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HIPPOLYTUS by Euripides

HIPPOLYTUS by Euripides


  • Friday, August 4

    Curium Ancient Theatre

  • Saturday, August 5

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:00



Katerina Evangelatos, distinguished theatre director and Artistic Director of the Athens Epidaurus Festival, directs the production of the National Theatre of Greece, Hippolytus by Euripides, in yet another interesting approach with a cast of renowned artists.

Euripides weaves a masterful theatrical trap of escalating tragedy in which gods play a pivotal role in the lives of the main characters of the myth: Phaedra, second wife of Theseus, descendant of Helios, daughter of Minos and Pasiphae, who comes from distant lands where passion and magic prevail and Hippolytus, son of Theseus with the Amazon Hippolyte and a man obsessively attached to sacred purity.

Aphrodite sets up a game of revenge and voyeuristically watches how humankind turns into a plaything for her whims. Her eye becomes our eye and the characters are stripped bare. The naked bodies are charged with explosion, desire, lust but also the innocence of the human race.

A directorial perspective that delves into the savage world of Euripides’ play, approaching it as a contemporary nightmare amid a poetic setting, where characters struggle with their weaknesses and where love is so insane that it can only be fatal. A stellar cast of 24 actors and four musicians remain on stage throughout the performance.



  • Translation

    Kostas Topouzis

  • Dramaturgy/Adaptation/Direction

    Katerina Evangelatos

  • Set design

    Eva Manidaki

  • Costumes

    Eva Goulakou

  • Music/Orchestration

    Alexandros-Drakos Ktistakis

  • Choreography

    Alexander Stavropoulos

  • Video design

    Pantelis Makkas

  • Lighting design

    Eliza Alexandropoulou

  • Sound design

    Kostas Pavlopoulos

  • Dramaturg

    Eva Saraga

  • Music coach

    Melina Peonidou

  • Assistant to the director

    Giorgos Braoudakis

  • Assistant to the set designer

    Katerina Vlachmpei

  • Assistant to the costume designer

    Alexandra Ftouli

  • Assistant to the lighting designer

    Lampros Papoulias

  • Video design assistant

    Anthi Paraskeva Veloudogianni

  • Hair design

    Konstantinos Koliousis

Cast (in alphabetical order)
  • Servant

    Diamantis Adamantidis

  • Hippolytus

    Orestis Chalkias

  • Phaedra

    Kora Karvouni

  • Messenger

    Dimitris Papanikolaou

  • Nurse

    Maria Skoula

  • Artemis/Aphrodite

    Elena Topalidou

  • Theseus

    Giannis Tsortekis

Chorus of Women

Iro Chalkidi,
Dafni Kiourktsoglou,
Anastasia-Rafaela Konidi,
Ioanna Lekka,
Amalia Ninou,
Melina Polyzoni

Chorus of Hunters

Diamantis Adamantidis,
Marios Chatziantoni,
Nikolas Chatzivasiliadis,
Christos Diamantoudis,
Konstantinos Georgalis,
Nikos Gonidis,
Nikos Grigoriadis,
Iraklis Kostakis,
Marios Kritikopoulos,
Alexandros Piechowiak,
Alexandros Tomadakis,
Giorgos Vassilopoulos

On-stage musicians

Jannos Giovanos
Giannis Papadopoulos (piano, keyboards),
Vaggelis Paraskevaidis (vibraphone, percussion),
Spyros Polychronopoulos (electronics)


Greece’s first state theatre company was the Royal Theatre, which was founded in 1901 and operated until 1908. It was re-established under the name “National Theatre” in 1930 and opened for the public in March 1932. The National Theatre of Greece (NTG), during its 90 years of existence, has succeeded in creating a powerful theatrical tradition. The NTG Drama School was founded in 1930 and has since operated in tandem with the NTG.

