Satanerie
Music Theatre Days / Alternative Stage
Satanerie
Festival - Theofrastos Sakellaridis
May 2019
Δημιουργική Ομάδα

ARRANGEMENT - MUSICAL DIRECTION
Kharálampos Goyós

STAGE DIRECTION
Alexandros Efklidis, Dimitris Dimopoulos

SETS - COSTUME DESIGNER
Alexia Theodoraki

CHOREOGRAPHY
Fotis Dimakipoulos

LIGHTING
Christos Tziogkas

VOCAL ENSEMBLE CHORES MISTRESS
Marina Satti

 

Πρωταγωνιστές Παράστασης

SATAN
Myrto Bokolini

ANDREAS
Dimitris Nalbandis

PAMIKOS
Giannis Kavouras

SYNAPIKO
Maria Katrivesi

XENOKRATIS
Kostis Rasidakis

TSITSIPLIS
Panos Zygouros

LEADER OF THE SPIRITS, ELENI
Christina Asimakopoulou

SECRETARY
Alina Kostovoulou

 

 

 

 

 

 

Ticket prices: €15, €20
Students: €10

Music Theatre Days / Alternative Stage
Festival

Satanerie

Theofrastos Sakellaridis

Available Dates

  • 17, 18, 19 May 2019

Greek National Opera Alternative Stage
Stavros Niarchos Foundation Cultural Center 

Starts at: 20.30 |    

Satyric phantasmagoria in a prologue and two acts

 

March, 1930: the Great Depression had begun, the clouds over Europe were darkening. Three years before Hitler’s rise to power (and six years before Greek fascist dictator’s Ioannis Metaxas’ own coup), two new music theatre pieces were satirizing the tense climate of the era through sarcastic twisting of the form of the moralistic educational play. The better-known of the two, Rise and Fall of the City of Mahagonny by Bertolt Brecht and Kurt Weill, a cheeky satire of capitalism and commodified bourgeois opera, had its première in Leipzig on March 9, and has been branded a “classic” ever since. However, few remember that, three days earlier, on March 6, the “Mondial” Theatre of Athens premièred a Greek play no less biting, melodic and pitiless: Satanerie, a “satyric phantasmagoria” by Theofrastos Sakellaridis (1883-1950), the greatest composer of Greek operetta. A kind of perverse flip-siding of Goethe’s Faust, Satanerie is a moralistic play that unashamedly declares… the superiority of Hell over the Christian Heaven and, as daringly and ironically as Mahagonny, sings the praises of modern amorality over traditional morality. Sakellaridis, on top form and adapting his own original idea, mixes romantic arias with folksongs, “rembetiko” songs, blues and foxtrots, satirizing the timeless impunity rampant in Greek society through the story of Andreas, a miserable and honest “everyman”, who chooses vice over virtue after receiving a personal guided tour to the hereafter by… Satan himself! It wouldn’t be an exaggeration to claim that, with the prophetic figure of the latter, Sakellaridis creates an early, paradigmatic type of the permissive, “anal” father (to use the psychoanalytic term), whom he juxtaposes to the God’s “old school”, prohibitory paternalism. What’s more, through his portraits of Heaven and Hell, Sakellaridis presciently (and with not a trace of stale moralism) renders the whole mutation of late capitalism from its traditional form, based on the ethic of sacrifice and symbolic prohibition, to its current version, based on individualism, consumption, pansexuality and the imperative of enjoyment… What happened, then, and Satanerie has since been forgotten, despite the “triumph”, “unbridled laughter” and “enthusiastic crowds” recorded by the press of the time? Nothing less than the total collapse of the reputation of Greek light music theatre of the interwar period, rejected by a post-WWII Greek society eager to forget its past… The Patras Music Theatre Workshop production is the first modern revival of the work.

Kharálampos Goyós

 

A part of the third cycle of the GNO Alternative Stage’s 2019 Musical Theatre Days: Treasures of the Greek light musical theatre.

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