{"id":12810,"date":"2020-09-15T12:46:52","date_gmt":"2020-09-15T09:46:52","guid":{"rendered":"http:\/\/eleusis2021.eu\/?post_type=member&p=12810"},"modified":"2022-12-22T12:42:15","modified_gmt":"2022-12-22T09:42:15","slug":"michail-marmarinos-2","status":"publish","type":"member","link":"https:\/\/2023eleusis.eu\/en\/member\/michail-marmarinos-2\/","title":{"rendered":"Michail Marmarinos"},"content":{"rendered":"

Born in Athens, he studied Biology, Acting and Theatre. <\/span>In 1983-4 he founded the \u201cdiplous Eros Theatre Company,\u201d which was supported by the Ministry of Culture immediately following its first production. After a series of internal configurations and transformation, the group was renamed as the \u201c<\/span>Theseum Ensemble<\/b>.\u201d <\/span>Today he prefers to note why he produced these plays, what interested him about them, or what they served as examples, gestures or actions of.\u00a0<\/span><\/p>\n

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His work is governed by two enduring principles:
\n<\/span>(a) <\/span>Theatre is the art of the history of people;
\n<\/b>(b) <\/span>There is no moment in everyday life that is not theatre, if seen with the appropriate gaze.\u00a0<\/b><\/p>\n

In recent years, his productions clearly demonstrate his preoccupation with three issues:<\/span><\/p>\n

\u0399.<\/b> Assemblies \u2013 he has always been drawn to them. This <\/span>Tropism <\/b>of humans towards gatherings interested him as a concept of the <\/span>Chorus<\/b> since he first dealt with the ancient Greek tragedy as an ancient structure that generates contemporary forms in theatre as well as in daily life. A format with unique properties, capable of producing theatre, text, chaos, historicity, politics. A structure \/ device of the contemporary gaze.<\/span><\/p>\n

He has delivered lectures, seminars, workshops, exercises<\/span> and papers on the Chorus as a concept and form of real life, of modern and classical drama (Athens, Delphi, Berlin, Thessaloniki, Los Angeles, Montreal, Seoul, Warsaw, Moscow, Tbilisi, Tokyo).<\/span><\/p>\n

\u0399\u0399.<\/b> The Subject. The ways in which the Subject \u2013 the body of a citizen in their capacity as an actor \u2013 can push themselves to the point of being trapped in reality, in Randomness, as a method of acting, thus becoming historical testimony \/ a \u201cdocument.\u201d\u00a0<\/span><\/p>\n

In this, Biology \u2013 as well as his encounter with Alexander Lowen and Bioenergetics since 1990 \u2013 have played a key role.<\/span><\/p>\n

He has led workshops on Bioenergetics as a training method for actors in Greece as well as at international conferences of the International Institute for Bioenergetic Analysis (in Athens, Leipzig, Caracas, Copenhagen, Thessaloniki, Florence, Umbria).<\/span><\/p>\n

\u0399\u0399\u0399<\/b>. Finally, those manners and moments of daily life, trivial and coincidental, which can \u201cpoison\u201d theatricality and violently push it towards poetry, happening, performance, documentary.\u00a0<\/span><\/p>\n

This kind of writing tactic, capable of producing a text, is what he terms <\/span>STAGE DIRECTING AS DRAMATURGY.<\/b><\/p>\n

ADDITIONALLY, ANY THEOREM THAT MAY UNDERLIE ALL THESE PHENOMENA.\u00a0<\/b><\/p>\n

In addition to Greece, his productions have been staged \u2013 while others have travelled to international festivals \u2013 in:<\/span><\/p>\n

Austria, Belgium, China, France, Georgia, Germany, Italy, Japan, Korea, the Netherlands, Poland, Russia, Serbia, Spain, Switzerland, Venezuela.\u00a0<\/span><\/p>\n

STAGE DIRECTING AS DRAMATURGY<\/b> \/ CREATIONS<\/b><\/p>\n

1997: ROMANTICISM, <\/b>a show by Michail Marmarinos (Athens)
\n<\/span>2002: NATIONAL ANTHEM, A Theorem on Togetherness, <\/b>a show by Michail Marmarinos (Kerkyra, Athens)
\n<\/span>Critics\u2019 award for best staging-best direction 2002
\n<\/span>2003: NATIONAL ANTHEM<\/b> (a production of the Teatro della Limonaia, Florence)
\n<\/span>2004: NATIONAL ANTHEM <\/b>(a production of Mikheil Tumanishvili Film Actors Theatre, Tbilisi, Moscow)
\n<\/span>ROMEO + JULIET, the Third Memory<\/b>, W. Shakespeare (Florence, Athens)
\n<\/span>2005: OLYMPIC GAMES, Instructions for Use, <\/b>a show by Michail Marmarinos (Athens)
\n<\/span>2006: NATIONAL ANTHEM<\/b> (Korea National University of Arts, Seoul)
\n<\/span>2007: WHO IS MR. KELLERMAN AND WHY IS HE SAYING THOSE TERRIBLE THINGS ABOUT ME? [a visit to Kafka\u2019s Castle], <\/b>a show by Michail Marmarinos (Athens)
\n<\/span>2008: STALIN, a Discussion on Greek Theatre,<\/b> a show by Michail Marmarinos in collaboration with Akyllas Karazisis (National Theatre, Staatstheater K\u00f6ln) <\/span>
\n<\/span>First Guest Performance Prize by the German Federal Agency for Civic Education
\n<\/span>2009: THE LIVES OF SAINTS, <\/b>a show by Michail Marmarinos (Athens)
\n<\/span>2009: AGORA \u2013 Ein Chor Stasimon <\/b>(a production of VOLKSB\u00dcHNE am Rosa-Luxemburg-Platz, Berlin)
\n<\/span>2015: NOSTOI <\/b>(an international production of Cooperativa Archeologia and Fabbrica Europa, Tuscany and Carthage)
\n<\/span>2020: HAIRDRESSERS\/METAPOLITEFSI, <\/b>a show by Michail Marmarinos and the Theseum Ensemble (theseum, A Theatre for the Arts)
\n<\/span>2020: KOLOKOTRONIS Contemplates the Future\u2026, <\/b>a show by Michail Marmarinos and Akyllas Karazisis (Stavros Niarchos Foundation Cultural Center)
\n<\/span>2022: ONCE TO BE REALIZED,<\/b> Musical Theatre based on the unpublished works of composer Jani Christou (Deutsche Oper \u2013 Berlin, Munich Biennale \u2013 Munich, Onassis Stegi \u2013 Athens).<\/span><\/p>\n

