Skip to main content

Category: Perforances




  • Friday, July 26

    Curium Ancient Theatre

  • Saturday, July 27

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:15


Book now

Yannis Kalavrianos directs NTNG’s summer production, Iphigenia in Aulis by Euripides, in a new translation by Pantelis Boukalas and with Anthi Efstratiadou, the 2016 recipient of the Melina Mercouri theatre award, in the role of Iphigenia.

The Greek fleet ready to sail to Troy, remains stuck in Aulis as the wind has lulled. In order for the wind to blow, it is imperative to sacrifice Iphigenia, the daughter of the commander of the Achaeans, Agamemnon. Faced with a horrific dilemma, torn between his daughter and his people, Agamemnon nevertheless decides to proceed to the sacrifice, dismissing the pleas of his wife Clytemnestra, Iphigenia, Achilles, even his own brother, Menelaus. Iphigenia ultimately reconciles with her tragic fate and accepts her heroic death for her country’s sake. In Iphigenia in Aulis, the tension between the public and the private, the male and the female, the polis and the family, generates characters who do not hesitate to cross the line.

With English surtitles
  • Translation

    Pantelis Mpoukalas

  • Direction

    Yannis Kalavrianos

  • Set/Costume design

    Alexandra Boussoulenga, Rania Yfantidou

  • Music

    Thodoris Ekonomou

  • Choreography/Movement

    Dimitris Sotiriou

  • Lighting design

    Nikos Vlassopoulos

  • Music Instruction

    Panagiotis Barlas

  • Director’s Assistant

    Alexia Mpeziki

  • Second Director’s Assistant

    Charis Pehlivanidis

  • Set/Costume Designers’ Assistants

    Elina Eftaxia, Isabela Tudorache

  • Production Coordination

    Marleen Verschuuren, Maria Lazaridou

  • Agamemnon

    Giorgos Glastras

  • Old Man

    Giorgos Kafkas

  • Menelaus

    Nikolas Maragopoulos

  • Messenger

    Christos Stylianou

  • Clytemnestra

    Maria Tsima

  • Iphigenia

    Anthi Efstratiadou

  • Achilles

    Thanasis Raftopoulos

  • Chorus

    Momo Vlachou,
    Stellina Vogiatzi,
    Despina Gianopoulou,
    Ioanna Demertzidou,
    Danai Epithymiadi,
    Aigli Katsiki,
    Lida Koutsodaskalou,
    Maria Konstanta,
    Alexia Mpeziki,
    Zoi Mylona,
    Marianthi Pantelopoulou
    Katerina Papadaki,
    Rebecca Tsiligaridou

  • Musician on stage

    Dimitris Chountis

  • Director’s note

    Euripides, at the end of his life, offers us a work of transitions and successive dilemmas, brim-full of irony and unexpected comic moments; a text that continues to raise a plethora of discussions among literature, drama and theatre scholars.

    Like the other works that deal with the house of Atreides, it contains characters stigmatised with an ancestral curse. So, we know in advance that things are not likely to evolve smoothly.

    Impregnated with the atmosphere of his era, the doddering Athenian democracy and the upcoming defeat in the Peloponnesian War, the work depicts a world where faith in heroism and patriarchal values has been shaken. A world in which the mob becomes a protagonist of the action, while the heroes, unstable, full of weaknesses, petty, cowardly, and with constant changes of opinion, are precipitated. Only the struggle for power remains, in a different form each time. The conflict between public and private, man and woman, city and family, generate heroes who do not hesitate to cross the line.

    We are not dealing with a romantic story of self-sacrifice, or a simple patriotic drama, but with a case of constant struggle and imbalance, a story of reversals, with Euripides stating the obvious: in every war the older generation sacrifices the younger and there are many among the young who accept their destruction.

    It’s not just the wind that has ceased in Aulis but life itself. Everyone is waiting for something to happen. And very soon, this will be the abolition of logic.

    Yannis Kalavrianos


    The National Theatre of Northern Greece (NTNG) is currently the largest theatre and wider cultural organisation in our country. Comprising of 4 winter venues, 2 open-air theatres, and also organising Greek and international tours, it functions as an active cultural hub since 1961.

