© Elina Yunanli
Why did you choose “Syranos”? What is your favorite element of this project? George Nanouris: Michalis and I wanted to do something together again after “Aiantas” and after thinking about various projects, we decided together that on the one hand Cyranos is a hero that suits him, and on the other hand that the things he talks about are very topical. In fact, Cyrano, although he approaches it with confidence and dynamism, is a man who is bullied, as we would say today, because of an external characteristic of his. This characteristic makes others not see the deeper parts of himself, i.e. stay only in the external appearance – something that especially nowadays we often encounter.
(from left to right): Michalis Sarantis, George Nanouris, Lena Papaligoura
At the same time, it is also a deep work, touching on the one hand but also very entertaining, on the other hand, and I am in a phase of my life where I want to externalize the most humorous part of myself, something I have been doing for years scene. Also, the show has been interspersed with many songs (music: Vaios Prapas), which are essentially passages of the text set to music.
Michalis Sarantis: There is a pool of works that I refer to from time to time, not necessarily because I want to play them at some point, but because they comfort me in these gloomy times we live in and soothe my soul a little. Through them I return to the poetry of words and great feelings. One of these works is “Syranos”.
© Elina Yunanli
Do we need in modern times romantic stories of unrequited love and people waiting for their match for life?
G.N.: I think the audience needs to see something that will move them but also entertain them. He needs to see the actors on stage giving their all. We also live in a time that is very wild, which is why we need to get in touch with our feelings again, to remember the things of the heart and not only the brain, of everyday life.
After all, do you think that love is a matter of the body or of the mind, as the play suggests?
G.N.: The play talks about this very thing. In a first phase love seems to be driven by external features, but shortly after the play shows that these are not enough. Roxani tells Christian “Yes, you are beautiful, but that is not enough for me, I want something else, higher”. However, when she also gets to know Christian’s “spirit” through his love letters (which are actually written by Cyranos) she apologizes to him that at first she was only touched by his beauty and tells him a little later that, even if he was too ugly, she wouldn’t care because she has fallen in love with him.
© Elina Yunanli
Do you think if social media had existed in Cyrano’s time, he would have felt even worse about his nose, as many modern people do who compare themselves to their “perfect” feed idols? Or would she feel body positive?
M.S.: Cyranos would not have social media. He is a revolutionary creature (which is especially evident when he talks about power), borderline anarchist, who did not follow any norms of his time. Therefore, he would not show his feelings in public, but would keep them secret, as he does in the play. Of course, he would still have a poetic richness in him, which even nowadays many people have – and these are the people who inspire me. And since we’re talking about body image, the subject of “Syranos” is very relevant in an era of heightened awareness of body shaming (while, at the same time, social media is dominated by filters).
It is a story that takes place in Paris in the 17th century, with a fierce warrior, Cyranos, as the protagonist. Cyrano due to an external characteristic (his big nose) did not do very well in the field of love. In particular, it was Roxani from whom she had no response, as, in fact, she loved another man, Christian. The latter, however, because he lacked eloquence and intellectual depth, asked Cyranos to “become his voice” through love letters that would be signed by him but actually written by him. After all, is it the spirit or outward appearance that wins in love?