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Category: Performances

Performances 2021

ECCLESIAZUSAE by Aristophanes – The Operetta


Translation-Libretto-Music: Stamatis Kraounakis
Directed by Marianna Calbari

  • Friday, July 2 │ Ancient Curium Theatre
  • Saturday, July 3 │ Ancient Curium Theatre
With English surtitles

Performances start at 21:00
Please arrive at the theatre before 20:00

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ANTIGONE by Sophocles


Directed by Udi Ben Moshe

  • Monday, July 5 │ “Skali” Amphitheatre
With Greek and English surtitles

Performance starts at 21:00
Please arrive at the theatre before 20:15

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THE KNIGHTS by Aristophanes


Directed by Konstantinos Rigos

  • Friday, July 16 │ Curium Ancient Theatre
  • Saturday, July 17 │ Curium Ancient Theatre
With English surtitles

Performances start at 21:00
Please arrive at the theatre before 20:00

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MEDEA by Euripides


Directed by Aliki Danezi Knutsen

  • Wednesday, July 21 │ “Skali” Amphitheatre
  • Thursday, July 22 │ “Skali” Amphitheatre
  • Saturday, July 24 │ Curium Ancient Theatre
With English surtitles

Performances start at 21:00
Please arrive at the theatre before 20:15

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Directed by Daniele Salvo

  • Wednesday, July 28 │ “Skali” Amphitheatre
  • Friday, July 30 │ Curium Ancient Theatre
With Greek and English surtitles

Performances start at 21:00
Please arrive at the theatre before 20:15

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ANTIGONE by Sophocles

ANTIGONE by Sophocles


Monday, July 5

“Skali” Amphitheatre

Performance starts at

Please arrive at the theatre before 20:15


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Sophocles’ Antigone, one of the most complete texts of ancient Greek drama, is presented by the Jerusalem Khan Theatre under the direction of Udi Ben Moshe, one of the most significant directors of Israel.

The conflict between Oedipus’ two sons, Polynices and Eteocles over the throne of Thebes, has ended. The two brothers are lying dead on the battlefield. Creon decrees Polynices body to remain unburied and unmourned because he betrayed his homeland by bringing a foreign army against it. Antigone decides to honour her brother with the proper burial, defying the disastrous consequences, in a conflict between natural and human law.

Timeless criticism on the arrogance of power and autocracy and the conflict between unwritten moral laws and institutional state laws, emerge through a contemporary stage “reading” emphasizing resistance against the modern political context as well as the current conflicts between religion and state.


  • Hebrew Translation

    Shimon Buzaglo

  • Direction

    Udi Ben Moshe

  • Set design

    Svetlana Breger

  • Costume design

    Oren Dar

  • Lighting design

    Roni Cohen

  • Musical editing

    Josef Bardanashvili

  • Photography

    Yael Ilan

  • Program and poster design/illustration

    Elad Elharar

  • Creon

    Erez Shafrir

  • Antigone

    Or Lumbrozo

  • Ismene

    Suzanna Papian

  • Eurydice

    Carmit Mesilati-Kaplan

  • Haemon

    Shachar Netz

  • Messenger

    Itai Szor

  • Tiresias

    Yehoyachin Friedlander

  • Military consultant of Creon

    Yossi Eini

  • Political consultant of Creon

    Nir Ron

  • Chorus:

  • Meni Gross,
    Ofer Greenberg,
    Israel Pniel

  • Antigone (1)

  • Antigone (18)

  • Antigone (17)

  • Antigone (16)

  • Antigone (15)

  • Antigone (14)

  • Antigone (13)

  • Antigone (12)

  • Antigone (11)

  • Antigone (10)

  • Antigone (9)

  • Antigone (8)

  • Antigone (7)

  • Antigone (6)

  • Antigone (5)

  • Antigone (4)

  • Antigone (3)

  • Antigone (2)

  • Director’s note

    Israel, my homeland and the place where I create, is a modern democracy that experiences a basic conflict between religion and state, a conflict which has been embedded in the roots of the Jewish nation and culture ever since the times of the Bible, between the kings of Israel and its profits.

    This conflict is rooted in the definition of our nation here, which uses a single term to define both the nation and the religion: Jewish. This is a tragic, possibly insoluble conflict, threatening the basis of the self-definition of this people today and in the future.

    The Khan Theatre is based in Jerusalem, where we have been creating theatre for 50 years, and where this conflict is manifested in the most extreme terms and expressed in political and existential aspects. 