THEATRICAL AND LITERARY TEXTS
\n<\/b>1987: <\/b> STRINDBERG – STRINDBERG (the First Warning), <\/b>\u0391. Strindberg (Athens)
\n<\/span>1993: <\/b> DIE HAMLETMASCHINE,<\/b> H. M\u00fcller (Thessaloniki, National Theatre of Northern Greece)
\n<\/span>MEDEA Fragments,<\/b> Euripides (Brussels)
\n<\/span>1994: <\/b> CAMERA DEGLI SPOSI,<\/b> Y. Veltsos (Athens)
\n<\/span>1996: <\/b> KALLDEWEY FARCE, <\/b>B. Strauss (Athens)
\n<\/span>1998: <\/b> HAMLET \u2013 The Snake\u2019s Bite,<\/b> W. Shakespeare (Athens, BITEF-Belgrade)
\n<\/span>ELECTRA,<\/b> Sophocles (Epidaurus, Thessaloniki, Dion, Philippi)
\n<\/span>2000: <\/b> AGAMEMNON,<\/b> Aeschylus –<\/span> A Ghost Sonata<\/b> (Athens, Caracas, Zurich, Tbilisi)
\n<\/span>2001: <\/b> MEDEA MATERIAL, <\/b>H. M\u00fcller (Tbilisi, Moscow)
\n<\/span>2005<\/b>: <\/span> AGAMEMNON,<\/b> Aeschylus (a production of the Seoul Arts Centre, Korea)
\n<\/span>2007-2009: DYING AS A COUNTRY, <\/b>Dimitris Dimitriadis (Athens Festival, Wiener Festwochen 2008, Kunstenfestivaldesarts in Brussels 2008, International Theatre Festival in Warsaw, WARSZAWA CENTRALNA 2008, Festival d\u2019\u0391utomne Th\u00e9\u00e2tre de l\u2019Od\u00e9on, Paris 2009)
\n<\/span>2009: <\/b> \u0391CROPOLIS re-construction,<\/b> S. Wyspia\u0144ski (Teatr Wsp\u00f3\u0142czesny, Wroc\u0142aw, Poland)
\n<\/span>2010: <\/b> ACROPOLIS re-construction,<\/b> a production of the Theseum Ensemble (Athens)
\n<\/span>2011: <\/b> HERCULES FURENS<\/b>, Euripides (National Theatre, Epidaurus)
\n<\/span>2012: <\/b> ROMEO + JULIET, The Third Memory<\/b>, W. Shakespeare (a production of the Mikheil Tumanishvili Film Actors Theatre, Tbilisi)
\n<\/span>2012 + 2013: INSENSO<\/b>, Dimitris Dimitriadis (Athens Festival)
\n<\/span>2012-2013:<\/b> A MIDSUMMER NIGHT\u2019S DREAM,<\/b> W. Shakespeare (National Theatre, Athens)
\n<\/span>2013 + 2014: PH\u00c8DRE, <\/b>Jean Racine<\/span> (<\/b>Com\u00e9die-Fran\u00e7aise, Paris)
\n<\/span>2014: <\/b> FAUST I, Goethe <\/b>(Onassis Stegi, Athens)
\n<\/span>2015: <\/b> EMPIRE, I Have your Data, <\/b>Yorgos Veltsos<\/span> (National Theatre of Northern Greece \u2013 Thessaloniki Concert Hall)
\n<\/span>2015: <\/b> \u039d\u039fH \u2013 NEKYIA, rhapsody \u03bb\u2019, Homer\u2019s <\/b>Odyssey<\/i><\/b> (Greek Festival, Epidaurus, National Noh Theatre, Tokyo)
\n<\/span>2016: <\/b> LYSISTRATA, <\/b>Aristophanes (Epidaurus, tour in Greece \u2013 National Theatre)
\n<\/span>2016: <\/b> DON JUAN,<\/b> Moli\u00e8re (Onassis Stegi, Athens)
\n<\/span>2017: <\/b> \u03a5\u039f\u039a\u0399\u0397\u0399,<\/b> a \u039d\u03bfh Theatre production by Komparu Zenchiku (Stavros Niarchos Foundation Cultural Center)
\n<\/span>2018: <\/b> A STREETCAR NAMED DESIRE,<\/b> Tennessee Williams (Municipal Theatre of Piraeus)
\n<\/span>2018: <\/b> ELECTRA,<\/b> Sophocles (Shanghai Dramatic Arts Centre, Shanghai International Arts Festival, China). Awards for best leading and supporting actor, award for best stage design, nomination for best show
\n<\/span>2021: ICHNEUTAE<\/b>, Sophocles (Epidaurus \u2013 Greek Festival, Mount Kyllini, Odeon of Herodes Atticus \u2013 Athens Festival)<\/span><\/p>\n

International collaborations:\u00a0<\/b><\/p>\n