After last autumn’s success of the first “compartments dance project” and the extensive participation of dancers and dancing teams along with the warm response of the public, the Railway Carriage Theater to Treno sto Rouf and Tatiana Lygari are organizing the 2nd Contemporary Dance Festival “compartments dance project” starting from Sunday 10 September until Sunday 24 September 2017.
As a continuation of the – now - established Young Artists Festival "12 Compartments” and with a special emphasis on contemporary dance, choreographers, dancers and dancing teams are invited to be inspired by the unique space of the New Wagon and the special atmosphere of the 12 small "compartments" and present their individual performances for small groups of viewers (short duration 10'-30' minutes).
The authenticity and uniqueness of the compartments’ stage setting which causes the spontaneous self-restraint of the movement, leads to its overcoming and redefinition. The clarity, the inwardness, the austerity and the purity of the kinesiological element are spontaneously born from the great proximity to the viewer-conveyor and the intimacy of the private atmosphere. Topics and concepts, such as escape, departure, arrival, route, station, reconciliation, recreation, migration, separation, and whatever a “journey” encompasses literally and metaphorically, can become sources of inspiration and find their ideal dimension in this particular space.
The uniqueness of the Railway Contemporary Dance Festival stimulates unconventionally the creativity, thus resulting in an unparalleled cultural experience for both viewers and artists. At the same time, dance performances are taking place at the open-air area of the Platform and the new Cargo-Wagon of the Train-Theater.
Daily from Sunday 10 until Sunday 24 September 2017 in a rolling program starting at 7.30 pm.
The entrance to the festival is free but complementary admission tickets are required. The visitors can get their admission tickets for the performances of the day from 7 pm at the box office of the Train-Theater. Maximum number of admission tickets 3 per person/daily, based on availability.
THE FESTIVAL PERFORMANCES
ΑS TIME GOES BY
Ioanna Aggelopoulou – Suzanna Maragkou
written by Ioanna Aggelopoulou – Suzanna Maragkou choreography Ioanna Aggelopoulou – Suzanna Maragkou directing / dramaturgy Suzanna Maragkou performance Ioanna Aggelopoulou, saxophone Thanasis Kouzambasis
How does the body’s eroticism transform into the most free form of eroticism of the heart and vice versa? Through gesture dance and pictures-words, we will find an erotic language that matches with the concept of today in Athens.
"... The one in love, should not be regarded as a simple subject-carrier of symptoms; What needs to be done, is to promote any untimely, and thus uninteresting, element in his voice ..." Roland Barthes
written by / choreography Ioanna Toliou performance Electra Vasilikou, Niki Paouri
A stopped wagon…Everything looks immobile in it, stopped ... the space, the objects, the passengers ... But there is something in the wagon that it is constantly moving. It is the time in it, which "travels". As time travels, it changes, it distorts, it alters, it transforms every form that comes its way. What kind of changes will happen? How does the time affect a stationary body in a space? Will this "journey" ever stop?
Quo Vadis Team
choreography Quo Vadis performance Zafeiria Tsirakaki
We are our choices. What we are thinking becomes reality. We are our thoughts. Like trains that pass through our own personal station and they are taking us to known and unknown destinations. We choose to get on or to get off earlier, with high momentum, on the go or to the next stop. We choose to resist until the end with our eyes open or closed, out of the window or getting to know our fellow travelers. Our choices are like the trains we are taking or leaving to pass by.
Fractal Fractus Team
choreography Fractal performance Elli Avraam-Repa, Iliana Doulami, Kalliopi Koutsou music composition / performance Sakis Kleisiaris stage-visual editing Fractal
“Τantrum" or anger burst. The "industrialized happiness" which aims to transform the inadequate self into someone full of positive energy, someone who is condemned to happiness. “Waiting Room” or the years that will come and those that have left. Waiting. Betting. Obscure windows. Sorting-Rejection-Fantasy. Game or illusion? Can you "borrow" your happiness or are you just in the frenzy of adrenaline? Are you ready for another game?
team members Christina Karpouzou, Zafeiria Tsirakaki, Justine Gussot conception / idea / kinesiology Χριστίνα Καρπούζου choreography / written by Christina Karpouzou, Zafeiria Tsirakaki, Justine Goussot motion management Margharita Trikka music Glafkos Smarianakis (violin)
en route: on or along the way for something. The concept of "travel" has so many aspects to the extent of affecting and touching every person. It gives a different experiential feeling and experience to each "traveler" depending on his location and conditions. There are many topics that form the concept of travel, such as change, exploration, connection, hope, separation, escape, migration, etc., and each of us lives his personal truth and the experiences he collects are unique.
In this context of personal truth and uniqueness which characterizes each experience, the enRoute Team explores the sense of time during the process of the journey, depending on a person’s state (emotional, social, etc.) and by using kinesiology shows how the sense of time can be altered, depending on whether his experience is pleasant or unpleasant, carefree or stressful, or whether it was a result of choice or enforcement.
