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News

• READ From Thursday 19 April to Sunday 10 June 2012 The legendary “Sixth Floor” by Alfred Gehri, after twenty years… more well-timed than ever… comes back to the Greek scene, from Thursday, April 19th 2012, at the Michael Cacoyannis Foundation
  The Michael Cacoyannis Foundation presents the leading play by Alfred Gehri “Sixth Floor”, at the main Hall “Theatre”. For limited number of performances, the musical play, more well-timed than ever before, is being presented at the Greek theatrical scene following twenty years with the signature of the renowned actress Anna Panagiotopoulou, the music compositions by Stamatis Kraounakis in lyrics by Lina Nikolakopoulou. The performance is directed by Marianna Kalmpari, while in the leading roles featuring Tzina Alimonou, Emilia Vasilakaki, Nektaria Yannoudaki, Evgenia Dimitropoulou, Diamantis Karanastasis and Yannis Stefopoulos.
  
  The legendary, now on, performance attempts a contemporary stage approach of the famous music play, which is identified by a clear-cut musical style. During the financial crisis in the 30’s, a group of people –the entire society on a small scale- co-exists on the sixth floor of a Parisian block of apartments. Using comedy as the axis that characterizes the successful adaptation by Anna Panagiotopoulou, we follow the lives of those people unfolding through their romances, conflicts, passions and mainly their dreams. Small or big dreams, dreams which offer them the courage to handle the difficulties of their routine. But through the progress of the play, they will realize that beyond dreams –which unfortunately rarely come true- there is love, fellowship, solidarity, the sense that we remain united against every difficulty. And only through this feeling can we eventually be true winners in the game of life.
  
  In an abstract and at the same time very much effective set, with live music and impressive choreographies, with some of the most popular songs of Lina Nikolakopoulou and Stamatis Kraounakis, transform the stage into a spectacular music performance, offering to the audience a joyful and optimistic two-hour experience.
  
  “Nothing ever happened, you did see nothing, nothing ever… in the end we are all audience…”
  
  See more information and buy your tickets with a click here
  

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• READ From Monday 7 to Sunday 13 May 2012 9th INTERNATIONAL MEETING OF ARCHAEOLOGICAL FILM OF THE MEDITERRANEAN AREA... and beyond [AGON] at the Greek Cinema Archive
  AGON in collaboration with the Italian Cultural Institute of Athens presents the 9th AGON Meeting, which will take place at the Greek Cinema Archive in Athens (48, Iera Odos, Kerameikos) 7-13 May.
  
  Who where the Warriors in the Mist? Why did the Gauls loose the heads? Can the Caryatid’s hairstyle be reproduced? How many archaeological treasures are hidden in the depths of the Greek sea? What’s the relation between looters and museums?
  
  These and many more through more than 60 archaeological films and special screenings.
  
  Information:
  www.archaiologia.gr/agon
  τηλ. 210 3312990 (AGON), 210 3609695 (Greek Cinema Archive in Athens)
  

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  Program/ Schedule

  • 9th INTERNATIONAL MEETING OF ARCHAEOLOGICAL FILM OF THE MEDITERRANEAN AREA... and beyond [AGON] at the Greek Cinema Archive [file type pdf, 765,0 kb]
• SOON From Friday 25 May to Saturday 2 June 2012 THE LOW BUDGET FESTIVAL SPEAKS… FRENCH!
  The French Institute of Greece and the www.tospirto.net meet up with the Michael Cacoyannis Foundation in order to remind that theatre has a common language and common vision.
  
  Three new French plays, translated in Greek, in direction of three young Greek directors will “occupy” the specially configured underground level of the Michael Cacoyannis Foundation for 9 nights, from May 25th to June 2nd 2012, with general entrance ticket of €10.
  
  The full program will be announced soon.
  
  

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• ANNOUNCEMENT Tuesday 27 & Wednesday 28 March 2012 World Theatre Day - Free Tickets Offer for the performances at the Michael Cacoyannis Foundation
  World Theatre Day
  Free Tickets Offer for the performances
  at the Michael Cacoyannis Foundation
  

  
  On the occasion of the World Theatre Day celebration on March 27th, the Michael Cacoyannis Foundation in cooperation with the production members of the performances offers free tickets, as following:
  
  1.    On Tuesday, March 27th 2012, at 21:00: In cooperation with the National Theatre of Northern Greece, 50 double invitations for the play “The Dybbuk” by Bruce Myers, translated by Louiza Mitsakou, directed by Sotiris Hatzakis and with the music of Savina Giannatou. Tuesday, March 27th 2012.
  
  2.    On Tuesday, March 27th 2012, at 21:00: In cooperation with the Arena Theatre Team, 7 double invitations for the play DREAMS by William Shakespeare. Tuesday, March 27th 2012
  
  3.    On Tuesday, March 27th 2012, at 21:30: In cooperation with the composer Kostas Dimouleas, 7 double invitations for the music performance based on poetry by Ilias Laghios, Yiannis Varveris and Yiorgos Koropoulis entitled COLD BLOODED BLUE. Tuesday, March 27th 2012
  
  4.    On Wednesday, March 28th 2012, at 21:30: In cooperation with the Helios Theatre Team, 5 double invitations for the performance “Limited Days” based on the play “The Numbered” by Elias Canetti in direction of Kostas Gakis – Vasia Attarian. Wednesday, March 28th 2012
  
  The invitations – free tickets are distributed by the Michael Cacoyannis Foundation
  Bookings – Information: 210 3418579. Booking will take place in turn of priority.
  
  

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• READ From Monday 19 March to Tuesday 3 April 2012 Visual - arts exhibition “Color in the Land of our times” with the participation of 24 great Greek visual - artists & 40 young students - artists at the ASFA
  The dramatic situation that our country faces nowadays – and on the occasion of the book – poem “Land of our times” by Giorgos Douatzis – is illustrated by 24 painters through their artworks in a visual-art – poetic event entitled “Color in the Land of our times” at the Michael Cacoyannis Foundation. The exhibition opens on Monday, the 19th of March, at 20:00, and will take place until Tuesday, the 3rd of April 2012. A large amount of the artworks selling turnover will be offered by the artists in favor of the financial support of the underprivileged people of the Municipality of Moschato – Tavros.
  
  

  The artists participating (in alphabetical order) are:
  Agelidis Nikos, Amarantos Michalis, Vatanidis Stathis, Giagianos Apostolos, Giannakaki Maria, Drougas Achilleas, Kana Rena, Karas Christos, Katsadiotis Christoforos, Katsoulidi Marianna, Kontellis Andreas, Lazogas Giorgos, Martinou Eleanna, Masteropoulos Giannis, Metzikof Giannis, Mpotsoglou Chronis, Nikolaou Andreas, Rinas Vagelis, Samios Pavlos, Sarakatsianos Christos, Skoula Maria, Skoulakis Dimos, Psychaki Myrto, Psychopedis Giannis
  
  The participation of the 40 young students - artists consists of real flags and banners which have been painted on subjects influenced by the social reality and the particular moments of the Modern Greek history that we all experience.
  
  With critical perspective and visual courage they “demonstrate” with flags referring to the general human circumstances, up to the Greek identity, Europe as well as the crisis. This very young generation of the incoming artists makes with emotions, imagination and energy its own mark while the artists with their own incompatible determination – through their art and attitude – fight for their values and principles.
  
  Participating: [ASFA 7th Semester - Painting Workshop]:
  Cleopatra Techlikidi, Cleopatra Drosopoulou, Leto Kattou, Vaso Tzouti, Kamelia Samata, Yannis Chimonakis, Natassa Georgakaki, Peny Monoyou, Mpessy Ralli, Emanouella Agelopoulou, Sofia Kyriakopoulou, Liza Karatza, Vivian Chalkidi, Anta Anastasea, Alexandros Vergis, Andrianna Daouti, Christina Kousoulidou, Kristi Grigoriou, Vasilis Koutouzis, Tzeni Kazantzidi, Maria Orfanoudaki, Pavlina Vagioni, Liana Salampsa, Thodoris Trampas, Kyriaki Goni, Andreas Christodoulou, Dimitra – Eleni Georgiou, Evagelia Papathanasiou, Ageliki Loi, Apostolis Filippou, Nota Paterimou, Tasos Pantis, Sophie Fardella, Fotini Palpana, Pavlos Ioannidis, Eleni Kokolaki, Katerina Theodorakopoulou, Magdalini Vasila, Asimaki Spyridoula, Katerina Magirou, Evelina Ntountounaki
  

  
  The art historian Ira Papapostolou, who is the curator of the exhibition, writes, among others, in the catalogue: “Twenty four artists, the tragic situation our country goes through and the book-poem Land of our times by Giorgos Douatzis. Three starting points, one encounter, a prolific dialogue.
  
  Visual artists of different generations, styles, approaches, choose lines from the poem, they commune with it and they transform it into images. The poetic work is shared through the hands of the artists and shapes another form. Realism, expressionism, conceptual art, surrealism, abstract art encounter and recompose the Land of our Times, a land with its winners as well as its defeated, with its dark as well as its light, with the masks of its sorrow, however, with its hope as well.”
  
  Giorgos Douatzis highlights among others in the exhibition’s catalogue: “When I was writing by the end of 2009 the “Land of our Times”, which was published in 2010, I couldn’t imagine the extreme worsening of that multisided crisis which emerged only as financial, but I consider it as natural transformation of the culture, society, politics, even national entity crisis. As another bad fortuneteller I see unfortunately, now, all my lines being reality, I see my land getting more dark, I see human pain, despair, lack of democracy and rage overflowing. This exhibition attempts to become a little yelling of reminder, compassion and solidarity.”
  
  SEE MORE INFORMATION WITH A CLICK HERE
  

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• READ 9, 10, 11 & 17, 18 March 2012 “Getting to Know Music and Musicians”/ Educational – Music Program/ 6 Concerts with Free Entrance/ Art Direction and Design: George Koumendakis
  The Michael Cacoyannis Foundation and the initiative for social awareness “Children First" (“Prota to Paidi”) will be organizing in March 2012, the educational-music programme “Getting to know Music and Musicians”. The art direction and design of the programme are by George Koumentakis, sponsored by the Hellenic Postbank.
  
  The objective of this programme is the creation of an environment where music can blossom.  The artists and the groups chosen, relate the study of music, on a higher-education level, always drawing on new ideas, through an educational process of extremely high standard, to create a partnership with remarkable musical results which is achieved through the research and exchange of traditions, musical experiences and material.
  
  A very important aspect of the programme is that the second series of concerts includes participants from regions such as the Cycladic islands and Macedonia where very active musical groups have been formed which have a lasting presence in the field and constant educational and artistic activities.
  
  At the same time international collaborations and artistic exchange of ideas are emerging with the sharing of musical experiences and material from different traditions and the partnerships of Greek musicians living in Greece, with musicians – Greek or foreign – from abroad.
  
  The first series of the programme “Teachers and Students” includes three concerts on the 9th, 10th and 11th of March by three soloists who work and teach in Greece.  Each one in his own field must simultaneously demonstrate a work of both educational and artistic importance.  Some of their students will be joining them on stage, demonstrating various capacities of their musical tutorship.
  
  - The Quilombo ensemble with their students present a lesson on percussion
  
  - Vocal Ensemble Vocal Inventions of the Municipality of Moschato – Tavros Conservatory , Conductor: Olga Alexopoulou
  
  - Music Workshop by Filippos Tsalachouris [In the Beginning was the Sound]
  A game for sounds discovering… Sounds common, sounds of nature, human sounds, seen from a different perspective, they are the primary component of music. Having as means simple, common materials, as well as flute and piano, Filippos Tsalachouris organizes a workshop open to all ages as well as everyone who loves music.
  
  - Agapi Papamitsou Soprano
  Ioanna Vrakatseli Mezzo Soprano
  Eleni Stampoli Piano
  &
  Anny Markodimitraki Piano
  Yota Ekonomopoulou Piano
  ”With the support of the Sapfo Conservatory”
  
  - Anna Stereopoulou will be presenting, in the form of a musical workshop, a recital of the basic methods and functions of music and sound in cinema, using various techniques, based on the historical and parallel evolution of both these arts (Music and Cinema).
  
  The second series of the programme “Musical Communities” includes three more concerts on the 17th and 18th of March with acknowledged composers – musicians in partnership with renowned ensembles from Athens and regional Greece.
  
  - Nikos Kypourgos and the Cycladic Orchestra
  The newly-established orchestra comprises 18 members combining a large assortment of traditional and folk instruments and songs.  The concert includes Greek music and songs in all forms, traditional, folk and art music.
  
  - Alexandros Mouzas and the Ergon Ensemble
  The ERGON ENSEMBLE made its first appearance in 2004 as an informal group belonging to the Paxos Festival.  It evolved into what it is today as of 2008.  It is comprised of talented musicians who, throughout those years, have taken part in the International Ensemble Modern Academy of Paxos.
  
  - NEOI PANES
  A musical rehearsal / workshop about our own Greek musical tradition
  The ensemble / workshop “Neoi Panes” of the Department of Music Science and Art of the University of Macedonia makes a presentation of musical instruments which for centuries have dominated the folk and literary culture of the southern Balkans.
  
  The young musicians who make up this ensemble – students and future professionals – along with their teachers, experiment musically and improvise with the rich phraseology and elaborate structure of our own familiar musical traditions, providing an interpretation which aspires to merge the old musical practices of the city with the contemporary.
  
  A 30 minute musical performance will follow, presenting tunes and compositions, through which the musical instruments being presented will emerge.
  
  Participants:
  Angistriotis Pantelis (classical kemence),  Andoniadis Yannis (clarinet),  Avgerinos Andonis (bouzouki),  Valasi Loukia (zither),  Zingerides Vassilis (kanun),  Zingerides Costas (bayan),  Kambouridou Stella (kaval),  Kokoris Argyris (vocals, oud), Kromidas Christos (bouzouki),  Koti Charitini (violin),  Lambadaki Natalia (vocals), Papasteriopoulou Alexandra (percussion)
  
  Rizopoulos Alexandros (percussion)
  
  Artistic direction, orchestration :  Atzakas Thimios, Achalinotopoulos Manos, Sinopoulos Socrates, Tsikourides Lefteris.
  
  The programme is aimed at secondary school students, especially those students of music or arts schools, schools for children with special needs and conservatories and also provides a tool for educational staff of related disciplines.
  
  An Educational – Music programme
  “Getting to Know Music and Musicians”
  
  First series of concerts
  

  • Friday 9 March, 18:00 - 20:00 Quilombo ensemble

  • Saturday 10 March,  12:00 - 14:00 Anna Stereopoulou

  • Sunday 11 March, 12:00 - 14:00:

  1. Vocal Ensemble Vocal Inventions of the Municipality of Moschato – Tavros Conservatory , Conductor: Olga Alexopoulou
  
  2. Music Workshop by Filippos Tsalachouris [In the Beginning was the Sound]
  Free Entrance
  
  3. Agapi Papamitsou Soprano
  Ioanna Vrakatseli Mezzo Soprano
  Eleni Stampoli Piano
  &
  Anny Markodimitraki Piano
  Yota Ekonomopoulou Piano
  ”With the support of the Sapfo Conservatory”
  
  Hall: Theatre
  Free Entrance
  
  Second series of concerts
  

  • Saturday 17 March, 12:00 - 14:00 Alexandros Mouzas and the Ergon ensemble and 20:00 - 22:00 Nikos Kypourgos and the Cycladic orchestra
    

  • Sunday 18 March, 12:00 - 14:00 Neoi Panes – Thimios Atzakas and Socrates Sinopoulos

  Hall: Theatre
  Free Entrance
  
  Information and bookings at the Foundation's Box Office (Piraeus 206, Tavros) and over phone 210 3418579 Mon-Fri 11:00 - 14:00
  
  Booking is necessary - Bookings will take place in turn of priority
  

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• READ Monday, 20 February 2012 The filmmaker of the legendary Grease, Randal Kleiser, gives Master Class on Monday, February 20th. The day before meets everybody interested for a preparation – briefing session with admission free of charge
  Ticket presale already started for the Master Class by Randal Kleiser, the filmmaker who contributed to the global cinematic arts with the movie Grease, the most successful musical of all times.
  
  The internationally renowned, American director will visit Greece for the first time ever, in order to share with Greek filmmakers and actors the secrets of an ultimately successful, international career for a 4hour Master Class, on Monday, February the 20th 2012, from 13:00 to 17:00, at the Michael Cacoyannis Foundation. It is one more educational initiative, in the line of Act and Re- Act: Masterclasses which take place in memory of Michael Cacoyannis, donated by the Livanou Family, offering to the artistic workforce of our country one more opportunity for training with low-cost fees.
  
  Foregoes a preparation - briefing Open Meeting for the Master Class that follows, in presence of Randal Kleiser, on Sunday, the 19th of February 2012, at 12:00 with admission free of charge. The meeting is going to be moderated by the film critic, Giannis Zoumboulakis.
  
  Randal Kleiser, enthusiast himself of the Greek culture, chooses to visit our country, responding to the invitation addressed by the Michael Cacoyannis Foundation, during not an accidental period, ready to contribute with his esteem to the development and promotion of the contemporary artistic production of our country. As a first step, he will meet Greek actors, filmmakers as well as young students sharing with them knowledge, experiences and practices based on the acting method by Nina Foch. Along with the multi-awarded director and producer George Lucas (Star Wars, Indiana Jones, American Graffiti etc.) undertook the production of the DVD “Nina Foch Course for Filmmakers and Actors” aiming to the regulation as well as the promotion of the work and the technique by the great acting trainer, Nina Foch.
  
