14th HRTF - Entry Schedule - Handmade And Recycled Theater Festival

Ψάχνεις για το πρόγραμμα στα Ελληνικά; Κάνε κλικ εδώ.

WEDNSDAY 16.09.2026 – OPENING DAY

Wednesday, September 16, 2026 | @ Technochoros Fabrika (bar) |
Presentation of All Entries for the 14th HRTF-est | Opening Party

19:30 | DOORS OPEN
20:00 | Program Begins

THURSDAY 17.09.2026

Thursday, September 17, 2026 | Music Night – live music lineup | @ Rectifie Theater – Center for Research in Mixed Performing Arts

19:00 | DOORS OPEN
19:30 | Program Begins

Line-up:

GKV (GR)

The initials GKB stand for “Gia Kapoia Vera,” a reference to Nikolaidis’s film *The Rags Still Sing*, about that Vera we were all waiting for but who never came. GKV is a musical-theatrical hip-hop project consisting of Michalis Xypolitas (break freak) on music production and Dimitris Dimitriadis (D2) on lyrics and vocals. It all began in 2023 when they met at a concert at Ilion Plus. Since then, Michalis has been sending music tracks featuring soundbites—mostly from Nikolaidis films—along with a corresponding theme, and Dimitris has been rapping and writing lyrics. That’s more or less how their first album, Strangers in This City, came about. They’ll be performing songs from the album as well as new songs set for release.

FAM RAP (GR)

The Fam Rap combines elements from different musical genres, creating a dynamic and contemporary artistic result based on both original compositions and creative covers.

Anarres (GR)

Anarres (Fotis Kostopoulos | Dora Papaevangelou) perform acoustic covers of their personal favorite songs, mainly from the metal scene, arranged for guitar, keyboards, and two voices.

Rusted Creak (GR)

Rusted Creak is a rock band from Athens that released their first album in December 2025.

Giorgos Geleris, Vocals | Filippos Loukos, Guitar | Giorgos Tasiopoulos, Bass | Giorgos Salivaras, Drums

The Magenta (GR)

The Magenta rock responsibly and play for love and dedication.

ANTE – KAI (GR)

ANTE – KAI is a musical-satirical Greek-language rock band whose name alone conveys a sense of indignation and a rebellious spirit, free of political labels. They perform only their own songs with Greek lyrics—covering social and romantic themes—accompanied by dynamic stage performances.

FRIDAY 18.09.2026

6:00 PM | Friday, September 18, 2026 | Meeting with Director Pino Di Buduo | Teatro Potlach (IT) | @ Technochoros Fabrika (stage)

A moment of direct exchange of views and discussion with the audience and industry professionals regarding the company’s artistic vision. Pino Di Buduo was born in Rome, where he earned a degree with honors in Philosophy from La Sapienza University, specializing in Cultural Anthropology and Folk Traditions. His training was further enriched in 1975 by an international seminar for actors at the Odin Theater in Denmark, directed by Eugenio Barba, which had a profound impact on his artistic career.

7:30 p.m. | Friday, September 18, 2026 | Work Demonstration | Teatro Potlach (IT) | @ Technochoros Fabrika (bar)

A gathering during which director Pino Di Buduo and the troupe’s actors trace the origins of Teatro Potlach from the late 1970s to the present, revealing the evolution of theatrical pedagogy and acting within the troupe, as well as its open approach to the world of digital technologie

The stand-up comedy show “I Can’t See, I Can’t Hear” is based on the personal life experiences of a person with a disability. Through personal narratives and observations, the show highlights the absurd situations that arise from the way a person with a disability perceives and deals with life.

“The text is a carpet that must be cast aside.” Taking this phrase as its starting point, the performance traces thirty years of texts from Odin Teatret productions in which Julia Varley has participated. Few substantive explanations accompany this vocal work, which depicts the transition of language from its written form to the stage, from the coldness of paper to the freedom of interpretation.”

