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Archives: Events

flux_playground

flux_playground

multimedia performance

Fani Arapi, Kostas Daflos

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Flux Playground is a fluid field where the body encounters sound, movement, visual installations, scenographic space and interactive technologies. It is a multimedia performance featuring three string arrangements within a fluid paper material space. In the solo performance, bodily space is redefined through the creation of paper garments, soundscapes and drawings in motion. In the performative installation, the body seeks ways of operation and integration in dialogue with the active objects (the arrangements, the interactive improvised musical instruments, the paper surfaces, etc.). The dialogical musical sculptures emerged from the bricolage of furniture elements and micro-materials, as well as through the reuse and recycling of toy robots.

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A choreographic performance is an ongoing action in process that combines dance and body movement with the visual act. It is a reference to experimental body performances of Charlotte Moorman and Nam June Paik (Fluxus Cello, 1969), -Christo and Jeanne-Claude’s (Wendy, Wedding Dress, and Evening Dress, 1967), the early robotic art of Akira Kanayama (Painting Machine, 1957), and the Gutai avant-garde.

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‎Distinction: “2026 Performing Arts Award” by the Hellenic Association of Theatre and Performing Arts Critics.

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Fani Arapi is a visual artist who graduated from Aristotle University of Thessaloniki and holds a postgraduate degree from the Department of Audio and Visual Arts at the Ionian University. Her practice focuses on performance art and multimedia installations.

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Kostas Daflos is a professor at the Athens School of Architecture at the National Technical University of Athens. He creates dialogical and interactive installations using technologies through performative spatial practices.

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flux_playground.gr

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Duration: 75 minutes (no intermission)

WHERE DO WE MEET

Where Do We Meet

LUNA PARK / Nikoleta Koutitsa

How do we come together? What holds us together? And what remains when the structures we rely on begin to disappear? Where Do We Meet is a choreographic work for five performers exploring the shifting architecture of human relations. Bodies, objects, and space continuously influence one another, creating temporary systems of orientation that emerge only to dissolve again. Familiar situations appear, drift out of balance, and reorganize into unexpected constellations.

Rather than presenting movement as fixed choreography, the work unfolds through processes of listening, responding, and adapting. Relationships are constantly redefined as the performers negotiate proximity and distance, rhythm and hesitation, individuality and collectivity. Every encounter leaves a trace. Every action reshapes the conditions for what follows.

The stage itself becomes a living landscape in continuous transformation, where stability is momentary and change is the only constant. As points of orientation disappear, new possibilities for connection begin to emerge.

Without narrative or resolution, Where Do We Meet invites the audience into an experience of coexistence in motion. It is less concerned with where we meet than with the fragile and ever-changing conditions that make meeting possible.

Where Do We Meet is a production by Initiative LUNA PARK e.V. and Nikoleta Koutitsa, created in collaboration with Gesundbrunnen Primary School and the Greek association LOUNA PARK ERGA. The production is supported through the project “Kiez in Bewegung / Berlin”, funded by Deutsche Fernsehlotterie and the Berlin Senate Department for Culture and Community, as well as supported by the German-Greek Youth Office (DGJW) as part of the exchange project “How to dance in times of crisis?”.

Duration: approximately 55 minutes without intermission
Suitable age: The performance is suitable for everyone aged 4 and over.

LUNAPARK.works 09

LUNA PARK

As part of the 12th International Meeting of Emerging Dance Professionals, “How to dance in times of crisis?”, taking place in Athens, LUNA PARK presents the ninth edition of its collective performing arts platform LUNAPARK.works. Admission is free, and voluntary donations are welcome.

The international exchange programme “How to dance in times of crisis?” has been organised by LUNA PARK since 2016, aiming to support the artistic development of emerging dance artists through regular encounters in Berlin and Athens. As part of LUNAPARK.works 09, participants present short solo and group choreographic works, some of which are still in development (work in progress).

How does our perception of art change during periods of profound social transformation and local or global crises? How is our artistic expression affected? Do we dance differently in times of crisis? Can dance bring about change, even beyond the theatre? The emerging dance professionals participating in the programme explore these questions through lectures, seminars and discussions, as well as theoretical and philosophical approaches to the creation and critical reflection of contemporary dance and performance art. Experienced choreographers and dance researchers provide artistic guidance, lead workshops in choreography and improvisation, and facilitate collective rehearsals. Particular emphasis is placed on developing the participants’ individual and collaborative artistic works, which are presented as part of LUNAPARK.works 09.

