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A performance of physical theater in the concept & conception of the JEUDi team
Directed by: Korina Kokkali – Simon Gleave

The performance ROBA is about two human figures traveling through time. A strange game of hide and seek, through the multiplicity of different faces and forms, they move back and forth in time, on and off, in a space that is composed and decomposed with the help of a third mysterious creator.

A leak. A song. A disease.

ROBA is a Physical Theater performance that plays with image, sound, light and darkness, exploring the world of “care” and the possibility of finding redemption through illness. If we lose everything when we get sick, then can illness itself become an example of freedom?

The show is based on a record of gestures, sounds, images and experiences of caring for someone very close to us. ROBA “translates” these fragments into a ceremony of play and freedom.

The project is the result of four years of research and the collaboration of a wonderful group of artists, friends, care experts and “hidden” forces. The wider research, entitled ‘Parea’, around Parkinson’s and Dementia, includes a series of workshops for patient carers, professional and non-professional, and their family members. The research involves artists, therapists and neuroscientists. Collaborators: Clod Ensemble-Suzy Wilson, David Glass Ensemble-David Glass, Stephen Lenzi, Louisa White, Chrysoula Tsipa.

We are grateful for the support of Arts Council England, the Elizabeth Georgoudis Ballet School, the Clod Ensemble and all the donors who helped us make this project happen.

William Shakespeare’s grand and cheerful dream drama confronts the viewer with the question of believing in the impossible, the musical soundscapes of nature, the dream world of everyday life and the poetry that fills people’s lives with love.

*The performance is under the auspices of the Ministry of Culture and is subsidized.

Director’s Note
Shakespeare’s writing is an inexhaustible source of mystery, as you work on this work, you see more and more doors, you are called to choose this one time which one to open.

Two worlds, one on the surface, the other very internal, untransmitted, where pure poetry is.

Shakespeare has created something innocent and dreamy, like children who make exotic worlds under the table in the living room, bring chairs for walls, pillows, a cloth to hide.

He doesn’t explain, he doesn’t rationalize, you just feel and create with him and with the actors, that’s the magic of the play.

Alkinoos Doris

BLUE by Anna Lemonaki comes for the third year from Geneva to PLYFA for a few performances.

It is a contemporary performative work where language is mixed with music. An actress and a musician tune in and bring the viewer to the heart of the personal truth hidden behind anxiety.

Man has always felt stress. However, we notice the generative causes of stress changing over the years. It’s different to be anxious because you learn that the Earth is not flat but round and afraid of falling into space, than to hear your heart beating faster and faster thinking you’re going to go into cardiac arrest.

Contrary to earlier times, where ignorance was what threatened man by causing him fear and anxiety, today it is over-information. BLUE is a performance that deals with endogenous and exogenous stress, its psychosomatic symptoms and the vulnerability of the individual . With a text as raw as poetic but also through the energy of rock and roll, the author of the play and actress on stage, Anna Lemonaki, exposes herself with disarming honesty, claiming to share universal but often unacknowledged questions .

The dominant element of the show is water which nourishes everything and forever. A source of life and rejuvenation for nature and man, a symbol of purification and purification, water in continuous flow preserves and cleans the environment inside and around us, mobilizes the body and benefits the soul in many ways.

BLUE is the first part of a theatrical color pentalogy created by the theater group “Bleu en Haut Bleu en Bas” (Blue Above Blue Below) based in Switzerland and first presented in 2016 in Geneva. Since then, he has been hosted on theater stages in Greece, Cyprus, Switzerland, France, Lebanon, and at major international festivals (Festival La Bâtie, Festival Plein Tube, etc.). and will be performed at the Teatro de Barrio, in Madrid, in 2024.

After the success of her last project G.O.L.D. premiered at the Festival de la Bâtie in August 2022, Anna returns to Greece with Blue for a few performances only

In Switzerland, after Blue, Anna uploaded Bloody Fuchsia, White, G.O.L.D. (Glory or Little Dreams) and is now preparing Black – What a Beaty-Full Catastrophe which will be staged at the Comédie de Genève in 2025.

At the same time, she is preparing her first choreographic project and film Kiss and Fly.

Excerpt from the text

“Who’s afraid to swim over seaweed? Who is afraid of his tears? or smile more than he should? Old age? The aging dreams? Unemployment? And of course I’m talking about emotional unemployment. Responsibility; Bringing a child into the world? tell your child the truth? Open your palm and let your child fly wherever his appetite takes him? Do you forget the child you once were? Say No and support it? Say yes to risk. Say sorry when you’ve messed up. Sorry, I was bullshitting. WHO IS AFRAID TO OPEN THEIR EYES AND LOOK AROUND? To experience the happiness that knocks on your door? To open the door, to live a passionate love, do you remember when you were fifteen years old how you blushed in seconds on the cheeks, chest and hell?
WHO IS AFRAID OF LIVING A HORMONICALLY ALIVE LIFE?”

