea for the project was born from a love for melancholic and moving songs, the kind that make you feel embraced by emotions, ranging from deep sentiment to tears. We wanted to create something that could transmit this sense of profound emotion and share this experience with others. As the idea evolved, the thought of a melancholic persona emerged, one that would interpret these songs—a figure that embodies loneliness and sorrow, but also the power of music to transform the darkest feelings into art.

We then wished to connect the songs with a deeper social and political dimension, by writing the stories of women who experience disappointment, the power of music, and rebirth through the challenges of patriarchy.

The first performance follows the story of Melpo, a woman living a life full of emotional intensity, passion for food and culture, but also facing the challenges stemming from her relationships, loneliness, and the conflicts with the social and political framework of her time. The songs of the performance highlight these conflicts, expressing the emotional dimension of her life—from love and grief to rebirth and self-acceptance.

Duration: 75 minutes

10th YOGA FESTIVAL 2025

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10th YOGA FESTIVAL 2025
Hellenic Yoga Association

It is with great joy that we invite you to the grand Festival of the Hellenic Yoga Association, which will take place on the weekend of October 11–12, 2025. Two days filled with light, inspiration, and inner connection through classes, lectures, presentations, meditations, and festive happenings — along with a wonderful exhibition space with products, services, schools, ideas, and information, where you will meet exhibitors inspired by the philosophy of yoga and well-being!

A warm embrace for those who love yoga and its many wondrous paths, as well as for those who wish to discover it for the first time. Together we will share joy, unity, and the power of collectivity. In a beautiful, creative space with two halls, we will co-create a two-day experience full of inspiration, gratitude, and deep connection with the body, the breath, and inner silence.

🌸 Come share with us the joy, unity, and magic of yoga!
🧘‍♂️ Classes and workshops with experienced teachers
🌿 Presentations, lectures, meditations, festive happenings
✨ A unique celebration to discover yoga or deepen your practice.

With a symbolic contribution (€10 for one day or €15 for the full weekend), the doors of the Festival open wide for you. You can enjoy all the experiences, join every class, and share the joy of yoga with inspiring people.

REGISTRATION (https://www.hellenicyogaassociation.gr/eggrafi/)

CLASSES & TEACHERS (https://www.hellenicyogaassociation.gr/isigites-festival-2025/)

FULL WEEKEND PROGRAM (https://www.hellenicyogaassociation.gr/programme-festival-2025/)

Yoga is sharing, and sharing is the light that multiplies.

We await you with love and joy!

Duration: 10:30 – 20:30
Each class lasts 1 hour, with a 15-minute break before the next.

BAD LUCK BANGING OR LOONY PORN

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BAD LUCK BANGING OR LOONY PORN
Based on the screenplay by Radu Jude – Golden Bear, Berlin Film Festival 2021
Adaptation: Katerina Papanastasiatou
Direction: Sotiris Roumeliotis

For the first time in Greece, the social comedy Bad Luck Banging or Loony Porn is being presented on stage. The play is based on the screenplay of the award-winning film of the same name by Radu Jude, which received the Golden Bear at the 2021 Berlin Film Festival. Directed by Sotiris Roumeliotis, the production will be staged at PLYFA, starting Monday, October 20. The cast features an outstanding ensemble of actors: Angelos Andriopoulos, Eleni Vaitsou, Eleni Daphni, Spyros Sourvinos.

Synopsis

When a video of a primary school teacher’s private intimate moments leaks online, the parents of the students decide to take matters into their own hands!

A school assembly or a public tribunal? Concern for the future of our children or yet another excuse for public shaming? Social drama or surreal comedy?

Based on the provocative screenplay by award-winning Romanian director Radu Jude, this theatrical adaptation brings the story into contemporary Greek society. With biting humor, unexpected twists, and constant conflicts, a simple discussion between parents and teachers transforms into a true duel over the taboos of sexuality, social roles, parental responsibility, and the boundaries between private and public life.
In a society that lives through images and snap judgments, people are increasingly exposed to voracious public critique, especially online. But when it comes time to discuss face-to-face—without screens and apps in between—the masks of progressiveness fall loudly, and deeply rooted social prejudices are revealed with tragicomic clarity.

The production is made possible with the financial support of the Ministry of Culture.

Duration: 70 minutes
Recommended age: 28-50

FRIEND WITH THE MOUNTAIN

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FRIEND WITH THE MOUNTAIN
Eva Georgitsopoulou

The performance Friend with the Mountain engages in dialogue with the historical identity of the zeibekiko— a solo, male, improvisational dance— and tests its boundaries: What kind of zeibekiko does a woman dance? By dissecting tradition and its cross-gender coordinates, the body on stage negotiates both individual and collective dimensions of grief, constructing its own space.

