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Nana Papadaki again claims “Niki, tonight at the party”

“Niki, tonight at the party” returns from Saturday, October 1 and will be presented every Saturday and Sunday, until October 30, for only 10 performances.

The successful show “Niki, tonight at the party” directed and dramaturgically translated by Roula Paterakis, text by Niki Triantafyllidis, with Nana Papadakis in the role of the central heroine, is presented for the second year at the Fournos theater, accompanied by a dedicated evening to the great woman of the Greek theater and stage, Niki Triantafyllidis.

“Niki, tonight at the party” returns from Saturday, October 1 and will be presented every Saturday and Sunday, until October 30, for only 10 performances.

The play is a dramaturgical transcription of Nikis Triantafyllidis’ multi-person original play “Party at Elizabeth P’s House”, for a single role, for a single person who, on stage, attempts to dive into the complexity of the author’s unconscious.

It is a painstaking excavation of an artistic psyche, which, accompanied by the universe of the audio-visual environment brought to life by the director and visual artist Avraham Papavramopoulos, travels through the collective unconscious, the transformations of nature and reflects the timeless adventure of the human spirit.

The story of the show is based on one woman, Victory of the Rose (Niki Triantafyllidis) who reviews her inner life and through three main transformations (Elizabeth, Maxim, Alice), as well as the archetypal interventions of the mother and father , it reaches the depths of its existence.

Nana Papadaki spoke to “Nea” about the repetition of the show, Niki Triantafyllidis and her lateness.

Second season for the show. What has changed in your approach to the role? Have you delved into him perhaps?

Time offers something precious. It allows the actor to endure the revelation of a very personal truth. It takes time to master a performance, with the whole body. To reach the internal organs of the body. To flow in the actor’s blood. Triantafyllidi’s text has many demands, as does Pateraki’s direction. You have to put aside what you thought you knew and take on the world all over again. A repeat doesn’t make sense, no matter how well the show does, if you don’t have something new to offer. I too feel like I’m finding a deeper connection with the material. I discover a whole life, from beginning to end. You make up a face, which the more it looks like you, the further away it is from who you thought you were. It opens up to something as big, complex, mysterious as nature itself. This journey does not stop. The role in you never stops.

This particular production came about on your own initiative. What attracted you to Niki Triantafyllidis?

That she was a woman of courage and fist. And because he didn’t fit into a box he had to suffer the consequences. Which, of course, because, above all, he was a brave man, he transformed them into creation. In her text, a route through the labyrinth of her soul is recorded, where beauty, madness, ugliness, the divine, the vile, the theater, life, the just, the unjust co-exist, you no longer know what is what. It fits everything. Strange text. I needed it.

In your encounter with the title role, did you find any points of connection with the heroine?

The issues that the text touches on are universal, even if it focuses on the female psyche. The sensitive viewer will recognize in the work his own family, social pressures, attachments, unacknowledged thoughts, the feeling we sometimes have that we don’t know who we really are. The many selves we need to enlist in order to live and feel like we belong to the human family. I think I also recognized my own experiences in theater and life.

How close or far are her transformations from her?

I don’t know who she really was. How she felt about herself. I imagine, however, that this creature she invented, her heroine, Elizabeth P. in the original, Victory of the Rose in Roula Pateraki’s transcription, carries many elements from her inner life. Every transformation happens as a natural phenomenon. With different dynamics each time. But I don’t know how to answer your original question. I feel, but I don’t know.

The interventions of her father and mother, symbolize the more general intervention of parents in the lives of all of us or something deeper?

Something deeper. After all, the work is not psychological. It is ontological. Boundary and multifaceted. I think they are about the embodiment of fundamental forces, which shape a personality, without necessarily corresponding fully to actual events. I would say that they embody the limitations that an entire society imposes on the souls and bodies of people, which pass from one generation to another. They are bonds of a blood that seems to flow eternally in the veins of Greek society.

The show deals with an art personality who passed away sidelined. What are you trying to achieve by commemorating her life and work on stage? Perhaps a restoration of her reputation?

Alas. Niki Triantafyllidis does not need me to restore anything. Her artistic stamp on the Greek theater is so intense. She herself, her performances, her own people have taken care of her reputation. I don’t think she even cared. If anyone should care about his own reputation, you will allow me to say that it should probably be the organized state, which, in my opinion, should have supported its work more. Not for her. For us. As far as I know, she left happy and fulfilled. She was a rare artist who it would be good to know and remember that she has passed through this place. Like so many others who while they are alive we make life difficult for them and when they are gone we remember how great they were. That’s what I would like. To appreciate those who have contributed and are still alive.

Source: tanea

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