Anna Lemonaki’s note

40 million European adults aged 18 to 54 suffer from anxiety disorders. What happens when we suddenly become cautious about life and instead of living it we become mere spectators? Our first urge is to dive into the sea, but the water is cold. And we don’t want to take the risk of an ocean flu. We are careful and deprived of the ocean. I feel the need to state that anxiety disorders in any form should be a public issue and that is why I decided to do this project. The more and openly we talk about the faces of anxiety (panic attacks, phobias, post-traumatic stress…) the easier we will understand that this black surface at the bottom of the sea is nothing but seaweed and nothing else. BLUE is a manifesto of words and sounds against the stigma that accompanies mental illness.

Every creation is for me an opportunity to take a risk. I take risks by choosing subjects that scare me. These are topics that I find dizzying. In my work as a director, writer and actor I always work focusing on contrasts. Passing from certainty to uncertainty, from tenderness to cruelty, from a narrow passage to a vast space, from romance to vulgarity, from silence to scream, from tension

BIOGRAPHY OF ANNA LEMONAKI

Anna was born in Athens. It grows in Panama, Crete and Athens. He obtained a degree in Political Science in Athens and Bergen in 2006 and a master’s degree in Sociology and Media from the University of Friborg. He studied at the Serge Martin Theater School (Geneva) and graduated in 2013. He attends workshops with Susan Batson at Interkunst (Berlin, 2014 and 2017), with Andreas Manolikakis (President of the Actors Studio, New York) in Athens and with Damian De Schrijver (TgStan, Belgium) in Geneva in 2018. Followed by CAS in Acting and Text Dramaturgy at HETSR and the University of Lausanne (2018-2020).

Anna performs roles for Lena Kitsopoulou in Haire Nymfi (2013), Red Riding Hood – First Blood (2015) and Cry (2018-2021) at the Saint-Gervais Theater in Geneva and at the Techni Theater. He collaborates with, among others, Philippe Quesne, Nikos Karathanos, Adina Secretan, the theater company Cie Daniel Blake for the theater venture Opa (2nd prize – PREMIO 2017). In the cinema he plays the lead role in the film La nuit est encore jeune [The night is still long], directed by Sri Lankan native Indika Udugampola (Promising Director Award at the Colombo International Festival, 2015). She founded the experimental theater and music company Cie Bleu en Haut Bleu en Bas together with the musician Samuel Schmidiger (2015) and presented the first two parts of her quintet, BLEU and FUCHSIA SAIGNANT at the La Bâtie festival in 2019 and the third part BLANC ( SSA Prize, 2020) in Le Grütli (2021). Presents the show P.E.T.U.L.A. bye bye (2017) at the Saint-Gervais theater and at KET in Athens. She is invited by Le Poche theater and directs the play SAPPHOx, written by Sarah-Jane Moloney (2020). In 2002 he presents the G.O.L.D. at the La Bâtie festival. He works as a writer and dramaturg for the dance work Bis N.S (as usual) by the choreographer Ioannis Mantafounis at the Lyon Opera (2021) and the work A la carte at the Frankfurt Dresden Ballet Company (2023). In 2023/2024 he makes the dance-climbing performance and film Kiss and Fly in Leonidio and Tarifa and prepares the play Black : What a Beauty-Full Catastrophe (2025, Comédie de Genève, Geneva).

Interviews

LIFO
She writes and directs her plays herself, but the process that makes her happy is the second one, being able to compose her performances collectively and on stage. She is the only Greek woman active in the theater this side of Switzerland and I ask to know what this means for a foreigner, how she approaches the system.

EDITORS’ NEWSPAPER
For those of you wondering why the name is unfamiliar to us, the reason is simple: Anna has been based in Geneva for many years. There, in the context of the historic La Bâtie Festival, she presented her new work “G.O.L.D.”, a study of failure with poetry, humor and sensitivity, and a brilliant group of performers – we hope to see it in Athens.
Immediately after the last performance, in the heat of the moment, in the courtyard of a wonderful theater by the river, we talked about its progress. Here is Anna Lemonaki, a charismatic artist of the diaspora.

Critique

ελculture
Although the description of the – indeed bleak – theme of “Blue” could lead one to expect an almost unpleasant sight, this is not the case at all. This very closeness that its creator establishes between us and herself, leads to a redemptive condition. Like our fears, placed through her touch next to the fears of others, but also our own us, to be eased. As if the very democratization of trauma exorcises it. As if this moisture flooding the scene creates a matrix within which we can safely expose ourselves. And if the tension still brings a tear to our eyes, the most likely thing is that we will leave the room with a smile.

Maria Laina’s play “The Food”, after a successful cycle of performances (2018-19), is staged again, at PLYFA, directed by Dimitris Lioliou.

This play is performed in Greek.

15, 17, 22, 23, 29 & 30 March 2024
5, 6, 12, 13 23 & 30 April 2024

Eating in the theater is usually not allowed. Beyond the purely biological, the human need for food reveals and refers to more than one form of hunger. A powerful and idiosyncratic text of modern Greek drama for six unique performances.