The repertoire of the National Theatre aims at polyphony, promoting a dialogue between tradition, present and future. The revival of Ancient Greek Drama remains a key area of interest for the National Theatre in an effort to combine respect for tradition with new trends. In 1938 the National Theatre of Greece performed its first open-air production of ancient drama, Sophocles’ Electra; the first performance after centuries at the Ancient Theatre of Epidaurus. In 1955 the NTG established the Festival of Epidaurus.

Today, there are six venues in the National Theatre in Ziller Building (2), in Rex Theatre (3) and the School of Athens – Irene Papas (open-air venue). The National Theatre is always open to collaborations with theatres and artists – tours, joint productions with major theatres abroad, participation in international festivals, educational programs, and invitations to important contemporary artists; these are all part of the effort to broaden an already established network. The NTG was a member of the European Theatre’s Union (2009-2020). Since 2022, the NTG is a member of the European Theatre Convention.

The Artistic Director of the National Theatre of Greece is the director Yannis Moschos.

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THE BACCHAE by Euripides

THE BACCHAE by Euripides


  • Saturday, July 29

    Curium Ancient Theatre

  • Monday, July 31

    Makarios III Amphitheatre

Performances start at

Please arrive at the theatre before 20:15



The internationally renowned and acclaimed Greek director, Theodoros Terzopoulos, directs the Hungarian National Theatre’s production of The Bacchae by Euripides, featuring a remarkable cast of Hungarian actors.

In The Bacchae, Euripides recounts the descent of Dionysus to the city of Thebes in order to impose the rites of his worship. King Pentheus refuses to recognize this new god and suffers Dionysus’ wrath. Driven mad by the god’s power, Pentheus dies a horrible death on the peaks of Mount Cithaeron, with his mother, Agave, having committed – while in a delirium – the terrible crime. Dionysus establishes his religion by announcing the terrible fate that has befallen the royal family.

This great master of theatre, with his unwavering decade-long international theatrical presence, introduces his sixth directorial approach to The Bacchae. Through his famous Method, he puts forward another theatrical, political and metaphysical proposal, taking Euripides’ text and stage action to the next level. The Chorus of the Bacchae evolves into a protagonist: it spins, it flies and in the end, it collapses, crushed, following the primordial bacchic footsteps through the music of Panayiotis Velianitis.

“The conflict between Dionysus and Pentheus is that between instinct and logic. When neither can moderate itself, that has a cruel consequence for humans”.

  • Translation

    Gábor Devecseri
  • Adaptation/Dramaturgy

    András Kozma
  • Direction/Set-Costume design/Lighting design

    Theodoros Terzopoulos
  • Musical composition

    Panayiotis Velianitis
  • Associate Director

    Savvas Stroumpos
  • Assistant to the Director

    Gábor Vida
  • Interpreter

    Panagiota Lotsu
  • Prompter

    Anikó Sütő

  • Stage managers

    István Lencsés, Krisztián Ködmen
  • Photography

    Zsolt Eöri-Szabó

  • Dionysus

    Roland Bordás
  • Pentheus

    Péter Herczegh
  • Agave

    Nelli Szűcs
  • Cadmus

    Ádám Schnell
  • Tiresias

    József Szarvas
  • First Messenger (Herdsman)

    Martin Mészáros
  • Second Messenger (Guard)

    József Varga

Chorus, Women from the Palace, Lamentations

Student-actors of the Faculty of Arts of Rippl-Rónai University and Szent István University
Battai Lili Lujza, Bognár Bence János, Duma Kata, Ionescu Raul Gabriel, Jakab Tamás, Juhász Péter, Kerék Benjámin Dominik, Kiss Anna Gizella, Krauter Dávid Róbert, Mikita Dorka Júlia, Polyák Anita, Puskás Balázs Ákos, Séra Dániel, Sipos Ilka, Soós Anett, Wettstein Márk, Winkler Tamás Ábel

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    37 years ago, I directed for the first time the Bacchae, the inaugural performance of the Attis Theatre group. It was presented in Delphi, the place where the ancient Greeks envisioned the unification of the two gods, Dionysus and Apollo, instinct and logic, as the pillar of measure and harmony.