SATURDAY 19.09.2026

Kapitolina Kolobova’s original texts form a mosaic in which images wander, seas expand, and continents emerge. The setting spans Kharkiv, Prague, San Francisco, Istanbul, and a small, obscure place that could be anywhere. Time moves freely between the present and antiquity. Gradually, a hidden story takes shape—a story of personal spirituality, of learning to understand oneself and the world, and of the courage to endure. It explores the divine hidden within every person, the fragile boundary between love and cruelty, madness and normality.

Although based on personal experiences, the texts address universal questions of contemporary human existence and those aspects of life for which there are no simple answers.
“Alef” is an invitation to embrace all aspects of reality, including its darkest dimensions; to seek our own way of living with uncertainty, without losing our integrity or remaining only on the surface.

Performed by: Kapitolina Kolobova
Directed by: David Zelinka
Texts: Kapitolina Kolobova
Dramaturgy: Kapitolina Kolobova, David Zelinka
Set and costume design: Katarína Caková (Katanari), Světlana Silič, David Zelinka, Kapitolina Kolobova
Lighting design: Kryštof Kučera
Production: Isabela Klvanova, Yulia Chopovtsi
Coproduction: Now Breathe and Fly Theatre, Prague / Maysternya55, Kharkiv.

The performance is an audiovisual ritual exploring humanity’s relationship with the planet, blending folk tradition with contemporary ecological awareness. It explores the gradual transformation of our relationship with the Earth—from a primal state of abundance to greedy exploitation and, ultimately, to blind submission to overconsumption— proposing, as the only way out, a return to our roots and a cosmic catharsis.

Georgia Markou: Screenplay, Set Design, Direction, Actor – Facilitator – Music
Angeliki Mitropoulou: Actor – Facilitator
Haris Vossos: Actor – Facilitator – Music
Dimitris Misichronis: Actor
Angeliki Giannopoulou: Open-air shadow theatre

7:00 p.m. | Saturday, September 19, 2026 | ACTFEM – Our Stage, Our Voice | Social Theater, 30′ (GR) | @ Technochoros Fabrika (stage)

The ACTFEM performance was created using Improvisational Theater techniques by young women as part of the European program #ACTFEM – Girls Acting for Empowerment – CREATIVE EUROPE, implemented in Greece by the Panhellenic Network for Theater in Education (TENet-Gr -Hellenic Theatre/Drama & Education Network-TENet-Gr) and other partners: Plàudite Teatre – Espai d’Arts Escèniques, Spain (coordinator), and TRANSCENA ASOCIATIA TRANSCENA, Romania. Through everyday situations and social stereotypes surrounding gender, the girls highlight the “shoulds” that limit women and girls, as well as the power of voice, choice, and solidarity. The performance gives the girls a platform to speak out about freedom, respect, equality, and their right to their own bodies, dreams, and choices. Drawing on personal experiences as well as the words of women who have fought for rights and change, the troupe transforms the stage into a place of strength, connection, and advocacy. Can we offer different answers to the same questions concerning our place, our role, and our existence?

Credits: Nikoletta Dimopoulou, Georgina Kakoudaki, Betty Giannoulis

8:00 p.m. | Saturday, September 19, 2026 | Geddy Aniksdal | 30-minute performance (GR) |@ Technochoros Fabrika (stage)

Geddy Aniksdal raps and snaps her fingers, stutters and pounds loudly, mumbles and recites, as she describes her childhood and adolescence in the shadow of the Factory. She unravels the story, piece by piece.

Nathalie Mentha says of the performance: “The actor is a traveler through space and time, using characters and stories to find his way. He flies on the map of memory and imagination, but his feet are firmly planted on the ground. Is the actor speaking about his own life? The poet speaks about himself through his verses. The painter speaks about himself through his colors. And the actor? Through acting techniques, I encounter the characters; through the characters, I speak about myself. What do Frida Kahlo, the painter, and Ingeborg Bachmann, the writer, have in common? Frida saw her back and her dream crushed by the iron of a runaway tram, and so she decided to paint, using her mouth while she was bedridden; for Ingeborg, passionate poetry and a brilliant spirit were the gift distilled from the ruins of a world war. I travel from one to the other and gradually come to understand more and more how art saved these two women and can save many others anywhere in the world. And as I get to know them, I see myself reflected in them.”