  Nina Foch Course
  The Course was developed by Ms. Foch from her study with Lee Strasberg, Stella Adler and Uta Hagen, combined with her experiences being directed by such icons as Vincente Minnelli, Stanley Kubrick, Robert Wise, Otto Preminger, Blake Edwards and Cecil B. DeMille.
  
  For 40 years, at USC and The American Film Institute, she taught a generation of filmmakers including John McTiernan, Amy Heckerling, Ed Zwick, and Ron Underwood. Culled from over 200 hours of footage, this two set DVD puts the viewer right in her classroom and will appeal to students of directing, acting, and writing, as well as professionals who want to use it as a basic resource. It is also an invaluable aid to anyone engaged in public performance, whether in the workplace, the courtroom or at a speaking engagement.
  
  It’s impossible to categorize the Nina Foch Course as being “for” any particular group. Is it for directors? Absolutely. For actors? Yes. But it’s equally valuable for writers, editors, producers, and anyone with more than a passing interest in the art and craft of filmmaking. This material can be used for an entire course, as part of a course, or a rich reference source to immerse yourself in your craft.
  
  Participation Fee: €30
  Reduced Participation Fee for Drama & Cinema Schools/ Theatre Studies Students: €20
  
  See more with a click here
  

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• READ 9.02.2012 Call for Entries for Greek Film Fest Chicago! 2012
  Greek Film Fest Chicago! celebrating Hellenic StoryTelling, has announced a call for entries for its 2nd annual festival to take place in Autumn 2012. Short- and feature-length entries produced no earlier than January 2010 by international filmmakers of Greek and Greek Cypriot descent are now being accepted for admission. Films about Greece and/or Hellenism by non-Greek filmmakers will also be considered.
  
  The film festival is the premium event of the FilmHellenes, a not-for-profit corporation, dedicated to embracing Greek filmmakers worldwide by featuring a juried selection of the finest contemporary Greek films to Chicago audiences - the Greek diaspora community and the wider American public. FilmHellenes also sponsor other events throughout the year, including benefits, retrospectives, tributes and training workshops, to fulfill their mission of preserving and strengthening their Greek heritage, building bridges to other communities, and advancing Greek cinema in the modern world. This is done by providing opportunities for the next generation of Greek filmmakers and promoting new talent.
  
  The FilmHellenes board is comprised of notable individuals of Hellenic descent with considerable experience in film and the humanities. They include president and co-founder, filmmaker Niko Franghias, writer-director of EmberFrames; vice president Zoe Iltsopoulos Borys, Fletcher Cameras’ general manager; secretary/treasurer Terry Jacobs of EmberFrames; Dino Vlahakis, owner of the Pickwick Theatre in Park Ridge, Ill; banker Dimitris Kostopoulos, also a Greek language teacher at the Hellenic American Academy; Art Andros, architect and City of Chicago project manager; Takis Theotokatos, director of cultural programming at the Hellenic American Academy; and Peter Kanelos, assistant professor of theatre at Loyola University Chicago.
  
  For consideration, films should fit under one of four categories: Hellenic Current (recent narrative features, short subjects, animation, feature and short length documentaries); Flashes of History (historical documentaries); and Young Ambition (student entries). A special program category, Chrysotheke, (by festival invitation only) will be saluting films that are putting Greece on the map.
  
  The regular deadline for submissions is March 31, and the late deadline is May 1.
  For complete guidelines and entry forms, please visit www.greekfilmfestchicago.org or email submissions2012@greekfilmfestchicago.org.
  

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• ANNOUNCEMENT Friday 10 & Saturday 11 February 2012 Cancellation of scheduled performances due to strike
  Due to 48hour General Strike announced for Friday 10th and Saturday 11th of February 2012 the scheduled performances will not take place at the Michael Cacoyannis Foundation
• ANNOUNCEMENT Wednesday, 25 January 2012 The MCF expresses warm condolences to the family of Theo Angelopoulos
  At the age of 77 years the great Greek director Theo Angelopoulos “passed away”, there exactly, where shooting for his latest film “The Other Sea” was taking place. His unexpected, tragic loss roused deep sorrow internationally.
  
  The Michael Cacoyannis Foundation expresses warm condolences to his family. As frequently the late Michael Cacoyannis used to say “Angelopoulos should not stop working, he is valuable asset for the country”.
  
  

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• READ 17 - 18 December 2011, 7 - 8 & 14 - 15 January 2012 *etsi ALL TOGETHER - WEEKEND @ MCF... The last festive weekend for families comes on the 14th & 15th of January Three Festive Weekends –offer to the whole family at Michael Cacoyannis Foundation
  Michael Cacoyannis Foundation, the Metropolitan Stories/Metropolis and Red Design Consultants organize jointly two-day festivities for children, which work as a meeting and dialogue forum for adults as well.
   
  So the Weekends 17-18 of December, 7-8 & 14-15 of January 2012 MCF changes, takes part in this years’ festivities and together with the performance organizers, its old and new friends and precious collaborators, opens its doors from the morning to young children and adults, to the whole Greek family to enjoy creative and lovely hours of entertainment on a flat rate ticket!
  
  The programs and the activities start at 11 am in the morning and are completed in the late afternoon. During them, our little friends, together with their family members, have the chance to listen to fairy-tales, watch theatre performances and movie shows and also take part in creative games and activities. Furthermore they will have the chance to learn Cuban dances, living-room gardening, PC secrets, how to make a movie and make it even more fabulous with music, and after a delightful hand massage to show off their talent in karaoke!
  
  At the same time, the parents will be able to pick and shop smart and inexpensive gifts as:
  -    small artworks from students and graduates of the Athens School of Fine Arts in aid of vulnerable groups of Moschato Tavros Municipality.
  -    Clothes and jewels by young Greek designers, in a specially organized Bazaar.
  
  Moreover, they have the chance to attend debates as well as to participate in events where young entrepreneurs and artists share their own little personal story.
  
  And all that on a flat rate ticket of 10€ per adult who can escort one child free of charge!
  Two-day ticket: 17€
  Special prices for group tickets
  
  See more information with a click here
  

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• READ Friday, 16 December 2011 Following New York, the “voyage” of Doros Dimosthenous continues in Athens, with music from Cyprus and Mediterranean at the Michael Cacoyannis Foundation DOROS DIMOSTHENOUS "From Cyprus and Mediterranean. A musical voyage"
  He belongs to the most important performers of young generation; he has won the recognition as well as the trust of the greatest composers nowadays, while, every performance of his, charms Hellenism around the globe. He has just returned from New York, where through “a nostalgic musical voyage, with theatrical rhythm and beloved songs, Doros Dimosthenous managed to excite and charm the audience in the crowded auditorium of the St Trinity Cathedral, in Manhattan, leaving the Mediterranean aura hover upon the Big Apple.
  
  With this well structured music performance Doros Dimosthenous led his audience to Cyprus, Greece and the entire Mediterranean. Now he invites us to enjoy the same concert in Athens as well, on Friday, December 16th at 21:00 at the Michael Cacoyannis Foundation.
  
  A voyage around Mediterranean, embarking from Cyprus and travelling to other ports and peoples, with which we are united by common destiny, sorrows and Mediterranean Sea’s history.
  
  A melodious journey with peoples’ songs of a sea which has been the core for history as well as the global culture for many centuries.
  
  Doros Dimosthenous performs folk songs, creations by peoples as well as composers. Focused on the songs of Cyprus from medieval times and renaissance up to nowadays.
  
  On the parallel there will be some connecting texts, from folk tradition as well as writers who have visited our land or composed especially for the concert.
  
  Special guests for the performance will be Lamia Bedioui from Tunisia, Eleni and Souzana Vougiokli from Thrace, Martha Mavroidi and more.
   
  Narration: the poet Linos Ioannidis
  Orchestration: Neoklis Neofytidis
  
  The performance takes place with the sponsorship of the Cyprus Ministry of Education and Culture and under the auspices of the Ambassador of the Cyprus Republic in Greece, Mr. Josef Josef.
  
  See more information with a click here
  

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• INTERVIEW Thursday, 8 December 2011 The performer and director of the play “The American", Thanasis Sarantos, talks about this new premiere
  Opportune like never before, fairy-like but realistic too, the speech of the great Skiathian author Papadiamantis unfolds for one more year the atmospheric performance of the Michael Cacoyannis Foundation Black Box. The performer and stage director Thanassis Sarantos talks to us for this new mounting and explains to us what is it exactly that keeps this masterly text immutable in time and so harrowingly classical.
  
  Third year of success for the “American” on a new mounting at the hospitable “Michael Cacoyannis Foundation”. What’s new for the spectators this year to see? What new thing is it that you get, as a creator, from your contact with the masterly text of the Skiatthian author?
  
  “The American” is a journey with the Skiathian author as a fellow-traveller, which lasts almost three years. The performance has travelled until now practically all over Greece and the public feeling was excellent, which proves in the best way the people’s need today for anything authentic and real. We ‘re coming back with a new mounting for the little theatre in Michael Cacoyannis Foundation, with new lightings and a new musical instrumentation but with an absolute respect on the author’s speech, having as a main vehicle this almost twisted game of rapid alternations of all characters of this masterly story. The narration “converses” with the music, which is specially composed for this performance by the composer Lambros Pigounis, who performs with me in the Black Box stage. Every evening we live the magnificent story of the tramp, wandering Greek refugee Giannis Mothonios who returns to his birthplace, Skiathos after 20 years. Every time we perform, I realize how contemporary Papadiamantis’ speech is, how close the author stands to the simple human being and finally how opportune he is 100 years after. For me, as a stage director and actor, was practically the first time that I grappled so energetically with a Greek text and felt how few set means are needed in the end, in order to have an authentic theatrical pact, when honesty and fantasy exist and when the audience becomes a real play-mate with the performers narrating a story.
  
  You are being transformed on the stage; you “wear” many different characters. Which is the one that touches your heart the most, the one that moves every single time?
  
  The characters in the Papadiamantis’ novels are not “shadows”, the writer carries an ultimate love for the rejected and humble ones, for the outcasts, the ones that Papadiamantis approaches like heroes even if they have just a short part in his writings, and this is because the writer has as his own centre his love for the human being. Considering this point of view, the challenge is really tempting to be “transformed” through narration into all the persons who live and breathe within the Papadiamantis universe. It is impossible to distinguish a person. All characters move me, they have their own life, their own existence: from the children singing carols, or the old-mother who wonders about her single daughter’s destiny, or the drunken porters, the grim lodger, captain – Anastasis, the old – cafeteria owner Reader and of course the main character, the “American” Yannis Mothonios, who despite the fact that he is a man of few words, makes us feel completely his emotional oppression.
  
  How difficult and at the same time interesting is to bring a play with formal Greek on the stage?
  
  It is so magically theatrical for me this journey into the Greek language through the characters of this Christmas story: from the Papadiamantis - narrator’s formal church language, the Skiathos island people’s local dialect, the “semi-Greek” of the main character, the naval terms being heard in Italian by the likable captains in the coffee shop. All these fast alternations of this tuneful, shining and rich language of Papadiamantis, which sounds really magically nowadays, inspire and liberate us. The images emerging from the sharp, penetrating sight of Papadiamantis are quite cinematic. The audience has no difficulty to follow the story of the poor immigrant, moreover be identified with the main hero as his story unfolds before the audience’s eyes. The happy, bright end of the story – one of the brightest moments for Papadiamantis- praises love that overflows the heroes’ souls as well as the audience’s that feels moved in every performance. Is there any greater satisfaction for an actor and a musician on stage?
  
  You are the one who initiated the theatrical “movement” for Papadiamantis in the theatrical proceedings three years ago. How do you feel that many other efforts followed, always based on the work of the all – times writer?
  
  Believe me; I didn’t start working on Papadiamantis just to work on a classic writer. A neo-Hellenic theatrical text that could reflect our times, I was looking for and I couldn’t find it. Perhaps this is a sign of our times as well as the declining years of our democracy. It was then that “American” crossed my mind, the text I was reading during my school years and I realized that this text talked straight into my soul. The continuation happened with the emblematic and quite tough story “A Dream on the Wave” that has been presented in the line of the Athens Festival 2011, and fortunately will be repeated in 2012. There, there was a different approach since the cinematic images and the watery set by Eva Manidaki have been integrated in the Papadiamantis universe of the wonderful story. It does not impress me at all that many other directors followed since he is a really endless writer and quite different from story to story and from novel to novel and is quite a challenge to cope with. Besides I do believe that an experience with Papadiamantis makes you see better and more clearly. I do feel happy that in this terrible financial coincidence following 20 years of newly wealth and moral decline, Papadiamntis turns to be a light of culture into this dark storm of our land. Since even the National Theatre of Chouvardas rediscovered the Greek text after so many years of German occupation, then we are on the right way…
  
  SEE MORE INFORMATION ABOUT THE PERFORMANCE "THE AMERICAN" WITH A CLICK HERE
  

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• PERFORMANCE 5, 6, 7, 8 & 12, 13, 14, 15 December 2011 Bijoux de kant - Dead and alive performers, ghosts and spirits on the Black Box stage... "Freedom or Death" at Michael Cacoyannis Foundation
  The subversive musical band Graveyard Cafe Band, that made an impact in Athens theatrical life, returns to Michael Cacoyannis Foundation after their participation in the Blender Festival in the May of 2011 and presents the music performance «Graveyard Cafe Band / freedom or death», produced by the group «bijoux de kant», at the Black Box Hall of Michael Cacoyannis Foundation from the 5th of December and only for 8 performances.
  The dream music is composed by the musician Kostas Dalakouras and the imaginative direction and set design is by the artist – director Giannis Skourletis, who are the creators of the artistic group “bijoux de kant”.
  It’s a performance which drags up the rebellious romantic writing with Greek texts of the 19th and the 20th century. Dead and alive performers, ghosts and spirits hop on the stage in order to sing lyrics and words from Kalvos and Solomos to Napoleon Lapathiotis and Katerina Gogou.
  
  Dead men awaken and remain vigilant.
  They talk again, they talk within them, they say for good and
  irreversibly the only phrase, the alone true.
  Freedom or death.
  
  More information here
  

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• INTERVIEW From Friday 2 to Sunday 4 December 2011 Choreography without shadows, with pure light and Yumiko Yoshioka on stage! Rena Konstantaki talks to mcf.gr about her new work. By Achilleas Kourias - Translated by Emily Brown
  “Every work is an attempt at communication with oneself and with others, each time a result of different motivation, with a different subject and presentation” says Rena Konstantaki to mcf.gr talking about the butoh - dance performance that is going to be presented at MCF from December 2nd to 4th. This time, for her new choreography, she decides to focus on that “pure light” that human existence is covered with, just twice a day, when the sun is placed “6 degrees below the horizon”. With the same light she frames up her character, the internationally renowned dancer – choreographer Yumiko Yoshioka, who, without her own shadow, embarks on a journey from birth onwards, seeking for her identity and her place in the world, constantly facing herself and those around her.
  
  Your latest performance focuses on a particular point in time when the position of the sun is at exactly “6 degrees below the horizon”.  What inspired you to use this phenomenon in choreography?
  
  The sun is positioned at “6 degrees below the horizon” twice during any given 24 hour period, at dawn and at sundown.  Both of these times of the day are characterized by a particular quality of light and the absence of shadows.  What I found so interesting is the fact that at the beginning and at the end of each day there are two points in time during which  the world around us and we ourselves are bathed in a ‘pure light’, without shadows.  During the time between these two moments, meaning the time between daybreak and sunset, we are surrounded by shadows, the size and angle of which varies.  In this cycle which starts with pure light and ends in pure light,  but which, in its greatest part, is characterized by the existence of shadows, I found a cycle which I felt I could use as an axis for human development from birth to completion of a life cycle, including the journey from the one point to the other which is a continuous searching within oneself, an introspection into our darker side but also with regard to the shadows cast upon us on a social level.  Thus, through the choreography, this cycle is represented by a woman as we follow her progression from birth onwards, during which she faces herself and those around her in a quest to determine her own identity and to discover her place in the world.
  
  Your description is of a moment which is poetic, idyllic… Would you say that this work projects  an element of lyricism, and if so, does lyricism have a place in today’s world?
  
  I don’t know if the moment I described for you is, in itself, poetic.  It is a naturally occurring phenomenon, a common occurrence which is experienced on a daily basis.  At the same time, however, it is a very special moment.  In the same way that the moment a child is born could be considered a very common occurrence – it happens to all of us – at the same time it is an extremely precious moment for each and every one of us.  I would say that lyricism does exist to a certain extent but is more a result of the emotions evoked in people and the impact upon them caused by the experience of such moments rather than being a product of the artist’s intentions.  What I mean to say is that you don’t start out – at least I do not – with the intention of creating a work involving lyricism, although the audience may find elements of it in what you have created.  I believe the same applies in real life as well.
  
  The audience also experience those two moments of the day, when they stand alone in the world, without the comfort, for some, or the burden, for others, of their own shadow.  Which of the two is it, comfort or burden, and what role does this absence play ?
  
