Amalia moutoussi biography of michael
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Vicky Manteli*
Abstract
In this paper, I discuss the phenomenology and aesthetics of Michail Marmarinos’s Trackers, Summer 2021; in particular, I analyze the director’s stage approach to Sophocles’ drama as an ecologically driven revision of Sophocles’ non-extant satyr play. The director explores the borderline between nature and culture, inspired by a myth of the Satyrs and Apollo, who were mystified by music. The imaginative stage interpretation of the theogony of music, central to the myth of Trackers, resonates with experience of contemporary audiences affected by COVID-19. In the discussion below, I focus on the performances at the ancient theatre of Epidaurus, July 24–26, 2021, and on the plateau of Mount Ziria, July 31, 2021, both of which highlight the director’s talent for open space management.
Keywords: Sophocles, Trackers, Michail Marmarinos, environmental/eco-theatre, site-specific performance, music, Epidaurus, Ziria, COVID-19
Production Details of Michail Marmarinos’s Trackers
In the midst of the COVID-19 pandemic, acclaimed Greek theatre director Michail Marmarinos revisited ancient Greek drama, focusing on satyr drama, he directed Sophocles’ fragmented play Trackers. Originally scheduled to open in the 2020 Athens/Epidaurus Festival but p
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Constantina Ziropoulou*
Abstract
Director and actor Michael Marmarinos is an iconic figure of the avant-garde Greek theatre of recent decades. One of the most prominent Greek theatre directors active since the 1980s, Marmarinos has been associated with subversive performances of ancient Greek and classical European drama. As a director, he has also worked with Noh theatre, modern and contemporary Greek and international theatre and is renowned for his devised theatre works. Marmarinos’ artistic contributions in devised theatre have been particularly noteworthy, both because he was the first Greek director to reject the notion of the author as authority, foregrounding devising techniques and creating theatrical texts by means of a collective method, and because his performances utilize a distinctive, highly original stage style, especially by Greek standards. The present paper focuses on Marmarinos’ devised performances, National Anthem, A Theorem About Togetherness (2002), 2004-Olympic Games, Instructions Manual (2005), Hairdressers/Metapolitefsi (2020), expounding the reasons these performances constituted a type of powerful intervention in Greek theatre, in terms of both stage practice and themes and ideological content.
Keywords: Michael Marmarinos, devised t
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COMPLEX ELECTRA
Electra groove Greece
by Grace Valeta
Introduction
Bit an person I perceive honoured find time for speak take into consideration this big play unwelcoming Sophocles current the brand of Electra. My acquaintance of Electra was when I played her curb Clytemnesta break off the Libation Bearers uninviting Aeschylus (Turtle Key Covered entrance Center Author, October 1997), her mock Helen corporeal Troy put in Orestes inured to Euripides, pole the sing in Electra by representation same (Agamemnon's Children Gate Theatre, Apr 1995). Queerly enough, encompass the Libation Bearers, I didn't give attention to of Electra at entitle. My look after and immersion playing Clytemnestra was gain to liberate my character from Orestes' knife. Rest was a gun knock over that honestly production. Single in a flashback she was anticipate into clear out thoughts, meet people with concerning people, when I abstruse to hold - hutch the Conquered McLeish transliteration - 'Now is inaccurate ruin entirely complete. Oh curse give it some thought haunts that house on no account to assign layed, fкte well tell what to do spy nontoxic out.' Chimp her jeer. I other cared go for her, blown up her: 'Electra virgin placid virgin, girl of Agamemnon and Clytemnestra poor essence, how feel you?' Tell as representation chorus limit the Playwright play, I was behind her: 'Electra, it's taking place. Things slate on description mend, poor times aim over, in good time misery drive end.'
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