Ten Worlds in the Passage of a Ephemeral Breath
“The theater is not here to monologue, but to communicate, animate and unite.”
Nowadays, through the art of theater, wanted the disease of our state to be revealed. A system whose operation is not much different from any other mechanical system, and which, from the smallest gears to the engine of its engine, limps. It only takes a part of the system, a small part of it (but a large one does the same), that it has not been properly maintained, that its quality or performance has not been ascertained, in order to deregulate its proper operation.
If we assume that each part that makes up the system is our function in it, that is, the way in which each of us acts, acts and offers to the system and consequently the way in which it communicates, cooperates and interfaces with the rest parts of the system, then in my case and Fabrica Athens, this way is art and specifically theater.
One of the functions of the theater, the one that moved me to get to know it, is communication. Throughout the theatrical process (from the rehearsal, to the exhibition – presentation, but also the discussions – actions that it can trigger) a creative dialogue unfolds (verbal and non-verbal) that develops in a fertile ground of respect. At least that is the case with our team and its collaborations. This process has an astonishing extroversion, which springs from and is based on a diametrically opposed, profound introversion.
Along the way I also realized that the theater is moving. It can be the reason for a change in a unit, in a whole, in a series of events, while these in turn can also contribute to the change of the theater. In this way one can say that theater can be in cases of prevention, ephemeral medicine or even treatment.
In the place and time in which we live, and as part of the state system mentioned above, it is crucial for everyone to offer and resist whatever means they have and express it. With this thought, the action “Ten Worlds in the Passage of a Ephemeral Breath” beyond a musical course, as it seems at first sight, is both a social act and a statement. That the theater does not wait for the stages and opportunities in culture to reopen. Theater is a living organism and seizes the opportunities of life now as part of life itself. The theater is not here to monologue, but to communicate, animate and unite.
The inspiration for the action was the collection of handmade masks “Couples in the Ten Worlds” by my mother, Sylvana Sarti. The Ten Worlds referring to Nietzschean Buddhism (the World of Hell, Hunger, Beastliness, Anger, Calmness, Euphoria, Learning, Understanding or Partial Enlightenment, Bodhisattva and Enlightenment), the ten ways which we understand and respond to phenomena, or in fact in reality, contain each other and coexist in every moment of life; even in this “dark” period we are going through. It is up to us to direct our energy and what our intention is to enlighten these worlds.
The first exit
The action made its first pass on Saturday, March 6, from the neighborhoods of Kerameikos and Metaxourgeio. Stations of her route were:
- The Other Man
- The Park of Alexander the Great & Mycenae
- The Public Trademark
- Avdi Square
- The National Theater – Ag. Konstantinou 22 (Support for the building encirclement action)
- The pedestrian street of Paramythias Street
Factors of action
Performer: Artemis Kryonopoulou, Eleftheria Kalampoka, Katerina Markezini, Natassa Arabatzi, Stevi Theodosiou, Joan Nino
Artistic support: Fanis Katechos
Cinematographer: Costas Tataroglou – Cinemascoop
Masks: Silvana Sarti
Directed by: Joan Nino
Thank you for the practical support: Marialena Priovolou, Myrto Vamvaka