Director: Pino Di Buduo
With: Nathalie Mentha
Dramaturgy: Clelia Falletti
Production: Teatro Potlach

SUNDAY 20.09.2026

5:30 p.m. | Sunday, September 20, 2026 | The Sacred Children | Documentary, 60 min. | Cartaphilus Teatro (MX) | @ Technochoros Fabrika (stage)

This documentary explores the tradition and legacy of biological medicine rooted in sacred mushrooms—specifically, the ritual process involving psychoactive mushrooms. The story is narrated by the Mexican shaman Coyotita, daughter of Julieta Casimiro—one of the world’s “thirteen grandmothers”—who passed away in 2018. Coyotita dedicated her life, among other things, to serving as a guide for mushroom ceremonies; she maintains her temple, “Chõjn Sabé,” on the sacred mountain of Huautla de Jiménez, in Oaxaca, Mexico. The documentary aims to highlight traditional mushroom ceremonies as healing practices rather than merely as psychedelic experiences. To this end, it features testimonies from people who have participated in ceremonies with both Coyotita and Grandmother Julieta, as well as evocative, fictionalized imagery inspired by the ceremonial journey depicted in the film. It also includes testimonies from Coyotita and residents of Huautla—such as mushroom gatherers and an anthropologist. We explore traditional medicine—specifically mushrooms—from both an empirical and an anthropological perspective. We delve into the importance of preserving this cultural tradition: a practice passed down from generation to generation, which requires extensive preparation before one can lead a ceremony and—above all—demands responsibility and care, as this is the medicine of our ancestors, the medicine the earth has given us. The “sacred children”—these mushrooms—are a means of healing, not a recreational drug.

Concept, Direction, And Production: Luis Ibar And Kathleen Tamayo

A performance featuring six actors and musicians who reinterpret some of the street performances that have made Potlach Theater famous around the world. Starting with “Parata,” Potlach’s first production in 1976, the audience will be transported to a world of circus acts, dances on stilts, imaginative characters, and live music.

“KRAYGI” is an original musical and cross-media artistic project that captures contemporary Greece through sound, image, and the physical experience of the stage.

It does not attempt to explain reality. It attempts to endure it.

Through original musical composition and live performance, “KRAYGI” draws material from the very conditions of everyday life: moments that often go unnoticed but gradually shape our collective psychological landscape. Experiences that are not isolated, but recur until they become the norm.

At the heart of the work lie themes that define contemporary social reality: fear that becomes a permanent state, injustice that ceases to surprise, loss that is not given time to be mourned, workplace exhaustion that is labeled productivity, the housing crisis that turns home into an ongoing question, and the persistent, almost silent need for a life of dignity and breathing room.

A performance featuring six actors and musicians who reinterpret some of the street performances that have made Potlach Theater famous around the world. Starting with “Parata,” Potlach’s first production in 1976, the audience will be transported to a world of circus, stilt dancing, imaginative characters, and live music.

A musical performance where poems become songs and the songs continue the story of the poems. Based on Maria Bethani’s poetry collection Thavma and her solo albums Why Should We Be Afraid and Everything Changes, the performance explores change, relationships, and the small, everyday transformations through a lively dialogue between words and music.

MONDAY 21.09.2026

The idea for this production stemmed from issues that are “timeless” and from the theme of “life on hold.” This performance raised challenging questions, such as the struggles women face in a patriarchal world; and as this theme unfolded, it became clear that these questions arise for every person, regardless of gender. It is a performance of questions, the answers to which one can find if one begins to search for them within oneself. The plot of the story revolves around a woman, a collective character who lives both in the past—10 years ago—and in the present. It is a cycle of short stories—situations that have occurred and that repeat themselves. These stories highlight the problems the characters face and experience through their own lives, and include their thoughts on these issues. These characters are simultaneously the protagonist and an outside observer’s perspective on the situation, as well as different individuals united by the same turning point in life—a point of no return. And from this moment, the work begins—the search for an answer to find the starting point of the countdown toward that point of… irreversibility. “When was the moment you stopped listening to yourself?”

