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Buzz Productions Theater:
Medea
Translator: Aggelos Tanagras, Dramaturgical
Treatment: Philippos Philippou/ Mania Maratou,
Director: Philippos Philippou, Set/Costume/Mask
Designer: Chrysanthi Thafopoulou, Assistant Di-
rectors: Lida Karayianni, Nadia Mouafi, Despina
Chrysanthou, Narration Instructor: Mania Mara-
tou, ProductionManager: Stefani Polykarpou, Mu-
sic: Vasos Athinodorou, Mask Instructor: Thodoris
Economides, Movement: Demetra Poulos.
Performers: Varvara Larmou, Ioanna Kordatou,
SteliosAndronikou.
ATTIS Theatre:
Prometheus Bound
Translator: Panagiotis Moullas, Director/Dra-
maturgist: Theodoros Terzopoulos, Music: Takis
Vellianitis, Costumes: Theodoros Terzopoulos,
Assistant Director: Savvas Stroumpos, Magda
Korpi, Lighting Design: Theodoros Terzopoulos/
Konstantinos Bethanis, Technical Manager: Kon-
stantinos Bethanis, Production Manager: Maria
Voyiadji, Production: ATTIS Theatre.
Performers: Prometheus – Tasos Dimas, Power/
Dance – Thanasis Alevras, Violence/Dance – Alex-
In Euripides’s
Cyclops
we are enchanted but also perplexed by the continuous metaphorical
dynamic which is conveyed by the feeling of “awe before freedom”.
People who have not been free for a long period of time experience, to an intensive degree, the
illusion of their escape, but once they escape they are no longer in a position to draw delight
from it; they have forgotten the feeling of freedom and how it is experienced.
Although the Satyrs –their father Silenus, and their fictional attendants, all of them enslaved by the
one-eyed Polyphemus– trust their savior Odysseus as a “deum ex machina,” they are incapable of
helping him blind the one-eyed monster and freeing them. In other words, they pretend they do
not understand and remain in an indulgent self-entrapment. In what ways is this situation different
from globalised societies and customer relationships between citizens and States?
We have approached this game of madness and prudence as a celebration of an imaginary
worship of Democracy which, if implemented, will start devouring its own flesh and finally fall
into decline and despondency.
We achieve all this through extravagant theatrical means, through techniques of pleasant
demythologisation and intense theatrical euphoria, acting like “clowns” of History.
We had fun. You?
Nicos Charalambous
Photo: Cyprus Centre of the International Theatre Institute