  I would prefer to describe it as the audience having to face the unfamiliar sides of themselves, which are depicted as shadows.  It is they, through their own  connection with the choreography who create their own story so as to find it intriguing on a personal level.  That is what interests me.
  
  Through this choreography you  portray an attempt at communication with others but also with ourselves.  How is this attempt expressed through the journey of the main character from childhood into adulthood?   How is it expressed through body language, through butoh dance?
  
  Every work is an attempt at communication with oneself and with others, each time  a result of different motivation, with a different subject and presentation, especially with performing arts where the performance comes to life by  creating a rapport with the audience.  It is a meeting of the artist and the audience.  This performance in particular, through the life journey of its main character, allows us to follow her as she tries to define her relationship with others and with the world around her.  In order to do this however, you must first get in touch with yourself.  As for butoh, it simply inspires me, through its essence and form of expression.  It opened doors for me to be able to express my ideas, which could have also been achieved differently which is why Yumiko is Japanese, a butoh dancer, and  the male – contemporary - dancer is Mexican.  This fusion was very exciting for me, I had the idea and I followed it through to see where it would lead me.  That is something that I learned from butoh,  not to put things in a mould but to explore internally and see where the road leads you.
  
  Can you recount some of your experiences during the creation process of the choreography and tell us about your co-operation with the internationally acclaimed dancer / choreographer Yumiko Yoshioka?  What  impact has this collaboration, which in the past has been so successful, had on you?
  
  For this performance in particular, we dedicated a lot of time to in-depth discussions, it is a difficult role and we had to explore very complex issues which I believe are of universal importance, affecting all human beings rather than being a solitary experience.
  
  I remember these moments fondly and once again I am astounded by Yumiko’s focus and conscientiousness as a person and an artist. My collaboration with Yumiko started as a result of a silly misunderstanding.  During the time in which I was working on my first project I attended  one of Yumiko’s seminars and was spellbound by her movement and I told her as much during the break.  I saw in her the character I had been creating for my first performance.
   
  I had no intention, nor had it even crossed my mind to make any suggestion with regards to involving her in what I was working on at that time, exactly because she was an internationally renowned dancer and I was a choreographer  who was just starting out and who nobody knew.  She declined immediately, before I had even had the chance to explain that I hadn’t, of course, been propositioning her, but then continued by asking me what exactly it was that I was working on and then said to me “I think I might be available in June”.  And this is how our collaboration began, a collaboration based on mutual respect and appreciation.  We spend a long time working on each performance.  Every time Yumiko comes to Greece to rehearse she stays at least a month.  For this performance, it is the third time she has come here so all in all we have worked together for about three months.  We co-habit during the rehearsal period and so what you see on stage is a result of our fusion.  What captivates me about her is her precision, the discipline and obsession for detail with which she works, the way in which she is so methodical.  Her presence on stage is magical.  What she appreciates about our work, on the other hand, is that she can go beyond the boundaries of butoh and explore other areas, discovering new ways of expression because she too is excited by this exploration, this evolution.
  
  We both believe in the magic of metamorphosis within, through which we can broaden our horizons and discover new qualities.  The chemistry between us has helped a lot in this process.
  
  See more information about the performance “6 degrees below the horizon” with a click here
  

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• READ Saturday 26 & Sunday 27 November 2011 "Russian Roulette" for two more nights...
  It wasn’t about taking risks… the Athenian audience “took a turn to gamble” human relationships in “Russian Roulette” and dared to face the comic as well as the tragic aspects of the eternal conflict between the two genders.
  
  They encountered the unique writing by Anton Chekhov and trusted the exceptional work by the director, Lilly Meleme, in six amazing performances, which, as it turned out, were not enough…
  
  Therefore, due to massive attendance and great success, the Regional Municipal Theatre of Roumeli extends the play’s performances, at the theatre hall of Michael Cacoyannis Foundation, for two more nights, on Saturday November 26th at 21:30 and on Sunday November 27th at 20:00.
  
  See more information about the performance Russian Roulette with a click here
  

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• THEATRE FESTIVAL From Monday 21 November to Tuesday 20 December 2011 2nd Low Budget Festival: The Theatre’s future, today…
  “Follow the young theatre people because those are its future”, Lakis Lazopoulos highlights, referring to the artists participating in the 2nd Low Budget Festival and this encouragement clarifies, completely, the artistic style of the theatrical month we are about to experience at the Michael Cacoyannis Foundation from November 21st to December 20th. Well, the theatre’s future, today, with 10 new productions and 30 performances, along with the creative teams of young generation, already renowned, to join their forces for a common effort: to make art of low budget but high standards.
  
  It looks like a challenge, however, its successful result, in this year’s 2nd, already, organizing of Low Budget Festival by the partners of tospirto.net, is something more than prescribed. The experience, the taste we all have from the last year’s premiere of the festival, proved that the true theatre art can come to fruition without superfluous “makeup”. With remarkable results already accomplished, performances which have been created only with the primary means but managed to shape their own path of success, as the Festival’s Artistic Creator, Anna Vlavianou, highlights, the Low Budget Festival, sculpted to overcome the odds of our times, promises to offer space to the young artist’s work, ignoring the usual hurdles.
  
  We should then just follow the forward steps of young artists and support their interesting attempt. We should hear the hopeful messages and reflect, afresh, on their concerns; we should finally experience the theatre's future today.
  
  The performances:
  "Sandra in light" - Stamatis Kraounakis [21, 22, 23/11/2011]
  “Dig!” – Maximos Moumouris [24, 25, 26/11/2011]
  “An Earl at Underworld” - Cheek-Βones [27, 28, 29/11/2011]
  “Civil Disobedience by Henry David Thoreau in 2011” - So7 [30/11 & 1, 2/12/2011]
  "The Park" - Art theatre "Aktis Aeliou" [3, 4, 5/12/2011]
  “Dr. Maybe Darling Version 11.0.5 in process” - Tzeni Argyriou [6, 7, 8/12/2011]
  “Prima Materia” - Nova Melancholia [9, 10, 11/12/2011]
  “A lady hanging in the air” - Sylvia Liouliou [12, 13, 14/12/2011]
  “One” – MAG [15, 16, 17/12/2011]
  “The Enemy of the People – A National Self-Examination” based on the play by Henrik Ibsen “An Enemy of the People” (1882) - Stathis Grafanakis [18, 19, 20/12/2011]
  
  See more information about the 2nd Low Budget Festival and the performances in details with a click here
  
  

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• CHILDREN PROGRAM October 2011 - March 2012 Weekends at MCF with children’s program and organized school visits following communication
  Michael Cacoyannis Foundation presents a rich, interesting and instructive program for children as well as for organized school visits.
  
  
  On Saturdays in the afternoon you can watch:
  
  

  • The Bewitched Green by Kyriaki Doxara, a puppet-theatre performance by Skala Theatre.                                                                                                           
    

  
  In December and in January, on Saturdays at 17.00, Skala theatre following the previous year’s success will present the play “The Bewitched Green” for the current theatrical season as well. High technology- and real size children – puppets, a live set and much more, on a performance of ecological content.
  For further information click here
  
  
  On Sunday mornings:
  
  

  • Sundays with puppet theatre in cooperation with Unima Hellas.

  
  Every Sunday from November 13th until January the 8th at 11.30, the Hellenic Department of Union International de la MArionnette (Unima – Hellas) presents in the MCF a program of puppetry performances. Different kind of puppets, music, narration, up to date technology and a new theatre troupe revives on its own way a new story every week.
  For further information click here
  
  
  

  • Lotinos Helios presents a theatrical family play, “The Greatest Treasure of the World”

  
  In November and December, every Sunday at 12.00, the “Lotinos Helios” theatre company presents a multi – show for children and adults. The performance deals with contemporary topics, introduced to the audience in a fabulous way, full of imagination, laughter, rhythm and liveliness. Values like courage, selfless offer, collaboration, acceptance of dissimilarities and forgiveness are some of the morals transmitted to the audience.
  For further information click here
  
  
  

  • Oral narration program for children with the storyteller Sasa Voulgari, “Images are passing before my eyes…”

  
  Every Sunday at 12.30, from October 16th until March, the psycho – pedagogue Sasa Voulgari introduces a new oral narration program for children. Having as her main tools the language, the voice, simple but yet imaginative set props, makeshift musical instruments, unfolds traditional as well as original stories on a specific subject every month.
  For further information click here
  
  
  In the line of social awareness of Michael Cacoyannis Foundation and in cooperation with the artists taking part, in every performance of tail narration, “The Greatest Treasure of the World” and “The Bewitched Green”, 10 free tickets will be available for unemployed parents, while for the performance series "Sundays with puppet theatre in cooperation with Unima Hellas", 5 free tickets will be available (for unemployed parents who demonstrate their unemployment card and accompany up to two children).
  
  
  PERFORMANCES FOR ORGANIZED SCHOOL VISITS
  Pre–school age kids as well as primary and secondary school pupils have the possibility to watch performances following communication with the theatre companies.
  For further information click here
  
  
  

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• INTERVIEW Wednesday, 21 December 2011 Ahead of her meeting with the Greek actors, Ivana Chubbuck talks about Oscar performances for the mcf.gr/ Lower price for drama school students By Achilleas Kourias
  More than 35 years of tuition experience in the fields of acting, as well as the maturity of a human being who was not afraid of facing creatively her own traumas, lie beneath the absolute certainty, in which, Ivana Chubbuck reveals the characteristics which distinguish the complete actor among the good ones. Talking for mcf.gr she shares with us elements of the technique she works on with the greatest Hollywood stars, building successful Oscar performances, while she claims that she eagerly awaits the day she will work with Greek actors in the line of the Master Class she will offer in December 21st at the Michael Cacoyannis Foundation.
  
  
  Without a doubt, your forthcoming presence in Greece in the line of Act and Re- Act: Masterclasses, as far as the artistic proceedings of our country are concerned, will be an extraordinary opportunity as well as a great honour for all the participants of your Master Class. Would you please let us know your intensions and your expectations considering this meeting with Greek theatre people? Which are going to be the subjects you will work on with the participants of your Class? Will it be more theatrically or cinematically orientated?
  
  I usually do scenes in workshops that I conduct around the world from both movies and plays.  A broad  cross-section of types of material.  In your case, I will be doing a seminar, instead, included in the seminar will be some of the Oscar lauded performances I’ve helped to create, and how we got to the places that facilitated, dynamic, powerful life enriching art through acting.
  
  I also will include some of the performances that I helped to turn a small part into a star making opportunity, as well as how to play a serial killer, how to play a death scene, and how to get to organic highs in your work if you have to play a heroin or cocaine – using exercises with the audience.  There will be film clips of these performances, too, to aid in having a visual to go along with my explanations, which I will provide.  Some of the clips will include James Franco, Brad Pitt, Charlize Theron, Halle Berry, Elisabeth Shue, Eva Mendes, Jessica Biel and more.
  
  I look forward to returning to Greece to do a full-on workshop with Greek actors.  Think of the seminar as the appetizers that whet the appetite for the full meal!
  
  
  Those who are aware of your acclaimed career might know that the Chubbuck Technique is structured in a way that enables human emotions into the acting process. How deep an actor should go into his or her own psyche, when approaching a part, in order to discover the necessary tools for his or her performance?
  
  That all depends on the specific part that the actor is playing.  Say, for example, if the character the actor is portraying is a serial killer – it is important to find that part of you that can find a righteous reason to commit murder, and not even a crime of passion, but cold-blooded murder – one must find the darkest, deepest pain that resides within our hearts and souls. Then the actor must explore who he/she feels is responsible for this pain, and “metaphorically/symbolically” in the fantasy of acting, take retribution with that person within the context of the performance. 
  
  However, if the person is playing someone who is seeking love, and is having a hard time doing so – the actor need only go to the part of them that feels lonely and separated from human connection.   Therefore, creating not just a “want” but a desperate “need” to find their love match.  Making the journey for the actor, and therefore the audience, more compelling and urgent. 
  
  There’s always a certain depth one must reach to establishing a character that is universal in his/her needs.  In this way, no matter geography, socio-economic differences, social hierarchy, or religious beliefs -- all people, in all countries, can relate.   This ultimately establishes a true human connection between the audience and the character that is being performed.
  
  The Chubbuck Technique’s success depends more on the tutor’s role or is it a matter of the actor’s willingness to actually dive into the deepest aspects of human soul? Moreover, which way the tutor shapes the path that an actor should follow towards his/her most intimate soul layers?
  
  No I teach actors tools so that they can do the work themselves, have a sense, a meter to know when they are doing true, authentic, powerful work.
  
  Which includes how to get an actor to be open, and not only willing, but desiring to dig deep. The base of the Chubbuck Technique is to take trauma and pain, and use it to fuel the journey/objective to overcome and thereby accomplish their goals.  Most actors, and people as well, take pain and wallow in it.   This creates a self-indulgent “feeling sorry for oneself” result. 
  
  No one wants to be around people who are all about self-pity in life. If one takes personal pain/traumas and uses to impassion “journey”, their mission, to overcome the circumstances that create pain, it also create a catharsis for the character, the actor, and ultimately the audience.  There’s inertia to a person who sits in their pain, creating a “loser” mentality.  But a person who tries to move mountains, in order to change their circumstances that will help them conquer the pain -- is a “winner”.   It’s more satisfying to play and to watch someone who rather than wanting to lose, is someone who wants to, in any and all ways, to WIN! 
  
  When an actor realizes that this way of working makes bringing up your deepest feelings create such a feeling of release and accomplishment, it makes the actor want to dig deep.
  
  
  Making a reference to Aristotle’s Drama definition you highlight struggle and the final victory against the odds as fundamental issues for acting process. Do actors really have to fight in order to accomplish a complete performance, and if so, which are the weapons needed?
  
  The best weapons to fight and therefore to win are: passion, drive, focus, need, and tenacity.  And to not let obstacles stop you, but rather to invigorate your drive to fight.   If you are climbing Mount Everest, you might find the obstacles of thin air, bad weather, avalanches, the possibility of slipping and falling to your death may get in the way.  But once you get to the top (accomplishing your goal) it becomes a rousing and adrenaline inspired journey – more satisfying to play (and again to watch) someone “fight” those obstacles to get to your ultimate goal.
  
  
  What really makes an actor complete? In other words, what really distinguishes the best actor from the good one? Is it a matter of an exhaustive soul-searching and a balance that follows the discovery of his or her true identity?
  
  What makes an extraordinary actor (as opposed to a merely good one) is two elements:
  
  1.    A strong work ethic (doing all the detail work it takes to create a 3-demensional human being.  Rehearsals, homework, redefining and continuing to change and manipulate your choices off what works and doesn’t work, etc)
  2.    Taking RISKS!  (to never be afraid to make bold choices, both in your inner investigation, and in establishing mannerisms that come from need and from the uniqueness of the specific kind of character that you are playing)
  
  These two elements, I’ve found, in creating hundreds of successful careers in my 35+ years of teaching, is also the recipe for stardom.
  
  See more about the Master Class by Ivana Chubbuck at the What's On sector with a click here
  

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• READ Tuesday, 27 September 2011 Updating our rendezvous...
  These days of September, on the cusp of an orbit that ends and another one that is just being shaped, highlight the initiation of an, undoubtedly, creative period. In the following months, we are going to see great representatives of the nowadays culture, presenting their own approach, making their own effort, finally, allowing us to come in contact with their own perspective for the arts. It is all the people, Greeks and foreigners, who at a crucial crossroads for our country invite all of us to follow the path of creativity.
  
  Well, people like them will be present, already from late September, at the Cultural Centre of Michael Cacoyannis Foundation, shaping with their work an important program with theatre, dance, cinema, music and visual arts for art followers of all ages. In parallel, a significant number of educational programs, seminars and master classes will start off a dialogue among audience and leading professionals, aiming to the communication of knowledge.
  
  It is just the updating of the same rendezvous for almost 2 years now, at 206 of Piraeus Street in this September as well, there where… something is always going on. Performances which will be presented for the first time ever and other which have been adored that much to return. Artists who innovating and subverting conventions, lead their art a step forward. Festivals which have managed to create strong bonding with the audience. Personalities of high esteem, ready to share knowledge and experiences. In other words, youngster at their first explosive steps, as well as older ones in moments of mature creativity, meet up at Michael Cacoyannis Foundation promising to share with all of us their own inspiration.
  
  See the new program of MCF with a click here
  

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• READ From Thursday 1 to Friday 16 September 2011 His own cinema, at his own home, with his own people A Retrospective on Michael Cacoyannis' works
  With recent memory of its Founder’s and first President’s passing, the Michael Cacoyannis Foundation organizes a Retrospective – Memory Tribute to his cinematic work.
  
  The Foundation invites all of his friends and colleagues, all cinema friends, everyone who would like to remember or even become aware of the great director's cultural – artistic legacy to watch his 15 feature-length movies as well as a TV film that has never been screened in Greece before. The Retrospective will be prefaced by the Foundation’s President, Mrs. Yannoulla Cacoyannis – Wakefield.
  