    The myth of the Bacchae has not ceased to preoccupy me for these 37 years. I directed Dionysus in Colombia, a synthesis of the Bacchae tragedy and the Indian myth of Yurupari (1998). Then, the Bacchae at the Dusseldorfer Schaupsielhaus, in Germany (2001). In 2015, I directed The Bacchae at the renovated historical Electrotheatre Stanislavski in Moscow and in 2016 at the National Theatre of Taiwan in Taipei.

    37 years have passed and the exiled Dionysus, rejected by the European rationalist tradition, emerges at the National Theatre of Budapest, in the country where great theatrical principles were born, to unite with his magical energy the great Hungarian theatrical tradition with the tradition of ancient tragedy, the mature actors of the National Theatre with the actors of the younger generation.

    The rehearsals of the Bacchae were a wonderful experience, full of dialogue, understanding and love. Through the coexistence of many and different points of view and with the common factor of the Dionysian energy, we tried to create a consistent, universal theatrical form and convey the messages of this tragedy to the modern world: revenge, punishment, conflict and assertion in a world that needs more than ever the arrival of the fertilizer Dionysus.

    The coincidence of the present war particularly influenced my new view on this tragedy.

    Theodoros Terzopoulos


    Hungarian National Theatre – the theatre of the nation

    The National Theatre, directed by Attila Vidnyánszky, primarily serves Hungarian audiences, but at the same time, it has a fruitful international life.

    Romania’s Silviu Purcărete, Russia’s Viktor Ryzakov and Valery Fokin, Georgia’s David Doiasvili and Avtandil Varsimasvili, Spain’s Ignacio García, Macedonian-born Aleksandar Popovski, Norway’s Eirik Stubø, Greece’s Theodoros Terzopoulos, just as Hungarian artists Sándor Zsótér, István Szabó K., Imre Csiszár, Csaba Kiss, János Szász and Eszter Márkó represent different theatre aesthetics, but the dedication and internationally renowned professionalism of National Theatre’s company is unanimously acknowledged. In the last five years, the National Theatre has played in St. Petersburg, Moscow, Paris, Belgrade, Vienna, Maribor, Brussels and Stockholm.

    Madách International Theatre Meeting (MITEM)
    The Madách International Theatre Meeting (MITEM), founded in 2014, has become a real success story, as it is a unique theatre event in Hungary and has been put on the festival map of European theatre. The success of MITEM is proven by the fact that most of the National Theatre’s guests are happy to return year after year.

    The National Theatre has hosted some of Europe’s most important theatre masters, including Theodoros Terzopoulos, Eugenio Barba, Silviu Purcărete, Thomas Ostermaier, Michael Thalheimer, Robert Wilson, Emma Dante, Antonio Latella, Toni Servillo, Luk Perceval, Eimuntas Nekrošius, Rimas Tuminas, Valery Fokin, Alvis Hermanis, Viktor Ryzakov and Alessandro Serra.

    10th Theatre Olympics
    If the personnel of the National Theatre had not demonstrated their professionalism year after year, we would hardly have had the opportunity that the 10th International Theatre Olympics represents.

    In 2023, Hungary is hosting the International Theatre Olympics (58 countries,  400 companies, 750 performances, and 7500 participants). At the 10th International Theatre Olympics, the National Theatre celebrates the passion for theatre with its guests so that it can build bridges in these difficult times.

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  • Friday, July 14

    Curium Ancient Theatre

  • Saturday, July 15

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:00



The National Theatre of Northern Greece (NTNG) presents the Euripidean tragedy The Trojan Women, translated by Thodoros Stefanopoulos, directed by Christos Sougaris and with music composed by Stefanos Korkolis, with a superb cast of actors and Roula Pateraki in the role of Hecuba.

As they await to be transported to Greece, the captive women of Troy mourn the fall of their city. Among them, waiting for her fate to be announced, Hecuba is confronted by a series of devastating events: Polyxena is sacrificed at Achilles’ tomb and Andromache learns that the Greeks have condemned her baby son, Astyanax, to death. At the same time, Kassandra foretells the disasters that will befall the Greeks on their way home.

