Small theater An. Epidaurus program


City: Ancient Epidaurus

Organizer: Greek festival

Start Date: 06/07/2018

End Date: 04/08/2018

Small theater An. Epidaurus program



Little Theatre of Ancient Epidaurus


06 & 07 July

The Libation Bearers by Aeschylus (ORESTEIA cycle)



Direction: Argyro Chioti

Dramaturgy: VASISTAS

Dramaturgy consultant: Nikos A. Panagiotopoulos

Set design: Eva Manidaki

Lighting design: Tasos Palaioroutas

Music: Jan Van de Engel

Assistant director: Gely Kalampaka

Cast: Evi Saoulidou, Evdoxia Androulidaki, Antonis Antonopoulos, Matina Pergioudaki, Yannis Klinis, Eleni Vergeti, Georgina Chriskioti, and others

Director’s note: “Am I shouting to the deaf and fruitlessly wasting my voice on people who are asleep?” The greatest mourning song of ancient Greek literature. A premeditated crime set up on stage, with the complicity of the audience. The VASISTAS group approaches the play as a profound conflict between human instincts and social conformity, focusing on the chorus, this powerful voice that is constantly on stage, pushing things forward and inciting to murder. The chorus is a massive voice watching, directing, and ultimately holding power over everything. The chorus is the social mandate that occasionally wrests control and defines the course of history. The two main characters of the play, Orestes and Electra, are like two puppets with barely any right to make choices for themselves. They are weighed down by the burden of the past, forced to follow it all the way, making a seemingly impossible choice. Their future is inextricably bound with the act of murder.


Argyro Chioti


20 & 21 July

Antigone by Sophocles

Translation - adaptation: Nikos Panagiotopoulos

Direction: Konstantinos Ntellas

Set design: Andreas Skourtis

Costume design: Konstantina Mardiki

Music: Alexandros Ktistakis

Lighting design: Panagiotis Lampis

Videographer- photographer - assistant to the set designer: Christos Symeonides

Cast of seven performers

Director’s note: Eteocles fell in battle, defending his city. He is a hero. Eteocles usurped the throne that was rightfully his brother’s. Polynices died while fighting against his own homeland. He is a traitor. Polynices claimed the throne that was rightfully his. Who is right? Who is wrong? Creon is responsible for the Polis. There is a blind spot in the Polis. Creon faithfully does what is, by his own declaration, necessary for the restoration of peace and order. Antigone is responsible for her family and its dead. Antigone violates the laws of the Polis, causing mayhem and disorder. Who is right? Who is wrong? Athens prohibits proper burial of the sacrilegious, the traitors, and the suicides. From just lord and keeper of the law, Creon becomes an obsessive tyrant; his stance precipitates three suicides. Antigone buries her brother, thus doing what is usually reserved for men. Creon mourns his son’s dead body, thus doing what is usually reserved for women. Which one of the two is the tragic character?


Konstantinos Ntellas


03 & 04 August

Prometheus Bound by Aeschylus

Translation: Nikoletta Frintzila

Direction: Martha Frintzila

Set design - Music: Vassilis Mantzoukis

Lighting design: Felice Ross

Costume design - Props & masks: Camilo Bentancor

Movement: Amalia Bennett

Assistant directors: George Vourdamis Mavrogenis, Ioanna Nasiopoulou

Scientific associate: Iossif Vivilakis

Cast: Dimitris Kataleifos (Prometheus), Maria Kechagioglou (Io), George Vourdamis Mavrogenis (Cratus), Theano Metaxa (Bia), Ilias Kounelas (Hephaestus), Kostas Vasardanis(Hermes), George Frintzilas (Oceanus), Fonέs with coaching by Marina Satti (Chorus of Oceanids). With the participation of the Baumstrasse choir and students of the Attiko School of Ancient Greek Drama and Epidaurus Lyceum.

Director’s note: In this performance we will focus on the power of language and spoken words, reciting the text in a rhythmical and melodious manner. We have decided to refrain from an expressive dramatic performance, instead making discourse central, insisting on a clear recitation of the words and their meaning. Of course, this approach does not entail that performers will lack theatricality and passion. The use of masks and carefully planned movement will infuse our performance with theatricality. The production will adopt a very strict motif of music and movement, allowing performers to express themselves inside a very tightly constructed aesthetic universe.

Martha Frintzila


Ancient Stadium of Epidaurus

13 & 14 July

The Eumenides by Aeschylus (ORESTEIA cycle)

Translation: Dimitris Dimitriadis

Concept – direction - performance: Stefania Goulioti

Artistic collaboration: Sylvia Liouliou

Sound design: Dimitris Kamarotos

Video: Dorijan Kolundžija

Alexander technique: Vicky Panagiotaki

Lighting design: Sakis Birbilis

Director’s note: “Allow fear to inhabit the polis.” Our project meets a very specific need: to delve into the depths of the human soul, exposing dreams, insecurities, and fears before a live audience; an attempt to bring together the Conscious and the Unconscious. The Furies appear as scaremongers, whispering their desires and disputes; it is then that humans come to the realization that they themselves are these very voices. These voices are contained in all the tragic heroes. Our performance will be a challenge, a trial as far as acting is concerned, exposing, not just the visual aesthetics, but also the ideal condition wherein the audience can see what the actor imagines rather than what is merely presented on the stage. A difficult endeavour: when achieved, audience and performers connect amidst an invisible landscape, sharing a powerful experience.


Stefania Goulioti

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