THE FAIRY TALES PROJECT: ‘...AND THEY LIVED HAPILLY?’
written by Marina Mariola choreography Augusta Pissaridi, Team MOMENTum performance Marina Mariola, Maria Moustaka, Augusta Pissaridi
How much does fate determine our life and how much do we define this by our actions? How long do we endure the golden rules and the things we must do? And what if we need to be unconventional? Three princesses from three classic fairytales take their lives in their hands and decide to think about what they want... and if they want to say immediately "I do!" to the prince of their dreams. Are they ready to pave a different path in their stories ... or not?
choreography Marina Noti choreographer assistant Kwoust delos hermanos Konstantinos Gionis performance Copa delos hermanos loco (Kostantinos Papadopoulos), Thanos Choni delos hermanos (Thanos Tsotsonis), Ivi Vasileiou, Kwoust delos hermanos (Konstantinos Gionis), Marina Noti
In the audible sense of space, time and body, we can distinguish the social, cultural and communicative significance of sound. The sound detached from the optical source, activates unexplored processes of the human soul. In Trénritmo, the continuous sound-rhythm of the train blends with the sounds-rhythms of the passengers. The Flamenco's technique, without its strict, traditional sense, is in harmony with the form of contemporary dance. Hermanos are the passengers.
Nikoleta Koutitsa, Karolina Theleriti
choreography / performance Nikoleta Koutitsa, Karolina Theleriti cello (on stage) Thodoris Pistiolas
On the occasion of Menelaos Lountemis poem: “Anticipation”, two dancers and one musician are examining what anticipation could mean and what it could cause at any given time. For Lountemis:
"It is unbearable ... It is bitter / Το slowly approach at the coast
/ Without being a castaway
/ Not a savior
/ Despite the wreck“
What if we -without being travelers- are approaching a dock, in a "train-wreck"? A short "journey", anticipating to meet each other, or not. A constant feeling of expectation of what will happen after what is happening now.
"I'm waiting for you. Don’t ask why. Don’t ask why someone is waiting even if he doesn’t have something to wait for, yet he is waiting" Menelaos Lountemis
written by / choreography / direction Maria Vathi, Katerina Klirodeti, (Aer team) performance costume design aer team performance / speech editing Christos Karanikolas, Giorgos Benos
Poem: “A day will come” by Manolis Anagnostakis
Three unknown people, two women and one man fellow travelers on a journey with love and obsession as their guide, are opening their hearts to each other by talking about their own wounds while at the same time they are realizing the importance of not being alone.
written by Christina-Maria Nikolopoulou choreography / performance Danae Dimitropoulou, Christina-Maria Nikolopoulou
Separation, I separate, or separating myself not only from what I have been linked to, but also from my own self myself, from the part of my life that I trusted on you.
The train station, the thoughts, the countless question marks and an "other" life that lies away... something temporary or permanent, something that will justify the decisions taken or something that will prolong the pain of the memories of all the things that left behind, of all the things that were finished, of all the things that left ...
WOMEN ON THE PLATFORM
SPINAL CORD Team
Choreography Eirini Grammatikou performance Elpida Agiovlasiti, Spyridoula Alamanou, Eirini Grammatikou, Eleni Kourkoulou, Smaragda Koufali, Sesilia Manesi
The lives of different eras women of the last century, the 20s, 60s, 80s, through the experiences of an observer in a train station. The arrival, the waiting and the departure are intervals indicating a recurring energy flow. The truth is that stereotypes are getting abandoned, times are changing, and people are evolving. However, the platform remains the same.
HOW DO YOU READ IT?
diZgravity Dance Theater Company
direction / texts / choreography Tanya-Konstantina Vasdari performance Eleni Dimakoulea, Sofia Eleftheriotou, Anastis Keladis, Eudokia Kelessidi, Lydia Balaska, Georgia Balioti, Thomais Mitakidou, Danae Orlandatou, Lily Tegoy, Loukia Tsikouri, Paulina Chala music Anastis Keladis photography Evaggelos Karalis video Kyriakos Iordanis
DOULEIA. How do you read the performance’s title? A theatre-dance performance consisting of professionals and amateurs. Performance brings to light many aspects of our everyday life. Some will make us laugh, some will make us wonder, some will do both. A new generation of artists doubts the Crisis, the Unemployment, the Inactivity, the Racism, the Politics and gives a rest to the sadness of our days with humor, collectivity, speed and rhythm. Friendship, family and love could not be missing. They are included in order to complete every aspect of our lives that the crisis can affect.
CAN A WOMAN BE STRONG?
Female = ma
written by / direction Romanna Lombats choreography / performance Nicole Kafetzopoulou, Ioulianna Banousi, Anastasia Papadaki, Ioli Spiliopoulou
The dominant idea in general is that a woman is not strong. But strong comparing to what or to who? It is exclusively defined comparing to man. This does not mean that the woman is not physically strong, in general. Four female bodies examine their own strength, compare, transfer and reach the limits of their bodies. An exploration that will take place inside and outside a train, which marks the beginning of searching in a world that will accept woman like something equal but different. With her own strength, this must not be compared but revealed. Strength, friction, speed, torque, pressure, energy from bodies stating their stories in front of the audience. By looking at this almost default opinion, viewers are asked to judge power as a concept. Through dance which is the ultimate expression of body strength, where strength means ability, questioning on what is impossible and not is being raised.
Emily Nicolla, Demetra Pagkalou
Choreography / performance Demetra Pagkalou, Emily Nicolla recorded text Demetra Pagkalou
"Ten minutes left... Goodbye, my sweet sister! Frightened, we took those black and white colors and with brushes we freshened up the crumbling time. "How easily does this blessed time grow up? We are ready to discover our history and the short journey that separated us forever ... Or maybe it didn’t separate us forever ... It just saw that we were different to accompany each other in the same wagon of the decommissioned train ... behind our old, frightened, overwhelmed look ... We knew the other person even if he was different! We were wearing different make up at one point and different after the morning awakening of the nightmare...that was walking through our bloody eyes ...
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