    This is why I chose to place the events in modern-day Israel. Opposed to the extreme right-winged nationalist ruler is a strong-minded adolescent girl, who adamantly sticks to the rules of God. The Greek Chorus in our version, has been transformed into a group of councillors and military men opposite whom stand fast – in a contemporary-political context – a group of young extreme settlers. With current dresses and the translation of Shimon Buzaglo, who uses a contemporary fluent language while meticulously maintaining the poetic aspect of the text, our production sheds light on current conflicts between religion and state in today’s state of Israel.

    In the universal sense, the futuristic world view portrayed on stage, describes a chilling existential threat, which is currently at our doorstep, according to which the inability to compromise leads to death. When extremists cannot see the bigger picture, it might all end in a tragedy.

    Udi Ben Moshe


    The Jerusalem Khan Theatre is considered by arts critics to be the Israeli theatre that has generated the most ground-breaking work of the last few years, presenting productions that have garnered significant audience praise.

    Regarded as a unique gem of the Jerusalem cultural landscape, the Khan has merited considerable recognition and appreciation, has won a number of prestigious prizes and has been invited to perform in festivals and events around the world.

    The Khan is the main creative repertory theatre in Jerusalem. The theatre maintains a permanent company of actors and is committed to produce at least four new critically acclaimed plays each season, in addition to its repertoire of about ten ongoing productions. These include original Israeli plays, some written specifically for the ensemble, as well as classical and modern European and American plays.

    Dedicated to the belief that everyone has the right to enjoy high-level theatre, the Khan places a special emphasis on community outreach. The Khan enriches the cultural scene of Jerusalem by ensuring that its events are accessible to all of the citizens.

    The Khan’s ground-breaking productions engage audiences from across the spectrum of the Jerusalem community, strengthening the city’s vibrancy and enriching its cultural landscape. The Khan acts as a beacon in the Jerusalem landscape, offering a place where different sectors of the city can meet and experience culture without discord.

    CEO of the Khan Theatre, Elisheva Mazya, and Artistic Director of the theatre, Udi Ben Moshe, together guide the Khan Theatre towards fulfilling its artistic-cultural vision.

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  • Wednesday, July 28

    “Skali” Amphitheatre

  • Friday, July 30

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:15


Book now

Prometheus Bound, Aeschylus’ shocking tragedy, is staged by the Associazione Culturale Dide Di Michele Dio and the Fahrenheit 451 Teatro of Italy, under the direction of the award-winning director, Daniele Salvo.

Prometheus, he who stole the fire, an enemy of the Gods and a friend of mortals, both a victim and a perpetrator, found somewhere between the past and the future, is a timeless symbol of resistance against authority. Aeschylus deals with the refusal of Prometheus, who while chained on the rocks of Caucasus still refuses to submit to the will of “ruthless” Zeus.

A deeply archetypal text, Prometheus Bound is a structured poetic-philosophical treatise on human conscience, a source of concepts and meanings that transcend the boundaries of ancient Greek mythology, permeating Western thought and culture. The fire that Prometheus stole is a light that continues to burn.


  • Direction

    Daniele Salvo

  • Set design

    Fabiana Di Marco

  • Costume design

    Daniele Gelsi

  • Lighting design

    Giuseppe Filipponio

  • Sound design

    Francesco Arizzi

  • Director’s assistant

    Alessandro Guerra

  • Production Manager

    Michele Di Dio

  • Prometheus

    Alessandro Albertin

  • Io/Bia

    Melania Giglio

  • Oceanus/Cratus

    Massimiliano Giovanetti

  • Hephaestus/Hermes

    Simone Ciampi

  • Ananke

    Salvo Lupo

  • Chorus of Oceanids

    Marcella Favilla,
    Giulia Galiani,
    Francesca Maria,
    Marta Nuti,
    Giulia Diomede,
    Giuditta Pasquinelli,
    Ester Pantano

  • Antonio Parrinello (2)

  • Maurizio Cannata (7)

  • Maurizio Cannata (5)

  • Maurizio Cannata (4)

  • Maurizio Cannata (2)

  • Maurizio Cannata (1)

  • Maurizio Cannata (14)

  • Maurizio Cannata (11)

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  • Foto Paul N (89)

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  • Foto Paul N (28)

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  • Foto Paul N (13)

  • Director’s note

    Prometheus the fire thief, the Gods’ enemy, Prometheus the friend of mortals, the light bearer, Prometheus victim and culprit, creature of both the past and the future, Prometheus the arrogant.

