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Cartography is a process of continual transforma-
tion; it is constantly in the throes of becoming,
while the wind is also in eternal movement. Wind
moves itself and it moves other objects. As a uni-
fied entity, wind is multifaceted in its manifesta-
tion – it appears in different places and in different
ways at the same time, remarkably transforming
the surrounding space; the promise of beauty and
the threat of destruction lie abreast of each other
within it.
As the term “natural philosopher” became “natural
scientist” at the turn of the 18th century, the British
Admiralty commissioned Francis Beaufort to draft
nautical maps. In the process, he developed a scale
later that divided in the wind into thirteen different
categories of strength – this scale became known
as the Beaufort scale.
The wind seemed to lend itself to a descrip-
tion relating to effect. I asked myself why, and
I believe that the answer lies in the fact that
the wind is invisible. It cannot be described
because it cannot be seen. One can only de-
scribe how it affects the things that can be
seen: sails, waves, trees, shingles. When one
describes clouds, trees or whatever else, one
concentrates on that given thing and disregards
everything else. When one describes the wind,
precisely the opposite occurs. Everything else
is observed. It expands the scope of percep-
tion (Scott Huler:
The Language of the Wind
,
Merve Verlag, 2009).
Gentlemen prefer blondes
(26 September, Pattichion Municipal Thea-
tre, Larnaka; 28 September, Municipal Garden
Theatre, Limassol; 30 September and 1 October,
Makarios III Amphitheatre, Strovolos)
Gentlemen Prefer Blondes
is a fast-paced 1950s
musical comedy and one of the most influential
American musicals of the 20
th
century. It has left
its mark on the entire genre.
Anita Loos’s novel,
Gentlemen Prefer Blondes
,
was published in 1925 and was well-received by
the American public; in 1940 Loos and Joseph
Fields adapted the novel into a musical. Mas-
terfully directed by John C. Wilson, with music
written by Jule Styne, the play premiered at the
Ziegfeld Theatre in Broadway on 8 December
1949 and ran for 740 performances, the last on
15 September 1951.
The play’s success on Broadway inspired a film
version directed by Howard Hawks and starring
Jane Russell and Marilyn Monroe. The movie
was a huge commercial success and still ranks
among the world’s most popular comedies.
Production Credits
Direction:
Vassilis Myrianthopoulos
Choreographer:
Elia Ioannidou
Stage set:
Charis Kafkarides
Costumes:
Rea Olympiou
Makeup artist:
Litsa Ioannidou
Orchestration:
Nicolas Dimas
Lyrics:
Andreas Hadjipanayiotou
Song instruction and choral arrangements:
Katerina Christophidou
Assistant choreographer:
Dinos Christodoulides
Cast
Dimos Beke, Elia Ioannidou, Lefteris Salomides,
Christiana Larkou, Antonis Lapethiotis, Diomedes
Koufteros, Mariella Savvidou, Niki Dragoume,
Manos Galanes, Iacovos Chatzivassilis and eight
year-old Stavros Nicolaou. Also: Baritone Marios
Andreou, Soprano Irena Avraamidou and ACT
STUDIO’s 12-member opera group and 16-mem-
ber professional dance group (with 10 year-old
Paris Efstratiou).