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THE TYPISTS

The Typists
by Murray Schisgal
directed by Nagia Mitsakou

A masterpiece of American theatre.

For the first time in Greece, the one-act play The Typists by the award-winning American playwright Murray Schisgal will be presented starting April 4, 2026, every Saturday and Sunday.

The typists of the 1960s—with their fears, inhibitions, desires, and dreams—feel almost paradoxically familiar. Typewriters may have been replaced by computers, rotary phones by mobile devices, and mail-order catalogues by online shopping. Yet our needs, fears, desires, and the time that relentlessly pursues us remain unchanged.

Through what appears to be a simple snapshot of everyday life between two typical New Yorkers of his time, Schisgal manages to condense an entire lifetime into a single eight-hour workday. An eight-hour span that transcends the limits of space and time within the play and expands into the very fabric of human experience.

The Typists, one of the most striking one-act plays of modern dramaturgy, was first presented Off-Broadway in 1963, starring Eli Wallach and Anne Jackson, and won the Drama Desk Award. Murray Schisgal became widely known both for his play Luv (1964) and as the screenwriter of the film success Tootsie (1982), starring Dustin Hoffman and Jessica Lange.

About the Play

When Paul Cunningham arrives on his first day at a new job in a mail-order company, he makes it clear to his colleague Sylvia Peyton that his presence there will be temporary. Paul studies law in the evenings and, with an already established lawyer uncle, his future appears promising.

Sylvia, the head of the department, welcomes him warmly. She too has her own dreams—primarily of an emotional nature. A particular relationship begins to develop between the two colleagues, as Paul’s “temporary” stay in the office keeps extending.

Weeks turn into months, months into years, and years into decades. Paul and Sylvia grow older together, sharing small everyday conversations about life outside the office and about the big things that—someday—the future might hold for them. When, now aged, they say their final “goodnight” to their unseen employer, we realize we have witnessed an entire life cycle filled with thwarted desires and unfulfilled dreams. A life seen through humor, sadness, illusions, and compromises that run through human existence.

Paul and Sylvia are potentially free individuals—like all of us. In a tragicomic way, we watch their desires and dreams being suffocated by their own fear. A fear that becomes a chain, restraining, limiting, and ultimately subduing them.

This potentially free human being is none other than each one of us.

Duration: 70 minutes
Suitable for ages: 12+

PARALLEL DREAMSCAPES

Parallel Dreamscapes
A Dialogue of Sound, Voice, and Image

A concert for voice, concert organ, electric guitar, and visuals is not a common encounter, and that is precisely where Parallel Dreamscapes finds its distinctive artistic voice, bringing together contemplative minimalism, reimagined baroque repertoire, and a responsive visual environment.

On 4 April 2026, we will host this interdisciplinary performance, featuring soprano Georgia Balabini, organist Tea Kulaš, guitarist Mislav Režić, and visual artists Hristos Tolis and Marios Fournaris.

The first part of the evening presents works by Arvo Pärt, John Tavener, and Philip Glass for soprano and organ. Their music, often associated with the contemplative language of late twentieth-century minimalism, unfolds through spacious textures and meditative repetition, creating a reflective sonic landscape.

In the second part, Georgia Balabini and Mislav Režić turn to music by Henry Purcell, presented through new arrangements for voice and electric guitar as part of the project (C)halcyon Days. In this setting, baroque expression is not simply preserved but reframed, allowing historical material to resonate through a contemporary music language.

Throughout the performance, visual works by Hristos Tolis and Marios Fournaris shape an evolving visual layer that interacts with the music and deepens the sense of immersion.

Moving between stillness and intensity, early music and modern sonority, Parallel Dreamscapes offers an atmospheric meeting of sound and image, an invitation to experience familiar musical worlds in a new and unexpected light.

Duration: 60 minutes

BONES

BONES

The choreographic work BONES explores the relationship between structure, support, and fracture through the human body. The body appears as a living system that continuously adapts to pressure, altering its form in order to endure.

The creative process began with observing the body as a dynamic anatomical structure. In the course of this exploration, trauma also emerged as a material for creation, with memory approached not as something to be overcome, but as something that returns and transforms through the body and artistic practice.

On stage, bodies meet that, carrying their own distortions and histories, create new systems of support and balance. Movement is born from the encounter of these bodies, from their need to support one another, to shift, and to redefine their form.

Through this exploration, relationships emerged. Narratives and traumas were transformed into connection, contact, and expression, creating a choreography where structure, deformation, and survival coexist.

BONES is the second part of the body trilogy Skin – Bones – Heart.

Choreographer’s Note
I am interested in the idea that bodies are not only forms but also archives. That they carry memories—our own and those of others. Family memories, historical memories, collective memories. Things that were spoken and things that remained silent.

