Publication Link (17 - 01 - 2018): https://maxmag.gr/synenteukseis/hippo-theatre-group-miloun-gia-ti-mellonia-ke-theatro/

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Hippo Theatre Group is a theatrical duo that performs both in Greece and abroad. Alexandros Raptis and Fotis Dousos are two friends who began their journey into the magical world of theatre many years ago. We managed to steal a bit of their time to talk about their latest venture, Mellonia, a sci-fi performance, as well as their upcoming plans.

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To begin with, tell us a few words about your group, Hippo Theatre Group. How did this collaboration come about?

Alexandros Raptis: Fotis and I have been friends since our university days. During that time, and later on, we found ourselves collaborating in theatre groups, musical ensembles, short film projects, and other artistic ventures. At some point, we had the bright idea to form our own theatre group, starting with performances for children. Our beginning was modest, but we gradually became more dynamic in the field of children's theatre. Later, we expanded into adult theatre as well as theatre workshops for children, professionals, and amateur actors.

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Our shared love for travel and theatre has taken us to many parts of the world. For example, I recently returned from India, where I led an acting workshop for actors as part of Thespo19, the annual international youth theatre festival in Mumbai that has been running for 19 years. The workshop focused on the personal theatre style we’ve developed, called kinemo, for which we’re also writing a book.

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So, you're a duo working in both children's and adult theatre. Which do you prefer, and why?

A.R.: It's true that we’re more drawn to children's theatre than adult theatre. That realization came over time, through our interaction with many children and the magical moments we experienced when our energy and thoughts aligned through theatre. Children are innocent; they don't have the defense mechanisms that adults do. They express themselves spontaneously—whether they're excited, bored, angry, or thrilled. That truthfulness in their emotional expression moves us deeply, and that’s why we love this audience. Otherwise, in my opinion, children are just as capable as adults in understanding and processing meaning in theatre.

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Where do you draw the themes for your performances from?

Fotis Dousos: We’re interested in anything that touches on issues faced by contemporary people. Theatre is a mirror of its time and thrives on posing questions (and therefore identifying answers) to key problems.

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Your latest performance takes place in XCA 2059, 41 years from now. What do you think will have changed by then?

A.R.: The performance takes place in the stellar year XCA 2059—so we’re talking about a fictional future far beyond today’s reality. The future is unknown. Technological advancement is accelerating so fast we can barely keep up. But will human societies really change? In any human development, how much will concepts like social stratification, the state, politics, and power differ?

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We all know what war between humans is. But what does war between humans and machines imply?

A.R.: The war between humans and machines is a familiar theme in sci-fi, as seen in Terminator, The Matrix, and many other films. It reflects a rational fear that artificial intelligence could evolve to the point of gaining consciousness and turning against its creator. You see this clearly in the recent series Westworld, for example. Such a conflict could very well lead to the extinction of humanity. Of course, what actually happens in our story... you’ll have to come see and find out!

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Your play draws from science fiction. Are there common elements between sci-fi and theatre?

A.R.: Theatre, like all art forms, is very open and capable of drawing on any source for inspiration. It’s just that science fiction themes are not commonly explored in theatre, and that gives us an opportunity to present them through a more dialectical lens. These days, everything has been said already—so what we strive for is to discover a kind of meta-art by re-examining existing material. This was the mindset behind the creation of Mellonia.

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Do you think someone needs to be familiar with science fiction to follow your performance? Is the Greek audience accustomed to this kind of genre?

F.D.: No prior familiarity is needed. Every story has its own codes of communication. It’s the creators' job to make those codes understandable and recognizable from the start so that the audience can follow effortlessly. Most of us, to some degree, already share references from science fiction through movies, series, games, and books.

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Your press release mentions a combination of different art forms. Do you think modern theatre “needs” to engage with other artistic disciplines?

F.D.: Contemporary theatre—especially Greek theatre—is full of restlessness, energy, and a strong drive for experimentation. It's also very outward-looking, which allows for many unconventional “marriages” and creative intersections. In our show, for instance, we’ve combined comic book aesthetics, cinema, foley sound design, live music, and of course, the theatrical act itself.

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Suppression. Self-sacrifice. What do those words mean to you? What sacrifices have you made for theatre?

F.D.: Self-sacrifice is inseparable from the work and art of the actor. It’s a profession that consumes your physical body to a large extent. The rewards it offers are usually not material. One of the most common sacrifices theatre artists face is risking everything for a life full of uncertainty—no stable income, constant anxiety, emotional ups and downs. Why do we do it then? you might ask. The scale balances out through powerful emotions, a sense of self-fulfillment, meaningful collaborations, and the artistic completion that theatre generously offers its devoted practitioners.

What are your future plans?

A.R.: We always look to the future with optimism. As Hippo Theatre Group, we love traveling, experiencing new places, and connecting with different cultures. So we definitely plan to take Mellonia on tour across Greece and to international festivals worldwide. We’re also developing a new children’s play that will visit several Greek diaspora schools abroad in the near future. Starting next year, we’ll stage new children’s productions in Athens and Thessaloniki, along with theatre programs for kids and teens focused on ecology and emotional awareness. Lastly, we’re planning to organize acting workshops for both amateur and professional actors. And of course, many more things may come up!

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It’s also worth mentioning that we’re currently writing a book on our theatre style, kinemo, which we aim to publish in both Greek and English by the end of the season!