  

  Screening Program:
  

  
  Thursday 1/9
  Windfall in Athens, 1954 (92’)
  
  Friday 2/9
  Stella, 1955 (90’)
  
  Saturday 3/9
  A Girl in Black, 1956 (100’)
  
  Sunday 4/9
  A Matter of Dignity, 1958 (112’)
  
  Monday 5/9
  Iphigenia, 1977 (120’)
  
  Tuesday 6/9
  The Trojan Women, 1971 (106’)
  
  Wednesday 7/9
  Electra, 1962 (107’)
  
  Thursday 8/9
  Our Last Spring, 1960 (121’)
  
  Friday 9/9
  The Wastrel, 1961 (120’)
  
  Saturday 10/9
  Zorba the Greek, 1964 (137’)
  
  Sunday 11/9
  The Day the Fish Came Out, 1967 (104’)
  
  Monday 12/9
  Attila 74, 1975 (98’)
  
  Tuesday 13/9
  Sweet Country, 1986 (148’)
  
  Wednesday 14/9
  Up, Down and Sideways, 1992 (100')
  
  Thursday 15/9
  The Cherry Orchard, 1999 (137’)
  
  Friday 16/9
  The Story of Jacob and Joseph (TV), 1974 (120’)
  

  
  See more details for the Retrospective on Michael Cacoyannis' works at the WHAT'S ON sector with a click here
  
  

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• READ 30 August 2011 Greek Film Fest Chicago! to open with ‘Gold Dust’
  CHICAGO – FilmHellenes, sponsor of Greek Film Fest Chicago! (GFFC), has announced the featured films for its 1st annual festival, to take place September 29 - October 2, 2011 at the Pickwick Theater in Park Ridge, the new National Hellenic Museum (Halsted at Van Buren) and the Portage Theater (Sunday only) in Chicago. The four-day event will include screenings of internationally-acclaimed films, ATTENBERG, PLATO’S ACADEMY, EDUART, and the Academy-Award-nominated, DOGTOOTH, as well as works from up-and-coming filmmakers, including THE GUIDE, 45m2, THE GUARDIAN’S SON, and the opening-night feature, GOLD DUST. In addition to other feature-film selections, Greek Film Fest Chicago! will host a full slate of documentaries, student films and shorts.
  
  “As this is our inaugural year, we welcomed films produced within 2006 -2011, in order to give Chicago and the Midwest the opportunity to witness the rising momentum of New Greek talent. We were astounded to receive three times more submissions than anticipated. Filmmakers from Greece, the US, France, Germany, Switzerland, Israel, the UK and Canada answered our call with strong entries”, says GFFC Chairman and FilmHellenes co-founder, filmmaker Niko Franghias.
   
  "Greeks have always been master storytellers. The dynamic state of contemporary Greek film is keeping this tradition alive.  We are thrilled to bring to audiences in Chicago some of the most provocative works in modern European cinema," states Peter Kanelos, Professor of Theater at Loyola University and GFFC Board Member.
  
  Opening night festivities will showcase Margarita Manda’s GOLD DUST, an intense family drama about three estranged siblings at odds over what to do with the home of their deceased mother, a story told with great psychological precision and tremendous emotional impact.  The screening will be followed by a reception in Park Ridge hosted by Aris and Angela Gallios of Chicago’s Miller’s Pub.
  
  Other festival highlights include DOGTOOTH, directed by Yorgos Lanthimos, which won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards. ATTENBERG, directed by Athina Rachel Tsangari, which was nominated for the Golden Lion award at the 67th Venice International Film Festival (Ariane Labed won the Coppa Volpi award for Best Actress), and is determined to be Greece’s entry for the 2012 Academy Awards. Not to be missed.
  
  In keeping with the spirit of promoting emerging talent, the festival will also feature works by up-and-coming directors, such as THE GUIDE, by Zacharias Mavroeidis, a charming tale of an earnest Greek architectural guide attempting to lead a group of fun-minded European students on a tour of Athens, even as he comes to terms with his own identity.
  
  The 2011 Greek Film Fest Chicago! will close on Sunday, October 2 with THE GUARDIAN’S SON, directed by Dimitris Koutsiabassakos, an engaging character-driven drama about the journey of an aspiring young journalist who attempts to retrieve a lost gun and discovers mysterious happenings in an abandoned mountain village.
  
  “We share the view that film is the world’s most influential art form, making us experience things that we don’t already know; a magical force capable of creating not only great entertainment but also knowledge – thus, tolerance”, says Niko Franghias. “The FilmHellenes call on Chicago and the Midwest to discover, embrace and promote this new storytelling force coming from Greek filmmakers many of whom keep creating with almost *zero* funding. It is THIS cinema that is getting recognized in the top European film festivals today!”
  
  The full program for Greek Film Fest Chicago! will be released on Friday, September 2, 2011.
  
  

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• ANNOUNCEMENT Tuesday, 2 August 2011 Michael Cacoyannis Award -Thessaloniki International Film Festival honors Michael Cacoyannis memory
  Thessaloniki International Film Festival honours Michael Cacoyannis memory instituting the Michael Cacoyannis Award, which will be awarded to a Greek film.
  
  The award constitutes the minimum of tribute to the director that opened the way for Greek cinematography internationally, inspired the new generations of artists and left precious works behind.
  
  Michael Cacoyannis’ bond with Thessaloniki International Film Festival as well as Thessaloniki Documentary Festival count decades, through which the director supported the institution not only with the exposure of his works, but also with his continuous and special presence.
  
  It is the festival’s wish and will, this award to trigger Greek artists, helping essentially their cinematographic course and encouraging viewers to embrace their works as warm as they embraced Michael Cacoyannis’.
  
  

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• ANNOUNCEMENT Friday, 29 July 2011 Announcement - New Board of Directors
  The Michael Cacoyannis Foundation’s Board of Directors, after Michael Cacoyannis death, came together on Friday 29th July 2011 and took the following decisions.
  
  -After its President and Founder’s death, the Board of Directors unanimously approved the following resolution:
  
  

  RESOLUTION
  

  Beyond his standing as a leading, worldwide, artist, as a great Cypriot and Greek, Michael Cacoyannis has been to us a beloved friend or relative, the principle, the soul and the guiding of the Foundation’s course.  We, the Board of Directors, and his foundation, express our deep sorrow for his death and our determination, as a daily honor in his memory, that the foundation will continue in the path that he showed us and the one he would want, to becoming an entity for arts as well as a meeting point for arts and society, which will always have its doors open and will always be full of action and life.
  
  -Yannoulla Cacoyanni - Wakefield gave, with a plea to be published, her warm thanks to Xenia Kaldara, head of the Foundation’s everyday operation, as well as to all associates and employees for their offer to the Foundation and for their support not only to Michael Cacoyannis -until the end of his life-, but also to his family relatives.
  
  -The Board elected as a new member, in the vacant seat, Georgios Minoudis and restructured as following:
  
  Yannoulla Cacoyanni – Wakefield, President
  Metaxia Tsirtavi (Xenia Kaldara), Vice President
  Vasilis Delikaterinis, Cashier
  Georgios Minoudis, Secretary
  Georgios Georgis, Member
  Amanda Cacoyanni, Member
  Panayotis Cacoyannis, Member
  
  Mrs Kaldara continues as head for the Foundation’s everyday operation, under the title of Director General.
  
  
• ANNOUNCEMENT Wednesday, 27 July 2011 Αnnouncement
  Michael Cacoyannis’ family and the Michael Cacoyannis Foundation express their gratitude to the State for the honor as well as the recognition to the director’s personality and work, with the decision to realize the state funeral in “Public Expense”.
  
  Their wish is to keep the honorary title of the offering but the amount of money for the expense to be accredited to the Ministry of Culture.
  
  
• ANNOUNCEMENT Tuesday, 26 July 2011 Reaction around the world for Michael Cacoyannis’ loss
  Yesterday, on Monday July 25th 2011, Michael Cacoyannis Foundation announced the passing of the great Greek director, Michael Cacoyannis, Founder and President of the foundation’s Board. The Cypriot born, however self defined as a Philhellene, the father of the most famous Greek of all time, Zorbas, as well as the most famous Greek female, Stella, the director who “placed” Euripides in the big screen, and, at the same time, Greece in the cinematic world history, passed away early in the morning, on July the 25th 2011, at the age of 90.
  
  The state funeral will take place at the Holy Church of Agios Dionysios Areopagitis on Thursday 28 July 2011 at 16.00. His final resting place, according to his wish, will be at the Michael Cacoyannis Foundation`s yard, “being a personality that offered major services to the Foundation”.
  
  At the funeral, the Greek State will be represented by the Minister of Education Ms Anna Diamantopoulou, and the General Secretary of the Ministry of Culture and Tourism Ms Lina Mendoni, with both of whom Michael Cacoyannis also shared a friendly relationship. The President and the Republic of Cyprus will be represented by Mr Andreas Dimitriou, Minister of Education and Culture.
  
  People in Greece as well as Cyprus are deeply touched by the loss of the great director. Artists, politicians, organizations but also funs and admirers of his works express their sorrow for Michael Cacoyannis’ loss. Condolences via telegraphs and mail arrive from all over the world to Michael Cacoyannis Foundation –a project that was his dream of life. The news of his death spread all around the world and the largest print and online media have already published tributes to the great director, and continue to do so, praising his work and great successes.
  
  Michael Cacoyannis Foundation, after many requests, announces that for those that would like instead of a wreath to offer a donation to MCF, the relevant bank account is:
  Michael Cacoyannis Foundation
  National Bank of Greece  
  Account number 708/296 004-47
  IBAN code GR1701107080000070829600447
  SWIFT code ETHNGRAA 
   
  It is necessary to fill in your name, address and phone number. 
  
  Also, for his numerous friends, condolences book is set at the Michael Cacoyannis Foundation.
  
  Born in June 11th, 1921 in Limassol, Cyprus, Michael Cacoyannis was the elder son of Sir Panayiotis and Lady Cacoyannis. He studied law in London and was called to the Bar (Barrister-at-law) in 1943. While working for the BBC's Greek service, first as a news announcer and then as a producer of cultural programs, he also studied acting at the Central School of Dramatic Art in London and directing at the Old Vic School.
  
  Not long after his debut as an actor in 1947, he decided to concentrate instead on directing.  In 1952 he left London to settle in Athens and one year later the success of his first film (“Windfall in Athens”) marked the beginning of an international career in directing. Among them “Stella”, “A Girl in Black”, “A Matter of Dignity”, “Zorba the Greek” and the trilogy of “Electra”, “The Trojan Women”, “Iphigenia”,  his films were regurarly screened at the most prestigious International film festivals, receiving awards and distinctions. Michael Cacoyannis has worked with some of the best and most distinguished actors of his time, in Greece, Europe and Hollywood.
  
  Michael Cacoyannis has distinguished himself not only as an international filmmaker, but also as a stage and opera director, with critically acclaimed productions in Greece, the U.S. France and other European countries. He has published several screenplays, he has translated Shakespeare’s plays into Greek and Euripides into English, and he has written the lyrics of some of the best-known and best-loved Greek songs.
  
  It was Michael Cacaoyannis'  initiative that led to the dramatic new illumination of the Acropolis. He enlisted the services of the famous French Engineer Pierre Bideau for a study, and after generous donations by the Friends of Athens, which he established, the project finally received backing from the Ministry of Culture and the City of Athens. 
  
  In 2004, Michael Cacoyannis established a charitable foundation in his name, whose aim is to support, preserve and promote the arts of Theatre and Cinema. The foundation’s Cultural Centre, located in Piraeus Street, in the district of Tavros, opened it's doors to the public in October 2009.
  
  For his work and overall contributions to the Arts, Michael Cacoyannis has been awarded the Order of the Golden Phoenix (Greece), the Commandeur des Arts et des Lettres (France), the Grand Cross / Order of Makarios 3rd (Cyprus) and the Special Grand Prix of the Americas (Montreal). He has been honoured by the Greek Academy with its highest award for national services and with Lifetime Achievement Award by the Salonica, Jerusalem and Cairo Film Festivals, as well as the American Hellenic Institute in Washington. He has been declared an Honorary Citizen of Limassol, Montpellier and Dallas, and has received Honory Doctorates from Columbia College (Chicago), Athens University, Cyprus University, and
  
  Michael Panayotis Cacoyannis is survived by his two sisters Stella Soulioti and Yannoulla Wakefield, his nephew and his two nieces.
  
  
  

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• ANNOUNCEMENT 25 July 2011 Michael Cacoyannis Foundation announces, in deep sorrow, the passing of the great Greek director, Michael Cacoyannis
  Michael Cacoyannis Foundation announces, in deep sorrow, the passing of the great Greek director, Michael Cacoyannis, Founder and President of the foundation’s Board. The Cypriot born, however self defined as a Philhellene, the father of the most famous Greek of all time, Zorbas as well as the most famous female Greek, Stella, moreover, the director who “placed” Euripides in big screen, and at the same time Greece in cinema world history, passed away today, July the 25th 2011.
  
  Born in June 11th, 1921 in Limassol, Cyprus, Michael Cacoyannis was the elder son of Sir Panayiotis and Lady Cacoyannis. He studied law in London and was called to the Bar (Barrister-at-law) in 1943. While working for the BBC's Greek service, first as a news announcer and then as a producer of cultural programs, he also studied acting at the Central School of Dramatic Art in London and directing at the Old Vic School.
  
  Not long after his debut as an actor in 1947, he decided to concentrate instead on directing.  In 1952 he left London to settle in Athens and one year later the success of his first film (“Windfall in Athens”) marked the beginning of an international career in directing. Among them “Stella”, “A Girl in Black”, “A Matter of Dignity”, “Zorba the Greek” and the trilogy of “Electra”, “The Trojan Women”, “Iphigenia”,  his films were regurarly screened at the most prestigious International film festivals, receiving awards and distinctions. Michael Cacoyannis has worked with some of the best and most distinguished actors of his time, in Greece, Europe and Hollywood.
  
  Michael Cacoyannis has distinguished himself not only as an international filmmaker, but also as a stage and opera director, with critically acclaimed productions in Greece, the U.S. France and other European countries. He has published several screenplays, he has translated Shakespeare’s plays into Greek and Euripides into English, and he has written the lyrics of some of the best-known and best-loved Greek songs.
  
  It was Michael Cacaoyannis'  initiative that led to the dramatic new illumination of the Acropolis He enlisted the services of the famous French Engineer Pierre Bideau for a study, and after generous donations by the Friends of Athens, which he established, the project finally received backing from the Ministry of Culture and the City of Athens. 
  
  In 2004, Michael Cacoyannis established a charitable foundation in his name, whose aim is to support , preserve and promote the arts of Theatre and Cinema. The foundation’s Cultural Centre, located in Piraeus Street, in the district of Tavros, opened it's doors to the public in October 2009.
  
  For his work and overall contributions to the Arts, Michael Cacoyannis has been awarded the Order of the Golden Phoenix (Greece), the Commandeur des Arts et des Lettres (France), the Grand Cross / Order of Makarios 3rd (Cyprus) and the Special Grand Prix of the Americas (Montreal). He has been honoured by the Greek Academy with its highest award for national services and with Lifetime Achievement Award by the Salonica, Jerusalem and Cairo Film Festivals, as well as the American Hellenic Institute in Washington. He has been declared an Honorary Citizen of Limassol, Montpellier and Dallas, and has received Honory Doctorates from Columbia College (Chicago), Athens University, Cyprus University, and the Aristotelio University of Salonica.
  
  

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• READ 18 July 2011 The architect of MCF Cultural Center, Vassilis Sgoutas, proves that Greeks, still, shine
  It is him who shaped and brought into existence the vision of Michael Cacoyannis for a cultural centre of high standards, expressing it through architectural forms. Vassilis Sgoutas, a prominent architect of our country who, among others, has been the leader for the realization of a sophisticated Cultural Centre in order to house the Michael Cacoyannis Foundation’s activities proves that Greeks have never stopped shine globally, making experts and wide public admire as well as honor works of theirs, when these originate from that endless Greek genius as well as the complete professional brilliance. Example of this exceptional career for scientist, who during tough and grayish times manages to attract light of recognition on Greece, is the recent Prize award by the International Union of Architects (UIA) which carries the name of Vassilis Sgoutas, former President of the Union.
  
  The Vassilis Sgoutas Prize was launched in 2008. Created on the initiative of the UIA Past President, whose name it carries, it is designed to highlight actions or realisations that contribute in an efficient manner to the struggle against the misery of communities living under the poverty line. It is awarded to architects or teams that have contributed to the significant improvement of the living conditions of the most underprivileged human beings, to their habitat and their environment. Two prizes are awarded, one to an architect, the other to a collectivity, composed of a majority of architects or leaded by an architect.
  
  In 2011 the Vassilis Sgoutas Prize award ceremony took place in Nanjing of China on April 9th, with the attendance of the Greek architect, member of the jury, when, among other honorary distinctions, the prize for individual category was awarded to Fabrizio Carola from Italy, for his lifelong dedication to improving living conditions in a number of countries in Africa through the use of local building materials in a variety of structures that respect local cultures. In parallel, in collective category, the team Espacio Maximo Costo Minimo with Carlos Gonzalez Lobo as leading architect has been awarded for their work in low-cost habitat in poor areas of Latin America and Mauritania that has been combined with research and experimentation with materials and training activities ensuring the transfer of technology.
  
  Next meeting for the International Union of Architects UIA in 2011 will take place in Tokyo, Japan, where the World Congress will take place, a major international architectural event that attracts around 10,000 architects, engineers, researchers and students and has been characterized as the “Olympics of Architecture”. UIA2011 TOKYO will be a touchstone for divining the architecture towards 2050 and beyond… That is why “DESIGN 2050” has been chosen as the main theme for UIA2011 TOKYO with three sub-themes: “Environment,” “Culture” and “Life”.
  