    The new institutional framework of the NTNG was passed in 1994, and according to that, the theatre is administrated by a seven-member Board of Directors and an Artistic Director.

    The NTNG is supervised and subsidised by the Ministry of Culture and Sports.

    The NTNG has been a member of the Union of Theatres of Europe ( since May 1996 and served as a member of its Board of Directors until 2013. The NTNG is also a member of the International Theatre Institute.

    The annual repertoire of the NTNG combines in-house productions, co-productions with other theatre organizations and special tributes. The NTNG also hosts Greek and international guest performances. Its activities expand well into other cultural domains, such as education, literature, fine arts, exhibitions, conferences and international festivals, educational theatre programmes and other social activities.

    Based on the core belief that education and culture are basic necessities and wishing to remain a theatre open to society, the NTNG implements in practice a strategy founded on the following:

    • Wide-ranging repertoire
    • Low ticketing policy and various classifications of benefits
    • Corporate social responsibility that focuses on population groups who for various reasons have no access to theatre performances
    • Emphasis on the production of high quality performances for children and youth.
    • Awareness raising social activities
    • Strengthening bonds and collaborations with cultural organisations, municipal authorities and charities
    • Reinforcing the theatre’s international presence

BACCHAE by Euripides

BACCHAE by Euripides


  • Thursday, July 18

    “Skali” Amphitheatre, Aglantzia

  • Saturday, July 20

    Curium Ancient Theatre

  • Monday, July 22

    Paphos Ancient Odeon

Performances start at

Please arrive at the theatre before 20:40


Book now

The internationally award-winning Izumi Ashizawa collaborates with Cypriot theatre company Belacqua Theatre and directs Euripides’ Bacchae, combining the techniques of Japanese Noh theatre and ancient Greek drama.

In Bacchae, Euripides recounts the advent of Dionysus to Thebes in order to impose his worship, the bacchanalian cult. King Pentheus refuses to accept it, and Dionysus gets his revenge. He infuses frenzy to the women of Thebes and Pentheus finds a horrid death by his own mother, Agave.

The intercultural production aims to create a new performance language, juxtaposing the worlds of East and West, Male and Female, Instinct and Reason, while presenting Dionysus as an “idea”, a concept rather than dialectic, provocative and elusive. Japanese-inspired acting techniques and aesthetics are utilised in an attempt to represent Dionysus and Bacchae, as the “Other”, through the collision of the native and the newcomer, the resident and the stranger.

With English surtitles

The performance is suitable for spectators over 16 years old

  • Translation

    Yorgos Chimonas

  • Direction/Movement Direction

    Izumi Ashizawa

  • Set/Costume Design

    Elena Katsouri, Thelma Cassoulidou

  • Original Music

    Ermis Michael

  • Lighting Design

    Vasilis Petinaris

  • Trailer Creation

    Sock Team

  • Production/Communication

    Stephanie Polykarpou

  • Pentheus

    Giorgos Kyriakou

  • Chorus of Bacchae women/ Dionysus/ Cadmus/ Tiresias/ First Messenger/ Second Messenger/ Agave

    Nayia Anastasiadou,
    Νiki Dragoumi,
    Ioanna Kordatou,
    Themida Nikolaou,
    Loukia Pieridou,
    Maria Filippou

  • Director’s note

    Intercultural Bacchae: The first artistic collaboration of its kind in Cyprus theatre history: a synergy between Cypriot artists and a Japanese female artist.

    For decades, scholars have been referring to the surprising similarities between ancient Greek drama and the Japanese Noh theatre. These two traditions, from two distant countries, mysteriously share similar aesthetics. This became our production’s incentive: to combine two different cultural codes and aesthetics and create our new performance language in the form of an intercultural production of Bacchae.