    In a wasteland, in a mythical era, where Titans reign supreme and Gods control the destiny of both time and space, Prometheus dares to go against Zeus, the new absolute God. The clash between Prometheus and Zeus is frightening, unimaginable. It’s a real sacrificial crisis. Just like Jesus Christ, Prometheus suffers because of men, just like Him he’s subjected to an exemplary and unjust punishment.

    The myth of Prometheus is the central theme of the entire western philosophy and culture and marks a crucial moment in human prehistory, where mankind lets go of darkness, fear and uncertainty to embrace the light, the future and a new era.

    Fire, together with air and water, is one of the sacred elements, exclusive prerogative of the Gods. Only with fire can mortals really become men. Until then, they lived in darkness, ignorance and fear. Fire didn’t defeat death, but removed the fear of death. Knowledge, though, comes at a price and suffering is a precondition to attain it: that’s the only way to achieve progress. Zeus wants to annihilate mankind, the race of the ephemeral beings, insignificant parasites, whereas Prometheus, thanks to the gift of fire, wants to give them an opportunity.

    Fire is the divine spark that makes everything possible, while lighting the way. The myth of Prometheus talks about us, the human condition and its frailty, its duplicity, its ambivalence and reminds us that precisely our ephemeral being is the ultimate sense of our condition. The misconception of identity, the illusion of the Ego, our desire for uniqueness, the will of shaping destiny and controlling the elements, they all fall apart confronted with the Gods’ world. Human greatness is risible and certainly not achieved through arrogance, but through a realistic understanding of the boundaries of human knowledge and power.

    With great artistry, Aeschylus goes into depth and enlightens us; past and future, like arches of a sturdy bridge, support what unfolds on stage. Mankind, as depicted in Prometheus, is degraded, compromised and the Gods represent a world in decline, inevitably destined to come to an end. The tyrant will fall, eventually. Today’s man asks himself fundamental questions: will there be a future for humans or are we just faced with a catastrophic prospect? Which role do science and technology, today exclusively regarded as a beacon for the future, play in this catastrophe? What’s the price of progress? The loss of memory and identity? The degradation of our values and our inevitable transformation into consumers/consumables? What’s the relationship between man and God today, in such a difficult time of intolerance, racism and fundamentalism?

    Prometheus is a borderline hero, the mediator between these two worlds, so different from each other. Man is a terrible creature. But even more terrible is the world of the Gods. A great master used to say that ancient writings are like the light emitted by bright stars that no longer exist. To update these literary works and try to find a direct correspondence at all costs would be like turning away from our modernity.

    In this era of lost values and ideals, characterized by degradation and absolute superficiality, devoid of Gods and Titans and saturated with human arrogance, it is absolutely necessary to deal with ancient texts and try to interpret the light emitted by those stars that no longer exist, stop on the brink of the abyss and wait, gaze at the light and think about our future. For a moment. Just for a moment.

    Daniele Salvo


    Michele Di Dio is the producer of the “Amenanos Festival” at Ancient Theatre of Catania and Morgantina, Italy. He is the legal representative of DiDe Cultural Association and Michele Di Dio Management. He has Bachelor Degree in Communication Sciences in Cultural Heritage, specialist degree in Performing arts and multimedia communication and another degree in Modern Literature.

    Since 2016, he has created a cycle of classical performances in Sicily, involving ancient theatres that for a long time did not have classical repertory of Greek tragedies. In 2019 this experience was made in Catania, with “Amenanos Festival”, the first Classic Festival at the Ancient Theatre of Catania.

    The production of the Festival was made through the Association DiDe, with the presentation of the Greek tragedy Prometheus, directed by Daniele Salvo. With an ambitious and challenging set, Michele Di Dio had to create and finance a special solution for the stage, realising it in transparent polycarbonate so that the underground traversed by the river Amenano, remains possible to be seen by the public. This solution has received a prestigious national Award.

    A short list of theatres and archaeological sites where Michele Di Dio has worked organizing classical representations: Ancient Theatres of Morgantina, Taormina, Catania, The Wall of Timoleonte in Gela, Theatre Samonà of Sciacca (indoor theatre). Important to underline, is also the successful cooperation and partnership with University Departments, Research Centres and many Italian schools.