“The Starry Messenger” is inspired by the Italian astronomer Galileo Galilei and his famous and groundbreaking book, “Sidereus Nuncius.”

The book was published a little over 400 years ago, in 1610, in Venice. Galileo Galilei’s discoveries contradicted Aristotelian cosmology—according to which the Earth was the center of the universe, with the Sun and the planets revolving around it—and caused great upheaval.

In this adaptation by Donald Kitt, the significance of Galileo’s discovery—that the Earth, and consequently humankind, is not the center of the universe—is transformed from this indisputable fact into a lively, humorous, and provocative theatrical performance.

In Kitt’s play, we are confronted with modern man, who was once the Lord of the Universe and now suddenly finds himself as small as a fly, alone in the vastness of infinity.

TUESDAY 22.09.2026

“Travesía” invites the audience on a journey filled with memories, songs, and poems from different cultures, echoing through the streets and among the houses.

Sometimes these sounds belong to the places where they are heard; other times, they dwell there invisibly and travel with those people who, due to the circumstances of life, are forced to travel, migrate, or flee.

Our “Travesía” consists mainly of traditional songs from countries bordering the Mediterranean, ancient Greek polyphonic chants, and songs from Eastern Europe.

During the tour, the audience will follow the passersby who will fill the streets with music and dance, bringing the past into the present.

The audience, gathered in groups of 35–60 people, will follow us in silence through the city’s corners, searching for “lost time,” but also for an “invisible, hidden” time, the existence of which we sometimes wish to deny. A time that brings us back to who we are, to who we were… eternal wanderers.

Directed by: Gregorio Amicuzi
Performed by Viviana Bovino, Denis Lavie, Eirini Sfyri
A production of Laboratorio Internacional Residui Teatro

“My rock, every fragment of it, shows me my world, and the struggle to reach the summit is the only limit.”

“Sisyphus – flesh and earth” is a visual performance incorporating elements of physical and ritual theater, based on the myth of the same name. The audience becomes a witness to the tragic hero, experiencing alongside him the struggle, the hope, and the emotions—and begins to wonder: whom are they really watching—a myth or themselves?

Director: Donald Kitt

Musician on stage: Tasos Fotiou

This is a performance that combines theater, dance, and video art. In it, Luis Ibar—director of Cartaphilus Teatro—collaborates with the actors on a reflective exploration of the theoretical and scientific processes of memory, contrasting them with emotional memory. It is also a journey through the director’s personal memories, spanning his 30-year career as a creator and performer. He retrieves and draws from memory scenes and dances from all the works he has created—the “ashes” of the aesthetic and the profound—capturing whatever remains alive and latent in his artistic evolution. The result is a performance with a beautiful, meticulously crafted aesthetic and a wonderful undertone of nostalgia. *Ashes-Flowers* is a performance created to honor and pay tribute to our deceased loved ones. The play is dedicated to the memory of “Mamá Julia” (Luis’s shaman), Raúl and Dalia (the grandparents of Yered, the actor), and Max (the father of Kathleen, the actress). It unfolds as a “mushroom trip,” recalling memories of our loved ones and reflecting on gratitude for their lessons, rather than grief over their passing. It connects with the Mexican perspective on death—the way we try to remember those who have left us by celebrating their legacy and their “flowers,” rather than mourning their loss. At the same time, it is deeply connected to our Mexican roots—through the costumes, the use of colors and objects, as well as the magical atmosphere that surrounds the ritual aspects of our culture. The performance is, in and of itself, a psychedelic journey, where everyone can cherish their own memories and honor their deceased loved ones; you can embark on your own journey of nostalgia and remembrance, finding joy in who you are and in those who lived and were part of your life. *Ashes Flowers* is a performance about death and transformation—exactly what a psilocybin ceremony does to our sense of self.