    Through our Bacchae production, we stylistically juxtapose the worlds of East/West, Male/Female, Reason/Instinct. Dionysus is presented as an “idea”, a spiritual concept, elusive and provocative rather than a tangible character. Japanese-inspired techniques and aesthetics are utilised to represent Dionysus and Bacchae, “the Others”. The Western realism exemplifies the rigid and falling world of Pentheus. The juxtaposition of two completely different acting and aesthetics visualizes a clear tension between the two worlds: the resident vs. the stranger. This conflict further mirrors the recent European and American immigration crisis.

    Except for the male actor who plays the role of Pentheus, all other cast members consist of female performers. Thus, we tackle old structures, including theatre, where the voice of women as “the Others”, was shrouded, silenced and excluded even from their own representation. Now, women claim it all back.

    Izumi Ashizawa


  • Belacqua Theatre

    Belacqua Theatre was founded in 2017 by actress Ioanna Kordatou. Aiming to bring the actor’s body and movement to a more active and creative position within the theatrical process, it draws upon various branches of Physical and Devised Theatre.

    Focusing on classical and modern texts (taken from drama and the wider spectrum of literature), it presented its first production WMWMWM, based on Samuel Beckett’s radio play Words and Music in 2017 during the “dubitanda Platform of young theatre makers” and in 2018 during “theYard.Residency.18”.

    Hoping to create a continuum of theatrical education and development, through contact and exchange with international theatre artists, it has invited and worked with Izumi Ashizawa for the production of Bacchae.

  • Izumi Ashizawa Performance

    Izumi Ashizawa Performance was originally founded in 2002 by Japanese director Izumi Ashizawa.

    Izumi Ashizawa Performance explores the physical story-telling with unconventional puppetry and object animation and masks. Based on Japanese physical performance techniques, Ashizawa’s movement techniques are taught around the world and her devised pieces were performed internationally, including the U.S.A., Japan, the U.K., Canada, Australia, Norway, Russia, Slovenia, Romania, Poland, Turkey, Iran, Peru, and Estonia. 

    Examples of Izumi Ashizawa’s original theatre works: The Blue Rocks, Gilgamesh, Le Morte de La Fontaine, Haoma and the Warrior, Minotaur, Dreams in the Arms of the Binding Lady, Mysterious Lake, The Little Goddess etc. 

    Izumi Ashizawa has won numerous awards including the Medal of Honour for Cultural Excellence from the City of Piura in Peru, the Kennedy Center American College Award Excellence in Directing and Technology, the Capital Fringe Director’s Award and the UNESCO-Aschberg Award.

LYSISTRATA by Aristophanes

LYSISTRATA by Aristophanes


  • Friday, July 12

    Curium Ancient Theatre

  • Saturday, July 13

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:15


Book now

The distinguished Tullio Solenghi directs the most renowned comedy of Aristophanes, Lysistrata, produced by the National Institute of Ancient Drama (Fondazione INDA) of the Syracuse Greek Theatre Festival, featuring the awarded Elisabetta Pozzi as Lysistrata in a production of superb cast and collaborators.

As the Peloponnesian War rages, keeping the men away from their homes, Lysistrata convinces the women of Athens, Sparta and other cities to take matters into their own hands. During the women’s assembly, Lysistrata suggests that they abstain from their marital duties, in the form of a sex strike, until a peace treaty is signed from both war fronts. Even though there are some initial reactions, the women are finally convinced by Lysistrata and the Spartan Lampito and come together in devising their plan. Their action has immediate results and the men’s reactions are many and varied. After setbacks, conflicts and negotiations, peace is finally achieved.


  • Translation

    Giulio Guidorizzi

  • Direction

     Tullio Solenghi

  • Set/Costume design

    Andrea Viotti

  • Choreography

    Paola Maffioletti

  • Lighting design

    Pietro Sperduti

  • Director’s assistant/Music instruction

    Marcello Cotugno

  • Director’s assistant

    Martina Garciulo

  • Lysistrata

    Elisabetta Pozzi

  • Cleonice

    Federica Carrubba Toscano

  • Myrrhine

    Giovanna Di Rauso

  • Lampito

    Viola Marietti

  • Chorus of Old Men

  • Draces

    Marcello Cotugno

  • Strymodorus

    Totò Onnis

  • Philurgus

    Mimmo Mancini

  • Chorus of Old Women

  • Nicodice

    Simonetta Cartia

  • Calyce

    Silvia Salvatori

  • Critylla

    Tiziana Schivarelli

  • Boeotian Woman

    Giulia Messina

  • Magistrate

    Federico Vanni

  • Three Women

    Margherita Carducci, Elisabetta Neri, Federica Carruba Toscano

  • Cinesias

    Tullio Solenghi

  • Cinesias’ child

    Giorgio Signorelli

  • Athenian Negotiator (Prytanes)