Euripides attempts to warn us about the consequences of the victors’ impunity and to remind us of the importance of remaining human, away from the illusion of omnipotence caused by fleeting victories. In The Trojan Women, the poet brings out the human dimension of the enemy and, focusing on the greatness of the women of Troy, highlights the strength that makes humans persevere even in the wake of catastrophe.

A recipient of the 2018 “Young Theatre Artist” award by the Union of Greek Critics for Drama and Music, director Christos Sougaris, head of the NTNG’s artistic programming, presents a novel take on Euripides’ masterpiece.




  • Translation

    Theodoros Stefanopoulos
  • Dramaturgy/Direction

    Christos Sougaris
  • Music composition

    Stefanos Korkolis
  • Set/Costume design

    Eleni Manolopoulou
  • Movement

    Ermis Malkotsis

  • Lighting design

    Alekos Anastasiou
  • Music coaching

    Panagiotis Barlas

  • Assistant to the director

    Christoforos Mariadis

  • Assistant to the set/costume designer

    Danai Pana

  • Production Coordinator

    Marleen Verschuuren

  • Hecuba

    Roula Pateraki
  • Menelaus

    Alexandros Bourdoumis
  • Kassandra

    Maria Diakopanagiotou
  • Andromache

    Mariza Tsari
  • Talthybius

    Dimitris Piatas
  • Poseidon

    Antonis Kafetzopoulos
  • Athena

    Melina Apostolidou, Loukia Vasileiou, Momo Vlachou, Chara Giota, Ilektra Goniadou, Christina Bakastathi, Kleio-Danai Othonaiou, Polyxeni Spyropoulou, Virginia Tamparopoulou, Theofano Tzalavra, Mara Tsikara

  • Helen of Troy

    Loukia Vasileiou, Kleio-Danai Othonaiou


Marianna Avramaki
Melina Apostolidou
Loukia Vasileiou
Momo Vlachou
Chara Giota
Ilektra Goniadou
Zoi Efthymiou
Ilektra Kartanou
Evi Koutalianou
Loxandra Lucas
Eleni Mischopoulou
Christina Bakastathi
Chrysi Bachtsevani
Kleio-Danai Othonaiou
Polyxeni Spyropoulou
Virginia Tamparopoulou
Theofano Tzalavra
Foteini Timotheou
Mara Tsikara

    My relationship with this tragedy by Euripides, began when I was still a student at the drama school of the National Theatre of Greece. 

    The Trojan Women was our year’s graduation project and along with Vassilis Papavassiliou’s Ajax, Antoine Vitez’s Electra and Matthias Langhoff’s The Bacchae, it marked the start of an intense personal quest into, and love for, this theatrical genre and the different ways it can be performed on stage; a quest which remains ongoing today.

    Which is to say I’m one of those theatre-goers who will take in every production they can of works by the three great tragedians and pay close attention to the different on-stage readings of these masterworks. 

    What I enjoy most of all is the diversity -when it exists- in the aesthetic approaches the different productions take to the narrative. And that’s because many of us make the mistake of thinking there’s only one version of Antigone, Oedipus, or Hercules, and that there can, therefore, be only one aesthetic approach to their narratives. 

    What really makes an impression on me, is that our tragic poets, as well as the audiences who attended stagings of ancient tragedies during its 20th-century heyday, liked to discuss them in terms of the well-known myths, but mainly on the basis of their personal interpretations. 

    Sophocles’ Electra is not the same as Euripides’ Electra. And would they hold any interest for us if they were?

    The verbalistic version of narrative came to the fore aesthetically in the mid-20th century, and its last vestiges plague us still. That is because, as the unfortunate inheritors of the directors and stars of Greece’s glorious theatrical past, we have had to protect, preserve and disseminate their only arguably interesting stagings. Unfortunately, even today, we still bother our heads with questions like ”how is tragedy performed?”, whether it is appropriate to ”tread the thymele” of the Argolic theatre, if it is disrespectful (to whom?) to use microphones in performances of the genre, and whether it is “permitted” to interpret the genre in a manner which diverges from the archetypal near-ritualistic style which has been revealed to us in various ways and interpretations by the indubitably useful and important research of archaeologists, philologists and theatre professionals alike.