Choreographer and dancer Eva Georgitsopoulou meets on stage with Elina Rizou on solo bouzouki, together shaping a ritual of re-translation of the solo dance—one that traverses memory and invites an embodied collective experience.

The production was first presented as part of the Ministry of Culture’s program “All of Greece, One Culture 2025.”

Duration: 50 minutes

SOPA + ELSA

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SOPA
Nela Fortunato
Opening Act: Elsa by Stella Evangelia Kasoumpi

SOPA is a performance piece. A one-person show. An ode to peculiarity.

A succession of vignettes in which Iris unravels their thoughts. Through images, memories and dreams, Iris addresses the audience on what it is to be living outside the norm.
Iris opens up, a monstrously beautiful bird. They stomp and dance and tell stories. They are the question mark in an alphabet soup, a femme fatale soaked in a stew, a series of memories traveling from far away in a space rocket.

The piece uses physical theater and a queer, pop, distorted aesthetic in order to pose questions that subvert, trespass and repel the ideas of femininity/masculinity, binarism and gender roles.

SOPA is a cry, a broth in which we are all immersed, entangled. Where the absurd and the ridiculous find their way into rawness.

SOPA is a performative play with a unique journey: texts gathered during the pandemic lockdown, performed online & in English language for AFO NYC’s Saloon, resulting in a one-person play performed by an actor, Nicolás Depetre, in Buenos Aires, then touring Patagonia, Argentina, with the support of the City Council funding. Transformed later into a site specific exploration in Lala Spiti, Athens, with a diverse cast and original music, texts in Spanish, English and Greek. SOPA then evolved into the current version, performed by the author herself, which, with the audience’s help, will be able to debate and unfold once more.

It keeps mutating, it still cries and resignifies: BEING IN ORDER TO BE WHAT?

Iris: “There is a hole in the texture of things.
In the world I see through my mobile phone.
There is no way out,
and there is so much that needs to be done.
Hot food,
shelter,
cotton,
and nothing,
nothing that soothes me,
covers me,
saves me.
I should save myself.
If I wanted to.
If I could.”

The performance will be in Spanish language with subtitles in Greek and there will be a bit of use of English.

Duration: 50 minutes + 15-minute Q&A – no intermission
Suitable for: 16+


Elsa by Stella Evangelia Kasoumpi

As I was walking, I asked myself — which things are truly mine, which are my ideals, and which are merely borrowed.
It’s impossible for everything to belong to me.

A 15-minute solo performance, not suitable for minors.

Creation and performance: Stella Evangelia Kasoumpi
Direction: Marina Mavrogeni

SCAPE

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SCAPE
Elisavet Pliakostathi

An unknown space where human beings and actions appear and interact beyond the limits of time. A visual journey of movement, transformation and unexpected possibilities.

Part of the music performance is based on Marin Marais’ work Sonnerie de Sainte-Geneviève du Mont de Paris.

 

SCAPE premiered at PLYFA on May 27 & 28, 2023, and was later presented on July 25, 2024, as part of Dance Days Chania 2024.

 

Duration: 45 minutes without intermission

THE HOOD

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“The Hood”

Thanasis Triaridis’ play The Hood is a dystopian future drama, a powerful punch to the stomach, written with humor, bitter irony, and absurdity.

As the author himself writes in the prologue to his book:
“So what of it? There are lakes of blood for a thousand reasons… The important thing is that we ourselves do not press the button that kills.”

A woman goes to a Distribution Station that hands out hoods and asks the clerk for one—so she can use it, as the Emergency Decree requires, at the Defense Assemblies. In these Assemblies, all adult citizens of the country are obliged to ritually murder detained migrants—by pressing a button that activates a hammer which crushes their heads. Then comes a second woman—identical in appearance to the first, but entirely different in manner and in the personal story she carries. And then a third, a fourth, a fifth, and so on. In total, ten women appear—identical in form, yet utterly different in every other way. The saleswoman suspects that it is always the same woman, sent repeatedly by the State to test her. In the end, everyone leaves the Station with the hood they desired.


Directorial Note

Thanasis Triaridis’ The Hood is undeniably a socio-political play that confronts issues concerning life itself, human values, and the freedom of will. In a regimented authoritarian state that hides brazenly beneath the hood of democracy, in a not-so-distant future, society and its pressing problems unfold. The play’s characters must obey absolutely the command of the organized State. But where does that lead? To the murder of the most precious thing a human has: memory. Without memory, consciousness is lost, all emotion is lost, and the human being functions mechanically, pressing—effortlessly and shamelessly, hooded—the button of annihilation. The annihilation of human by human.