    Roberto Alinghieri

  • Spartan Herald

    Giuliano Chiarello

  • Spartan Ambassador, Athenian Ambassadors

    Riccardo Livermore, Francesco Mirabella

  • Reconciliation

    Elisabetta Neri

  • Chorus

    Federica Gurrieri,
    Irene Jona,
    Federico Mosca,
    Roberto Mulia,
    Gabriele Manfredi,
    Andrea Di Falco

  • Director’s note

    Lysistrata is the only comedy written by Aristophanes named after its protagonist; in this case its female protagonist. This choice is not random, as Lysistrata is one of the most resoundingly dominant characters on the varied scene of Attic comedy. The plot is well known. Lysistrata convinces all the Greek women whose fathers, husbands and sons are periodically involved in war, to take part in a sex strike in order to persuade them to end the war.

    However, alongside this main storyline, there is another one that I find even more revolutionary, and which makes Lysistrata the first true heroine of female emancipation. This event is the moment in which the women occupy the Acropolis, with the aim of confiscating the financial resources needed to continue the war, and which shows a first bold example of female governance. This is a very important fact when placed in the historical context in which the story is set. In Greece, in the 5th century B.C., the state was organised with a clear distinction of roles between men and women, a structure that generated an equally rigid division of space between exterior and interior, between civic and domestic. The threshold of the house was the boundary between the two spheres of competence; the man was entrusted with the political leadership, administration and military defence of the state, and the woman, segregated at home, was taking care of the domestic economy and raising children, yet she was receiving no form of authority within the society. Lysistrata is important above all because of this, because with her brilliant resolution she succeeds in subverting, albeit temporarily, this rigid establishment, exhibiting for the first time a sort of upside-down healthy universe.

    In the reading of the play that I want to give, these two parallel tracks run constantly throughout the narrative arc, supported by an extraordinary comic mechanism that absolutely must be maintained in all its effectiveness. A comedy in every aspect, with jokes, comic timing, situations, characterisations, worthy of the best tradition of comic theatre, which is often unfairly subordinated to dramatic and tragic theatre, so here it has an occasion for fundamental redemption.

    The added value of finding ourselves in one of the places that was often the scene of narrated events, the splendid city of Syracuse with its historic theatre, although eliciting an initial “tremor from veins and wrists”, stimulates us to seek that essential empathy with the public, just as at its debut back in 411 B.C. when Lysistrata, with all her comic/revolutionary strength, appeared for the first time to the astonished, yet amused audiences of the time.

     Tullio Solenghi


    The very essence of the cycles of classical plays performed in Syracuse has been forged not only by the words of the great playwrights of the past but also by the faces, voices and gestures of artists who have left their indelible mark on both theatre and history. 

    The Greek theatre has been revived by artists like Annibale Ninchi, Elena Zareschi, Vittorio Gassman, Valeria Moriconi, Salvo Randone, Glauco Mauri, Elisabetta Pozzi, Lucilla Morlacchi, Giorgio Albertazzi, Ugo Pagliai and Piera Degli Esposti; directors of the calibre of Irene Papas, Krzysztof Zanussi, Mario Martone, Orazio Costa, Antonio Calenda, Luca Ronconi, Peter Stein; as well as translators and ‘re-writers’, scholars and artists like Pier Paolo Pasolini, Edoardo Sanguineti, Salvatore Quasimodo, Vincenzo Consolo, Dario Del Corno, Guido Paduano, Maria Grazia Ciani, Umberto Albini and Giovanni Cerri.