    I have always had the feeling, which sometimes amounts to faith, that you can be respectful of the genre even as you attempt to engage meaningfully through it with your contemporary audience, in the context of a sincere effort which begins with a personal, private performance before ending up before the public. I dare say that the louder we are, the less we can hear what we’re saying. 

    The genre is not at risk from performances that may come across as “modernistic”. Like any other, the genre is only at risk from indifferent, sloppy and ultimately weak performances.

    So, continuing our on-stage study of the tragic genre, this production of The Trojan Women will provide my excellent collaborators and me with yet another opportunity to present audiences with our highly personal reading of a narrative by a truly innovative tragedian which tells its heart-breaking tale with quiet sincerity.

    Christos Sougaris


    The National Theatre of Northern Greece (NTNG) is one of the country’s largest theatre institutions. With its five indoor and two outdoor stages, plus the appearances it makes on tour and at festivals both in Greece and internationally, it has been a driving force on the cultural scene since 1961.

    The NTNG is a private legal non-profit entity and is governed by a seven-member Board of Directors along with the Artistic Director. It is supervised and funded by the Hellenic Ministry of Culture and Sport.

    As a public theatre which repays citizens for the funding it receives through the art, education and entertainment it provides, and which seeks to remain open and accessible to society at large, the National Theatre of Northern Greece has forged a strategy which revolves around the following axes:

    • a wide-ranging repertory
    • high-quality productions for children and young people
    • a focus on theatre education and educational activities
    • strong ties and partnerships with cultural institutions, municipal authorities, bodies and social institutions
    • An emphasis on social policy
    • social activities which raise public awareness
    • low ticket prices with a wide range of concessions
    • a powerful international presence.

    The NTNG’s annual programme brings together its own in-house theatre productions with co-productions with other theatre organizations, stagings of productions from Greece and abroad, and a wide range of cultural events. The Theatre also stages long summer tours around Greece and winter tours of Northern Greece and organizes the annual Forest Festival, a major cultural event for Thessaloniki which includes concerts, theatre and dance.

    The NTNG Drama School provides a full theatrical education free of charge and has been a nursery for young actors since 1973.

    In addition, taking its social role seriously and doing all it can to make theatre accessible to people of all ages, including those without easy access to live theatre, the NTNG engages in activities provided free of charge to special social groups.

    It is a member of the Union of the Theatres of Europe and the International Theatre Institute.

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ANTIGONE by Sophocles

ANTIGONE by Sophocles


  • Monday, July 10

    Makarios III Amphitheatre

  • Tuesday, July 18

    Paphos Ancient Odeon

  • Friday, July 21

    Curium Ancient Theatre

Performances start at

Please arrive at the theatre before 20:15



The award-winning Cypriot director Kostas Silvestros returns to the “International Festival of Ancient Greek Drama” seven years after Plutus (2016) – that had caused a sensation to audiences and critics alike – to present in a poetic mood a timely production of the Sophoclean tragedy Antigone.

With a select group of artists of the contemporary Cypriot scene at his side, the director stages a performance of particular power, inspiration and aesthetics that redefines ancient drama in today’s world, aiming to act as a “prayer” among the ruins of the modern world.

Antigone, perhaps the most popular tragedy by Sophocles and one of the finest works of ancient Greek drama, takes place in Thebes after the civil strife that led to the death of the two rival brothers, Eteocles and Polyneices. King Creon orders that Eteocles be buried with honours, leaving Polyneices unburied as an enemy of Thebes. But the sister of the two dead, Antigone, does not obey the order and decides to honour Polyneices with a proper burial. She is arrested and brought to Creon, who, following the laws of the state, sentences her to death.

