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Chorus: Nataly Amman/ Irene Andronikou/ Niko-
las Arkadiou/ Marina Vasiliou/ Vasiliki Dialyna/
Galatia Zenonos/ Marios Kakoullis/ Petros Ko-
nomou/ Nikos Koromias/ Andreas Koutsoumbas/
Frideriki Menelaou/ Christiana Mouzoura/ Julio
Derriko/ Skevos Polykarpou/ Marianna Santi/
Konstantinos Sokratous
Cultural SocietyAnagnosis:
The Trackers
Translation: Yiangos Andreadis, Direction-Chore-
ography: DimosAvdeliodis, Sets/Costumes: Maria
Gerardi-Passali, Music: Vaggelis Yiannakis, Music
Instructor: Xenophon Symvoulides.
Performers: Apollo – Andreas Karakotas, Silenus
– Vasilis Spyropoulos, Kyllini – Rena Kyprioti,
Hermes – Tania Palaiologou, Chronos – Yiannis
Avdeliodis, Chorus of Satyrs – Sofia Dellaporta/
Chrysa Klouva/ Evangelia Nikiforou/ Giorgos
Nikopoulos/ Katerina Papageorgiou/ Danai Rousou/
Yiorgos Floratos/ Konstantina Chaidemenopoulou/
Stella Christodoulopoulou, Musicians – Yiannis
Avdeliodis (percussion, metallophone)/ Alexandros
Avdeliodis (piano)/ Yiorgos Nikopoulos (flutes).
Zhejiang Beijing Opera:
Oedipus Rex
Directors: LuAng/Weng Guosheng, Stage Design-
er: Qiu Bing, Composers: Ye Yunqing/ Wang Hui,
Costume Designer: Xiang Wenqing, Drummer:
Miao Jinfang, Urheen Player:Wang Hui.
Performers: Oedipus – Weng Guosheng, Jocasta
– Mao Mao, Creon – Zhao Donghai, Attendant –
Cheng Peijie, Guard – Wang Junyang, Shepherd
– Wang Junyang, Seers – Wang Hui, Miu Jinfang,
FangWeiai.
José Besprosvany Compagnie:
Prometheus
Bound
Choreography and Staging: José Besprosvany,
Musical Creation/Live Performance: Luk Artois,
Lighting Design: Alain Collet, Costumes: Philippe
Toledano/ Bert Menzel/ Johanne Riss/ Talents Ai-
guilles, Puppets: Duda Paiva Company (created by
Andre Mello), Assistance/Coordination: Stéphane
Bergmans, Photos: Lander Loeckx.
Performers: Daniela Luca, Yann-Gaël Monfort, Pi-
etro Pizzuti, Giulia Palermo, Arthur Pedros.
In the modern world Prometheus’ myth has
been committed to the fringes of History,
History to the fringes ofMemory andMemory
to the fringes of time. Time has frozen now,
and Prometheus moves in it with a blurred
memory, a recyclable material of a wasteland.
He fragmentally narrates his experience as
a nightmare, coming from the future and
now implacably determining the present. He
narrates “the end of the end that has no end in a
dead land”. There is no response to his appeal,
since he is surrounded only by a desert. His
intense speech reflects the short-circuit of the
body and the meaning. He suffers from the
syndrome of the unbridgeable. He converses
with the visions of his loneliness, an exile on
the theatre stage. Beside himself, he talks to
his fragmented self in the cracked mirror. His
rage and wailing about his recurring defeat on
the stage “at the bottom of Europe” “in the
Greece of 2011” are endless.
Theodoros Terzopoulos
Photo: Cyprus Centre of the International Theatre Institute