Marilia Grantza & Avgoustinos M.S., K. Mavrofti & P. Tassoulis,
Aris Papaioannou, Easton Nguyen

July 25^th| 21:30

Marilia Grantza & Avgoustinos M.S., "I don't mind if you forget me" (Greece)

A performance born from the dialogue of three bodies-two performers and a double bass- that unfolds as an exploration of their ever-shifting connection. Interplay between body and sound weaves moments of union and rupture, where the body seems drawn to and estranged from both the sound and its source, and from the instrument as a form. The moving body takes the shape of the double bass, challenging her own human nature, blurring her identity with that of the instrument.

The stimulation of the strings by the musician penetrates the body, through the forces applied and the energy transferred from the string to the instrument and through strong vibrations in the space. The body erupts-into bursts, collapses, repetitions, silences-searching for its own movement language. This research is born from its relation with the double bass, which through its living sound, crafts an acoustic landscape-intense yet fleeting.

The dancer moves between the instrument and the musician striving not to let the imprint of the sound to be forgotten, nor the memory of the movement shaped by it. As the piece unfolds, the performers reflect on how does the space of sound and scene shape the bond between these three bodies and how is the imprint, they created, remembered, transformed, and carried forward.

Concept, movement research: Marilia Grantza
Choreography: Marilia Grantza in collaboration with Avgoustinos M.S.
Music production: Avgoustinos M.S.
Performance: Marilia Grantza, Avgoustinos M.S.

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July 25^th| 21:50

Kalia Mavrofti & Panagiotis Tasoulis, "NOI" (Greece)

How do we choose to communicate with someone who can't speak? Is communication really relevant and given? How important and meaningful is to give and receive attention through any communication way for a person who can't speak or using a unique body language? Hands full of expressions which comes to complete a body that has as its only purpose to communicate in a way that only itself knows. Or in a way that it wants to do? A playing around innocence and simplicity.

Choreography, Performance: Kalia Mavrofti, Panagiotis Tasoulis
Music composition: Periklis Sioundas

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July 25^th| 22:10

Aris Papaioannou, "In Flux- an erratic tale" (Greece)

What are the boundaries between light and darkness, between the clear zone of consciousness and the opaque area of the unconscious. There are no boundaries in this gray, unknown zone that lies between them. Only gates. There is not specific form of being. Only flux, fluidity, uncertainty, transitions and erratic shapes. There lie fears, hopes, primitive drives from which emerge constantly changing shapes and representations. Then comes the word. The tale. "Four fingers make a palm". The "Rose Tree" of the Irish poet. The word creates a "form", an ephemeral shape, tangible but always bound to glide into the other side of the gate. And the ship sinks into the gray, fluid zone where all premises and assumptions implode, trying to be reshaped, groping around the thick fluid liquid. Is death the ultimate fusion of duality? Between what is seen and the "picture", there is always a sinking ship full of deep vague sounds and resonant uttered words.

Concept: Aris Papaioannou
Choreography: Aris Papaioannou, in collaboration with the dancers
Dancers: Danae Vasilakakou, Marilia Grantza, Aris Papaioannou, Pavlina Platsi, Alexandros Ripol Kandylas
Music Composition: Periklis Siountas
Narration: Nikolas Seymour-Stathopoulos and Aris Papaioannou
Singing: Kalia Mavrofti, Periklis Siountas
Lighting: Christos Tziokas
Artistic Coordination: Maria Adamopoulou

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July 25^th| 22:30

Easton Nguyen, "The Streets are Full of Dead Birds; or, As Before" (Austria)

This work is a 25-minute contemporary dance piece with five dancers, entitled The Streets Are Full of Dead Birds; or, As Before, that explores the presence of meaning in art, and what happens if we attempt to erase almost all of it through the restrictions put on the process. Specifically, it addresses these ideas through inspiration and utilization of the theatre of the absurd, with the entire work created by stage directions from plays by Ionesco and Beckett and influence from the tenets of these works. By restricting the process to only allow the work to be created by direct use of these stage directions, the piece takes out the questions of why: why are we doing this, what does it mean, and how does it help portray the concept? Instead, the only questions are what stage direction created this section and is it obvious when the two are put side by side? By doing this, the process was no longer burdened by the constant presence of meaning, instead allowing the creation to thrive through its restrictions, creating a work that in itself does not hold its own meaning, but leaves immense space to those watching to find their own. In the current space where new dance works are expected to affect society by constantly addressing all of the prominent political and social issues that inhabit our lives, this work strips these expectations away, bringing back the idea of art for the simple purpose of creation, and seeing what is made from the process.

Choreography: Easton Nguyen
Performers: Carmen Antoniou Echenique, Sophia Descamps, Lora Ensing, Louise Gourdel, Kim Mi Yeon
Music: Georgia Dahill-Fuchel (Beats per Movement)
Text: Samuel Beckett, Eugène Ionesco
Supported by the Austrian Embassy in Athens.

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