LUNAPARK.works 09 is a platform for dance, performance and artistic exchange organised by Initiative LUNA PARK e.V. in collaboration with the Greek non-profit organisation LOUNA PARK ERGA. It is funded by the German-Greek Youth Office (DGJW/EGIN) as part of the international exchange programme “How to dance in times of crisis?”, with additional support from the Berlin Senate Department for Culture and Community and AKTINA, a recognised Higher Professional Dance School in Athens.

Founded in 2002 as an initiative of independent artists, LUNA PARK has been active in contemporary dance for more than 20 years. Its work includes contemporary dance productions and performances in Germany, Greece and internationally, a wide range of extracurricular arts education programmes for children, teenagers and young adults, as well as international exchange programmes and encounters for emerging dance professionals and dance educators.

Performance Program

Thursday, 29 October 2026
_ “We // again” (15’), duet by Foteini Dritsakou and Gabriela Kokkini, sound supervision: Titos Grigoropoulos
_ “The Swan” (4’), solo by Mofei Hao
_ “What’s in my fantasy?” (6’), solo by Angeliki Liakopoulou
_ “Maja” (15’), duet by Eleonora Cirelli and Veronica Sala
_ “The impossible task” (17’), solo by Elina Kavalaki, music: Saxo
_ “Preferable Indifferents” (10’), solo by Emmanouela Antivasi, live music: Foivos Gouvas

Friday, 30 October 2026
_ “AIGOL” (17’), duet by Myrsini Shaqiri and Roza Tsigalida, sound design: Nikolas Koutsothanasis, costumes: Anastasia Christoforidou
_ “Ciao Mer” (5’), solo by Ida Aga Zinnen
_ “Arumbai” (10’), solo by Jirmeja Pattianakotta
_ “Crane fly” (10’), group work by Noah am Ende, created in collaboration with Veronica Sala, Eleonora Cirelli and Dafni Stathatou
_ “Photo-synthetic” (10’), solo by Caspar Sebastian Stuart Ilschner
_ “Minus Six” (25’), group work by Angeliki Liakopoulou, Eleni Charikiopoulou, Elina Kavalaki, Myrsini Georgopoulou Shaqiri, Niovi Papandreou and Zoi Tragidi

Duration: 90 minutes, including short breaks
Suitable age: The performance is suitable for everyone aged 16 and over. In certain scenes of the performance, loud sounds, intense lighting effects (strobe light), and darkness are used.

KANE LIGO PIO KEI

Kane ligo pio kei

Mutabor

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October 3, 4, 10, 11 & 17 and November 13 & 20, 2026
EXTRA PERFORMANCES November 16 & 27
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Stench. We’re surrounded by corpses again.

The Mutabor theatre company presents the original play Kane ligo pio kei, a performance that explores, through the absurd, the grotesque and the painfully familiar, the human need for freedom, the burden of social roles, family, love, alienation and death.

In an apartment.

High-ceil-inged. Clut-tered.

Inside, a Lady, a Maid, a son, Lo, and between them, the corpses.

Always inside.

Locked in the house, they try to digest the roles they believe life has forced upon them.

But what happens when someone decides not to obey? Resisting social conventions can bring freedom. But is everyone capable of handling the weight of being free?
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The Play

In a high-ceilinged, cluttered apartment lives Lo’s family: the Lady, his mother, a Maid, and corpses.

Lo works as a corpse cleaner. His daily encounters with the dead exhaust him, while at the same time becoming, paradoxically, a form of liberation.

The Lady constantly demands that he fulfil roles, identities, wishes and chores. She grows increasingly irritated; the more pressure he is under, the more he rises up against her.

Completing the picture is the Maid, who is constantly searching for her mop.

And the corpses? Like conductors, they shape the flow of the story as the characters gradually begin to lose their sense of self and their certainties.

Until a letter disrupts the fragile balance.

In the end, if you free yourself from the role you were given, are you ready to take responsibility for your freedom?

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The Performance

Kane ligo pio kei places at its centre the responsibility that comes with shedding social roles.

In a society that demands that we all be functional, useful and accepted, what price does someone pay when they refuse to conform to the profile of the “healthy”, socially acceptable person?

What happens when someone does not want to perform the role assigned to them? How much alienation and loneliness can freedom conceal? And how easily does difference become deviation, and deviation become stigma?

In the world of the play, the corpses embody the doubt that arises when people feel inadequate in the face of what is expected of them.

Why do we build our own prison and remain inside it, even when there is an escape plan?

And ultimately: do the characters find liberation, or do they remain imprisoned?

