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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

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

• Strictly for adults (18+) – Contains intense scenes of violence and sexual content.
• Complete darkness, loud music, and intense lighting.
• Direct interaction with performers.
• Recording is strictly prohibited—this is an experience to be lived.

Radiant Vermin
by Philip Ridley

-Hello, I’m Jill.
-And I’m Ollie.
-This is our son Benjy.
-We’d like to tell you about our home.
-Our dream home.
-That’s right.
-How we got it.
-Exactly. Because . . . well . . .
-We’re good people.

Radiant Vermin by Philip Ridley is a dark and sharp satire. A surreal, black comedy that explores the lengths a young couple will go to in order to secure the home of their dreams during the housing crisis. Seizing the extraordinary opportunity presented to them, they embark on a nightmarish journey that highlights the consequences of materialism, gentrification, the homelessness phenomenon, greed, and the obsession with social status. Awkward, funny, and provocative, Ridley’s play serves as a powerful critique of consumer culture and the moral sacrifices we make to satisfy our insatiable needs.

Against Progress – A Field of Memory

Dulcinea Compania presents Against Progress – A Field of Memory by Esteve Soler, translated by Maria Chatzimmanouil and adapted by Ioanna Kanellopoulou and Anna-Maria Iakovou.

In a world where information floods every corner and time rushes forward, a groundbreaking program, Exhalation, revives the memories of a woman’s final days.

With shades of pop and sci-fi aesthetics, a universe unfolds—paradoxical yet eerily familiar—where humans drift between loss, longing, and the quiet hum of technology.

Ionesco once wrote: “It is not easy at all to be nowhere.”

The performance is suitable for audiences aged 16 and above.

Duration: 73 minutes