  Read more information about the prize award for 2011 Vassilis Sgoutas Prize at the official UIA website with a click here
  
  

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  • Honorary distinction for Vassilis Sgoutas by Institute of Polish Architects SARP [file type pdf, 1597,1 kb]
• READ Tuesday, 5 July 2011 Are you a FilmHellene? 1st annual GREEK FILM FEST CHICAGO! Celebrating Hellenic Story Telling
  A new movement has been born on the other side of Atlantic aiming to offer real support to the contemporary Greek cinema production. The FilmHellenes of Chicago are inspired by the Greek cultural legacy, motivated by their love for the contemporary Greek cinema, while they support the efforts and the talent of young Greek filmmakers.
  
  During last March FilmHellenes, an independent alliance with its headquarters in Chicago have been founded, including personalities from the fields of cinema, sciences and arts, diplomacy, Mass Media as well as the business sector who love Greek cinema and shape as their mission the promotion of films by Greek filmmakers form all around the world.
  
  They already organize the revival of Greek Film Fest Chicago!, which will take place in September 29th until October 2nd 2011, as announced during their first action, in the line of which the restored copy of ZORBA THE GREEK was screened initializing a cooperative relationship with Michael Cacoyannis Foundation.
  
  WHO THEY ARE
  The FilmHellenes is an alliance dedicated on identifying, promoting and celebrating Greek filmmaking excellence worldwide.
  
  Their name came up as a connection to the Philhellenes of the past, notable people from all over the world - lovers of Greek culture. Philhellenism, their movement, through powerful representations of visual art and travel literature, formed an intellectual ‘fashion’... prominent at the turn of the 19th century, which contributed to the establishment of the Greek nation-state.
  
  THEIR REASONING
  It’s a dynamic period for Greek films, thanks to rising Greek talent and films like STRELLA (Berlinale), PLATO’S ACADEMY (Locarno), ATTENBERG (Venice, Sundance among others), WASTED YOUTH (opened Rotterdam), HOMELAND (Venice), or DOGTOOTH (Cannes), which was also nominated for a foreign language Academy Award.
  
  The Greek film landscape is rapidly re-defining itself, in spite of the country’s challenges. A new wave of films (both art-house and mainstream) is emerging, which, we strongly sense, will have an appeal not only to the Greek community but also to a wider audience.
  
  MISSION
  As a first step, their non-profit (pending) organization will be bringing back to Chicago what is commonplace and thriving in New York and Los Angeles:
  
  A GREEK FILM FESTIVAL
  * Showcasing Greek films in the Chicago and surrounding communities by embracing Greek filmmakers from all over the world. The festival would include selections of recent narrative features, documentaries, shorts and animation. The Festival in the future may also include all around the year thematic events, retrospectives and tributes to major figures of the world's most influential art form.
  
  * Promoting the ecumenical humane values of Hellenic heritage within the Greek community and beyond. Inspire the upcoming as well as older generations of Greek Americans and to reunite them with the Greek language, as it is spoken today, through the cinema.
  
  * Synergizing with, and supporting other Greek organizations in the Chicago area.
  
  * Supporting the universal values of freedom of expression and thought that are fundamental to good cinema.
  
  Their second step, their goal is to continue bringing current Greek films to the Chicago region on a regular basis.
  
  If you are a FilmHellene:
  Visit www.greekfilmfestchicago.org (coming soon) to sign up!
  
  Whether you want to just spread the word, be a volunteer or give a financial gift, we welcome and appreciate your support.
  
  Read article about the 1st annual Greek Film Fest Chicago! on the e-magazine REEL CHICAGO with a click here
  
  

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  READ

  • PRESS RELEASE: Call for Entries for Greek Film Fest Chicago! [file type pdf, 64,6 kb]
  • GUIDELINES & REGULATIONS [file type pdf, 75,3 kb]

  DOWNLOAD DOCUMENT

  • ENTRY FORM: Deadline for submissions is August 1, 2011 [file type pdf, 197,7 kb]
• READ Thursday, 7 July 2011 Donald Tusk, EU chairman: “Greece, to me, means Pericles” Let’s not seek after scapegoats, the EU chairman said
  If Pericles had not existed we probably wouldn’t be here today, the Polish Prime Minister said before the plenary session of European Parliament presenting Poland’s priorities for the EU presidency semester.
  
  We often talk about Greece, and for the majority of peoples in Europe, Greece is identified just with the bad fiscal administration, Donald Tusk said, highlighting however that, as far as the case of Greece is concerned, we should not seek after scapegoats.
  
  Greece has taught many things to Europe and Greece, to me, means Pericles, who firstly instructed the necessity of solidarity in regards of problems solution, he mentioned.
  
  Presenting his country’s priorities for the EU presidency during the current semester, the Polish Prime Minister summarized them into the triptych security – solidarity – prosperity, clarifying that European Union should focus primarily on the assurance of European citizens’ security, through its external boundaries control, as well as with respect to human rights.
  
  Source: www.newsbeast.gr
  
  

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• CINEMA From Thursday 30 June to Wednesday 13 July 2011 14 nights with authentic summer cinema, devoted to European Silent Films
  Through their silence they narrated moments of their era, as well as created images of the future… They expressed artistic movements, as well as addressed political speech… At some point they served propaganda while they have been the realization of arts freedom. They appointed great movie stars and established leading directors. Foremost they have been the first steps of 7th art in Europe, the dawn of an era that was meant to be overwhelmed by moving images.
  
  The invitation of Michael Cacoyannis Foundation in cooperation with STUDIO - parallel circuit and its President, Christos Papadimitriou as well as the laboratory Film Scoring with professor supervisor Alexandros Mouzas for the 2nd Silent Film Festival – Tribute to European Cinema includes 16 masterpieces in selection of the director Michael Cacoyannis, in 14 days with entrance free of charge, accompanied either with the original soundtracks or with live music, in an authentic summer cinema, at the open air terrace on the 3rd floor of the Foundation’s Cultural Centre. Every film will be prefaced with a short comment by the writer of the popular book Vamps, Stathis Sklavounakos.
  
  The films have been selected with special care by the director himself focusing on the undoubted aesthetics – artistic value as well as in regards to the best possible condition of the material that would be screened. Thereby he invites us to a fest where 16 films will be screened, filmed from 1917 to 1929, with their original soundtracks or in cases that do not exist with live music accompaniment by Greek artists, with Greek or English subtitles.
  
  Among the films we will enjoy Battleship Potemkin by Sergei Mikhailovitch Eisenstein (1925) with the legendary six-minute scene at the stairs of the Odessa city in which Eisenstein tutors rhythm, austerity, plasticity and preciosity techniques, the futuristic Metropolis – the monumental science fiction film (1927) by Fritz Lang, Faust (1926), probably the best film ever made by F. W. Murnau, the masterpiece of Swedish Silent Cinema The Outlaw and his wife by Victor Sjostrom (1918). The first example of German expressionism in cinema “The Cabinet of Dr Caligari – Robert Wiene (1919), the full of memorable images film The End of Saint Petersburg by Vsevolod Pudovkin (1927), the fanciful science fiction film Aelita - The revolt of the Robots by Yakov Protazanov (1924), the evoking film Michael by Carl Theodor Dreyer (1924), the A. Hitchcock’s film The Manxman (1929) and many more.
  
  A compilation from the origins of the cinema art in Europe, which Proust has characterized as “the literature novelty” which still amaze us.
  
  See the program of the 2nd Silent Film Festival - Tribute to European Cinema in details with a click here
  

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• READ 28 June 2011 Mrs. Androulla Vassiliou, EU Commissioner for Education, Culture, Multilingualism and Youth at Michael Cacoyannis Foundation. Meeting and opinion exchange with the President of Michael Cacoyannis Foundation.
  On Friday, June 24th 2011, Michael Cacoyannis as well as the Foundation’s executives welcomed the EU Commissioner for Education, Culture, Multilingualism and Youth, Mrs. Androulla Vassiliou.
  
  Mrs. Vassiliou had a guided tour of the Foundation’s halls and became informed in details about the up to date actions as well as the upcoming planning. During the meeting with Michael Cacoyannis, once she conveyed warm greetings and wishes from the Director of the Berlin International Film Festival Mr. Dieter Kosslick, she claimed that she feels excited and moved by his own great contribution as well as the Foundation’s prolific work and addressed a number of specific proposals for collaboration development with European and international cultural and artistic organizations on actions of mutual interest, in the line of her scope.
  
  During her visit, the Commissioner was accompanied by an associate executive as well as her husband, former President of the Republic of Cyprus Mr. Giorgos Vassiliou.

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• READ Thursday, 16 June 2011 French Vogue turns Greek ambassador
  By Sandy Tsantaki (Article Republishing - source: http://www.ekathimerini.com/
  
  “Just over three hours away from Paris by plane, Greece is a blue paradise, a place where the sun is a national treasure,” writes Emmanuelle Alt, French Vogue’s new editor-in-chief, in the fashion publication’s June-July 2011 issue.
  
  The French come bearing gifts to the indignant Greeks. It’s all there on the cover: “Escale en Grece: Ses iles, ses mythes, ses heros, ses plaisirs” (Stopover in Greece: Its islands, myths, heroes and pleasures). The summer issue’s cover girl is Brazilian top model Isabeli Fontana, who turns into a contemporary Greek goddess.
  
  The double issue is chock-full of plaudits for Greece, turning the style bible into the perfect tourist, travel and advertizing guide -- no strings attached. While Greek fashion magazines organize large-scale fashion editorial shoots abroad, French Vogue has come up with 202 pages on Greece.
  
  No local fashion designers are mentioned in the issue, although a number of jewelry designers and jewelry houses are included -- Ilias Lalaounis, Zolotas, Fanourakis and Ileana Makri.
  
  Flicking through the magazine’s pages, one feels proud to be Greek, not because of ancient Greece and the cliches associated with the country’s past, but because of Greece in 2011, minus the whinging, the indignation and the ease of defeat.
  
  The issue includes tributes to the Saronic island of Hydra and the artistic Hydra School Projects, a tribute to Cycladic Tinos, a hotel in Monemvasia and local spas, as well as various profiles on Greek personalities from the visual arts and cinema worlds, among others.
  

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• VISUAL ARTS From Sunday 5 to Thursday 30 June 2011 "etsi for Greece by Red Design Consultants – Creating everyday environment" Visual Arts - Exhibitions
  Greece’s critical economic circumstance dictates the emergency for the juncture of forces and collective action among distinct organizations that share mutual goals in order to achieve the best outcome, while also capitalizing on cultural extroversion, a continuous value of our country.
  
  The Exhibition under the title “etsi gia tin Ellada apo tin Red Design Consultants –Dimiourgontas kathimerino perivallon” (etsi for Greece by Red Design Consultants –Creating everyday environment) is organized to serve the needs of such times that demand us to premise whatever positive attributes defines us. The exhibition will be held at Michael Cacoyannis Foundation and it will last from June 5 to 30 aiming to become annual.
  
  On Sunday, June 5th 2011 at 17:00 Michael Cacoyannis will make an opening speech as well as Rodanthi Senduka, creator of the Athens 2004 Olympic Games emblem and Creative Director of Red Design Consultants.
   
  In critical eras, Greece acting with creativity and optimism is rallying while also promotes the image we want to exhibit! The image we desire for ourselves and the image we desire the world to have for Greece.  We collaborate, we support and we indicate only pretty paradigms of corporate Greece.  
  
  Since 1992 Red Design Consultants along with her partners create brands with essence and emotion, with an ultimate peak in 2004, the creation of the Athens 2004 Olympic Games emblem –one of Greece’s greatest moments. Red design has designed more than 150 products and services that accompany Greeks in every moment of their lives.
  
  Our daily environment is full of such Greek paradigms: paradigms of ethos and quality, of originality and prototyping, of experience and life.
   
  *etsi (in this way) a circle of creativity of the daily environment, in which everybody participates equally and actively, emerges.
   
  In it’s course Red Design Consultants has been awarded with more than 120 times in Greece, in New York, in London, Tokyo, China and Germany.
  
  The exhibition “etsi gia tin Ellada apo tin Red Design Consultants –Dimiourgontas kathimerino perivallon” (etsi for Greece by Red Design Consultants –Creating everyday environment) follows the successful instance of the “etsi for the environment” exhibition which took place last autumn and introduced to the public *etsi. *etsi is a communication platform that enhances multi-cultural interaction and suggests an open dialogue for meaningful participation through our daily life and our way of living.
  
  *etsi for Greece
  by Reddesignconsultants®creatingbrandsthatmatter
  Official Opening on Sunday 5th June 2011 at 17:00
  
  The exhibition is being held with the financial support of opap.
  
  

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• INTERVIEW From Monday 2 May to Thursday 2 June 2011 He amazes Athens with theatre and Cannes with cinema… Michalis Konstantatos talks about the performance Parklife as well as his next goal By Achilleas Kourias
  He managed to make Cannes Film Festival 2011 focus on him approaching nothing more than those routine dead ends which rise before us, those problems that he as well as all of us perceive as given. With the art’s contribution, Michalis Konstantatos says to mcf.gr, walls fall down and then our eyes see afresh, more clearly, things which until then ignored as if they were trivial. The director of the play Parklife talks to us about the work of blind spot team that is going to be presented until June 2nd at Michael Cacoyannis Foundation, as well as his new, cinematic this time, goal that has already been internationally recognized, whilst it still has to overcome difficult conditions of a “unique”, Greek reality.
  
  
  Those who enjoy the theatrical performance “Parklife” by the Blind Spot team in direction and texts of the people who have been the Cannes chosen with Luton, had or will have the opportunity to understand that in both works really concerns you a “realistic” approach of reality. You talk about the dead ends which modern people are asked to deal with into the cruelty of routine. What really leads you to these stories?
  
  The play Parklife is the cooperation outcome of all the production’s members. In the first place the actors who perform successfully the text of Yota Argyropoulou (the other main partner of blind spot team as well) and Thanasis Dovris. Equally of all the other members who all together have worked in common direction. I think that your question already gives, somehow, an answer. Being modern people as well – citizens of a vast city in Western society- we all observe as well as experience ourselves the dead ends that people are asked to face in their routine. Hence we are directly involved into it. We do take for granted a lot of things of our routine, that’s why we undervalue them. That’s the risk of it and these precisely are the principal parts, the ones that someone might ignore, which we want to highlight.
  
  What is the art’s part regarding these, undervalued by some people, aspects of our life?
  
  The art’s part in regards of all our life’s aspects is always to throw light on them, to bear questions and discover constantly something through it.
  
  
  As far as your artistic point of view is concerned, in Parklife play we saw you combining the cinematic with the theatrical language and integrating in one’s practices elements form the other. Are there boundaries among them or limitations that shouldn’t be exceeded? How really such a dialogue can be accomplished?
  
  Despite their close relationship, cinema and theatre are two completely different things. Their dialogue, however, could accomplish wonderful results; I consider it fruitful and necessary. However there is no formula in order to be achieved. I do generally believe in dialogue among the arts. Art is there in order to blow over walls not to build them.
  
  
  The selection of the under process feature film of yours, entitled Luton by the Cannes Film Festival 2011 and especially by the board of L' Atelier Cinefondation, for those who are aware of your work seems to be a normal build up. However, how unforeseen such an international acknowledgement as well as support could be for you personally? What kind of feelings a young creator would have hearing news like that?
  
  I really believe in “luton” project and we have worked hard for its development. So the international recognition and its support by such an important constitution like L' Atelier was indeed a victory for all our efforts and of course a satisfaction for me as well as my partners.
  
  
  Which are your expectations in regards of the commercial success as well as the artistic adequacy of the in question project? Will things be easier following such an important distinction or the fulfilment of your vision still remains rather a bet?
  
  The aim is without a doubt a high artistic outcome. That will bring whatever else follows (i.e. a commercial success). An important distinction usually –and it is quite reasonable- make things a bit easier. Living, though, in the “unique” Greek reality, we all know that nothing follows the rules of rationality. Well the bet remains as far as the completion or not of the project is concerned, because still the necessary Greek funding must be found in order to complete the budget.
  
  
  Cinema or theatre after all? Where actually Michalis Konstantatos place himself and where is he determined to devote all of his creative energy?
  
  I have mentioned it before, they are two completely different things. Each one has its own times and its own different quality of energy to be devoted by someone. The fact that I want, moreover, I do both replies itself.
  
  See more details about the play Parklife with a click here
  

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• READ From Thursday 19 May to Sunday 5 June 2011 Theatre welcomes George Panousopoulos and Night Porter. An encounter on stage that… “paid off”
  One of the great Greek cinematographers, the director who illustrated uniquely love on film of legendary movies, like “Honeymoon Journey”, “Love Knot”, “Love me not?” or  “A foolish love”, has been attracted, for the first time in his career by the theatrical stage, rather thanks to his curiosity as he claims himself, directing the performance “The Night Porter”.
  
  George Panousopoulos approaches again a passionate erotic affair making his début in our country’s theatrical proceedings. Trusting the adapted by Chara Tsioli scenario of the film by Liliana Cavani that has been a landmark for cinema history, George Panousopoulos talks to mcf.gr for a happy coincidence as well as collaboration with all the production members that finally… “paid off”.
  
