Time & Date
Information
Tickets
Onassis Stegi Friends presale: from 18 NOV 2021 17:00
General presale: from 20 NOV 2021, 17:00
Full price: 7, 12, 14 €
Reduced, Friend & Groups 5-9 people: 9, 11 €
Groups 10+ people: 8, 10 €
Neighborhood residents: 7 €
People with disabilities, Unemployed: 5 €
Companions: 10 €
Group ticket reservations at groupsales@onassis.org
Attendance Instructions
To ensure public safety, audience arrivals have been staggered into four 15-minute time slots.
A' time slot: 19:30-19:45 – 2nd Balcony
B' time slot: 19:45-20:00 – 1st Balcony
C' time slot: 20:00-20:15 – Main Floor Rows Μ-Τ
D' time slot: 20:15-20:30 – Main Floor Rows Δ-Λ
Introduction
Before the world’s beginning, two solitary beings live between darkness and the light. “TITANS” is a work by Euripides Laskaridis in honor of our every failed attempt to understand. There is a place where darkness meets the light.
Photo: Julian Mommert
In “TITANS”, the hilarious and the serious are constantly being interchanged, and ideas on how things should be have already been lost. Euripides Laskaridis envisions a universe older than the world, a time of the mind where even shadows are alive and things have no set or stable size. The tiniest of things become enormous. All time and all space can fit on stage, and surprises, excitement, and terror all spring – without warning – from the work’s details. The further back we go, the more we see things switch back and forth: light with dark, the major with the minor.
Centre stage stand two solitary beings playing an endless game with no apparent purpose. Their laughter seems worrying, their worries laughable. And yet, their world is made from the same materials, feelings and thoughts as our own. Their failures are transformed into a defense of our own.
There is something that makes this admittedly absurd artistic language win over audiences, wherever it may go. It does so because behind all the ridiculousness and the irony lies an ever steadfast tenderness.
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Photo: Elina Giounanli
Reviews
- “In this work – one unique in terms of genre, quite unlike anything else – we find something that resembles the wonderment a child feels when first faced with the transformative, illusory, inventive power of theater. It’s a precious thing. […] How rare it is, how truly rare, to see a man talk about motherhood, in the first person, to literally take the subject into the body, to embody it, here with humor and exuberance, extravagance and respect. This daring approach in “TITANS”, though more discreet, is just as important as that taken to form. Hats off.”
– Catherine Lalonde, “Le Devoir”, 30 May 2018 (Montréal, Canada)
“Euripides Laskaridis’ ‘TITANS’ sticks in the mind; when the curtain falls, the images presented by this Greek choreographer and performer keep rising over and again before your eyes. […] One watches “TITANS” with the voracious appetite of someone desperate for their fill of beauty. The images and actions Euripides Laskaridis creates and performs are conceptually rooted deep inside the art of the European Renaissance, the elaborate Byzantine mosaics at Ravenna, the captivating orientalist nostalgia of Gustav Klimt. The eyes of the audience gaze on, drawn to the stage, watching the slight sway of the swing or spying reflections on the convex mirror of some Flemish painter or the contemporary Anish Kapoor. He seems to gather iconic relics from art history and blend them into a drink that distills the melancholy experienced by a being, one that performs and carries within it the stories of an entire world.”
– Nicola Arrigoni, “Sipario”, 2 July 2019 (Brescia, Italy)
“Laskaridis is a craftsman of times and atmospheres, a creator of extraordinary characters, capable of connecting the domestic with echoes of the cosmic.”
— Clàudia Brufau, “Núvol”
“Sacred and profane, ritual and prosaic, divine and infernal. […] It escapes every classification, every qualification. It is not theatre, not dance, not performance, and yet it partakes of all their natures. It is a genre beyond genres, and this – within the limits of what is defined and definable – is a political act of great impact. In these times when we are all obsessed with the notion of being someone or something, of belonging to this or that sexual, political, work, or social tribe, this non-definability, this escape from identification, shows us a path towards a nature that once was ours: ambiguous and multi-faceted, plural yet non-divided, complete and all-encompassing.”
— Enrico Pastore, enricopastore.com
