STAVROS NIARCHOS FOUNDATION
364 Syggrou Avenue, Kallithea
+30 213 0885700
Research and creative team:
Miguel Ángel Melgares
Petros Touloudis, etc
Greek National Opera Alternative Stage
Stavros Niarchos Foundation Cultural Center
Performance • Commissioned by the GNO Alternative Stage
As part of the tribute to the 2021 bicentennial of the Greek Revolution
This production, part of a tribute to the 2021 bicentennial of the Greek Revolution, is made possible by a grant from the Stavros Niarchos Foundation (SNF) [www.SNF.org].
The new work by choreographer Tzeni Argyriou and artist Vassilis Gerodimos is described as a “performative assemblage” by its creators. At its starting point, the two artists place the process that produced the historical and socio-political network of the Greek War of Independence – a “collective work” in its own right, with its particular, diverse conflicts, contradictions, aporias, transitions and reversals.
During the three days of the event –each of them conceptually corresponding to one of the three stages of the Greek Revolution: the intoxication of the initial outbreak; the middle-period introversion; the late-phase fatigue and ultimate prevalence–, a wide spectrum of artists and performers will cooperate in real time to create an interactive installation-in-progress (a “three-dimensional engraving”, to quote the show’s curators) in which the spaces of the Alternative Stage will lend themselves to a dynamic process of incessant visual and aural mobility. Based on modern, revisionist historical research that ventures to denude the revolutionary event from its time-honoured, Romantic symbolic representations, as well as on selected artworks and extensive archival material, the curators set out to throw light on the invisible aspects of the official history by emphasising under-recognised factors such as the financial and tax management, military administration, ideological developments and everyday life of the revolutionary period.
Through the conversion of the Alternative Stage to a workshop space where the limits between “stage” and “backstage” become permeable and the public (as distanced spectators and/or effective participants) experience the preparation and final presentation of a series of concurrent and overlapping actions in active dialogue with each other, the creators of Synthesis trace the intertwined historical “lines” that synthesise the premeditated and the random –echoing their actual, historical unfolding– before reaching their final, common target through a process only partially controlled; at the same time, the artists highlight the formal and creative analogies between a performative and a historical event.