  In cooperation with extraordinary actors, Takis Chrysikakos and Maria Tsaroucha, who undertook the leading roles as well as with the decisive contribution of Zacharias Rochas and Dimitris Kalantzis who complete the demanding cast, George Panousopoulos invites us to see afresh the subject of a film-landmark. There Nazism is being identified with the sexual perversion of sadomasochism experienced to its extreme limits, while here director sees “…two people being alone. Two people that couldn’t do otherwise…”
  
  The director talks to mcf.gr
  
  At Michael Cacoyannis Foundation I felt most “like home” when I decided to create my first theatrical work. For the same reason, I felt more freely to adapt a film story from the screen to the stage. The preference for Chara Tsioli to undertake the attempt of the adaptation did really pay off to me, while the actors’ full consent to cooperate with a fifty-year old man was full of enthusiasm. Finally I asked for the help of a daring film producer and paid off as well. This way we ended to the play presented from today at MCF.
  
  G. P.
  
  See more details about the play -The Night Porter- with a click here
  
  

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• INTERVIEW From Friday 29 April to Sunday 29 May 2011 To keep in mind or just forget? Blitz respond to our questions and take us to a journey through their “Galaxy” By Achilleas Kourias
  We have been used to see theatre through their subversive eyes and we are not surprised to hear similarly subversive, though always interesting responses. Blitz members talked to mcf.gr for their new production, the performance entitled “Galaxy” that is being presented at Michael Cacoyannis Foundation until May 29th. They take a chance to remember faces, ideas, movements or things of the past that might have been forgotten but, certainly shaped what we live in today… They claim that they attempt a conscious “attack” against theatre and its norms, while we can only add that every single “triumph” of them takes place in favor of the artistic outcome that we all have the opportunity to enjoy.
  
  
  How Blitz members define their own “Galaxy”? Could someone find correspondence to “his or her… own Galaxy” or you probably share the opinion that the orbits of our individual “Galaxies” are finally asymptotical?
  
  Galaxy is a performance with persons, objects, movements, ideas, expressions, theories that have been faded, passed away. However, the fact that we are born in history, that the world exists before us, make us find its references and events. Some of the things we experience concern just us or they reflect just our own taste and aesthetics, some others, however, concern entire humanity. We are a blend of public ideologies and private desires. Each one’s path is lonely; however we all walk in the same lane.
  
  If then we would ask every single member of the team to state a person, a thing, a notion or even a word, maybe the first that everyone comes up with, but at the same time the most important, in order to compose the mosaic of your “Galaxy”, what would that be and why?
  
  Hot Monogamy!
  
  The journey back to the dawn of human history seems to have similarities with a dive to the human unconscious itself. What really Blitz discovered during this deep dive?
  
  When somebody looks onto their lives of all those people who are mentioned in the performance, when reconsiders theories and notions that have faded or have been outreached, then understands with what materials reality is built. We have been lead to the point we are nowadays thanks to the things that have proceeded, we live in their meaning. Everyone’s life is a blend made out of ugliness and beauty, dreams and disappointment, out of knowledge and ignorance, we all know how this journey ends. Death is what offers meaning to our lives as well as to the moments we live, hence it is always important someone to surpass disappointment and try for his or her personal happiness, which certainly has nothing to do with money or possessions but only with the shared contact, with what the notion itself describes, the emotionally loaded and alienated from the use, word of love. Unfortunately or fortunately this is the only antidote that human has against death.
  
  What feelings are created to the production members on one hand and on the other hand to the audience of the performance when facing moments or personalities throughout history that nowadays have been suspended to the sphere of oblivion? Maybe nostalgia, anger or even relief?
  
  The performers’ feelings since they are enacted do not always identify with the ones of the audience although almost every play seeks of communion. The emotional burden of the performance is influential and has various and often controversial directions due to the fact that we do not let a feeling to dominate on our performance. There are moments of nostalgia, funny moments, moments of compassion. We tend to combine tragic with comic because we do not want performance to have just one dominant feeling, just like it happens in life.
  
  Hearing “Blitz” team, most of us perceive a method of collective experimentation on theatrical act as well as subversive approach of its norms. As far as this performance is concerned, it seems to happen both. Could you disclose for us the process of conception, creation as well as function of Galaxy as theatrical happening?
  
  We have worked on the performance’s procedure during a rehearsal we had for Faust in National Theatre, we liked the outcome, but the time limitation we had and the consequence of the play’s proceedings didn’t allow us to integrate it in the play’s dramaturgy. We reverted to this idea when we participated in Low Budget Festival and realized that, what was going on was really relevant to us aesthetically as well as conceptually, following keeping on working it we undertook further processing for the concept as well as the performance’s rhythm. We liked the simplicity of the concept and the fact that as far as the performance goes on a new meaning constantly emerges. We consciously attack theatre in order to expand its language, its form and simultaneously our involvement into this, while at the same time our artistic freedom which is unquestionable. In every performance we try to expand the potentialities of our language, that’s why no performance of ours is similar to the previous one. From Katerini rooms to the stage of Guns!Guns!Guns!, then to the pedestrian of Cinemascope and now to the simplicity of Galaxy. Every play for us is an adventure that pertains form, play’s content, how we see reality all around us, and how our lives are these days. This is how it is.
  
  We invite us to perceive your performance as a society of –actors and spectators- that owes to remember… in order to understand… Do reality, personal and collective, being built with materials coming from the fields of memory or on the contrary oblivion is what shapes things? What is finally demanded from everyone in order to understand…? Remember or forget?
  
  Memory is a fundamental brain function that helps you survive. Without it no imagination, rational thought or emotion can exist, without it our life’s events would be ephemeral appearances of persons and things which would have no unity. However, someone has to be taught how to forget as well. You always have to keep in mind that you are alive, a moving controversy, you have to forget your wounds and the disappointment you have been given by the people around you. If you want to fall in love again you have to forget that there is love justice – it never existed!
  
  See more details for the performance GALAXY with a click here
  

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• READ Wednesday, 4 May 2011 Honorary “thanks” to Michael Cacoyannis for his contribution to Greek culture by the cinema family
  An important night for Michael Cacoyannis Foundation, its people as well as partners, was previous Tuesday, May 3rd, when the family of Greek cinema chose Michael Cacoyannis in order to express honorary "thanks" through a symbolic award for his contribution to Greek culture.
  
  The Honorary Prize was awarded to the director Michael Cacoyannis following a decision taken by the Greek cinematographers, members of the Hellenic Film Academy in the line of the 2nd award ceremony for 2011.
  
  Antonis Kafetzopoulos, member of the HFA board, undertook the responsibility to express the feelings of appreciation, gratitude as well as respect that his colleagues have for Michael Cacoyannis. Furthemore he highlighted, among others, the importance of M. Cacoyannis' work, thanks to the range that characterizes it, a range that makes him “probably the most acknowledged ambassador of Greek cinema.”
  
  Antonis Kafetzopoulos during his introducing speech addressed to the vibrant audience that was present at the main hall of Onassis Foundation Cultural Centre, referred to the great moments of the artistic work of Michael Cacoyannis. He stressed out that it is an honor for Hellenic Film Academy to award this prize to the artist who among others was twice nominated for Foreign Film Oscar, who won three Golden Globes (two of them following one another at ’55 & ’56), while he was nominated for 7 Oscars, among them the Best Motion Picture and Best Direction ones.
  
  Moreover after making reference to the rich translating and directing work of his for theatre, made special reference for the director’s choice to establish Michael Cacoyannis Foundation and built its Cultural Centre. As he mentioned … “to devote in 2004, all of his assets, his name and his fortune, again to the arts. He created Michael Cacoyannis Foundation, he ensured that it would have all the means to make progress independently and be open and particularly collective emphasizing to young creator’s work.”
  
  Yannoula Cacoyannis – Wakefield was present to the event, as a partner, co producer as well as beloved sister of the director in order to receive the award as well as transfer the wishes of the Academy’s members to the honorary person, Michael Cacoyannis.
  
  

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• READ Friday, 15 April 2011 New premieres “brighten” the city’s cultural events right after Easter!
  Restless creators seek for the truth light through their arts and present their works to Athenian audience right after Easter Holidays.
  
  The artistic action at the Cultural Centre of Michael Cacoyannis Foundation seems never pausing not even for a moment, offering to us new premieres already from Wednesday, 27th of April, when Nikoletta Vlavianou talks to us about Men… With Music longing for an explanation to the fact that, after all, people love in a very strange way.
  
  Then the torch passes on to the Blitz team at the 29th with a subversive approach of theatrical act, attempting to revive persons, objects, or ideas from the Galaxy of human history.
  
  Just a day following, Dance Theatre Dagipoli dances having a “Crush” onto a constant fight with our self as well as the others.
  
  Shortly, on Tuesday May 3rd project RETROPOLIS recalls along with us beloved songs from the interwar era adapted up to date of digital reality and invite us to enjoy “alternated” versions by singers, musicians and bands of the new music generation.
  
  In parallel due to an extension will be continued  the successful performances of Hamlet, Prince of Denmark by Thanos Papakonstantinou and the brand new team The Helter Skelter Company until April the 30th as well as Green Lemon by Sofia Filippidou and the 5 for the moment team until May the 15th.
  
  See the entire program with a click here. Do not forget to stay updated for the forthcoming events!
  
  

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• CONCERT Sunday, 17 April 2011 COLOURS - A musical voyage with flute and harp NATALIA GERAKIS & ANGELA MADJAROVA
  Notes charged with colours from the ends of the earth flood in the concert scores of the two leading soloists and as if they address an open invitation to each and everyone of us individually, they invite us to a musical voyage with flute and harp.
  
  One of the most acknowledged young flutists in Greece, Natalia Gerakis and internationally acclaimed harp soloist Angela Madjarova, from Bulgaria, meet each other on the stage on Sunday, April 17th 2011 in order to presents the music performance COLOURS and offer us images, emotions and personal experiences which they bring along thanks to their encounter with cultures of different peoples.
  
  Inspired by great composers like Astor Piazzola, Manos Chadjidakis, Nino Rota, Michio Miyagi, Bela Bartok, Piotr Ilyich Tchaikovsky and Ravi Shankar they compose their own melodious, colourful collage that illustrates the aspects of the two soloists’ lives through their journeys.
  
  more information about the performance and the ticket sale with a click here
  
  Program
  
  India       RAVI SHANKAR (b.1920)
                L´Aube enchantée on Raga Todi, 1976
  
  Japan      MICHIO MIYAGI (1894-1956)
                Haro No Umi, 1929
  
  France     MARIN MARAIS (1656-1728)
                Folies d´Espagne for flute solo, 1701
  
  Russia      PIOTR ILYICH TCHAIKOVSKY (1840-1893)
                 Valse Sentimentale, 1882
  
  Bulgaria    LYUBOMIR DENEV (b.1951)
                 3 Impressions for harp solo, 2009
  
  Greece     MANOS HADJIDAKIS (1925-1994)
                 S´agapo from Magnus Eroticus, 1972
  
  Italy         NINO ROTA (1911-1979)
                 Allegro molto moderato from the Sonata
                 for flute and harp, 1937
  
  Argentina  ASTOR PIAZZOLA (1921-1992)
                  Café 1930 from Histoire du Tango, 1986
  
  Hungary    BELA BARTOK (1881-1945)
                  Suite paysanne hongroise, 1914-17
  

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• EVENT Saturday, 9 April 2011 Acknowledgement of scientific excellence honoring Nobel Laureate Christopher Pissarides
  He states that he feels twice happy since his personal distinction managed to offer gladness to Cypriots as well as all Greeks. Furthermore the award of Nobel Prize in the fields of Economics 2010 to the London School of Economics professor with Cyprian roots, Christopher Pissarides has been characterized as “great honor for Cyprus and its people” by the President, Dimitris Christofias, as well as “rare honor for the entire Hellenism” by the Prime Minister of Greece, George Papandreou.
  
  Sharing this gladness as well as the honor, the Ambassador of Cyprian Republic, Mr. Josef Josef and Michael Cacoyannis direct an event in honor of the prominent Cypriot Nobel Laureate in Economics and acknowledge on his personality the importance of scientific excellence.  The honorary event is open to the audience and will take place on Saturday, April 9th 2011, at 12:00, in Theatre Hall following the initiative of the House of Cyprus – Cultural Affairs Department of the Embassy of Cyprus in Athens- and Michael Cacoyannis Foundation.
  
  The Nobel Prize has been awarded to Christopher Pissarides in common with the American Academics Peter A. Diamond and Dale T. Mortensen for their analysis of markets with search frictions.
  
  The Program
  

  • Salutation speech addressed by the Ambassador of Cyprian Democracy, Mr. Josef Josef

  • Short film screening by the Radio Foundation of Cyprus for the life, the distinctions as well as the honorary event for the guest of honor. 

  • Prize award by Michael Cacoyannis

  • Short artistic program by the prominent Cypriot musicians, Elena Mouzala (piano) and Charis Chatzigeorgiou (violin)

  • Response speech addressed by Mr. Christopher Pissarides

  Information about reservations here
  
  Biographical note: Christopher A Pissarides
  Christopher Pissarides is the 2010 Nobel laureate for Economics. He was awarded the Sveriges Riksbank  Prize in Economic Sciences in Memory of Alfred Nobel for his “analysis of markets with search frictions,” together with Professors Peter Diamond of MIT and Dale Mortensen of Northwestern. He holds the Norman Sosnow Chair in Economics at the London School of Economics and the Marfin-Laiki Chair in European Studies at the University of Cyprus. He specialises in the economics of labour markets, especially the theory of unemployment and labour-market policy. More recently he has written about growth and structural change. He has written extensively in professional journals and his book Equilibrium Unemployment Theory, now in its second edition, is a standard reference in the economics of unemployment. Other interests include monetary and fiscal policy, especially as they relate to employment issues.
  
  He is the current President of the European Economic Association. He is also an elected Fellow of the British Academy, the Econometric Society, the European Economic Association and the Society of Labor Economists. He is serving or has served as a member of Council of the European Economic Association, the Econometric Society and the Royal Economic Society.
  
  He has served on a number of committees. He was as an external member of the Monetary Policy Committee of the Central Bank of Cyprus from its creation in 2000 to its dissolution in 2007 and a member of the European Employment Task Force, chaired by Wim Kok, which reported in 2003. He has been a consultant on employment policy and other macroeconomic issues for the World Bank, the European Commission, the Bank of England and the OECD.
  
  Other honours include the IZA Prize in Labor Economics (shared with Dale Mortensen in 2005) and the Republic of Cyprus “Aristeion” for the Arts, Literature and Science (2008) and the Grand Cross of Archbishop Makarios, the highest award of the Republic, received in 2011.
  
  

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• READ April 2011 April... a month full of new occations for arts & culture April in Michael Cacoyannis Foundation: New events and continuing performances
  April seems to offer numerous and exceptionally interesting reasons to young and older votaries of the arts in order to visit the Cultural Centre of Michael Cacoyannis Foundation.
  
  Opportunities for someone to negotiate a series of possible endings for a relationship between a man and a woman through contemporary dance of Zoi Dimitriou, to travel through music to the world’s bends accompanied by the flute of Natalia Gerakis and the harp of Angela Madjarova, to recall moments and personalities throughout the human history, enjoying the modern theatrical approach of Blitz team, as well as surrender to the magic world of children theatre through the perspective of Dimitris Baslam and the adventures of Mr. Agisilagos.
  
  Many occasions for an encounter of each and every one of us with the artistic expression and creation, with a rich program of new cultural events which have their premiere, as well as performances or exhibitions that are being continued.
  
  
  

  New Events
  

  • Contemporary Dance: In the Process of… Zoi Dimitriou Dance Company

  • Children Theatre: Mr. Agisilagos by Dimitris Baslam with Antonis Kafentzopoulos

  • Music: COLOURS - A musical voyage with flute and harp, NATALIA GERAKIS & ANGELA MADJAROVA

  • Performance: Galaxy by Blitz team

  • Event in honor of the Cypriot, with Nobel Prize Awarded Economist, Christopher Pissarides by the Michael Cacoyannis Foundation & the House of Cyprus – Cultural Affairs Department of the Embassy of Cyprus in Athens

  
  
  

  Performances continued
  

  • THE HOUSE of Michalis Pieris - Directed by Yorgos Michailidis (until 17/4)

  • THE THEOFILOS TSAFOS APOLOGY of Nikos Koundouros, in direction of Yota Koundouraki (until 19/4)

  • Hamlet, the Prince of Denmark - William Shakespeare (until 16/4) The Helter Skelter Company - Adapted and Directed by Thanos Papakonstantinou
    

  • "Katalogia" in direction of Thodoris Ekonomidis (until 19/4)

  • "The Green Lemon" - Satiric Play of Meti Karatza, With the company “5 for the moment” & in direction of Sofia Filippidou - Performances extension From 29/4 until 15/5 (every Friday, Saturday, Sunday)
    

  
  
  

  Exhibitions until 30/4/2011
  

  • The City of Messolonghi today through Gravure By the Contemporary Art Gallery of Christos and Sofia Moschandreou with the cooperation of the Athens School of Fine Arts (ASFA)
    

  • CHAMBER MUSICIANS Photography Exhibition by Stefanos Tsakiris

  
  SEE MORE INFORMATION ABOUT THE PROGRAM OF APRIL WITH A CLICK HERE
  
  

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• VISUAL ARTS March - April 2011 The world of visual arts welcomes spring
  Four proposals from the fields of visual arts welcome spring at Michael Cacoyannis Foundation and introduce us to diverse but very interesting ways of visual arts expression during March and April.
  