    Fahrenheit 451 Teatro comes to life from the experience and the artistic vision of Daniele Salvo, Alfonso Veneroso and Melania Giglio. In 21 years of activity, Fahrenheit has produced countless works for theatre, television and video.

    Recalling among the main collaborations are the following: Ferdinandea: the thinking island directed by Daniele Salvo and Claudio Pappalardo (International Film Festival Doc-fest of Palazzo Venezia, Rome), Evgenij Onegin, The Dreamers, Abelardo and Eloisa – story of the year 1000, Lost paradises – the Apocryphal Gospels (Turin Winter Olympics), We are all in danger, the last interview of Pier Paolo Pasolini, The Constitution of the Italian Republic , The Farewell, an evening dedicated to W.A. Mozart, Julius Caesar by W. Shakespeare, (collaboration with Gigi Proietti – Globe Theatre Rome). Also, Prague Spring (High Patronage of the President of the Republic Giorgio Napolitano), Gramsci a Turi, Borderland – Journey to the Land of Israel, all directed by Daniele Salvo and Spoonface Steinberg by Lee Hall, directed by Marco Carniti.

     In 2019 and 2021 Fahrenheit collaborates with the Dide Association and the Michele Di Dio Management Association for the “Amenanos Festival” of Catania, a prestigious Greek and Latin Theatre Festival and with the Ancient Theatre Festival of Morgantina.

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ECCLESIAZUSAE by Aristophanes – The Operetta

ECCLESIAZUSAE by Aristophanes – The Operetta


  • Friday, July 2

    Curium Ancient Theatre

  • Saturday, July 3

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:00


Book now

The Greek Art Theatre Karolos Koun and the Greek National Opera, present the extremely edgy and highly topical comedy of Aristophanes, Ecclesiazusae, in an original version of a contemporary, folk operetta in translation, libretto and music by Stamatis Kraounakis, directed by Marianna Calbari.

At a time of utter political and social decline, where corruption and inequality have exceeded all limits, women, at the initiative of Praxagora, decide to take radical action. Disguised as men, they manage to seize power and impose their political reforms, proposing a new regime where both property and sex are communal.  However, Praxagora’s revolutionary plan, although ideal in theory, shall prove to be utopian in practice and will be undermined by successive tragicomic situations.

Music, highlights both the political and the deeply poetic aspect of this Aristophanic comedy: a dreamy, transcendental element that Aristophanes so intricately entangles with the madness of his comic universe.


  • Translation-Libretto-Music

    Stamatis Kraounakis

  • Direction

    Marianna Calbari

  • Set/Costume design

    Christina Calbari

  • Choreography

    Thodoris Panas

  • Lighting design

    Stella Kaltsou

  • Director’s assistant

    Marilena Moschou

  • Set designer’s assistant

    Sophia Arvaniti-Florou

  • Production assistant

    Dionisis Christopoulos

  • Photography

    Stavros Habakis

Cast (in order of appearance):
  • Praxagora

    Sophia Filippidou

  • Chremes

    Christos Gerontidis

  • Young man

    Sakis Karathanasis

  • Herald

    Kostas Mpougiotis

  • Man/Third old lady

    Giorgos Stivanakis

  • Young girl/Woman herald

    Katerina Lipiridou

  • Sostrati/First old lady

    Ioanna Mavrea

  • Vlepyros/Second old lady

    Christophoros Stampoglis

  • Chrorus:

  • Tereza Kazitori,
    Sakis Karathanasis,
    Pina Kouloglou,
    Katerina Lipiridou,
    Ioanna Mavrea,
    Kostas Mpougiotis,
    Giorgos Stivanakis,
    Matilda Toumpourou

  • Musicians on stage

    Vaios Prapas (Guitar, bouzouki),
    Giorgos Tamiolakis (Cello, euphonium),
    Dimitris Andreadis (Keyboards)

  • Orchestration

    The composer, Stamatis Kraounakis, in collaboration with the band of musicians

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  • Director’s note

    How do we approach one of Aristophanes’ comedies today? How do we stage Ecclesiazusae, this brilliant, madcap, and at the same time, deeply melancholic political comedy today? I believe that whichever road we choose – and there are many – we must follow it “with our hearts”. This is the only condition Aristophanes seems to set.

    For a long time Stamatis Kraounakis has had the play in his own heart. And then came the assignment by Giorgos Koumentalis and the Greek National Opera with which the Greek Art Theatre is embarking for the first time in its history on an extremely interesting collaboration. This is the 16th production of the comedy by the Greek Art Theatre and the second staging of Ecclesiazusae after the 2005 Epidaurus Festival, translated by Yiannis Varveris and directed by Diagoras Chronopoulos. This is, however, the first time Ecclesiazusae will be staged as an operetta, and indeed in the popular form of the genre. Why operetta?

