The Crowser Game: A Sociopolitical Black Comedy by “US”
“We” present our new show. Following the path set by Interview, but following the opposite course this time, we seek to illuminate the other side of the same coin.
It’s a typical night at the Crowser mansion. The shipowner Paul Krauser, his wife and philanthropist, Goldie, her adopted son, and contemporary cursed poet, Alexander, their family friend and UN representative. Monica Komninou and her drug-addicted brother, Michael, have gathered to play in the interactive Krouzer simulation room. At their service is the Afghan immigrant Mirava.
The night takes an unexpected turn, when the company decides to include Miravas in the game. A fatal decision, which leads to a comically tragic conflict between two impoverished worlds. And the blood cycle holds up well. But who will be the winner of the game this time?
An interactive room, a group of rich people and an Afghan servant.
A comically tragic conflict between two impoverished worlds. And the blood cycle holds up well. But who will be the winner of the game this time?
The text of the show was created by the actors of the group during the rehearsals, in the summer of 2015.
Directed by: Christos Thanos
Actors: Sofia Kapsampeli, Maria Zervou, Sotiris Douvris, Vassilis Tourkomenis, Christos Papamichael, Christos Thanos
Assistant Director: Nikos Axiotis
Lighting: Costas Bethanis
Sound design: Stefanos Douvitsas
Stage construction: “Rokani”
Construction of objects: Irini Theodosiadou, Anna Katsikalaki, Anastasia Bouka
Costume editing: Sofia Kapsabeli
Photos: Vassilis Oikonomou
Graphic design material: Katerina Tsiledaki
From November 28, every Saturday and Sunday at 21:15
At the Fabrica Technochoros (125 M. Alexandrou & Evrymedontos)
Duration: 75 minutes.
Reservation phone: 6993921005
Admission with free contribution.
Why free contribution
Because art must be accessible to all. How much more an art that claims the privilege of representing the underprivileged. An art that requires to be judged by the result.
We are looking forward to a spectator, who will not be a consumer of an entertainment product, but an active sponsor of an artistic process and an integral part of it.
Our action, with the practice of free contribution, will remain viable only if, in a climate of solidarity, the spectator who has the financial means, covers the possible weakness of his composer.