  For only just few days still, until Saturday 26th of March, the initiative “Event’s Horizon” offers the chance to meet the transliteration of poetry into image and audio-visual show, through Visual-poetry and Video-poetry 2011. In parallel, until April the 30th, we are invited to explore the evolution of Greek gravure art, through artworks of great representatives, like Th. Vryzakis or Al. Fasianos, in a collaboration of Moschandreou Art Gallery and ASFA. Finally, Stefanos Tsakiris sees the city of Thessaloniki as an ablaze with melodies room and listens closely the musicians of the world, presenting, from March 28th, photographic portraits created with strains.
  
  

  • CHAMBER MUSICIANS - Photography Exhibition by Stefanos Tsakiris

  
  Stefanos Tsakiris presents a selection of black white portraits of musicians at an exhibition that is being officially opened in March 28th at Michael Cacoyannis Foundation. The exhibition, entitled Chamber Musicians, is the photographer’s personal view on the nomads, musicians in the city of Thessaloniki.
  
  During the official opening, music performance will take place by the trio entitled “Family Affair”.
  
  Tsakiris recorded some of the strains of the city of Thessaloniki. Strains that come from various places of the world and make you believe for a moment that you are in a chamber filled with melodies.
  
  

  • “The City of Messolonghi today through Gravure”

  
  Gravure exhibition with artworks which belong to the Aitoloakarnania Contemporary Art Gallery of Christos and Sofia Moschandreou, in the Sacred City of Messolonghi entitled as: “The City of Messolonghi today through Gravure”, where the evolution of Greek Gravure art is being presented, beginning from Theodoros Vrizsakis reaching to Vaso Katraki, as well as the current generation of the Greek Gravure Artists’ Union.
  
  The exhibition is being organized with the cooperation of the Athens School of Fine Arts (ASFA) including artworks of gravure makers like:
  
  Theodoros Vrizakis, Fotis Mastichiadis, Vaso Katraki, Yannis Gourzis, Magda Vamvatira, Christodoulos Galtemis, Nikos Desekopoulos, Elisavet Dionysopoulou, Yannis Kolios, Grigoris Kotsaris, Michalis Kotsaris, Apostolos Koustas, Yannis Kyriakidis, Tonia Nikolaidou, Irini Podhmata – Stefanaki, Yannis Stefanakis, Mary Schina, Dimitris Tsiroyannis, Alekos Fasianos.
  
  For just a few days still...
  
  

  • Visual - Poetry 2011 - Collective Exhibition - “Event’s Horizon”

  Visual Artists transform poetry into image
  
  Visual Artists Participating:
  
  Ageliki Korkou • Ageliki Tsampazi • Anastasia Kapiniari • Andro • Anna Dimitriou • Afroditi Sartampakou • Barouak • Vasiliki Sofra • Vicky Kantartzi •Yanna Georgiadi • Yannis Milonakis • Yannis Skarlatos • Yorgos Chourchoulis •Despina Pantazi • Dionisia Michali • Elena Akylla • Elena Prodromidou • Eleni Gounari • Eleni Theofylaktou • Eleni Polychronatou • Esmeralda Michalitsianou • Evgenia Karamouzi • Elias Poulos • Elias Aidonidis • Elias Sipsas • Thalia Xenou Xenaki • Ioanna Chatzipanigiri • Ioannis Protonotarios • Kalliopi Liadi • Katerina Stamati • Kimon Axaopoulos • Kitsa Agelakou • Kostis Daras • Kostis Triantafyllou • Litsa Mousouli • Maria Apostolopoulou • Maria Golia • Maria Doukaki • Maria Karalouka • Maria Kokkinou • Marilena Zolota • Marili Zarkada • Marios Paschalis • Melania • Nikos Pressas • Panayotis Ioannidis • Rania Karamouzi • Sofia Kopsidou • Sofia Sidiropoulou • Tzouli Athanasaki • Charis Velaoras • Stella Papathanasiou • Korina Prevedouraki • Capten
  
  

  • Video-poetry - “Event’s Horizon”

  A selection of the best videos that have been created in Greece during the last twenty years.
  
  SEE MORE INFORMATION FOR THE VISUAL ARTS EXHIBITIONS AT THE WHATS ON SECTOR WITH A CLICK HERE
  
  

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• PERFORMANCE From Tuesday 22 March to Sunday 17 April 2011 The Soul-Searching of an “immaculate” Murderer and a “guilty” Society from Tuesday, March 22, at Michael Cacoyannis Foundation THE THEOFILOS TSAFOS APOLOGY of Nikos Koundouros
  A masterly written, soul searching, monologue that reveals the auctorial side of, one of the most significant and great Greek directors, Nikos Koundouros.
  
  A play that remained silent for about four decades in the drawer, until the moment of the proper timing that it was placed at the directional mastery of Yota Koundouraki as well as the performing expertise of Nikos Panopoulos, in order to address, eventually, an exceptionally well-timed speech for the consequences of fanaticism on the human soul, to talk about the pattern of ideology – power, as well as looks for the really guilty ones of a society which creates and breeds murderers.
  
  “The Theofilos Tsafos Apology” is a performance that, as the director herself claims, asks for a better future, addresses questions and seeks for justice.
  
  Theofilos Tsafos is the criminal who has been trained to humiliate human existence, making the start from his own being.
  
  He ruins at first his own self, burns into the flames of FANATICISM his heart, thus heartless longs for victims, in order to complete his Secret Mission.
  
  His hands are being transformed into lethal weapons, strangling the only woman he loved in his entire life… simply as that… during love making.
  
  AUTHORITY, well camouflaged behind IDEOLOGY, attends the half-crazy criminal sucking the immolator’s as well as his victim’s blood.
  
  Unfortunately, human being’s history has countless blood-stained pages of fanaticism as well as countless murderers. However, where the real CULPRITS lie?
  
  A play which functions as a scalpel for the murderer’s soul, as well as the society, which creates murderers.
  
  SEE MORE INFORMATION FOR THE PERFORMANCE AT THE WHATS ON SECTOR WITH A CLICK HERE
  
  

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• READ From Thursday 17 March to Sunday 17 April 2011 "Moral issues" of Pieris and "Ghosts" of Shakespeare have their premiere in March 17th Two theatrical premieres: "Hamlet, the Prince of Denmark" & "The House"
  The world of theatre has its premiere, again, in March 17th with two exceptional plays of the Greek as well as the global dramaturgy, through the eyes of an acknowledged as well as a young stage director, in two equally exciting theatrical performances. A contemporary Greek drama on the one hand, directed by Yorgos Michailidis, a social and psychological tragedy entitled “The House” of Michalis Pieris, will introduce us to moral issues while it will initiate a dialogue on the fields of arts, the way its hero conceives it. On the other hand, a new approach of the Shakespearean Hamlet, by Thanos Papakonstantinou and the newborn The Helter Skelter Company, invite us to listen to the voices of the ghosts, in order to stand, more politically than ever, against the injustice in modern societies.
  
  

  • THE HOUSE of Michalis Pieris - Directed by Yorgos Michailidis

  
  Michalis Pieris’ play “The House” is a social and psychological tragedy. The main character, a writer, fights and resists vehemently the broker of a large construction company who offers to buy off his paternal home, which to him is a living place with soul and feelings, a haven for the memories of a lifetime.
  
  More than a tale of moral values, the play is essentially an essay on art, theatre within theatre, as the protagonist-writer perceives it.
  
  
  

  • HAMLET, PRINCE OF DENMARK, William Shakespeare - The Helter Skelter Company -Adapted and Directed by Thanos Papakonstantinou

  
  Hamlet, citizen of a drowning world, struck by his father’s ghost takes on re-joining time. He wants to be the spoiler of the feast, the one who will fix the broken parts of this world. His thoughts strike the new regime but all soaked in doubt, they are erased before they become actions. The game is rigged and Hamlet knows it. Once he has this knowledge, nothing can convince him to act. Hamlet is seen in relation with the citizens in modern societies. Even though we do perceive injustice in the world around us, we grow reluctant to the belief that a major change is to come.
  
  The ghosts are here. They exist in every trail of all the bestialities done in the name of humanity by human beings. It’s the voice of ghosts calling us to avenge, to revolt, to take arms against the sea of troubles, only to repeat man’s oldest tale: self-adjudication.
  
  Emphasis is given to the political dimension of the play: a country in a crucial, transitive situation is threatened by an external enemy but at the same time is being hit by internal revolts at such a point that is being surrendered effortless and headless to the besieger. As the next master takes on, the feast starts over again.
  
  SEE MORE DETAILS FOR THE THEATRICAL PERFORMANCES WITH A CLICK HERE
  

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• READ Sunday, 13 March 2011 “The American” comes back for just two last performances In direction of Thanasis Sarantos - By Theatre Company "Ithikon Akmaiotaton"
  “The American”, a performance created to pay homage to Alexandros Papadiamantis, our Dostoyevsky, as Thanassis Sarantos characterizes him, returns, for just two last performances at Theatre Hall of Michael Cacoyannis Foundation, on Sunday, March 13th 2011. A theatrical adaptation of the homonym classic short-story that attempts to introduce us, again, to the magical world of the great writer’s, coming from Skiathos Island, language and suggests to experience, once more, the feelings of longing as well as ideal love. A dramatized narration that invites us to feel cosmopolitan citizens through the perspective of a “Cosmic Monk” as well as win, in the end, the feeling of an inner calmness against the voices of an era of superficiality, as the director and actor himself highlights.
  
  A theatrical adaptation of the homonymous classic novel of Alexandros Papadiamandis, by the Theatre Company “Ithikon Akmaiotaton” in the occasion of the 100th anniversary of the writer’s death, that involves an actor and a musician, who remind us the dimensions of the human solitude and the “uncured” suspicion over against the unknown  or the seemingly strange.
  
  The hero is “a stranger in his own world”. Of course, he is neither a stranger nor an American. He is a Greek emigrant who after 25 years of absence returns back to his island but no one recognizes him. He wonders by himself alongside the port, the island’s alleys and faces his family house ruins. Only love is what he hopes for. “The American” could easily be the story of an immigrant in Greece, today.
  
  In the performance Thanasis Sarantos, as the narrator, interprets the character of Alexandros Papadiamandis’ novel in cooperation with the music and the sounds of the composer Lambros Pigounis.
  
  A dialogue of Papadiamandis’ exceptional writing with live music. The atmospheric music of the piano in coherence to the language used in this classic novel make a unique theatre performance.
  
  SEE MORE DETAILS FOR THE PERFORMANCE -THE AMERICAN- WITH A CLICK HERE
  

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• CHILDREN PROGRAM February - May 2011 Performances for Primary & Secondary Education at Michael Cacoyannis Foundation
  An interesting program with performances for all levels of primary and secondary education is being presented until May 2011. It is a number of selected choices from the fields of Theatre, Cinema, and Oral Narration for Tales, as well as Puppet Theatre, absolutely adjusted to the quality standards, as well as the demands of youth entertainment. With respect to young friends of arts, Michael Cacoyannis Foundation hosts exceptional artists and acknowledged creators, who promise to amaze little and older kids through their work. The in question performances take place in a daily basis, From Monday to Friday mornings and are targeted exclusively to organized school excursions at the venue of the Foundation’s Cultural Centre.
  
  THE PERFORMANCES IN DETAILS
  
  
  

  • A Thousand Tales and One!!! Tales narration with the story-teller Sasa Voulgari

   
  Michael Cacoyannis Foundation hosts the Story-teller Sasa Voulgari and organizes, following an agreement with the administration departments of the schools, educational performances for preschool age children as well as students of all levels of the primary education. It is all about a fascinating journey through the magical world of tales, by the prime mover in the fields of live story-telling for students of all ages.
  
  INFORMATION - BOOKINGS:
  SASA VOULGARI: 210 9572613, 6972 261037
  
  
  

  • "Dreams in another Language" by Lucia Rikaki Educational Screenings

  
  Michael Cacoyannis Foundation in collaboration with prominent cinematographers as well as institutions organizes Educational Programs of Cinema Screenings, aiming to create a constant encounter of pupils and students of all educational levels with the cinematic art as well as with issues that are related to the contemporary social concerns.
  
  “Dreams in another language” an awarded documentary by Lucia Rikaki
  
  A film, 216 children, 21 countries, 46 teachers, 80 hours of shooting material, 7 months of editing, a modern multicultural environment.
  
  Does it really matter in which language a kid dreams? It shouldn’t, however, when life follows its own complexity, then dreams speak in their own language. A language that carries truth, humour, bitterness, puzzlement, tenderness, love. SO the dreams are becoming space and power for life in whichever language, under whatever circumstances and they finally unveil when they find fertile soil.
  
  AWARDS:
  1st AWARD FOR BEST GREEK DOCUMENTARY & BEST EDITING AWARD AT THE 4th CHALKIDA DOCFEST 2010
  
  Screenings Program
  Morning screenings for schools start on the 14th of October 2010
  under arrangement with the responsible person for screenings' bookings
  
  Screenings' organization: Stamatia Antonatos
  Tel.: 210 3418584 (8:30 am – 1:00 pm), Mob: 697 4926755 (8.30 am - 9.30 pm)
  
  
  

  • “Helen” by Euripides, by the Theater Company “I ALLI PLEVRA (THE OTHER SIDE)” Secondary Education Ancient Drama Plays

  
  Having as purpose the encouragement of theatrical literacy in the educational field, the Theatre Company “I ALLI PLEVRA (THE OTHER SIDE)”, that conducts studies, research and create live performances on scene, for ancient drama plays since 2001, proudly presents the tragedy "Helen" by Euripides, that is taught in secondary education, directed by Aris Michopoulos at “Michael Cacoyannis" Foundation.
  
  
  The performances for Secondary Education, of the Ancient Drama play "Helen" by Euripides take place in an everyday basis (except for Saturdays, Sundays & holidays).
  
  Theatrical Producer: Stamatia Antonatos
  Tel.: 210 3418584 (8:30 am – 1:00 pm), Mob: 697 4926755 (8.30 am - 9.30 pm)
  
  
  

  • Experimental galanty show puppet theatre for primary and secondary education children - Crescent Moon Bear by ParaMana Puppet Theatre

  The play
  The Crescent Moon Bear is an adaptation of a traditional story borrowed from the Japanese oral tradition. It is a shadow theatre performance for children and teenagers that talks about love, universal values and moreover about the bravery of a little girl who in order to save her father’s soul sets off to a dangerous journey into the deep forest.
  
  Through the various themes and messages conveyed in the play we wanted to talk about the irreversible consequences of war. War is part of human history some may say part of human existence.
  
  Every Wednesday & Thursday morning at 10:30 from January 12th until May 26th 2011
  For further information about the performances or bookings, please contact ParaMana Puppet Theatre at 210.9216996 & 6973364350 or through the E-mail address: cie.paramana@gmail.com. Art Director: Anastasia Parava
  
  Group bookings for primary school classes offer the €8 ticket price per student
  
  
  SEE MORE DETAILS FOR THE PRIMARY AND SECONDARY EDUCATION PERFORMANCES WITH A CLICK HERE
  
  

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• INTERVIEW From February 16, 2011 to March 13, 2011 Christos Lygas "enlightens" aspects of a Dark House
  Presenting one of the most recent plays of the famous American writer Neil LaBute, the “In a Dark Dark House” that was written in 2007, the theatrical company “Protes Yles” will be hosted at Michael Cacoyannis Foundation.
  
  The “In a Dark Dark House” has been firstly presented at Lucille Lortel Theatre in New York and approaches the story of two brothers, both of whom, experience from their diverse and own perspective a sexual abuse: a thirty year old security guard named Terry has come to visit his estranged younger brother, Drew, in a psychiatric hospital. Drew, a wealthy attorney, is confined here after a spate of bad behaviour including drunk driving and coke possession. Eventually, he musters the courage to tell his brother that he was sexually abused in his boyhood by a slightly older family friend named Todd. The furious Terry goes off to search for Todd, with the apparent goal of exacting revenge.
  
  Drew’s request is the occasion to unveil the hostility feelings of the two men relationship. Through pain and betrayal acknowledgement, brothers start fumbling indelible evidence of the violent abuse that have suffered in and out the family environment.
  
  The suppressed memories of a dark childhood haunt the two boys’ adult life, marked ineffaceably by the catastrophic influence of the double attack by an abusive father who rampages roundly, and a young man, whose repetitive catastrophic action ends to a real mental murder.
  
  Remnants of this past are being revived by the time both men fight against pain and betrayal that marked their relationship forever…
  
  Read an extract of the interview of Christos Lygas to www.mcf.gr about the performance "In a Dark, Dark House".
  
  He directs one of the most recent plays of the famous American writer Neil LaBute, which is being presented for the first time ever at a Greek stage, and at the same time he attempts to “bring into the light” the most traumatic moments of two men who have lived “In a Dark, Dark House”. Christos Lygas approaches the inner layers of the human soul and allows us to enter into the process of his artistic effort, talking to www.mcf.gr for the performance of the Theatrical Ensemble “Protes Yles” that is going to be hosted at Michael Cacoyannis Foundation from February 16th 2011.
  