    The art of theatre and the emotions evoked by these classical plays when performed “at the most important classical theatre in Europe” are rendered possible by more than 400 people, who are the backbone of INDA: the craftsmen who built the sceneries and make the costumes in the INDA workshops and who look after the theatre every year.

    Even though INDA is over 100 years old it is especially relevant to young people since the Academy of Ancient Drama trains children and students as of the age of five and the International Festival of Classical Theatre for Young people at the Palazzolo Acreide hosts thousands of students from all over the world every year on the steps of the Greek theatre of Akrai for a festival full of youthful ideas and enthusiasm.

    A timeless festival at a unique theatre where the show goes on for more than a hundred years; an event that makes Syracuse the focal point of the revival of ancient drama through continually new perspectives: the brainchild of Count Mario Tommaso Gargallo who founded INDA, the National Institute of Ancient Drama in 1913.  A wager placed on the 16th of April, 2400 years after Polis, at a meeting of the aristocracy and the wealthy citizens hosted by the local nobleman led to the return of ancient drama at the Syracuse Greek theatre.  Since then, it has seen the best actors from the national and international scene performing in front of thousands of spectators from May to July.  The very first production was Agamemnon by Aeschylus, directed, translated and scored by Ettore Romagnoli, stage-designed by Duilio Cambellotti and costumes by Bruno Puozzo. Although the play by Aeschylus was the first step, the trail blazed by INDA for over a century includes mythical heroes like Medea, Oedipus and Antigone, as well as the introduction of comedies in 1927 with The Clouds by Aristophanes, taking the lead.

    While the classical plays in the Greek theatre of Syracuse are reinvented every year, the memory of the event that accompanies thousands of spectators from all over the world is preserved in the archives of INDA. The archives were declared as archives of particular historical significance and interest by the Ministry of Heritage and Cultural Activities and contain a vast collection of papers, images, sketches and other material at the Palazzo Greco, the historic seat of INDA. The activities of INDA, that was previously a public institution and became a Foundation in 1998, are not limited only to the staging of classical plays at the Greek theatre of Syracuse, the International Festival of Classical Theatre for Young People at the Palazzolo Acreide and the Academy for Ancient Drama, but also extend to the organisation of a broad spectrum of events, conferences and debates all over Italy. Since 1931, INDA has been publishing “Dioniso”, a journal of studies on ancient drama, the chief editor of which is currently Guido Paduano. “Quaderni di Dioniso” is a publication linked to the scientific approach of the journal and containing the minutes of conferences organised by the INDA Foundation as well as monographs on topics connected to classical theatre and its rebirth in modern times.

HIPPOLYTUS by Euripides

HIPPOLYTUS by Euripides


  • Monday, July 8

    Paphos Ancient Odeon

  • Wednesday, July 10

    “Skali” Amphitheatre, Aglantzia

Performances start at

Please arrive at the theatre before 20:40


Book now

Maltravieso Teatro and La Almena Producciones, in collaboration with the Mérida International Classical Theatre Festival, present Euripides’ Hippolytus directed by Emilio del Valle.

In Hippolytus, a tragedy with philosophical, religious and existential quests, Euripides sets up a masterful trap, escalating into the tragic, where the Gods play a key role, leading humans in a disastrous conspiracy of silence, in inevitable error, in punishment but also in forgiveness.

The Spanish production, which was presented last summer at the 64th Mérida Festival and received great praise, attempts to recompose the first tragedy written by Euripides, Hippolytus Veiled, based on the surviving Hippolytus Garland-Bearer.

With Phaedra and her stepson Hippolytus, as the two main characters, Euripides weaves up a tragedy that presents the dilemmas between passion and logic, lawless love, oestrus and its tragic consequences.


