ΠΑΡΑΓΩΓΕΣ Oper(O)

Orpheus

An interpersonal choice A rework of the scenic recreation and por- trayal of Orpheus' myth

The opera's theme is the End, an ever-pre- sent concept that is both ancient and contem- porary. The concept of the end of certain cir- cumstances, an era, a situation, a habit, a life, an instant occurrence even, that is everywhere and always around us This end is the source of our greatest fears and the cause of the most necessary changes. The reversal or the interruption of a personal or a collective journey, no matter how painful it may seem, quite often, it is also necessary. We have thus taken a stance towards a concept that is leveling, ancient and at the same time hopeful, wanting to create a performance that raises questions and explores its essence. It is about a work where the myth of Or- pheus combined with Eliot's poetry recount the journey of a man who finds out his capacity for transcendence. This journey is triggered and fu- eled by the transformative power of art and love Orpheus myth is an allegory of the human struggle; a myth as old as man himself; a story poeticized and man-crafted, revealing the huge contrasts of human nature: man's capacity for transcendence and his mortal, mundane side. The failure to resist looking back and his agony to beat death. Today, struggling with the same concepts in a world that dismisses poetry and considers it unnecessary and pointless, we find in it our greatest strength. We have created a performance in which seven independent journeys are chronologically and thematically identified through the myth. We present a "scenic documentary" of our work's first version, which will reach the recipients much more directly, since it will be performed by its very makers. On stage, the creators narrate each through the art they represent, the existen- tial journey of Orpheus to his self-fulfillment, to his end. The performance is a personal and com- prehensive take on the inevitable end and man's capacities, meant to help us discover that, in the end, man's very definition is also his limitation.

Structure

(LAMENT) for Eurydice-Orpheus the melodist. Deep emotion spreading to the Lords of Hades; he is thus allowed to DESCEND there to meet, receive and have his beloved one returned to him- Orpheus descending- on one condition, however Upon the meeting of the two lovers (LOOK) the condition is breached-Orpheus the offender-and Eurydice is irrevocably gone. On the way back, after her loss, he is TRANS- FORMED-Apollonian Orpheus-into the absolute enchanter of all things -Lyrical Orpheus-until he challenges his Fate and causes his own DEATH; until he is devoured -Orpheus sauaged- by the opposite Element-Dionysian Orpheus-and ends up "given away" (SPLIT-UP) to the world - Orpheus split up.

Idea - Concept:

oper(O)

Directors:

Irini Georgalaki - Erifili Giannakopoulou

Music:

Michalis Paraskakis

Dramaturgy:

Aggelos Skasilas

Set design:

Katerina Charou

Costumes:

Alexia Chrysohoidou

Movement:

Pauline Huguet

Light design:

Christos Tziogkas

Sound design:

Brian Coon

Assistant director:

Eleni Zachopoulou

Assistant set designer:

Vincent Meyrignac

Assistant costume designer:

Stella Panagopoulou

Production manager:

Manto Melachroinou

Communications manager:

Evangelia Scrobola

Social media managers:

Manos Platanakis, Alexandros Ignatiou

Music ensemble

Voice:

Erifili Giannakopoulou

Recorded Music

Voice:

Vasilis Dimakopoulos

Trombone:

Spyros Vergis

Saxophone:

Guido de Flaavis



T. S. Eliot Four Quartets translation in greek:

Harris Vlavianos

Oper(o) have not created a usual opera, they have molecularly deconstructed the essence of opera and they have redefined in an intelligent way the co-existence of all arts on the same stage. The music of Michalis Paraskakis and the voice of Erifili Giannakopoulou in combination with the extraordinary light design of Christos Tziokas makes this performance a specacle od sound and light that harmonically embraces the texts of T. S. Eliot.

D. Konstantinidis, ελculture 26/01/2018

Making of

Trailer #1

Trailer #2