    To begin with, opera itself derives from the ancient drama. It was the theatrical genre that was created in the late 16thcentury by Florentine scholars who wanted to understand and revive the ancient Greek prosody, that is to say, the rhythm with which the words were spoken. Later on, a new type of opera appeared- in a shorter and simpler style and in a light and more comical character, part of which is in prose: the operetta. Therefore, if ancient comedy were to take on a musical form, that form could be none other than operetta. The term “popular” simply denotes our wish to createa production that will be loved by the audience in the same way that Aristophanes’ poetry is also “popular”.

    With regard to the performance itself, let us leave theory aside. In any case, theatre is action above all. And a matterfor the heart….

    “Hold fast, crazed heart, hold fast
    though they may want you to beat your last.
    Keep firm hold of the beauty of youth,
    it will guide you through life’s great adventure”.
    (Parabasis – «Song of homecoming», music-lyrics: Stamatis Karaounakis)

    Marianna Calbari


    The Greek Art Theatre, was founded in 1942 by Karolos Koun and his students and has been active continuously since then producing rich artistic and educational work in both its scenes (Ypogeio – year of establishment 1954 and Frynichou – founded in 1985), as well as in his Drama School (founded 1942).In the modern era, the Greek Art Theatre Karolos Koun, presents a number of artistic productions and co-productions each year with private and sometimes public organizations and strives to maintain a common spirit, common line and ethos.

    The philosophy that Koun inherited us: faith in an ensemble theater, the power of collectivity, the choice of important texts both classical and contemporary, the search for new ways and new forces of expression in art, the emergence of modern Greek playwright, the research, the connection of the theater with the society. At the same time, through a multitude of parallel actions, we seek to link the past with the present while at the same time paving the way for the future.


    The Greek National Opera (GNO) was founded in 1940, a few months before Italy declared war on Greece. The company had been preceded by a 150-year history of a flourishing opera tradition on the Ionian Islands and half a century of activity by the Hellenic Melodrama, an opera company which ran in various forms from 1888 to 1938. From the outset, the GNO repertory comprised operas, operettas and ballets. During the past decade, in response to current demands, the GNO has developed a Children’s Stage to develop future friends of opera. It also encourages modern works by commissioning new operas to contemporary composers. In this way the repertory of the GNO covers four centuries of opera from Monteverdi to contemporary Greek composers. The opera company operated initially as part of the National Theatre and gave performances in its historic neoclassical building on central Aghiou Constantinou Street, designed by the famous German architect Ernst Ziller.

    In 1944 the company became a state-run corporation and was officially named Greek National Opera. Its first production in the old Olympia Theatre at Academias Street was Rhea, a significant opera by Greek composer Spyros Samaras. In 1946 the opera ensemble became an independent company, giving daily performances as of 1949 at the Metropolitan summer venue, and at the Kyveli Theatre during the rest of the season. In 1950 the government released a bill providing for the foundation of a ballet school within the GNO. In 1958 the newly-built Olympia Theatre was inaugurated with Verdi’s Aida.

    Between 1959 and 1964 the repertory grew apace, with at least twenty productions every season. A total of almost thirty operas were introduced to the Greek audience for the first time. The company generously supported works by Greek composers, and summer productions were staged at the Herodes Atticus Odeon as well as at the Ancient Theatre of Epidaurus starring Maria Callas, who many years before had made her professional debut as Maria Kalogeropoulou with the GNO. The company’s steady artistic development was interrupted by the military coup of 21 April 1967.

    In 1974, when democracy was reinstated, the Hellenic Ministry of Culture assumed responsibility for the company. The notorious ‘certificate of political affiliation’, which had been necessary for all staff both administrative and artistic since the company’s foundation, was abolished and the organization of the company became more democratic generally, while its repertory was expanded. In the years that followed, some of the most distinguished personalities of Greek music have been at the helm of the GNO, expanding and improving the company’s activities, particularly by introducing new works and promoting the company internationally. Gradually the GNO developed its co-production policy, so that nowadays it co-produces operas with some of the world’s leading opera houses. Since 1994, the GNO has been a private, state-funded organization.