Led by the excellent translation of Nikos A. Panayiotopoulos, the team experiments with new kinesiology forms and original sounds, to take us on a journey in the play’s dark universe, in search of a fresh take on Sophocles’ timeless text.


  • Suitable for ages 16+

  • Duration: 100 minutes

  • Translation

    Nikos A. Panayiotopoulos
  • Direction

    Kostas Silvestros
  • Movement

    Panayiotis Tofi
  • Set/Costume design

    Constantina Andreou
  • Musical composition

    Dimitris Spyrou & Vasilis Vasiliou
  • Lighting design

    Vasilis Petinaris
  • Assistant to the director

    Irene Andreou
  • Assistant to the set/costume designer

    Iphigenia Avraam
  • Photographs

    Demetris Loutsios

  • Executive producer

    Stavros Stavrou
  • Antigone

    Christina Papadopoulou
  • Ismene

    Marina Mandri
  • Creon

    Thanasis Georgiou
  • Sentry

    Giorgos Evagorou
  • Haemon

    Nicolas Grammatikopoulos
  • Tiresias

    Haris Attonis
  • Child

    Andreas Hadjimichael
  • Messenger

    Andreas Koutsoumbas
  • Eurydice

    Niovi Charalambous
  • Chorus

    Stela Fyrogeni
    Dimitris Spyrou
    Vasilis Vasiliou

    Upon the ruins of this world, our Antigone comes to life with a mood that is more comforting than denunciatory. Upon the ruins of yesterday and today which have the same denominator: man.

    I feel that no matter how you deal with such texts, no matter how much you want to place them in the present, they will always somehow slip away and float in a space-time of their own. John Gisborne wrote in 1821 “Some of us have, in a prior existence, been in love with an Antigone, and that makes us find no full content in any mortal tie.”

    So it was with this sense of “discontentment” that I and a wonderful team of artists tried to grapple with right and wrong, fantasy and reality, life and death.

    The performance I dreamed of, works in me more as a whisper and prayer than as an anguished cry. As a memory of what has passed, but also as a warning of what is to come.

    My sincere thanks to the entire team who worked with me with faith and dedication, and especially to Stavros who took care of everything from the first moment of our application to the final staging. I thank the “International Festival of Ancient Greek Drama” and its people for their trust and our excellent cooperation.

    I hope that the emotion brought to me by the richness of this masterpiece will also reach you, dear audience.

    Kostas Silvestros


    The production of the show Antigone is a collaboration between the director and actor Kostas Silvestros and the philologist, lyrics-writer and cultural manager Stavros Stavrou.

    Kostas Silvestros is a graduate of the Karolos Koun School of Drama. As a director and actor, he has collaborated with the Cyprus Theatre Organization (THOC) and many others theatres and theatre groups in Cyprus and Greece. In 2016, he participated in the “International Festival of Ancient Greek Drama” with his award-winning production Plutus by Aristophanes. He has also produced other shows that he has directed: The Little Prince in the Cypriot dialect, The Dream of a ridiculous Man and Happy Days.

    Stavros Stavrou holds a degree in Modern Greek and Byzantine Studies from King’s College London and a master’s degree in Cultural and Creative Industries from the same university. As a lyrics-writer, he has collaborated with big names in the Greek music industry, while in the theatre industry, he has written the lyrics to a multitude of productions at the National Theatre of Greece, the Cyprus Theatre Organization (THOC) and many other theatres and theatre groups in both countries. He has also produced various shows and cultural projects. Furthermore, he is the President of the Centre of Theatre for Children and Young People – ASSITEJ Cyprus.

    Antigone is the third production co-signed by the two artists. They have also co-produced STILL! – A statue that travelled the world (Nicosia International Arts Festival 2021), as well as A Midsummer Night’s Dream for children (a production of the KYPRIA International Festival), where they were the executive producers.

    Their production STILL! – A statue that travelled the world, following its success in Cyprus, participated in renowned festivals in Armenia, Tunisia and Lithuania, while it continues its international tour in other countries too.

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