In the process of BONES, we wrote texts, poems, and narratives around these memories. Gradually, the words shifted into the body, becoming movement, contact, and relationships. We were interested in studying how bodies meet while already carrying their own fractures. How they support one another, how they shift, how they invent new forms in order to continue existing.

Perhaps, in the end, bones remember what we forget.

Biography
Teti Nikolopoulou is a dancer, dance teacher, physical education teacher, and choreographer. She is a graduate of the Nikis Kontaxaki Professional Dance School and the School of Physical Education and Sport Science in Athens (PhD and Master’s degree in Physical Education, specializing in Somatics practices and contact improvisation). She has attended dance and contact improvisation seminars with important teachers and has been dancing and choreographing since 1992.

She has collaborated with choreographers, directors, musicians, and visual artists, and has participated in international dance platforms and festivals. In addition to working as a physical education teacher in public education, she teaches contemporary dance, improvisation, and contact improvisation in both professional and amateur dance schools. She also gives lectures, writes articles, and conducts workshops and seminars on somatics practices.

She has taught contact improvisation at international festivals of the practice in Freiburg, Halkidiki, Istanbul, and Bristol. Since 2017, in collaboration with Zoe Chatzidaki and the Anima-Soma dance group, her work has been supported by the Greek Ministry of Culture, while she also organizes free training workshops for dancers in contact improvisation and the Axis Syllabus in collaboration with Timos Zechas.

The performance was funded by the Hellenic Ministry of Culture for the 2025–2026 artistic season.

Duration: 45 minutes
Suitable for ages 10 and above

JUNE JULY

JUNE JULY

Why did I come in here again;

‘Here’, Richard McGuire

Maybe the present is the strangest place to live.

JUNE JULY is a cosmology of the Now, of our microcosm and the macrocosm, drawing references from sci-fi and retrofuturism. A performance about nostalgia, anticipation and time, unfolding through the creation of choreographic haikus, condensed, fleeting, fragmentary impressions.

It takes its initial inspiration from the groundbreaking graphic novel/comic Here (2014) by Richard McGuire. In that, the same location, a corner of a room, is depicted across multiple moments in time, from thousands of years of past into the future. The piece invites us into a choreographic liminal space, a zone of reminiscence and anticipation, an undefinable feeling that connects the familiar with the unknown, everyday glimpses with imaginary futures.

How do we inhabit -literally and metaphorically- places of personal and collective nostalgia? Of intimacy and vastness? How can the ephemerality of the natural world and human nature unfold in parallel with cosmic time and the time of everyday life? What remains if we “blow this cosmic dust”?

Maybe a trace of a Japanese hip-hop song is heard from the depths as a background on a spring afternoon, or somewhere on a night screen, the first scenes of 2001: A Space Odyssey playing. The performance weaves a narrative of an imaginary story without end, containing traces and memories. It expands and self-ignites to create something new, an alchemy of nostalgia, memory, surrealism and fantasy.

In the context of an expanded choreography, JUNE JULY becomes a living hybrid landscape of bodies, movements, sounds, objects, voices, words, microphones, neon signs, screens, and minimalist digital elements. They are activated and evaporate, creating an open composition that unfolds within a multi-layered universe.

With the financial support of the Ministry of Culture of Greece
With the support of International Theatre Institute – German Centre and Motion Bank Project, in the framework of an artistic residency program, Berlin, 2024

Eleonora Siarava is a choreographer working between Greece and Germany. She has presented her work in Greece and internationally. She studied ‘Dance Μaking and Performance’ (MA-Distinction, Coventry University), ΜΑ ’Choreography and Performance’ (Justus Liebig University, Germany) under the direction of Bojana Kunst & MA/CoDE-Academy for Music and Performing Arts of Frankfurt. She creates enigmatic multilayered performances experimenting with aesthetic forms, imaginary-real spaces, overlapping temporalities, hybridity, atmospheres. For her piece The Body and the Other~ premiered at Tanzhaus NRW, TEMPS D’IMAGES Festival, was supported by the program »Transfer International« of NRW KULTURsekretariat of Germany, Ministry of Culture and Science of NRW, artistic grant I-Portunus/Creative Europe and collaborated with Mixed Reality and Visualization Institut for the implementation of digital technology. Since 2020 is supported by the Ministry of Culture of Greece. She created the pieces BLUE BEYOND presented in National Theatre of N. Greece, Theseum Theatre Athens, Tanz:digital/ITI Berlin, Frankfurt LAB Emerging Artists 2023, Who knows where the time goes- potential destination #1 (Roes theatre, residency at SE.S.TA Centre for Choreographing Development/Interdisciplinary Incubator, Prague), I am Dancing in a Room (MOMus-Stereoma Festival). She participated in Moving Digits/Creative Europe project for Dance and Digital Technologies, Tanzhaus Düsseldorf & STL Tallinn (2018-2020) and in ‘TANZ:DIGITAL – Process, Dynamics, Discourse’ (Dachverband Tanz Deutschland & International Theatre Institute Germany, Berlin 2023). Siarava has been awarded the S. Niarchos Foundation (SNF) Artist Fellowship by ARTWORKS 2022-2023 in the field of Choreography, was fellow of START/Robert Bosch Stiftung & Goethe Institut and resident choreographer at UniArts Helsinki, Finland 2025 and ITI International Theatre Institute Germany/Motion Bank, Berlin, 2024. Her works have been included in the Media Library for Dance and Theatre – ITI International Theatre Institute Germany, one of the most extensive audiovisual documentation archives for the performing arts in Germany.