Director: Luis Ibar
Dramaturgy: Luis Ibar, Kathleen Tamayo
Choreographic Support: Alma Bernal
Actors: Kathleen Tamayo, Yered Manríquez
Video Art Production: Luis Ibar, Alejandra Herrera, Yered Manríquez, Jazzgoma (Qepd) Ozgarlock Mendoza, Kathleen Tamayo
Costume: Sara Ibar, Arlette Bauwens
Special Thanks: Ramón Balbuena, Lorena Tamayo, Maxime Ruiz.

WEDNSDAY 23.09.2026

A grandfather tries to watch TV, and everything goes wrong. Who is watching him from the window? What is that hanging from the ceiling? Could the old, dusty trunk be haunted?

An elderly man and a house. Full of memories and old furniture.

Every photograph holds a story; every object has a secret to tell you. Through tender humor and emotion, the performance explores memory, loss, and the love that never fades. A story for young and old alike, about the grandfathers and grandmothers in our lives—about the people who have left us but continue to live on within us.

Direction, puppet manipulation: Vana Pouli
Set design: Stathis Markopoulos, Dimitris Mylonas, Vana Pouli

Wanted O2 | 10′ | Mena Fardi (GR)

‘Wanted O2’ is a presentation that aims to raise awareness of how people behave towards nature. In five minutes, it succinctly traces the course of nature and how humankind has interacted with it, creating a relationship of interdependence.

Unbecoming: A Sliver of Aftertrace | 13′ | Σπύρος Πάλτογλου (GR)

“Unbecoming” is a solo piece that was presented this year at the Rouf Festival.

Inspired by the practice of meditation, it offers a poetic and beautiful way to experience oneself through movement and the application of color on paper. Essentially, we watch the dancer observe what is happening to him as he gets covered in paint and smears it around, creating a chaotic painting of clean palms, soles, and more.

The work combines contemporary dance, physical theater, experimental breaking, articulation-isolation, waving-popping, and krump elements with intense acting as well as the interactive use of acrylic paint in real time.

Spinach Pie | 20′ | Klelia Vourou (GR)

What happens when food meets theater and poetry?

What happens to the human body and mind when memories and recurring thoughts intrude like invaders and disrupt a typical daily routine?

These are some of the themes explored in the play “Spanakopita.”

It is an exploratory work-in-progress that examines the presence of food in theater and the disruption of thought as an experimental dramaturgical tool.

THURSDAY 24.09.2026

The play premiered in Kyiv in May 2025, as a result of the author’s exploration and research into her own wartime experiences and those of her inner circle. At the heart of the play is the biography of Marlene Dietrich, who lived through two world wars. Recently, the production participated in the FLIPT 2026 theater festival in Italy and toured Germany, Denmark, and Lithuania. Beyond the theme of women and war, the performance explores issues such as love, self-actualization, the search for identity, the search for joy in life despite adversity, as well as the search for something greater than death itself.

* Presented in the original language with English subtitles.

Playwright / Author – Kristina Ursuliak / Marlene Dietrich
Director – Kristina Ursuliak
Solo Performer – Kristina Ursuliak

8:00 p.m. | Thursday, September 24, 2026 | GREEN OBJECT: performance competition | DAY #2 | @ Rectifie Theater – Center for Research in Mixed Performing Arts

KIND | 20′ | Marianna Solomonidou (GR

In German, “Kind” means “child.” In English, “kind” means “polite” or “good.”

KIND is a solo performance that explores what happens when the aspects of ourselves that we’ve learned to hide begin to demand space. Playful, grotesque, tender, and sensual figures appear on stage to embody desires and impulses that are often considered unacceptable: the need to claim space, to provoke, to dominate, to surrender to pleasure.

Drawing on elements of physical theater and the art of the clown, the play approaches childhood not as a symbol of innocence, but as a state of freedom, play, and vitality. An invitation to encounter all that continues to live beneath the surface of what is considered “good.”

