© Johanna Weber
The “Requiem”, directed by Theodoros Terzopouloshis last year’s hit Attis Theaterwhich thrilled audiences and was praised by critics, repeats from November 15 for a limited number of performances.
Two women, played by Sophia Hill and the Aglaia Pappa they meet, or rather hover, in a fluid time and in an uncharted place that might be Hades. One woman welcomes the other, invites her and guides her on a painful but necessary journey of memory, while the latter refuses to acknowledge her current situation and recall the nightmare. The descent into Hades ends in a statement: solidarity and memory for the victims of femicide. After all, the appeal to memory, an imperative “remember” as a permanent refrain, is for Attis a constant demand against oblivion and the ephemeral.
© Johanna Weber
After “Alarme”, “Amor” and “Encore”, “Requiem” completes the quartet which at its core it has the mechanisms of conflict and power and is connected by an invisible thread with “Nora” and her own Descent into Hades.
© Johanna Weber
Requiem for the victims of femicide. Requiem for three key and beloved members of the Attis Theater who have passed away in the last year. Requiem for Sofia Michopoulou and her legendary Agave, for Aneza Papadopoulou and her Bacchic Germa and for Charalambo Terzopouloswhose magical installations we see on stage.
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The last part of the informal tetralogy signed by T. Terzopoulos on conflict and power (“Alarme”, “Amor”, “Encore”) focuses on the issue of femicides and takes the form of a stage work of high aesthetics, which goes beyond safety valves of realistic theatre. The ritual descent of the two female figures into the black darkness of death is uniquely interpreted by Aglaia Pappa and Sophia Hill.
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