Director’s note

An open dialogue about what we define as food. “Food is our innocent victim and we have to acknowledge that.” A death, the affirmation against life. How do we perceive this loss and how violent can the moment of coming of age be for each of us? What did we have to sacrifice and what did we substitute? The cannibalism of the self. The projections, the symbols and how abusively we swallow all that we feel in order to survive, to be satisfied. Two parallel and completely different testimonies that, while at first glance, do not converge, compose a pattern for how man perceives and deals with a traumatic experience.

The poet Maria Laina, on the occasion of the first upload of the show, said:

“However, I am impressed that a young man, with a lot of appetite, like Dimitris Liolios, was interested in such a text; wild, by the way, that has to do with loneliness and madness, with what we say or what others they say two in one. In the text, of course, the opposite happens, we have one in two, a schizoid condition. I confess that his glance excited me with curiosity and astonishment, and his overflowing enthusiasm persuaded me to leave it in his hands.’ (Interview on Sunday’s BHIMA)

For “The Food” they wrote

Katerina I. Anesti “Food, love, dominion, death, annihilation and again food, pleasure and rejection, and the unknown, the familiar and the unspeakable. Pollutants from the stage and Liolio and Lilikaki. You don’t see blood, flesh. But it’s there.” (protagon.gr)
Ioanna Vardalahaki “And after everything has been eaten, others, time, love, man turns to himself.[..] The heroes and their speech are the meaning, the performance and the scene.” (clickatlife.gr)

Kostas Zisis “A melancholic but deeply and essentially focused performance: a hymn to the Sisyphean suffering of man, to his eternal hunt for survival in the world: to the conquest of food and love. Because that’s the only way we survive.” (all4fun.gr)

Maria Mari “Without any image or stage object, it presents the viewer with this salivation, which accompanies the feeling of hunger and need, the vital need for food.[…] Sensation, pleasure, morbidity, melancholy , utter solitude, desolation.” (theatromania.gr)

Argyro Bozoni “Excellent work. Nice to get ahead of those who will say that such texts are difficult in the theater. No, they are poetic and easy, they tell a story that concerns us and we all know it.”

Dimitris Fallieros “You are struck by a show that talks about things that are not easy: about all forms of hunger, about love, about human psychosis, about the power of habit, about loneliness[.. ].’

Performing Arts Award 2023
From the Association of Theater and Performing Arts Critics

After its extremely successful presentation in May 2023, the performance “SEBASTIAN” by the group Nova Melancholia, directed by Vassilis Noulas, returns for six performances at PLYFA from February 6, 2024.

The show was honored by the Association of Theater and Performing Arts Critics with the Performing Arts Award for the 2023 artistic season.

Director’s Note
Sebastian is a polyprismatic archetype, a kaleidoscope, an avatar of desires and moods. Reflecting on the tradition of the martyrdom of Saint Sebastian, as it is reformulated through the dense figurative representation in Western art from the early Renaissance onwards, we focus on concepts / sensations / symbols that touch our own sensibility and imagination. The performance is the totality of its cultural references. We read poems, reenact paintings, act, pose, sing, dance, get inspired by the tradition of an eccentric, experimental cinema. We are interested in the co-emotional and embodied practices through which we today can relate to such a symbol.

Sebastian is associated with youth, beauty, sports, archery, carnal pain, hideousness, homoeroticism, martyrdom. A primary co-signification around Saint Sebastian (since the Middle Ages) is the Plague, the Black Death. We associate the tradition of homoeroticism around the figure of Sebastian, with the AIDS disease that was considered in the 80’s and 90’s a kind of “gay plague”. Like people at the dawn of European modernity, we too today resort to Saint Sebastian as an apocalyptic symbol of evil. The show is dedicated to those who take the risk to go from vision to experience, from representation to performance, risking the misunderstanding of existence.

More information about Nova Melancholia, and the performances it has presented, can be found at novamelancholia.gr

* The show is dedicated to HIV positive activist Zackie and experimental filmmaker Kenneth Anger who died in May 2023

This play will be performed in Greek.

In a lettuce garden, at the top of a tree, on the highest mountain, under a water lily and next to a stone take place five hilarious (or not) inclusive stories starring characters from across the animal kingdom and inspired by Alessandro’s book Boffa “You are a beast, Viskovic.”

A transsexual snail, a germ with an inferiority complex, a chameleon in search of identity, a dominant male moose and a suspicious finch introduce us to the wonderful world of animals, teaching us how important it is to be yourself. Or not.

In an attempt to render the world of animals with a human eye, we invade a parallel world where the characters, presented as animals, resurrect human stories.
The notes of the music travel with the plot and the images reach a world balanced between the human and the animal.
Questions deep and unresolved, make us wonder if the answers are always the destination, or if the questions ultimately give the journey a meaning.