In Western society, the act of hooding is emblematic of the social and political alienation produced by the sole surviving socio-economic system: capitalism. The surplus value of capitalism, its alienation, contains within it the suffocation of the human species. Its triumph is that this suffocation occurs almost painlessly—through a symbolic hood. The hood is the suffocation of our social life. And this suffocation, paradoxically and strikingly, produces an absolute pleasure: the pleasure of chaos.


The Direction

The direction follows the line of German Expressionism, with elements of interwar cabaret, focusing on the body and the grotesque expressions of the face, where the delivery of speech is driven by them. On the stage, the performers—a woman and a man, here (by directorial license) embodied as a non-binary person—search for the truth that has been lost, just as their memory has been lost. Their duty is to awaken the spectator and to transmit to them all the emotions and situations that arise, making the spectator a participant and accountable for what takes place on stage but, in essence, within society itself and life itself.

The stage setting of the play (again, by directorial license) is a human being—an actor-musician—used as a living stage-object. On them, the performers sit, flirt, quarrel, comment. This human stage, at times silent, at times expressing itself through sounds and live music it produces on stage, always under the prompting and command of its master, symbolizes the human as object: the human without essence, the human as slave, the migrant human, the pet human, utterly humiliated in an inhuman world.

The direction exploits the peculiar humor of the play, thereby underscoring even more intensely its harsh and dramatic substance. At the back of the stage stands a visual artwork inspired by the play, evoking the sense of a futuristic environment in which the story unfolds.

The costumes follow a retro-futuristic line.
The lighting intensifies the drama of the scenes, focusing mainly on the faces and choreographed movements of the performers.

TRUTHS ONLY

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“TRUTHS ONLY”

What happens when politics, love, and death go… on air?

In a TV studio preparing for the grand premiere of the new late-night show “TRUTHS ONLY”, two women – the host, Smaragda Lambraki, and the Minister for Citizen Protection, Clytemnestra Patrioti – come face to face just minutes before the “ON AIR” signal.

A staged set.
Pre-recorded applause.
Notes with pre-arranged questions.
Everything predictable. Everything under control.

Until two pieces of news arrive – both from the Minister’s own mouth:
(1) The massive protest is heading straight for the TV station where, very soon, the show will take place. The official reason? The 13th dead protester “from the fire of defending police officers.” The real reason? (and 2) The identity of tonight’s dead protester…

How much propaganda, how many certainties, how many masks and worn-out lies would collapse if a person were to learn that tonight’s dead protester is their very own father – and that the “political” figure responsible for his death is sitting right across from them?

“TRUTHS ONLY”, the new play by Spyros Sourvinos, is a play about love and truth, about faith and betrayal, about utopia and… the non-existent emergency exit toward it.

Two women, trapped on a stage-turned-cage, struggle to manage truth, betrayal, love – and an audience that expects so much from them.

And as the cameras close in,
as their relationship is revealed,
as the protesters reach the building,
the talk show becomes theater,
and the theater turns into a showdown
of life or death.

A play about the people who refuse to remain silent,
about the loves that are born in the mud of (any) power,
and about the truths that cannot bear the light.

We thank Thanasis Dimitropoulos and the restaurant Honolulu Athens for their kind sponsorship.
We thank the traditional products store Tsakanikas in Kallithea for their generous sponsorship.
We warmly thank Kalli Diki and vitho creative for managing the performance’s communication on social media.

DOTS INTERNATIONAL DOCUMENTARY FILM FESTIVAL

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DOTS International Documentary Film Festival: Documenting Our True Stories

The DOTS International Documentary Film Festival makes its debut in Athens, at the multipurpose venue of PLYFA, dedicated exclusively to the art of documentary. From October 3rd to October 5th, the festival will host a series of screenings that highlight the many facets of reality, through the lens of creators from around the world.

Although non-competitive in nature, DOTS gives a voice to the audience through the Audience Award, encouraging active participation and showcasing the works that resonated most deeply with viewers. The festival’s aim is to provide a platform for stories that deserve to be heard, shedding light on social, cultural, and environmental issues with a human-centered perspective.

Key features of the festival:

 

DOTS aspires to become a reference point for documentary lovers, offering a platform for the presentation of important stories and voices.

For more information about the program and screenings, visit the festival’s official website: www.dotsfestival.com