Hippo Theatre Group Talk About Mellonia and Theatre
By Manto Chantzi
Publication Link (17 - 01 - 2018): https://www.monopoli.gr/2019/05/09/people/322796/o-aleksandros-raptis-tis-theatrikis-omadas-hippo-mas-mila-gia-tin-parastasi-silence-speaks/
Hippo Theatre Group is a theatrical duo that operates both within and beyond Greek borders. Alexandros Raptis and Fotis Doussos are two friends who began their journey into the magical world of performing arts many years ago. We managed to steal a bit of their time to talk to us about their new venture, Mellonia—a sci-fi production—as well as their upcoming plans.
Interview edited by: Manto Chantzi
To begin with, could you tell us a few words about your group, the Hippo Theatre Group? How did this collaboration come about?
Alexandros Raptis: Fotis Dousos and I have been friends since our university days. During and after our studies, we worked together in theatre groups, music ensembles, short films, and other artistic ventures. At some point, we had the bright idea to form our own theatre group, starting with performances for children. Our beginnings were modest, but gradually we became more active in the world of children’s theatre. Later on, we expanded into adult theatre and began organizing theatre workshops for children, as well as for professional and amateur actors.
Our shared love for travel and theatre has taken us to many parts of the world. For instance, I recently returned from India, where I conducted an acting workshop as part of Thespo19, the annual international youth theatre festival in Mumbai. The workshop focused on our unique theatre style, called kinemo, about which we are currently writing a book.
So, a two-person team involved in both children’s and adult theatre. Which do you prefer, and why?
A.R.: It’s no secret that we’re more drawn to children’s theatre than adult theatre. This preference developed over time, after interacting with many children and experiencing that magical moment when our energy and thoughts connect through theatrical expression. Children are innocent; they don’t have the defense mechanisms adults do and express themselves spontaneously—whether they’re excited, bored, or angry. That kind of honest emotional expression touches us deeply, and we love performing for this audience. Otherwise, I believe there’s no real difference between children and adult audiences in terms of perception, understanding, and interpretation of meaning.
Where do you draw inspiration for your performances?
Fotis Dousos: We’re interested in anything related to issues that concern modern people. Theatre is a mirror of its time and likes to pose questions (and thereby propose answers) to critical problems.
The play takes place in HCA 2059, 41 years from now. What do you think will have changed by then?
A.R.: The play is set in the star year HCA 2059—so not just 41 years from now, but in a completely imaginary future, vastly different from today. The future is unknown, and technological advancement is rapid—we can hardly keep up with developments. But will societies really be different? In any phase of human evolution, how much will things like social stratification, the concept of the state, politics, and power truly change?
Everyone knows what war between humans means. But what does a war between humans and machines entail?
A.R.: War between humans and machines is a familiar theme in science fiction films like Terminator, The Matrix, and many others. It’s a logical fear—that artificial intelligence could evolve to the point where it gains consciousness and rebels against its creator, as in the recent series WestWorld. Such a conflict could potentially lead to the extinction of the human race. What exactly happens in our story, though—you’ll have to find out for yourselves!
The play draws its themes from science fiction. Are there any common elements between sci-fi and theatre?
A.R.: Theatre, like all art forms, is open and can draw themes from anywhere. It’s just not very common to see science fiction represented on stage, which gives us the opportunity to explore how it can be presented theatrically on a conceptual level. Today, when seemingly everything has already been said, what we’re trying to do is discover a kind of meta-Art by re-examining existing works. That’s the mindset behind the creation of Mellonia.
Do you think someone needs to be familiar with science fiction to follow your play? Is the Greek audience used to this kind of production?
F.D.: No familiarity is needed. Every story has its own codes of communication. It’s the creators’ responsibility to make those codes understandable and recognizable from the outset so the audience can follow the story smoothly. We all have some shared reference points in the realm of science fiction—from movies, series, games, and books.
In your press release, you mention that various art forms are combined in this production. Do you think contemporary theatre needs to engage with other forms of art?
F.D.: Contemporary theatre, especially in Greece, is marked by great restlessness, mobility, a thirst for experimentation, and is highly outward-looking. This extroversion creates room for unfamiliar “marriages” and creative combinations. In our performance, for example, there’s a very distinct blend of comic art, cinema, foley sound effects, live music, and of course, the theatrical act itself.
Oppression. Self-sacrifice. What do these words mean to you? What “sacrifices” have you made for theatre?
F.D.: Self-sacrifice is inseparably linked to the work and art of acting. It’s a profession that consumes the physical body to a great extent. The rewards it offers in return are usually not material. A very common sacrifice that almost all theatre people must make is to risk everything for a life full of uncertainty—no steady income, high stress, emotional ups and downs. So why do we do it? you might ask. The scale balances out thanks to the intense emotional experiences, the sense of self-fulfillment, meaningful collaborations, and artistic completeness that theatre so generously offers its devotees.
What are your future plans?
A.R.: We always look toward the future with optimism. As Hippo Theatre Group, we love to travel, connect with different places, and communicate with people from other cultures. So, we’ll definitely try to take Mellonia to various parts of Greece and to international festivals around the world. We’re also preparing a new children’s play that will visit many Greek diaspora schools in the coming months. Starting next year, new children’s performances will be staged in Athens and Thessaloniki, along with theatre programs for kids and teenagers focused on ecology and emotional management. Finally, we plan to organize acting workshops for both amateur and professional actors. It’s also worth mentioning that we’re writing a book about the theatre style we practice (kinemo), which we hope to publish in both Greek and English by the end of the season!
