Aspasia-Maria Alexiou has graduated from “EMPROS-Theatro-ergastirion” School of Drama, studied English Language and Literature at the University of Athens, while she is currently a Ph.D. candidate in the Faculty of Theater Studies at the same University. She works in various positions in the field of theater and dance, becoming familiar with different theater idioms.
As an assistant director she has worked with: Giannis Chouvardas, Dimiter Gotscheff, Efi Theodorou, Michail Marmarino and others. In recent years, she has been collaborating constantly with the Kursk theatre team and has participated as an assistant director in Arden must die and Lenz Charis Frangoulis’ performances, while in their last performance she also participated as an actor (Othello).
As an actor, she has worked in small groups or performances which were seeking a new chorality (Iketides directed by Christos Stergioglou, Domino and Playback directed by Argyro Chioti). As a natural result of such work she has collaborated with choreographer Kostas Tsioukas in Our Dances and Giselle, two group choreographies for dancers and non-dancers.
As a director she is the co-creator of two non-theatrical text-based performances. The National Celebrations (joint participation in composition, direction and performance along with Vassilis Vilaras and Maria Thrasyoulidi) were based on literary texts and testimonies about Occupation and Civil War. The extracts focused on people who remained on the sidelines of history instead of being remembered as the most “prominent” protagonists. The issue was not so much illustrating a sequence of events or drawing a political conclusion, but approaching the feelings of disorientation and vertigo experienced by researchers and readers as well as the performers who choose to come in contact with a large number of testimonies and performances that are either identical or diverse. With Vasilis Vilaras, they co-organized and performed in the Dreadnought based on a small extract from the novel The Drunken City by Sotiris Patatzis. The two secondary fictional characters, the School Principal and the French professor, were detached from their natural context and joined a performance where the narrative coexisted with the effort to portray the dreams and fantasies of these persons.
The element that relates her theatre career with the promenade performances in Synikismos is the constant effort to locate and illuminate the trail left by “anonymous” faces, people who rarely use their voice or, more precisely, faces who may have not yet met the ideal listener.
Tania El Khoury
Tania El Khoury is a live artist whose work focuses on audience interactivity and is concerned with the ethical and political potential of such encounters. She creates installations and performances in which the audience is an active collaborator. Her solo work has toured internationally, and for which she is the recipient of the Anti Festival’s International Prize for Live Art, the Total Theatre Innovation Award, and the Arches Brick Award.
Tania holds a PhD from Royal Holloway, University of London. Her research and publications focus on the political dimension of interactive live art in the wake of the Arab uprisings. Tania is associated with Forest Fringe collective of artists in the UK and is a co-founder of Dictaphone Group in Lebanon, a research and performance collective aiming at questioning our relationship to the city, and redefining its public space.
“The sensitivity of this artist’s work in orchestrating audience experience is extraordinary. It stays with us, is sometimes literally written onto us. She has foregrounded some of the burning questions of our time by creating resonant experiences that generate conversation and exchange. Tania’s work is urgently needed and we thank her for it.” Fiona Winning, International Live Art Prize Jury Chair.
Lois Keidan, co-founder of Live Art Development Agency wrote about Tania’s work: “Tania is one of the leading lights of a generation of UK based artists who are working with Live Art practices to reimagine what art can be, do and say, to test the ways in which it can be encountered and experienced, to invite us to consider our individual and collective agency, and to provoke conversations about issues and experiences that can be so difficult to talk about… In the process of taking her audiences into such challenging and complex territories she has evolved a form of experiential art that offers us the most exquisite, embodied experiences that touch the core of our being, but that, at the same time, implicate us – asking us to question our role, responsibility, and complicity in such urgent and seismic geo-political events.”
Filippos Koutsaftis was born in 1950 in Zagora, Pelion. He studied engineering and then cinema in Athens, at the Stavrakos Film School. He has worked as a Director of Photography in award-winning short and full feature films, as well as in a large number of programmes for Greek Television. He also works as a lighting designer for theatrical, musical and dance performances.
His personal filmography includes the short films Semnon Theon (1987), A Day with Minoos (1988), To. Ra. Ke.(2007) and the documentary Hail Arcadia (Arcadia Haire – 2015). In 2000, he presented the documentary Agelastos Petra, whose main theme is Eleusis. The shooting for the film lasted 10 years and the film deals with the present, with place, time, memory and history. He won four awards at the 41st Thessaloniki International Film Festival.
Yolanda Markopoulou is a theatre and film director and producer.
She runs POLYPLANITY Productions since 2007 a production company for theatre, film and interdisciplinary projects. At the same time she founded SYNERGY_O, an independent space in the center of Athens. She has directed over twenty plays and short films.
Her work for the theatre includes: Tejas Verdes, Dead Travelers, La Tierra, Shoot-Get-Treasure-Repeat, 1911, Exodus, Against Progress (in the art space SYNERGY-O she founded in 2007), In the Forest of the Kind (International Conference for Ancient Drama, Delphi), WARD No. 6, ImmiGRants (Kefallinias Theatre 2015-2016), EROICA (Greek Art Theatre – Karolos Koun 2018-2019).
She has directed the short films The Pyramids of Athens and It’s ok my Friend, showed in film festivals globally.
Since 2008, she is the director of the refugee and immigrant theatre group Station Athens. The performance We Are the Persians!(Athens Festival, ISPA NYC, International Theatre of Finland, mind the fact festival) was presented internationally and the site-specific performance I_LEFT was presented as part of the Eleusis 2021 European Capital of Culture program, with which she maintains a steady artistic collaboration until 2021. She has also directed the performances I_the player, (2016, KETHEA Festival, Onassis Cultural Center) and Rouletenburg (2017, Hotel Ermou, mind the fact Festival) by The Gamblers theatre group.
She is the co-founder and curator alongside with Ioanna Valsamidou of mind the fact, a cultural initiative aiming to present “real stories by the people who have experienced them”.The first mind the fact festival took place in Athens in May 2017.
With Polyplanity Productions she is one of the producers in the film Meteora (Berlinale 2012, Official Selection), she collaborates as a line producer with the Onassis Cultural Center, Greek Festival and other major cultural institutions in Greece and abroad and she has produced Homers’ ILIAD by Stathis Livathinos, a Greek large-scale theatre production that toured internationally.
In 2011 she was nominated for the Eleftheria Sapountzi Prize for ‘best woman theatre professional’. She has a degree in Film from Boston University’s College of Communication.
Alexandros Mistriotis was born in the Canadian capital of Ottawa on 17 August 1973. Having been raised in Athens, he moved to France where he studied at ESBAM (the Higher School of Fine Arts of Marseille). His artistic profile is somewhat elusive, with his work consistently oscillating between text and image, presence and representation, rigour and abstraction. The representation of his texts is part of his research project on the Théâtre de la Quiétude, while some of his texts themselves are part of his research on contemporary oral communication and remain therefore unpublished.
The question of identity – Greek identity, European identity and the relationship between them – is at the heart of his problematic and work, developed through two basic tools: History on the one hand and Poetry on the another. This verse of Poetry and History forms the/the artist’s peculiar, personal language and creates an artistic universe that illuminates a series of political and social issues of modern reality in an original way. A universe that continues and negotiates issues that might otherwise appear incoherent with each other, from the minimal thrills of everyday life to the formation of modern cities.
A second feature of Mistriotis’ work is the way in which he seeks and builds his relationship with the viewer, relying on the presence of the artist and the direct, stripped address to the viewer. It thus organizes a personal relationship between the artist and the viewer, almost as if it were a confession.