Eros Ammochostos Theatre participates at the Festival for the first time, presenting Euripides’ Hecuba directed by Giorgos Mouaimis, with Annita Santorineou in the homonymous role.
After the fall of Troy, Hecuba has run out of tears. Her poignant adventures as she watches her glory vanish along with the looted city of Troy, and her children killed or enslaved by the conquerors, are not complete until she herself receives the ultimate blow, the murder of her two last children, Polydorus and Polyxena.
The tragedy probes into the limits of human endurance, which becomes superhuman only to end up inhuman. It narrates the tragic destiny of Priam’s wife, who from queen becomes slave, from mother becomes a childless woman and from victim becomes an avenger, by taking Justice into her own hands, when this seems to have been forgotten by both gods and human.
Machi Dimitriadou Lindahl
Rea Madella Ioannidou
A different Hecuba. Different than the stoic, tragic Hecuba of the Trojan Women. A Hecuba shrivelled up from lamenting about the endless, successive blows of fortune.
A Hecuba that shall use the Euripidean sophistic technique of “argumentative” speech against the master of this art, Ulysses, in an effort to stop the unnecessary sacrifice of her daughter, Polyxena, since no divine law, nor justice or morality can help her bend the law of the powerful.
A Hecuba that shall use the same method to evoke Agamemnon’s tolerance towards the plan she weaves to avenge the abominable Polymestor for the ungodly murder of her son, Polydorus, a murder aiming only to profit in a world where ephemeral interest turns former enemies into current allies.
A Hecuba forced by circumstances to transform finally into a cold-blooded murderer taking the law in her hands. In a world where merits decline, lose their meaning or even worse surrender their place to “demerits” that are considered reasonable or incumbent or even “virtues” on occasion. In a world reminiscent of our current world of declined moral principles and values and all their consequences: corruption, interdependent interests, profit, personal interest, sepsis, analgesia.
How contemporary, how timely this tragedy is, really! As if it was written yesterday or rather as if it is still being written! Dedicated to us by Euripides!
The Eros Ammochostos Theatre is a regional theatre founded in 2011 by people who come from or descent from people who come from the occupied and free areas of Famagusta (Ammochostos). People who suffer at the thought that their pioneering city in arts and growth in the ‘70’s, the city of Evagoras, remains a hostage ghost city awaiting the hand that shall move the hands of a clock that has frozen in time towards a free future that will help it leap forward and bridge the gap to become once again a pioneer.
In 2012, Eros Ammochostos collaborated with ETHAL to stage The Pillowman by Martin McDonagh.
In 2015, Eros Ammochostos collaborated with Paraplevros Productions for the staging of The Afterlife by Arkas. That same year Eros Ammochostos staged its very first own production Assemblywomen Dress Rehearsal transferring Aristophanes’ comedy The Ecclesiazusae (aka Assemblywomen) in the current Cypriot reality.
In 2017, Eros Ammochostos presented its second production Offsite by the Catalan author Sergi Belbel.