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VOICE TALE (SPEAKING SONG)

Voice Tale (Speaking Song) – ONE DAY INTENSE WORKSHOP
Ditte Berkeley

Every voice has a tale to tell — in fact, a million tales. The voice changes depending on the song, the experiences, the listener, the sounds surrounding it, and the state of the singer.

As an actress, I enter into a dialogue with my voice each time I sing: How are we going to sing this today? What about this sound? How does it feel? What does it say? What tale does it tell? The exploration pushes me further and brings new questions. This is the work of the performer who wants to transform song or text into a tool for profound exchange between singer and listener. The voice, naked and exposed, allows for a rare kind of sharing — one that can feel uncertain yet deeply powerful. Exploring its borders and connections through physical experience, imagery, and associations enriches our communicative tools and opens a space for discovery.

This workshop focuses on exploring our own voices, as well as their reflections and fusions with the voices of others. We will work on cultivating confidence in the sound of our own voices, discovering their richness, and building foundations of support through breath, physical awareness, and imagination. We will explore the strength of the voice when heard alone, and the power it gains when joining in polyphony with others.

More and more, performing arts demand that dancers also act and sing, and that actors and singers also move. This workshop is therefore designed specifically for performers and students of performance — in dance, theatre, and music — as well as anyone interested in performing through song and text. It is rooted in ensemble practice, helping us grow as individuals while working as a team. In today’s world, built on individualism and competitiveness, such work is essential. Polyphonic singing traditions bring people together through the joy of shared sound, teaching us endless lessons in coexistence and collaboration.

This workshop takes you on a journey of awareness and empowerment through the voice, offering insight not only into artistic performance but also into how we use our voices to coexist as human beings and to communicate what truly matters.

Prices (Sliding Scale)

Students / Artists in need of social support (unemployed, refugee status, single parents, etc.): €60 (until 27th September)
Regular price: €90
Sponsor price: €120 (helps support those unable to pay the full fee)

If the lowest fee is still unattainable at this moment in your life, please contact me directly at [email protected].

Please remember that the sliding scale exists to ensure that no one is excluded due to financial difficulty. If you can afford the higher fee, please consider paying it — by doing so, you enable others to join. I will gladly acknowledge your support if you wish.

Ditte Berkeley — Artist, Voice Researcher, Educator

Ditte Berkeley is a dynamic theatre practitioner, vocal artist, and educator with roots in Denmark and the UK. Raised in Spain, she trained at London’s Rose Bruford College of Speech and Drama. As an independent artist, her core fascination lies in the transformative power of song within performance.

Currently, she performs in Source Material’s acclaimed production Life in This House is Over, which premiered recently in New York, alongside artists from Tanztheater Wuppertal Pina Bausch and Teatr ZAR. She also works as a vocal and language coach in the film industry and has appeared as a screen actress in various productions.

A cornerstone of her career is her collaboration with Teatr ZAR, where she was a founding member and co-creator in the company’s first five performances. She also initiated VoicEncounters, a recurring festival of vocal traditions hosted by the Grotowski Institute in Wrocław, and co-organized the international festival Giving Voice in 2009 with CPR Wales.

In her pedagogical practice, Ditte has co-led transformative workshops such as Into the Sound (with Teatr ZAR) and Awakening the Listening Body (with Matej Matejka), cultivating deep bodily and vocal awareness in performers. She continues to pioneer her own voice-focused workshops, most notably Voice Tale (Speaking Song), offered internationally. She has also been a guest teacher at leading institutions such as Central School of Speech and Drama, Rose Bruford College, RADA, Italia Conti, CALARTS, and Institut del Teatre.

Alongside her theatre and teaching work, Ditte has contributed to Polish cinema through various roles and remains active in new film projects.

Workshop Schedule
10:00–13:30 | 15:00–18:30

LUNAPARK.works 07

LUNAPARK.works 07
LUNA PARK

As part of its 10th International Encounter for Young Dance Professionals ‘How to dance in times of crisis?’ in Athens from 17.10.2025 to 03.11.2025, LUNA PARK is realising the collective performance format LUNAPARK.works – now in its seventh edition. For LUNAPARK.works 07, the participants develop their own short performances, including solos and group pieces, some of them as works in progress, and present them to the public on 30 and 31 October 2025 in PLYFA.

The exchange program ‘How to dance in times of crisis?’ has been organised by LUNA PARK as part of its support for young talents since 2016 with annual encounters in Berlin and Athens. How does our understanding of art change in times of serious social upheaval, in times of local and global crises? How does our artistic expression change? Do we dance differently in times of crisis? Can dance make a difference – even outside the theatre? The participating young dance makers will address these questions in lectures, seminars and discussions, as well as dance theory and philosophical approaches to the conception and evaluation of contemporary dance and performance art. They are supported and curated by experienced choreographers and dance scholars, who will also lead practical workshops in choreography and improvisation as well as joint dance rehearsals, and who will support the young artists in particular in working on their own projects, which will be shown as part of LUNAPARK.works 07.

LUNAPARK.works 07 is a presentation format of the Initiative LUNA PARK e.V., in cooperation with the Greek association LOUNA PARK ERGA, funded by the German-Greek Youth Office (DGJW) as part of the international exchange project ‘How to dance in times of crisis? ‘ and 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.

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.

LUNAPARK.works 07 is an international workshop for dance, performance, and exchange.

Performance Program

_Thursday, October 30
“alBumS” (30’), Choreography & Dance: Nolwenn Benichou-Samson
Pause
“Moon Palace” (9’), Choreography & Dance: Hannah Stein
“Klaiousa” (Willow Tree, 6’), Choreography & Dance: Rallou Savva
“Is it getting lighter?” (12’), Choreography & Performance: Foteini Gerakianaki, Fani Vakalopoulou

_Friday, October 31
“OUR VOICES_OUR SOUND”, Concept & Performance: Sofia Gousgoula, Rafailia Sismanoglou
Pause
“Klaiousa” (Willow Tree, 6’), Choreography & Dance: Rallou Savva
“Common Thread” (10’), Choreography & Performance: Milica Tancic
“What I wanted, what I found” (20’), Concept & Performance: Panagiota Bafouni, Anna-Maria Karounou, Angeliki Sarigeorgiou, Anthoula Stasinou

_Sunday, November 2
“alBumS” (30’), Choreography & Dance: Nolwenn Benichou-Samson
“Common Thread” (10’), Choreography & Performance: Milica Tancic
Pause
“What I wanted, what I found” (20’), Concept & Performance: Panagiota Bafouni, Anna-Maria Karounou, Angeliki Sarigeorgiou, Anthoula Stasinou

Duration: 100 min with a break
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.

BETWEEN SPACES – BETWEEN FACES

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.

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

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

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

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

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

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

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

“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.

Duration: 75′ (no intermission)
Suitable for ages 15 and above