Mold | 20′ | Just Do It Yourself (Pardalidou/Papadas) (GR)

“Mold” is a 20-minute work-in-progress performance that approaches mold as a “green object” and, at the same time, as an invisible co-star who dramaturgically shapes everything that happens on stage. Through theatrical scenes, physical action, visual elements, humor, and audience participation, the performance explores the fine line between decay and healing, between stagnation and transformation. Drawing on personal stories, research, and devised theater practices, the performance transforms a natural ecological phenomenon into an opportunity for reflection on humanity’s relationship with the environment, time, and the conditions that allow life—or decay—to flourish.

The Enchanted Desna | 20′ | Maysternya 55 (UA/DE)

In this work, we examine the relationship between humans and the river, exploring the various stages of this bond. We explore how harmonious coexistence with nature shapes humanity, as well as the profound consequences of the loss of this harmony.

Playwright: Oleksandr Dovzhenko
Director: Kristina Ursuliak
Performer: Nataliya Polonskaya / Mariia Trepikova / Kapitolina Kolobova
Production: Maysternya 55

Dream a Little Green of Me | 20′ | Pyrinas Playback Theater Group (GR)

A green object appears on stage as if it has escaped from a dream. No one knows what it is, what it symbolizes or why it is there. As time passes, it constantly acquires new identities, relationships and memories, transforming the stage space into a landscape where the real meets the imaginary and the expected coexists with the unpredictable. A playback theatre experience with the green object defining every path in the staged representation of the audience’s stories.

Pyrinas Playback Theater Group: Drosini Giannopoulou, Lina Giannopoulou, Angela Mylonakou, Antonis Tsachalidis. Musician: Elena Kitsou

“This Is Who I Am” is a solo musical performance for piano and voice, with a thematic focus on identity and diversity.

FRIDAY 25.09.2026

6:00 p.m. | DANCE DAY #1 |@ Rectifie Theater – Center for Research in Mixed Performing Arts

B-AL(L)ON-E | Dance 17′ | Theoni Peraki, Despoina Karakatsani, Vangelis Dianellos (GR)

A duet that unfolds like a short journey: from the carefree nature of childhood to the loneliness of adulthood and back to the joy of play, set against a backdrop of digital noise that often makes us forget our humanity.
A small tribute to balloons, which remind us that play is perhaps the simplest way to reconnect. Blowing up a balloon is a small act of rebellion. We invite you to our balloon party. Will you come?

Concept/Choreography: Theoni Peraki
Performance/Co-creation of movement material: Despoina Karakatsani, Theoni Peraki
Music Curation/Composition: Vangelis Dianellos

Rasudares | Χορός 30′ | Tamara Mladenovic, Cristina Markopoulou, Stella Sintichaki (GR)

Rasudares is a dance piece inspired by the traditional Minangkabau plate dance from West Sumatra, Indonesia, combined with contemporary movement. The choreography reflects the lives of women working in the fields, honoring their strength, dignity, and passion, while also creating a space for reflection on the female experience in Indonesia and around the world.

Choreographer: Tamara Mladenovic
Dancers: Cristina Markopoulou, Stella Sintichaki, Tamara Mladenovic
Lighting and Set Design: Tamara Mladenovic
Costumes and jewellery: Tamara Mladenovic
Music
Original Canvas
Melody: Dimitris Brendas
Vocals: Marianthi Lioudaki
Music composition: Tamara Mladenovic
Recording studio: Studio Mythos
Canvas 1
Melody & performance: Dimitris Brendas
Music arrangement: Tamara Mladenovic
Recording studio: Studio Mythos
Canvas 2
Music: Jumaidil Firdaus

Alumono! | Dance 18′ | Iris Tsagri, Antonis Koutroumpis, (GR)

Will you see me in the end,
or will I hide?
Phew!
Who are you?
Me?
A clown wanders through a world of small confrontations, chance encounters, and fragile miracles. Amid a stubborn chair, a candle, and an unpredictable landscape of aluminum foil, an unexpected presence emerges, along with a hesitant conversation about direction, care, where to go, and whom to take along.
A body in motion. Through shifting forms and aluminum foil, another presence emerges. The two engage in a fragile dialogue, lingering in a quiet sense that something remains unresolved.

