An Interview at elamazi.gr
By Eleni Vlachou
When was the Hippo Theatre Group founded, and what inspired its original name?
The group was founded in the winter of 2009. During an intense brainstorming session over tea, coffee, and cigarettes (we all eventually quit smoking—partly because of the demands of this job!), we came up with this melodious, charming, and unexpected—at least for a theatre group—name.
How many children’s productions has Hippo created so far?
So far, we have produced six children’s plays, including one in London with English actors. Additionally, we’ve directed two productions for adults—one performance in New York City and one show in Athens.
From Hippo’s international children’s theatre tours, what has been the group’s most important artistic moment and why?
All performances are equally important to us—at least as long as we are on stage. Whether we’re playing in Brooklyn or in the most remote village of Greece, our goal is to create a strong bond of communication with our audience. That said, it is incredibly moving to build bridges with audiences who do not speak Greek fluently, such as children of non-Greek heritage in American schools. It’s also heartening to see that despite a natural decline in the use of the Greek language among diaspora communities, there are still strongholds where the language is preserved, safeguarded, and passed on—both as cultural heritage and as a living reality. A performance we’ll certainly remember was the one for students in the Modern Greek Studies Department at Yale University, CT.
We’ve heard you hold a children’s theatre workshop in the U.S. What ages is it for, what does it include, and what is its purpose?
We’ve organized weekly theatre workshops for Greek-American children in California and New Jersey. The program is aimed at children aged 5–12 and has a dual purpose: First, we aim to collaboratively create a performance from scratch with the children and present it at the end of the program. Second, through this process—which includes role-playing, improvisation, imaginative games, and set/costume design—we aim to enhance their learning of vocabulary, pronunciation, and comprehension of spoken Greek. So far, the effort has been very successful.
What messages do you aim to convey to children through your play Sleeping Beauty²?
Thank you for this question—it gives us the opportunity to share our thoughts on the concept of the "message." According to our pedagogical approach, the notion of a “message” needs to be recontextualized. Just like adult audiences don’t attend a performance seeking a “message,” but rather enjoy the process and engage their inner meaning-making mechanisms, the same should apply to children's theatre. Theatre should not be didactic. A performance acts as a multi-layered transmitter, delivering not one but many possible messages to a diverse audience. Through personal reception processes, viewers connect with what they see, delving deeper depending on their capacity and what is offered from the stage. The performer-audience relationship is crucial in generating meaning. If that bond isn't established—a bond that often includes a sense of conspiratorial agreement—then any didactic intent becomes exposed and ineffective. In short, many claim their work carries an “ecological message” or speaks about “bullying,” but often the result is boredom and discomfort for an audience hungry for meaningful experiences.
What kind of feedback do you receive from your young audiences?
Children reward us with their pure energy almost after every performance. Their comments and the way they express them often leave us stunned. Just today, a kindergartener gave us the truly lovely blessing: “Bon appétit for your work!”
After the performance Sleeping Beauty², an Educational Drama segment follows, where children enter a fantasy world inspired by the play they just watched. What are the goals of this Drama session?
Educational Drama is a tool we always incorporate into our productions. We’d say it’s a trademark of our group. Its goal is to renegotiate concepts that emerged during the performance and explore them together with the children. Through activities that promote collectivity, solidarity, and cooperation, children deepen and enrich their aesthetic experience.
What are your next artistic steps?
We’ll continue making theatre for children and traveling the world. Two good habits—though admittedly addictive ones!