https://www.per-dance.com

Duration: 45 minutes

THREE SISTERS (better days will come)

Three Sisters (better days will come)
by Eirini Lamprinopoulou & Danae-Arsenia Filidou
Directed by: Eirini Lamprinopoulou

Somewhere out there, there is surely something better. Don’t be afraid. Don’t be afraid of anything.

Three Sisters (better days will come) is a contemporary Greek adaptation of Anton Chekhov’s play of the same name, shedding light—through sharp humor and sensitivity—on the fractures within the Greek family. Prompted by an inheritance issue, questions emerge around memory, loss, and the separation from the first home. What does family mean? How do we deal with unfulfilled dreams? And what is the “Moscow” we continue to seek today?

It’s strange, really—how time passes. On a day like today, exactly a year ago, father died. And now here we are. One year later. In exactly the same house.

Olga, Maria, and Eirini return to Kefalonia one year after their father’s death. Their decision to sell the family home—a space filled with memories, traces of childhood, and familial illusions—brings them back together after eight years, during which each has followed a different life path in Athens. As they wait for prospective buyers, they are forced to coexist in a house that functions as a living archive: old conflicts resurface, unfinished conversations return, and personal choices are once again called into question. Their balance is tested and their certainties collapse, as each of them is compelled to redefine what she has left behind and what she still claims.

The performance is directed and dramaturgically co-signed by Eirini Lamprinopoulou, who, for the first time, also moves into playwriting, continuing her stage research on female identity, power, and the mechanisms of the family as a field of conflict and redefinition.

The performance Three Sisters (better days will come) was presented under the auspices of the Greek Ministry of Culture’s program “All of Greece, One Culture,” at the Castle of Agios Georgios in Kefalonia, leaving a strong impression on audiences.

Duration: 80 minutes (no intermission)
Suitable for ages: 13+

IN-Visible

IN-Visible
Digital Participatory Performance

How does it feel to watch a couple’s abusive behavior in public?
Is there anything you can do?

New media intersect in the private space of a relationship offering the opportunity of making public the well-hidden.

How many stories can we narrate all together and how many of them might be possible to prevent by speaking up?

IN-Visible is a community oriented digital participatory performance on Gender-based Violence, focusing on Intimate-Partner Abuse issues. Combining new media and performance practices as a way to engage the community by retaining anonymity and empowering people to speak up about abusive behaviour. The spectators become the dramaturges of the performance by creating the text collectively, though protecting their anonymity.

The performance becomes interactive and participatory through the use of platforms and applications like youtube, mentimeter, OBS studio and arduino.

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or EACEA. Neither the European Union nor the granting authority can be held responsible for them.

Duration: 45 minutes

Disclaimer
The performance includes symbolically performed acts of violence that might trigger
emotions and experiences
Age: 16+

THE DEATH OF AN ACTOR

Dulcinea Compania
The Death of an Actor
Inspired by the short story “The Death of a Government Clerk” by Anton Chekhov
Directed by Anna-Maria Iakovou

Dulcinea presents “The Death of an Actor,” directed by Anna-Maria Iakovou, a performance inspired by three short stories by Anton Chekhov. Beginning with the famous sneeze of the civil servant Chervyakov in The Death of a Government Clerk, the performance brings Chekhov’s universe into the contemporary reality of the artist, where social devaluation and insecurity often turn into an internalized sense of guilt. Two actors, a musician and a civil servant create a theatrical landscape that moves between theatre and performance, echoing the memory of old travelling theatre troupes, while exploring with irony and tenderness the burden of public exposure and the fragile position of artists in today’s world.

The performance “The Death of an Actor” is presented under the auspices and with the financial
support of the Hellenic Ministry of Culture.