Concept, choreography, performance: Iris Tsagri
Artistic direction: Antonis Koutroumpis
Featuring: Kiki Iliadou
Tutor: Christina Salamanis
Soundtrack: Bobby McFerrin (Albums: Paper Music, The Mozart Sessions (Chick Corea), Hush (Yo-Yo Ma)), Music supervision: Antonis Koutroumpis
Created at the Plevsis Studio – Atelier – Bodies and Objects in Motion – 11th edition, 2026

/DEGREES/ | Dance 13′ | Kiki Iliadou, Antonis Koutroumpis (GR)

What does a body carry?
How many bodies exist within a single body?
Inner voices. Borrowed voices. Voices we have inherited. Voices we’ve chosen to silence.
And then there’s the body.
Matter. Energy. Memory. Reaction. A field where everything meets, shifts, collides, and is redefined.
What part of who we are is truly ours?
And what does “ours” even mean, when we’ve been shaped by everything that came before?
Experiences. Stereotypes. Models. Fears. Losses. Loves. Prohibitions. Expectations.
Some we reconcile. Some we try to appease. Some return at night, in our dreams, demanding space. Some we erase, and some insist on existing, even after we’ve hit “delete.”
A performance in constant flux.
Nothing remains constant, not even what we think we are.
The body explores. Thought questions. Memory distorts. Desire moves us. The voice sometimes communicates and sometimes remains silent.
And behind all of this, there may be a deeper need.
To find a place where we can be heard. To connect.
And somewhere in between, a body searches for a way—not to speak the truth, but to find its own.
“We’re all looking for a voice.”

Concept, voice, video, performance: Kiki Iliadou
Music curation, Part 1: Olga Geroyiannaki
Music for Part 2: ‘Xper sto delete’ – music by Stournari Street Band, poetry by Vasso Christodoulou
Directed by: Antonis Koutroumpis,
Boom: Irida Tsagri
Created at the Plevsis Studio – Atelier – Bodies and Objects in Motion – 11th edition, 2026

/Shadows of Dreams/ | Dance 13′ | Christina Salamanis, Antonis Koutroumpis (GR)

And who will tell us about the dream? Is it a dream or a shadow? I’m traveling… I’m meeting you. Are you really here? Oh, the shadow hurts me! I’m free, freeee… Am I?
A journey through light and shadow. Through connection with the other, through connection with the self. And through separation. A brief journey through the cosmic, lightning-fast moments of life when we feel as if we’re in a dream. Those moments that reveal something deeper than ourselves.
Something we may not have known existed. And now, nothing is the same.

Concept, creation, performance: Christina Salamanis
Featuring: Kiki Iliadou
Tutors: Irida Tsagri, Kiki Iliadou
Artistic supervision: Antonis Koutroumpis
Created at the Plevsis Studio – Atelier – Bodies and Objects in Motion – 11th version, 2026

9:15 p.m. | Friday, September 25, 2026 | Tribute to Spyros Vrachoritis | Performance, screening 60′ | @ Rectifie Theater – Center for Research in Mixed Performing Arts

Director Spyros Vrachoritis meets the audience on the occasion of the performance ‘Alexander in the Palaces of Memory’, based on texts about the legends and history of Alexander the Great.

(Arrian, Plutarch, Fyllada, Rimada, Shakespeare).

The Theiades group, featuring Giota Giot and Elettra Michaliadi Sarti, presents the show: “After Liva – Live”

A diverse performance with live music, featuring old and new songs—both covers and originals. Inspired by the events of the times, love, loneliness, and freedom. Accompanied by a variety of musical instruments, we bid farewell to summer and welcome fall with a great desire to sing along. “And all night long we sang songs of freedom…”

SATURDAY 26.09.2026

6:00 p.m. | DANCE DAY #2 |@ Rectifie Theater – Center for Research in Mixed Performing Arts

Simulacrum | Dance 50′ | Ernesta Hatzelemonidou, Europe Kessidou, (GR)

The performance is based entirely on the performer’s relationship with her costume, which transforms and brings her to life. A key element is the audience, part of which becomes an integral part of the performance and the set (seated around the perimeter of the stage action), along with the live musical accompaniment designed to foster communication and co-creation with the performer. The only set pieces are a full-length mirror (hanging vertically and forming part of the circle/audience) and the audience itself. At the beginning of the performance, the audience encounters a tall, otherworldly Creature. Gradually, this Creature begins to deconstruct itself, revealing the performer’s true nature—stripped of the superfluous elements of the Creature that she herself had created to conceal her true self.

