Source (16 - 11 - 2021): https://www.monopoli.gr/2021/11/16/people/533297/o-skinothetis-aleksandros-raptis-mila-gia-tin-parastasi-apethanto-sto-theatro-104/

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The HIPPO theatre group presents the play Apethanto at Theatre 104 – every Wednesday and Thursday for a limited number of performances. The production is based on the folk ballad The Dead Brother, combining acting with contemporary movement and music, new media with cinema and painting. Different styles and techniques create the distinct atmosphere of a dark parody, in an intriguing interpretation by the writing team and director Alexandros Raptis.

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On the occasion of this unique approach to the well-known myth, we spoke with the director himself. He explained the rationale behind the work, the diversity of styles and techniques used, and the issues he aimed to highlight in today’s context. As he mentioned, if the performance makes the audience reflect on these issues, then it can be considered successful.

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At the same time, he speaks about the momentous occasion of one of his works receiving an award at an international theatre festival and shares why creating theatre for children is, above all, great fun.

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You’ve recently begun presenting Apethanto with HIPPO at Theatre 104. What drew your attention to The Dead Brother, the folk ballad on which your play is based?

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The main plot and themes of The Dead Brother are very interesting for its time. It’s the first Greek text where the concept of the vampire appears. Similar themes are found in texts from many Balkan countries and are part of a shared cultural heritage. The text lends itself to multiple interpretations and intertextual references. That alone was enough for inspiration.

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“Apefanto” is the very system that drains us dry and lives on, perpetuating the problems of the past.

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What is your approach to the myth?

Together with the writing team (myself, Ioanna Lioutsia, and Fotis Dousos), we kept the basic storyline of the ballad. However, we placed special emphasis on the roles of the mother and daughter. The original ballad refers to a time when a woman’s position was socially inferior to a man’s: a woman who obeys societal and male demands, conforms to expectations, is traded like property or a trophy, a wife – mother – sister whose voice is never heard, and who is ultimately denied the freedom to choose. And so we ask: Has anything really changed since then? What, and how much, has actually changed? We still see everyday forms of oppression considered insignificant, but which can lead to extreme cases and the erosion of the individual.

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How did the idea for the title Apethanto come about?

Initially, the title was Apethantos, referring to the undead Konstantis. Eventually, the title became gender-neutral: Apefanto. That’s because in the performance, Konstantis becomes a symbol of patriarchy, a neoliberal narrative, and ultimately of the system that sustains inequality by deeming women inferior. Apefanto is the very system that drains us dry and lives on, perpetuating the problems of the past.

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What did you want to highlight most through this interpretation?

With the above concerns in mind, we want everyone to reflect: Are we truly ready for a new era? And if not, are we willing to try?

 

In Apethanto, different styles and techniques come together to create a dark parody. What should we expect to see on stage?

In rehearsals, I wanted us to approach the text through an experiential process, with elements of physical theatre and contemporary movement. I didn’t want to use any set objects, only the actors’ bodies. We began with readings and discussions about the characters. Then we moved into a physical-experiential process, which in the first part of the play results in an abstract scenic outcome. Of course, the truth of the text and the relationships remain the core.

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In the second part, I explored different acting styles such as stand-up comedy or intense stylization. The text has dramatic elements but also non-dramatic ones. The original ballad is heard in its entirety. The traditional themes and ritual-tragic undertones of the original are retained. However, the rest of the text’s language is sharp, with black humor, intertextual references, comic and satirical elements tied to modern Greek reality. The aim of the direction is to create mixed feelings in the viewer, because right after a tragic moment comes a comic one – as in life. The audience may be confused, unsure whether to be moved, shocked, or laugh.

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How do acting, movement, music, new media, cinema, and painting harmoniously merge on stage? What kind of challenge is that for the actors and for you?

The directorial vision involves blending different acting techniques in an attempt to communicate with the meta-dramatic nature of the text and today’s reality. The stage narrative is based on intense physical expression and action, derived from kinemo techniques (a “creation” of the HIPPO group), contemporary movement, and dance.

