Iphigenia in Aulis

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In “IPHIGENIA IN AULIS”, the world walks on the edge of the abyss, without air and without an escape from the absurdity of the upcoming great war. From the very beginning of the play, we find ourselves at that edge of time where sacred customs such as supplication, structural and deeply symbolic relationships such as fatherhood, significant ideals such as the homeland—which connect humans with their place of origin, historical memory, and a collective value and moral destiny—are eroded, demythologized, and collapse under the weight of the rulers’ greed for war, blood, and power.

How many Iphigenias will have to be sacrificed, with or without the element of self-sacrifice, so that a suffering humanity stops seeing itself in the broken mirror of bloody battlefields? The world as Euripides knows it ends with the conclusion of the Peloponnesian War. The tragedy “IPHIGENIA IN AULIS” is written in the vortex of the end of an era that desperately resembles our own. However, the phase of decline does not signal the end, but the painful gestation of that which does not yet exist. The old collapses, creating the necessary vital space for something completely new to be born. Let us not forget: hope belongs to those who have no hope.

Translation: Pantelis Boukalas,Direction: Savvas Stroumpos, Set/Costume Design: Katerina Papageorgiou, Music: Zisis Seglias, Lighting Design: Kostas Bethanis, Dramaturgy Advisor: Ioanna Remediaki, Theatrologist Advisor: Maria Sikitano, Costume Construction: Eleni Chasioti, Set Construction: Apostolos Zerdevas, Make-up: Virginia Tsichlaki, Communications Managers: Marianna Papaki, Nontas Douzinas, Rehearsal Photography: Angelos Hill

Cast (in alphabetical order): Elli Ingliz (Clytemnestra), Anna Kopaka (Chorus Leader / First Messenger), Nikos Ntasis (Agamemnon), Myrto Rozaki (Iphigenia), Giannis Sanidas (Old Man / Achilles / Second Messenger), Nikos Psylakis (Old Man / Menelaus / Second Messenger) The performance “IPHIGENIA IN AULIS” is held under the auspices and with the financial support of the Ministry of Culture.

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