The musical score of the performance consists of pre-recorded compositions complemented by a live performance of electronic soundscapes. The style of the pre-recorded compositions is a fusion of acoustic, classical, and folk influences, orchestrated with electronic timbres and textures. The live portion of the musical accompaniment involves the improvisational use of electronic elements and other media, with the sole condition being communication and co-creation with the performer.

*Simulacrum, from the Latin verb “simulare” (to simulate). An image, a copy, an imitation—a representation that may not reflect reality but rather a constructed or distorted version of it. What we project outward or what others perceive about us.

Concept – Direction – Costume design – Special effects:
Ernesta Hatzelemonidou
Choreography – Performer: Evrope Kessidou
Original music – Sound design: Demetria
Lighting: Fani Polyxeni Kourtidou Vlachogianni

(Un)masking the gallows | Dance 23′ | Nassia Zei (GR)

By “masking the gallows,” we endure the violent reality that emerges. How do we confront it, or even how do we assimilate it? Hiding it gives us a new perspective, distancing us from our inner selves and bringing us closer to the desensitization of our existence. Something may keep us clinging to our human nature. We take off our masks and succumb to a form of self-destruction. Do we ultimately succumb to the harsh reality to which we are exposed? To what extent do we identify with the beast?

A performance that combines the power of the piano with vocal interpretation, based on collaboration and the interplay of roles between two female musicians. The repertoire consists of covers of Greek and international songs as well as original compositions and songs. The arrangements take on a more personal perspective, incorporating jazz elements. Duets hold a special place in the program, where the two voices coexist and create a dynamic battle. There may be moments when the two pianos engage in improvisational duels. The goal is to create a warm, immediate, and meaningful experience for the audience, where the simplicity of the medium meets musical expression, variation, collaboration, and authentic interpretation.

Two people, strangers to one another, find themselves coexisting without realizing it in the same space, each carrying their own personal anxieties, dreams, and dead ends. Amid the routine of everyday life, conflicts arise, but so do moments of unexpected intimacy.

At the same time, a “higher power” seems to dictate their actions and choices, steering the story in a specific direction. As their lives become increasingly intertwined, they seek a meaningful human connection. At the end of the performance, the extent of their relationship and the dynamic that has developed with the “higher power” are revealed, raising the question of whether people are truly free or if someone is ultimately pulling the strings of their lives.

Concept and Direction: Vasilis Tsiakas, Katerina Biliouri
Artistic Director: Erato Pissi
Assistant Directors: Nafsika Korialou
Music and Arrangements: Nikos Koliousis, Karavaniés
Lighting: Christina Fylaktopoulou
Photography – Trailer: Theologos Karagiannopoulos, Katerina Christo
Production: Choressia
Communications Manager: Natassa Pappa
Production Assistant: Thanos Triantafyllou, Katerina Christo
Stage management: Vasilis Tsiakas, Katerina Biliouri
Cast: Anastasia Malgari, Angeliki Papadimitriou
Rehearsals for the production took place at the Katapacti venue.

SUNDAY 27.09.2026

8:00 p.m. | Sunday, September 27, 2026 | ΟSMOSIS DAY | @ Rectifie Theater – Center for Research in Mixed Performing Arts

OSMOSIS performance
A pan-artistic stage composition, culmination and closing ceremony of the 14th HRTFest with the presence and contribution of the Festival participants. The performance will be curated by members of the Fabrica Athens group

*Tickest available here: https://www.ticketservices.gr/event/14th-handmade-recycled-theater-festival/

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