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Working with varied acting styles is definitely a challenge for the actors, as they must maintain internal discipline and focus throughout the performance. For me, experimenting is highly creative and enjoyable – I had fun during the process.

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With Apefanto, a theatrical code is proposed that unites modern aesthetic forms. The actors perform narrative, dialogue, and singing parts of the text both with and without microphones. The set consists of four oversized empty frames that, in normal dimensions, could decorate a bourgeois living room. Animated hand-drawn visuals are projected onto the frames, forming the characters’ scenic environment. These compositions combine elements of Greek tradition and German expressionism. A filmed narrator is also projected, integrated into the scenery as if part of it. The music composition plays a dominant role at many points, sometimes complementing and sometimes clashing with the characters’ emotions. Image, text, movement, and music continuously interact throughout the play, creating a dynamic audiovisual landscape. The final goal of the direction is dialectical communication with today’s viewer.

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Do you think theatre must now be “open” and able to communicate with other art forms?

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In recent years, it’s common to see strong elements from other art forms in theatre performances (e.g. video projections, installation, use of microphones). Theatre is inherently a synthesis of many other arts. It is “open” by definition and thus ideal for experimentation and discovery.

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Did you discover anything about the work or yourself during the preparation of the performance?

​I discovered a lot – as I do with every project. I realized how much I need to use imagery more and more in my productions, something tied directly to my previous experience with cinema. With Apefanto, I also discovered how important it is to try, each in their own way, to make a difference and strive for a better, more truthful, fair, gentle, and equal society.

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If you had to describe the play in three words, what would they be?

Woman, freedom, change.

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Why should someone come to see the show?

Every performance that respects itself is an opportunity for communication, thought, and entertainment. That’s exactly why.

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What feelings do you wish the audience to leave with after each show?

The lockdown period left us all with feelings of confinement that manifest as violence, anger, judgmental attitudes, and a level of personal responsibility bordering on mutual cannibalism. I want viewers to leave the theatre feeling relieved and empowered. To shake off negative emotions. To feel like they can change things. If the performance makes them reflect on these issues, then it’s a success.

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Is there a specific moment in the play that stands out to you? Would you like to share it with us?

I love the play as a whole. There are many unique moments. Perhaps the ending—a cathartic dance of freedom.

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Your group was recently awarded at an international festival for the children’s play The Emperor’s Dilemma. Can you tell us a bit about that?

It was wonderful to receive a positive response last summer for our participation in STRUS, the 1st International Competitive Festival of Children’s Theatre in Lviv, Ukraine. After so long without international travel (something we usually do as a group), just the opportunity to travel again was incredible. Let alone the honor of participating in an international theatre festival. Lviv is an amazing city—beautiful architecture, rich in high culture—and I’m so glad I discovered it. The chance to compete alongside other children’s theatre groups allowed us to witness top-quality productions from across Europe (Ukraine, Lithuania, Croatia, Italy, etc.), and that alone was enough. The second prize we received validated all the work we’ve done as a group over the years. I’ll never forget the amazing people we met, their applause, their hugs, and the sincere, appreciative look in their eyes as we departed.​

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What do you enjoy most about doing theatre for children?

Children are the most spontaneous and honest audience. If they don’t like something, they’ll say so—and if they do, they’ll say that too. That’s a great value in life, and children, who haven’t yet developed social filters, still have it. It’s incredibly fun to perform for an audience that, if you don’t deceive them, if you respect them and spark their curiosity, satisfy their enthusiasm and ignite their imagination, they will reward you in the best possible way—with their positive energy.

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What are your hopes for the new theatre season?

I hope theatre can survive the difficult days ahead, especially with the new pandemic wave. May it be a creative and abundant season.

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What else can we expect from you in the future?

I have many plans and ideas for future productions, both for adults and children. In the spring, we’ll begin rehearsals for a new children’s play based on our original, unpublished script titled The Land of the Lost Robots, produced by HIPPO