    In March 2017, the Greek National Opera relocated at its new premises at the Stavros Niarchos Foundation Cultural Center, which constitutes a donation of the Stavros Niarchos Foundation to the Greek state. GNO’s presents its artistic programme in its two venues at the SNFCC: the Stavros Niarchos Hall and the Alternative Stage. Every summer, the GNO presents summer productions at the open-air theater Odeon of Herodes Atticus.

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MEDEA by Euripides

MEDEA by Euripides


  • Wednesday, July 21

    “Skali” Amphitheatre

  • Thursday, July 22

    “Skali” Amphitheatre

    “Skali” Amphitheatre

  • Saturday, July 24

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:15



Euripides’s masterpiece, Medea, which deals with the last act of the passionate relationship between Jason and Medea, is this year’s Cypriot production in the Festival, directed by Aliki Danezi Knutsen. Seven actresses, in a unique stage setting guided by speech and sound, retrieve and reconstruct the dark and fierce forms of Euripides’ tragedy.

The barbarian, the foreigner, the witch, the woman; a multidimensional character with uncontrollable emotions, complex and fascinating, Medea struggles with love, motherhood, betrayal, irrationality and vengeful fury.

Medea is a tragedy of passion and conflict between logic and existential irrationality, where Euripides elaborately dissects the human soul and decodes his heroes’ reactions when they reach their limits.


  • Translation

    Minos Volanakis

  • Direction

    Aliki Danezi Knutsen

  • Set design

    Natasa Chrysafini

  • Costume design

    Antreas Antoniou

  • Lighting design

    Aliki Danezi Knutsen

  • Music

    Stefanos Skoulikaris, Nikos Paterakis

  • Movement

    Panaγiotis Tofi

  • Director’s assistant

    Stratos Dalamagkos

  • Production management

    Stephanie Polykarpou


  • Medea

    Stela Fyrogeni

  • Jason

    Elena Kallinikou

  • Nurse

    Annie Khoury

  • Tutor

    Ivie Nicolaidou

  • Creon

    Antria Zeniou

  • Aegeus

    Polyxenie Savva

  • Messenger

    Antonia Charalambous

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  • Director’s note

    A song am I! And the boys a dreadful chorus!
    Apollo, Sun of Sounds, masculine Sun,
    why didn’t you give me the lyre!
    A shrill psalm about men’s achievements
    would resonate from female mouths.
    For men, women, whatever Time reveals,
    ALL COMES TO LIGHT! And may the worthy be victorious!
    Now honor to the women’s race.”

    (Medea, translated by Minos Volanakis)


    There are many readings of Medea. The same goes for my readings of this amazing play that I’ve always desired to direct. In the particular place and time we live, where so much has shifted inside and around us and is still changing, my present reading has a special, peculiar character. When Medea finds out that Jason is leaving her, extreme, wild and primitive feelings overpower her and she instinctively utters the idea for her heinous act. Her journey through the play can be seen as a path to reconciliation with her wild nature and, despite the tragic magnitude of the event, a path to acceptance.

    Her soul travels through the paths of the mind.
    Her body labors through the anger of her soul.
    Medea gets to know the pain of rejection and asks for salvation – Jason has been unjust to her – her erotic passion turns into rage.
    She wants to cut every bond, to get revenge, to be saved. And she utters the unutterable:
    “I will kill my children.”
    Black tears.
    And male hormones.
    The men that decide for Medea’s future are exiled.
    Her journey is a struggle to rediscover sanity.
    It’s a fight to abandon society.
    The female breath rises through masculine sweat.
    From violent emotional expression to the rhythmic beat of the plan.

    Aliki Danezi Knutsen


    Roads and Oranges Film Productions was founded in 1995. The production company has, with its films and documentaries, participated in international festivals and has received awards and distinctions. It has also been funded by international as well as Greek and Cypriot cinema organisations.

    In theatre, the company has co-produced performances that have been staged in important theatres in Greece and Cyprus and in international festivals like the Athens Epidaurus Festival, the International Festival of Ancient Greek Drama and Kypria International Festival, being commercially and artistically acclaimed.

    Among the theatrical activity of the company, there are memorable productions such as Αgamemnon by Aeschylus, directed by Cezaris Grauzinis (Athens Epidaurus Festival, 2018 International Festival of Ancient Greek Drama et al.), and also Caligula by Albert Camus, directed by Aliki Danezi Knutsen (Municipal Theatre of Piraeus, Thessaloniki Concert Hall, Kypria International Festival 2017).

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