The performance is suitable for spectators over 16 years old

  • Adaptation/Dramaturgy

    Isidro Timón, Emilio del Valle

  • Direction

    Emilio del Valle

  • Set design

    Isidro Timón, Emilio del Valle

  • Costume design

    María de Melo

  • Music

    Álvaro Rodríguez Barroso

  • Lighting design

    José Manuel Guerra

  • Sound design

    Jorge Muñoz

  • Hair/Make-up design

    Carlos Tello

  • Director’s Assistants

    Jorge Muñoz, Gustavo del Río

  • Production Managers

    Isidro Timón, Luis S. Molina

  • Technical Direction

    La Almena Producciones, Maltravieso Teatro

  • Production Team

    Clara Barquilla, Ana Mos, Jesús Pablos Castañeda, Esther Sáenz

  • Hippolytus

    Juan Díaz

  • Phaedra

    Camila Almeda

  • Theseus

    José A. Lucia

  • Nurse

    Cristina Gallego

  • Artemis

    Amelia David

  • Aphrodite

    Mamen Godoy

  • Messenger/Hunter

    Rubén Lanchazo

  • Assistant of Theseus/ Hunter

    Javier Uriarte

  • Women of Troezen

    Estefanía Ramírez,
    Raquel Bravo,
    Guadalupe Fernández,
    Sara Jiménez

  • Musician on stage

    Fernanda Valdés

  • Trombone

    Javier Uriarte

  • Violin

    Estefanía Ramírez

  • Director’s note

    Euripides writes about the myth of Hippolytus on two occasions. The first work, Hippolytus Veiled, scandalizes the Athenian spectators with a very sensual and sexual proposal, in which Phaedra does not hide her desire for Hippolytus, her stepson, and the latter covers his face with a veil embarrassed by his stepmother’s words. Later, encouraged by the success of his contemporary Sophocles’ Phaedra, he rewrites Hippolytus, a much craftier proposal more in line with the taste of the times.

    Hippolytus is a contemporary classic, extremely interesting to us nowadays. The confrontation between the love Phaedra feels for Hippolytus will lead her to suicide driven by Hippolytus’ intolerance and what will people say. The defeat of a woman embarrassed for loving, as opposed to the intolerance of a man who says “I wish all you women would die”, clearly expresses the man-woman struggle, in which the woman is always at a disadvantage. Common sense is provided by the nurse, a woman representing unconditional love, and who could not be further away from those goddesses whose sons and daughters’ happiness matters much less than the dispute they hold between one another to prove which of the two is more powerful.

    In our proposal tragedy falls on Phaedra. She cannot resist loving Hippolytus. She assumes her tragic mistake and commits suicide. Taking a look at the titles of the dramas by Aeschylus, Sophocles, and Euripides, we will come to the conclusion they are all either collective (Persians, Trojan Women etc), or individual (Oedipus, Medea etc) heroes/heroines. The version written by Isidro Timón and I, was inspired by the two compositions by Euripides, the failed and the successful versions, bearing in mind Sophocles’ Phaedra and rationalizing the passionate, emotional and sexual relationship between a man and a woman who, beyond their social relationship, stepmother-stepson, were two young people of similar ages. Always from the immense respect inspired by an author who has been able to withstand the test of time so well.

    Emilio del Valle


    Maltravieso Teatro was established in 2015 by Amelia David and Isidro Timón, two professionals with extensive training and experience in various fields of the performing arts in the Extremadura but also the Spanish theatrical scene. Since then, it has staged four productions: La inauguración (Unveiling) by Václav Havel, Vis a Vis by Isidro Timón, El desván de nunca jamás (The Neverland Attic) by Isidro Timón and Hippolytus by Euripides adapted by Emilio del Valle and Isidro Timón. Maltravieso Teatro proposes adaptations of both classical and contemporary plays.


    Luis S. Molina, an actor and producer, is the head of La Almena Producciones, a production company that has worked with advertising agencies and film producers for the provision of audio-visual media services as well as an executive producer. It has also worked with many municipalities for the production and organisation of various events. It is a producer and co-producer of more than 20 stage productions including Hippolytus.




  • Friday, June 28

    Paphos Ancient Odeon

  • Sunday, June 30

    “Skali” Amphitheatre, Aglantzia

Performances start at

Please arrive at the theatre before 20:40


Book now

The Slovene National Theatre Nova Gorica presents the first Slovenian production of Euripides’ tragedy The Trojan Women, the opening production of this year’s Festival.