Biography of Dulcinea Compania

Dulcinea Compania was founded with the aim of creating artistic actions, research initiatives, and educational activities. It has received funding from the Ministry of Culture (2022–2025) and has collaborated with the Embassy of Spain in Athens, Los Torreznos, the ThessFringe Festival, Metaichmio Publications, among others. The group has participated in the Thessaloniki Biennale (“#thehead | On Becoming an Animal” by Panos Sklavenitis), while its performances have been presented at Plyfa, Theatre 104, Pikap Kato, Theatre Aneton, Space Lab, Artbox Fargani, Romantic University of Athens, Tavros Art Space, and other venues.

More information: www.dulcineacompania.gr

Duration: 70 minutes
Recommended age: 12+

collapse: data.models.worlds.

collapse:data.models.worlds.
Artist talks & discussion

With the participation of Latent Community, Maria Mavropoulou, Felix Stalder
Moderated by Daphne Dragona, Katerina Gkoutziouli

What changes in an era of possible environmental and computational collapse? How do technological solutions connect to the exhaustion of natural resources? Is it possible for infrastructural and ecological systems to sustain one another, and assist in restoring environmental and social balance?

As part of collapse: data.models.worlds, this panel invites exhibition participants to share their artistic research and methodologies defining their practice. The artistic duo Latent Community will present their ongoing investigation into extractive infrastructures and energy regimes in Western Macedonia, tracing a trajectory from lignite-based economies to the expanding energetic demands of cloud computation. Artist Maria Mavropoulou will discuss the phenomenon of ‘model collapse’, examining the recursive decay of content production in relation to cultural flattening and environmental exhaustion. Media theorist Felix Stalder will reflect on his work with artists Vladan Joler and Gordan Savičić mapping the social, technological, informational, and ecological relations involved in the rewilding of a specific bird species.

The panel will explore practices of visualization, mapping, and documentation as critical tools for engaging with infrastructures of data, energy, and ecology. Particular attention will be given to questions of sovereignty, forms of resistance, and the potential for collective imaginaries of viable futures.

The discussion will be held in English.

The exhibition will be open to visitors before the event, 17.00-19.00.

collapse: data.models.worlds runs until 2 April 2026 at Saigon, Athens, realized with the support of NEON Organization for Culture and Development, Swiss Arts Council Pro Helvetia, and Error 417 Expectation Failed.

More info: https://vektorathens.org/collapse-data-models-worlds/

THE TRIALS

The Trials
by Dawn King
A FONACT production
Directed by Youla Boudali

Everyone lived like we did… I wasn’t any worse than anyone else.

In a near future State, a group of teenager jurors are gathered to deliver a verdict on the generation above them for crimes against the climate.

Who is really culpable and who must pay the ultimate price?

Dawn King’s searingly relevant play is presented by a young international cast for the first time in Greece.

Performed in English with Greek surtitles.

TRAINING PECULIARITY

Intensive Workshop
TRAINING PECULIARITY
Physical theatre as a creative tool
Project your unicity into collective creation

Facilitated by NELA FORTUNATO (in English)

Plyfa welcomes back the Argentine artist for two days that will work as a catalyst for creation. Training through physical theatre exercises and movement analysis, we will dive into our own individuality towards the creation of collective stage narratives.

THEMES

Peculiarities/ identity on stage/ movement, voice, and space dynamics/ the collective body

OBJECTIVES

To notice through observing and training the personal and group physical tendencies, igniting the development of characters, scenes, and poetic narratives

CONTENT

Work on our own particular dynamics- with it, not against it// observation and production exercises through moving-sounding body// transposing perceptions into collective imaginary derived from training// create narratives merging from the encounter in the present moment// enhancing our unique voices

Aimed at theatre artists with and without prior training who wish to enrich their own material, expand their narrative possibilities from a physical/poetic perspective, encouraging listening and self-awareness.

Nela Fortunato is an Argentine theatre maker, director, performer and tutor. Her practice lies at the intersection of physical theatre, immersive dramaturgy, and collective creation, developing what she defines as a ‘dramaturgy of the body’ She works from the hybridization of movement, autobiographical writing, vocal composition, and participatory devices, imagining performative environments where the intimate dialogues with the collective.

She is a co-founder of the companies Usted Está Aquí and La Monstruosa, in Bs As, with whom she has conceived and developed site-specific and immersive projects. She coordinated interdisciplinary platforms for creation and in which she also performed. Moreover, she develops an authorial line that explores the transition from solo performance to collaborative experience. As a director and facilitator, she has developed workshops and projects in Argentina, Greece, Spain, and the UK, articulating processes of shared authorship and intercultural dialogue. Her work SOPA—written and directed by her—opened new paths of exploration surrounding gender/genre with their own voice. T rained at Andamio 90 and a scholarship recipient at the London International School of Performing Arts, she specialized in movement analysis, physical theatre, devising and creation with masks.

Duration: 10:00 – 13:00