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Duration: 80 minutes

SCENIUS SOUND 001

The Athenian scene in dialogue with the international avant-garde

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The first SCENIUS SOUND brings an entire evening of experimental and improvised music, live performance and visual art to PLYFA. A journey between the international avant-garde and Athens’ contemporary music scene.

In Building 7A, new formations, international artists and musicians from the Athens scene come together through successive performances and new collaborations.

THE MESSTHETICS & JAMES BRANDON LEWIS

The Messthetics & James Brandon Lewis make their first appearance in Athens, and we are delighted to welcome them to the first SCENIUS SOUND.

Joe Lally on bass and Brendan Canty on drums, the rhythm section of the legendary Fugazi, join Anthony Pirog on guitar and James Brandon Lewis on tenor saxophone. Together they connect the energy of post-hardcore with jazz, improvisation and experimental sound.

KOPER8

Ingrid Laubrock (saxophones), Tom Rainey (drums), Jannis Anastasakis (guitar, electronics) and Giuseppe Doronzo (baritone saxophone) come together as KOPER8, a new international quartet moving freely between composition and improvisation. They come to Athens as part of the European tour for their debut album.

GIORGOS XYLOURIS / THODORIS ZIARKAS / NIKOS THESSALONIKEFS

Giorgos Xylouris, Thodoris Ziarkas and Nikos Thessalonikefs form a new trio especially for SCENIUS SOUND 001, connecting the Cretan musical tradition with improvisation and contemporary approaches to rhythm and sound.

FAUDUJUDU

Italian saxophonist Fausto Sierakowski, drummer Dimitris Klonis and guitarist Jannis Anastasakis form a newly founded improvising trio. Saxophone, guitar, drums, bass synth and live electronics meet without predetermined forms.

INK & SOUND by VINCENT DE BOER

Dutch visual artist and calligrapher Vincent de Boer connects calligraphy with movement, rhythm and sound. Known as the unofficial fifth, and only non-musical, member of Ill Considered, he hand-paints their record covers. At SCENIUS SOUND he creates in ink live, alongside the musicians on stage, in a specially designed space inside the hall.

STOMA (LIE-DOWN CONCERT)

The programme concludes with STOMA: Spyros Evangelatos on baritone guitar, electronics and voice, Apostolis Vasilopoulos on electric guitar, and Petros Kolotouros on drums and percussion. The trio uses improvisation to explore the outer reaches of electric and electronic sound.

The audience is invited to lie down and listen, in complete darkness, to a final performance of spontaneously composed music, an entirely different mode of listening.

Admission is first-come, first-served, subject to the capacity of the hall.

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Duration: Approximately 5 hours. There is no scheduled intermission; performances follow one another with short transitions in between.
Suggested for: 16+

HORNY FANS

INDEPENDENT ARTISTS

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Within a reality shaped by economic insecurity, the home becomes a space for invention, where the body, the image, everyday life and time become materials for negotiation. The need for survival encounters desire, the absurd, and the persistent attempt to imagine a future.

The home becomes a stage.

The body becomes content.

Desire becomes labour.

And time becomes space.

Amid a reality of economic insecurity, some people search for a way to keep going. The need to survive becomes a need to invent, and the home gradually transforms into an improvised space of work and exposure.

What once belonged to private life begins to become material. Intimacy becomes content, and life starts to resemble a performance that never ends.

It is then that time becomes strange. What happened yesterday may feel as though it happened only moments ago, while tomorrow remains constantly outside the frame.

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Duration: 80 minutes, no interval
Suitable for: 16+

*For this performance, tickets purchased at the box office can only be paid for by card (POS).

THE TRUTH IS

by Dimitris Dimitriadis
Directed by Grigoris Karantinakis
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2nd successful year

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Truth, antonym: Falsehood

Falsehood, synonym: Non-acceptance of the Truth

Dimitris Dimitriadis’ The Truth Is, directed by Grigoris Karantinakis, could be an incident from a police report, elevated through the dimensions of poetic language, dramatic writing and dramaturgy.

And yet, it is a contemporary portrait of human character, deeply existential and intensely charged: a confessional text that reveals the dark side of truth.

Two figures are present, the father and the mother, while their son, deafeningly absent yet ever-present, unravels the thread of their truth.

Their son’s life does not conform to their principles. Their seemingly spotless environment, their respectable family and their devout image all collapse when their child chooses to be “different.” Their values, beliefs and principles are shaken, and so they decide to remove him from their lives.

The play lays bare the hypocrisy and violence of the contemporary human being’s false life. The parents remain steadfast in their harsh decision, impatient for its implementation, and endure its consequences.