The universally timeless anti-war tragedy, with the exceptional direction of Jaša Koceli and Marjuta Slamič in the role of Hecuba, gathered rave reviews from the Slovenian press and audience, giving Marjuta Slamič the Tantadruj award as a distinction for her performance (season 2017/2018).

The Trojan War is over; the Trojan heroes have fallen; the royal family is decimated; the once glorious city is looted. In a landscape of desolation, under the ruined walls, Hecuba – the mother, the woman, the queen- together with the women of Troy, all captives of the Achaeans, lament over their tribulations and their fate to be led as slaves in the homes of the victors.

In Trojan Women, Euripides expresses a relentless “blame” for the atrocities of war, condemning the ferocity of man and praises his ability to endure.


  • Translation

    Jera Ivanc

  • Direction

    Jaša Koceli

  • Dramaturg

    Ana Kržišnik Blažica

  • Language Consultant

    Srečko Fišer

  • Set design

    Darjan Mihajlović Cerar

  • Costume design

    Branka Pavlič

  • Composer

    Miha Peric

  • Repetiteur

    Marta Kosturska

  • Choreographer

    Tajda Podobnik

  • Photographer

    Mankica Kranjec

  • Lighting design

    Samo Oblokar

  • Make-up design

    Tina Prpar

  • Poseidon

    Kristijan Guček

  • Athena

    Helena Peršuh

  • Hecuba

    Marjuta Slamič

  • Cassandra


  • Andromache

    Patrizia Jurinčič Finžgar

  • Helen

    Arna Hadžialjević

  • Talthybius

    Jure Kopušar

  • Menelaus

    Miha Nemec

  • Astyanax

    Lev Lipušček

  • Warrior

    Siniša Bukinac

  • Chorus Leader of Trojan captives

    Ana Facchini

  • Chorus

    Medea Novak,
    Vida Fabčič,
    Hana Ferizović,
    Kati Harej,
    Petra Kolenc,
    Ajda Podgornik Valič,
    Helena Simčič,
    Barbara Simčič Veličkov,
    Anja Trobec,
    Lucija Zorn,
    Ana Žnidarčič

  • Poet

    Farah Chamma

  • Director’s note

    I am inclined to think that The Trojan Women is an oratorio and not a drama. At the beginning there is a state of despair, which then only deepens over time. A radical sadness is emanating from the text. Loss on loss, the end of civilization, suffering, destruction of identity… I saw an exceptional opportunity in this, because I think sadness can be extremely expressive and this can be achieved through music. This brings us back to the thought about the ancient tragedy which was a mixture of speech, singing and acting. Music transforms the experience and opens the emotional door in us. We have tried to create a world that will, with its intensity, address our hearts and consciences. Troy still exists. Troy is Syria, Iraq, Palestine. Troy is today. At the moment, the number of refugees in the world is higher than ever in the history of humanity, more than sixty million. Every three seconds someone becomes a refugee. As people of Europe, we are jointly responsible for helping people in need. The world is too intertwined to ignore each other.

    Jaša Koceli


    The Slovene National Theatre Nova Gorica is the successor of the Primorsko dramsko gledališče, which was founded in 1969. In 1994, a new theatre building with a modern stage and technical equipment and a hall seating 371 was constructed. A small stage hall with 107 seats was added in 2011. In 2004, the theatre was declared an institution of national importance, fully financed by the state, and changed its name to Slovensko narodno gledališče Nova Gorica (Slovene National Theatre Nova Gorica).

    The location of Nova Gorica, a town on the juncture of the Slavic and the Romance cultures, has significantly influenced the repertoire and artistic orientation of the theatre. The repertoire consists of contemporary and classic plays; it is marked by the local, Mediterranean colour, and by openness to new research and experimentation.

    The high artistic level of production has been proven by a number of awards and participation at Slovenian and international festivals and tours abroad. In 2001, the theatre became a member of the European Theatre Convention (ETC).