In one of his most revealing theatrical texts, Dimitriadis gives voice to truth, not so that it may be heard, but because it can no longer remain silent.

A performance about the things we have never dared to say.
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But will we ever speak our own truths?

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Duration: 80 minutes, no interval
Note: The performance contains gunshots and smoking

GOLDEN RECORD

Golden Record

The b.p.m. theatre group presents the new theatre work by Danai Liodaki

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What is worth preserving from the history of humanity? This is the question from which Golden Record, the new performance by Danai Liodaki, takes its starting point. The performance takes us back to 1977, when NASA created a record containing music, images and sounds and sent it into space aboard the Voyager mission, in an attempt to introduce life on Earth to an unknown extraterrestrial recipient. The performance returns to this real-life event, revisiting it in an era of war and destruction.

Almost fifty years after the spacecraft was launched, two sisters, while clearing out their parents’ house in a small village in Greece, discover a series of letters that bring a family secret to light. As they unravel the thread of the story, they travel through Greece during the struggle against the dictatorship and into a world changing at dizzying speed. From the neighbourhoods of New York and the creators of the Golden Record, to the Lebanese Civil War and the Palestinian people’s resistance, personal journeys become inextricably intertwined with major historical events of recent decades, revealing a hidden history that emerges from the past to illuminate the future.

Blending fiction with real historical figures and events, Golden Record is a work about memory, loss, and resistance to oblivion. A deeply anti-war work that seeks out the stories of those who were left outside official historical narratives.

Danai Liodaki (“Match,” “Those You Didn’t Get to See,” “Hyperspace or Otherwise…,” “With the Bees or with the Wolves”) continues to engage with contemporary political and social issues, proposing theatrical forms that combine elements of contemporary fiction and documentary theatre. The play Golden Record is published by Kapa Publishing.

The performance was presented as part of the 2026 programme of the Greek Ministry of Culture’s “All of Greece, One Culture” initiative.

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Duration: 90 minutes, no interval

TRIPTYCH

Demeglio – Sheehan – FØ – Polymeneas – Kolb – Choumou

TRIPTYCH is a work of persistence, endurance and fragility.

Through a rigorous engagement with movement, amplification, processing, noise, drones, and feedback, TRIPTYCH stretches time and shifts perception. The performance unfolds through three tableaux: murmuration, cruising, and otolith.

murmuration is an immersive duet between a dancer and a sound artist. The dancer’s repetitive movements are captured, amplified, processed, and diffused directly to the audience through headphones. Each listener is offered the experience of the intricate interplay between movement and sound from the microphone’s perspective.

cruising builds upon this dialogue with a focus on the lower body, flirting with rhythm and subtle variation. The dancer’s percussive footwork—drawing on tap and traditional Irish dancing—is captured and built into intricate textures. The focused, minimal tasks generate a hypnotic, evolving architecture of sound, where time stretches and folds upon itself.

otolith concludes with a purely sonic tableau, performed on bagpipes and feedback double bass. The shifting sonic environment of sustained drones and low-frequency interactions unfolds over time, in an interplay of magnitude, distance and variation.

Across its three tableaux, TRIPTYCH draws inspiration from natural systems: bird flocks, insect swarms, ocean waves and the fragile negotiations between repetition and variation. The work reflects on singularity within systems, on the minuteness of human actions and their interconnectedness. By exploring persistence, the performers undergo a shift in perception: motion, sound, and vibration open from the quotidian toward the transcendent.

Duration: 50 minutes

PANAGIOTIS LAMPOURAS LIVE

Panagiotis Lampouras Live

Violinist and singer-songwriter Panagiotis Lampouras comes to PLYFA for a special concert, presenting a multifaceted musical world in his own distinctive way.

A multi-instrumentalist, Lampouras brings to the audience songs from his latest album, “I Limni”, recently released as his third solo record. A collection of songs marked by a distinctive lyricism and expressiveness, the album signals a new creative and spiritual chapter in his artistic journey.

As a musician, he constantly experiments with new elements and explores different ways of expressing and transmitting sound. With violin, vocals, piano, mandolin, guitars and live electronics, he creates a dynamic sonic environment shaped by multiple musical influences. Drawing on his classical violin training, as well as his deep love for tradition and music from around the world, he develops a multilayered musical language in which original compositions, pre-recorded sonic elements and new arrangements come together.

The performance unfolds as a passage from classical to contemporary repertoire, featuring instrumental changes, orchestral motifs and a vivid lyrical voice that explores the fragile terrain of human existence.

Duration: 80 minutes