  
  The writer of the play, during a procedure of soul searching in relation to his personal tragic experience, ends up to the following: “It is quite strange how we finally survive and our life takes a shape.” At the same time, the relationship between the two men that is being unveiled on stage has as common point of reference an also tragic experience that emerges at the moment as a recall of the past. Which are those shapes that memory imposes on human soul, body, as well as on the human behavior itself?
  
  I believe that part of how powerful LaBute’s dramaturgy is, it is exactly that avoiding to become melodramatic and hyperemotional on this subject, which is tragic in its own nature, isolates particularly the consequences of tragedy on how we encounter them on the shape of the two men’s lives, when we meet them, mature now on, at an age just before their forties. At this shape of their lives, I think that truly is being illustrated what someone could call as traumatic memory, maybe camouflaged in a sense. Specifying I would say that they are like two beings, two kids who have experienced a very traumatic environment of childhood, a very traumatic upbringing, in a different, someone could say, way. The young covered himself and developed a such kind of defense, like an ostrich, at an emotional as well as psychological level, while the older brother lied himself wide open to the social interaction, and substantially confronted all that abusive attack that experienced as a child. As far as the older one is concerned, someone could observe that it is a post-traumatic transformation even the fact that he chooses to join a war, in Kuwait, in the context of modern America, where you can avoid it. It seems to be a conscious choice to go to a war. Moreover, he is a man who chooses to work as a private security guard, something that, as I believe, allows him to hide his own self. A man who moves around in a city without having identity. At the same time it gives to me a sense that…, besides it seems to be a profession that has to do with the expression of some kind of power, I think that in the end it is just a cover. He is scared… It is more defense rather than aggression the job he chooses. On the other hand, as far as the young one is concerned, someone could say that, all that memory has been transformed, in appearance only, into something painless, because he develops an ambition. He wants to make it, he fights with the system and he succeeds, but in parallel, it is him who undermines and subverts his own choice, sabotaging the foundations of the family’s emotional life, through moral excesses and declensional from moral standards behavior. Generalizing however, because I feel that you put it in general, I think that all that memory never goes away from our lives and always finds a disguised existence, either in the relationships we make, or in the way, mainly, we communicate. I think that the experience of a warlike situation shapes and bears a character, who will survive through a conflict with the reality, the life and the society.
  
  
  In which forms memory returns and defines the heroes’ lives? Does it exist always in the sphere of imaginary as spectral images, ghosts or do we witness an embodiment of it?
  
  I think it is being incarnated. The confinement itself of the young one in the psychiatric clinic has to do exactly with this embodiment. His deeper psychic motivation is…, somehow, to break down that entire psychological defense which is also his torture. He becomes an exceptional, genius liar; he becomes a master in the game of deception. He ends up, however, this deception to be a torture for him. I think that all this relationship with drugs, alcoholism and addiction in general, has to do with this. The older seems to be very much tight morally. It is as if he tries to make a mask very moral, to support it and finally this to become his vehicle to survival, because, essentially, he is a very frightened being. Yes, I do believe that it is not at all intellectual, it is not just memories, nor images, it is… written, I think, on their bodies.
  
  
  The in question experiences have been put into the sphere of inhibition. Someone could suggest that here, in the line of the performance, is being attempted to emerge the un-communed of the heroes’ existence. How this excess is being accomplished so as the unspeakable of the human soul to get essence and to be unfolded?
  
  Through the conflict I would say… When difficult truths that cannot emerge to the surface of life come along, in our relationships, I think that the unique vehicle, which, of course, is painful and we usually avoid it because it is unpleasant, is the conflict. Of course I do not talk about a little fight or hassle, because I think that the two brothers enter, completely unconsciously, to a story of real eradication. Because I believe that only through a…, big and tough confrontation, this unspeakable and hard truth can be brought into the light. It is as if someone would say that this conflict will demolish all these walls that have been formed in their souls.
  
  
  Is an aesthetic language being used? If so, which is the vocabulary that is being shaped by the writer, as well as by you in order to be available to both the actors’ and the audience’s service for the decipherment of the play?
  
  Originally in a dramaturgic level, by the writer’s side, I think that LaBute is a master and really extraordinary in writing a primal level of camouflage for the motivations of characters, as far as I am concerned, in the topmost successful way in contemporary theatre. This is a small danger, a little entrapment, because, if somebody considers the primal level as the real truth of the relationship on the specific moment, will destroy the essence of the underground path of the characters. By the time I sensed this dramaturgically, I tried to move in parallel.
  In other words, I wanted the first level to function as the cover of the characters in their communication, while simultaneously actors to be aware in a very particular way that underneath, their faces give direct and clear hits to the core of the relationship. That is to say that they use, someone would say, the first level of their speech like… a small coverage of their real motivations, which are more complex and more extreme. This is the aesthetic shape that I tried to respect, as far as direction is concerned, so as this to be able to be called to the lines that follow the development of the relationship, mainly, between the two brothers.
  
  
  SEE MORE DETAILS ABOUT THE PERFORMANCE IN A DARK, DARK HOUSE AT THE WHATS ON SECTOR
  

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• INTERVIEW Thursday, 24 February 2011 Alain Lefevre talks about his relationship with music and Greece, just before amaze us on stage By Achilleas Kourias
  The moment of his encounter with the world of music, when being just four years old first sat down at a piano, was explosive. The pianist and composer of international fame, Alain Lefevre, had been immediately acknowledged as a child prodigy, while during his astonishing career, he has been honored with distinctions and awards that prove him as one of the greatest soloists in the entire world. Just a few days before Greek audience enjoy an extraordinary recital, on Thursday 24th of February 2011, as well as a MasterClass, in the line of the festival “A Month for… Bad Fellowships” that is being hosted at Michael Cacoyannis Foundation, Alain Lefevre talks to www.mcf.gr for his relationship with music, as well as the inspiration that he derives from Greece.
  
  
  Since you had immediately been indentified as a child prodigy in the fields of music, already at the age of four years old, could you please let us know these extraordinary feelings that you had this very first moment that you encountered the world of music?
  
  You know I’ve started playing piano when I was very young. I come from a family of musicians, my father was fantastic clarinettist, my mom was also playing flute and we were four boys in the family, so each of us have been exposed to classical music very, very early. I didn’t realise my talent before people told me. You know..., you play piano, you are five, you are four, I did my first little recital when I was six years old, I won my first piano competition when I was seven and of course it’s by the time that you realise that you have a special gift. The gift is to play music. So, child prodigy? I don’t know, I would love it, I would love having seen that thing at that time, but I know for sure that music is now a big part of my life if it isn’t even, I would say, all my life. I started playing piano at the age of four and a half, my first concert was at the age of six and from the age of nine or ten, I am practising for the last...  couple of years. Since age of eight or nine years old I am at piano every day, that’s me.
  
  
  How those feelings have been transformed into the following years of experience? Do they settle just like a feeling of success or expertise after a long and great career like yours, or perhaps they are being shaped beyond that, into something deeper for your own existence?
  
  The concept of success is something that I don’t have because it isn’t my temper. I think that when you do any art, movies, painting, writing, theatre, if you have the concept of success it can be dangerous. I think that the artists by essence always have doubts, they doubt all the time. You never know if something that you do is good or bad. You try to do the best. You can never know that you have succeeded. I believe that this is something that others have to see. I’m a modest guy, I ‘m not someone who believes in victory, I’m someone who works, someone who tries to do his best and the rest is God. You know... You work and work and certainly you have the doubt of something else. It could be very pretentious to say I’m an artist, I know what I do. You never know what you do, you just try your best.
  
  
  Does really doubt, that you mentioned, lead to creativity?
  
  Of course, one of the most beautiful stories I’ve heard was from Franco Zeffirelli, who told me once that before a really big concert of Maria Callas, she took his hand and she was so nervous, she doubt herself so much that her nails almost penetrated Zeffirelli’s hand. She said to him “I want to die”, “I doubt of myself”. Zeffirelli was so touched and moved, seeing one of the greatest singers of all times having those feelings. While at the same time, he knew some singers that were not singing so well having no doubt. So, I believe that great artists and great creators live with their own ghosts and doubts.
  
  
  Do you identify yourself more as a pianist or as a composer? Is it a matter of creativity the difference between the two identities? In other words, is it a motivation for self expression that led you to compose your own works?
  
  My first job was, of course, to be a concert pianist. Then, I was exposed to the fact that to compose was sometimes a great relief. When you are sad, when you have the impression that sometimes no one loves you or people don’t understand you. So, composition for me was a way to express something different. Because, by composing, I was able to express different things. It became something quite important because now people and orchestras around the world play my own compositions. I’m always surprised, because I don’t think greatly of my compositions but people like them.
  
  
  They might have a reason...
  
  I imagine so....
  
  
  Which are your influences when composing? Is the admiration to the artistic range of great classic composers, or a more experiential inspiration?
  
  It is impossible for me, to have been practicing Bach, Tchaikovsky, Gavrilov and Mozart and try to be them. I love movies, I have seen a lot of movies. There was a specific period of French, Italian and Greek movies where the composers were fantastic.  Like Michel Legrand, Francis Lai, Maurice Jarre, Theodorakis and all those composers were great, might not today, because now we have superstars like Mickey Mouse. At that time there were really great composers for the movies. So my masters invisibly have been the ones who have composed for movies because it is always interesting to see a story and put music on it. As you might also have seen in the short film that we have just watched (The short film N’ ME FOR MYSELF by Tzortzis Grigorakis) of this very moving story of a man with no arms and I think that the piano behind that movie was perfect, it was well matched and put. So I think that in my composition aspect is a more personal inspiration than trying to pretend to be someone else, like Mozart or Chopin. It is impossible because those people are too high for me.
  
  
  We are aware of your passion to motivate young people get engaged with the world of classic music. Since you are going to offer a Master Class on the forthcoming Thursday at MCF, how would you advice a talented youngster to cope with music? What does it really take to become successful or creative?
  
  This is very difficult question. Because, unfortunately, this period in our society the arts are not very well supported. The victory for what we call art is more the enormous machine from the Anglo-Saxon world, the British and the American. When they want to promote a singer and just take the example of Lady Gaga, during the last two- three years, the money they have, the power they have, is so extraordinary that less and less young people are interested in classic music and in classic work. So, the real problem, actually an enormous problem, is that we continue to have those schools of music where we encourage young people to do classical music and classical art like ballet, and I wonder when I see the little exposure that classical Art have in our society if it is going to be possible to survive. I believe that the choice we’ve made will have consequences. Millions and millions of people will buy CDs and music from singers like Lady Gaga, Rihanna, you know, it changes every day. So, less and less people will go for classical art. The biggest challenge today is to convince the younger generation for the importance of the arts and that importance is related directly to democracy, to a style of life. We won’t be able to have a strong society if we don’t support the arts. This is the way I see it right now. I might be a little depressing, but it is a matter of survival. So many young musicians, who I have the chance to meet every year, just struggle to survive. We are not even talking about making a career. They have no open window, no open door. I have been playing and giving Master Classes in Greece for the last fifteen years and I know this country very well. I have seen so many talents from Greece, but there is no space for them. Just try to do a concert with a very wonderful and young Greek pianist, you will only have five or six people in the audience if you are lucky. At the same time if you go to a bouzouki hall, despite the economic crisis, it will be filled. The big problem is what do we do for that. Of course, there are some people who try to do the difference, like Lambrakis in Greece, but those people are getting old, dying, disappearing... So, I’m not very much optimistic for the future of the arts, for those thousands and thousands of young pianists, violinists and singers who try to do something beautiful. It is going to be very difficult.
  
  
  During these concerts, we are going to have the opportunity to attend you performing live three pieces, entitled Ilios, Thalassa and Anemos, inspired by Greece. How those pieces express your relationship with Greece? If those three words illustrate the image of Greece for you, how this image can be interpreted into sounds or melodies?
  
  It is very difficult for a classically trained pianist when he or she discovers the richness of Greek music. I have a radio show in Canada, in CBC, and I did many radio shows devoted to Greek composers, like Kalomiris, Koukos etc. I know very well their inspiration. My love story with Greece have started seventeen years ago when I started coming to Greece regularly and playing in Thessaloniki, in Kavala, in Epidaurus, in Athens, in Samos, in Hydra, I’ve played almost everywhere. And I love Greece. There is something magical in this country, therefore it’s been an inspiration for me. So I’ve tried very modestly to listen to some Greek music, Greek scales and I’ve tried to make some music on my own, to honour this country that has been so good to me. Ilios was composed in Samos, Thalassa was composed in Epidaurus and Anemos was composed when I visited the Cape of Sounio. I did try with each of those pieces to expose something. Ilios is the possibility of the happiness of the sun. The happiness of Greek people, since you have that inside your soul, like Zorba the Greek, when everything goes catastrophic and you still are able to sing and dance. Thalassa is a story that someone told me about an old man that lost himself in a little boat and the sea was very violent and he said to his son that he was able to find back his little village by the sound of some bells of the church. So I imagined a piece with a lot of waves. Anemos is the wind in Greece because I was amazed by the way that wind even if it is very calm in twenty seconds can change to violent. So it’s like the Greek temperament. I don’t know if they are good pieces or not, but I know that I have composed them with a lot of love for this country, that’s what I did.
  
  
  Could you please let us know from which specific elements of this country derives that love?
  
  What I understand from Greece is that Greek people have geniality. Greek people are people who have in their blood something profoundly different than the rest peoples. However, it is very difficult for Greek people to find back their confidence, as a great country. I’m amazed to see a population with so many talents, people with so much love, passion and generosity. Greek people are givers. My love with Greece is that I know that Alexander the Great and his father Phillip, and all the rest of great Greek personalities, like Melina Merkouri, were genius. This is Greek, but you have to find that confidence and strength that can be inspiring for your population the rest of the world. You have built the world somehow, with the Philosophy, Medicine Astronomy and this is the Greece I love. This is the Greece I have confidence in.    
  
  
  It sounds as a cliché, but a lot people claim that music is an international, common human language that overcomes frontiers. Do you really believe that you can communicate with people of different cultural backgrounds through your compositions? If so, how this transnational communication can be accomplished?
  
  I believe that music can touch everyone. What I do when I compose and when I play the great genius composers from the past, like Brahms, I tend to realise that somehow the language of music is something that do not have to be spoken. Your heart, your soul, just get the feelings. The best example is that, when NASA, once, wanted to send a satellite to check if there is extraterrestrial life, they have put Bach on a tape in order to communicate. It would have been possible to see ballet, read literature or see theatre, but music is above all languages. So, referring to the former question, I think that governments all around the globe have missed something terrible. They promote internet and technology but they forget that when Alexander the Great was building his empire, the first thing that he was doing was to bring artists of theatre, sculpture and music. That was the only way to win the war. Lately, the governments we all have, actually let down the arts, thinking that arts do not have influence on the economy. That is completely mistake. Arts are the biggest influence on a population. Therefore I’m going to be a bit sarcastic. When I see little kids, thousands and thousands of little girls in America who have as hero Lady Gaga and try to imitate her, we have to ask our self, if this is the good example that we promote for our kids. Unfortunately we do not think about that, because it is a question of money after all. It is just the function of the machinery and it is very sad. On the other hand, we see our countries in economic depression, unable to recover. So education, music, arts, cinema, theatre, painting have spiritual values that can make a society strong and better. We just have to see the conclusion of the decisions that different governments take. I’m always surprised when a new government comes to power all around the world and promote the representation of all the kinds of music, like pop and jazz and country but always apart from classical music. And I always keep asking why... Why our hero today should be just U2? I do not have anything against them, but this is not enough. So we’ll see what is going to be the conclusion. For example I’m impressed to see what one man, like Michael Cacoyannis, have done here with that beautiful building, this cultural centre, and I am sure that this great man has a passion and love for arts; otherwise he wouldn’t have done that. Is that man thanked by the government? I am not sure. I think that we give too much attention to stupidity, that sometimes people forget that society is built by the education and culture. 
  
  
  If I asked you to entitle your live performance at Michael Cacoyannis Foundation, what would it be that title? How would you characterize this chance to meet Greek audience again? What should we expect from you?
  
  It will be a special concert where I will present music. It is going to be a concert of my soul. I will express my inner side, my intimacy I would say, and some little parts of me that people don’t know very much. So, I hope it will be interesting for the public. But certainly, it is very moving for me to play these pieces, as I’m going to play a tribute of what I have composed for Megaron Athens Music Hall, pieces dedicated to Christos Lambrakis, who I loved as he has been my mentor in Greece. He is the man who helped me a lot and it is sad that he is not here anymore. Therefore, I will have a very special part for him because he was a prince, a great man.
  
  
  SEE MORE DETAILS FOR THE CONCERTS OF ALAIN LEFEVRE AT THE WHATS ON SECTOR WITH A CLICK HERE
  

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• INTERVIEW 30 December 2010 Thanassis Sarantos: Papadiamandis shook me up By Aggeliki Karystinou (published in elculture)
  Ithikon Akmaiotaton Theatre Company commemorates the 100 years anniversary of Alaxandros Papadiamadis’ death and puts on from scratch the play THE AMERICAN at Michael Cacoyannis Foundation on January 8 & 9. The play is a novelettish narration by Thanasis Sarantos based on the homonymous  classic novel written by Alexandros Papadiamandis (1851-1911) .
  
  A part of the interview from Thanassis Sarantos by Aggeliki Karystinou follows.
  
  Why did you choose nowadays to stage the “American” by Papadiamandis?
  First of all I must say that Papadiamandis shook me up. The “American” was written in 1891. Papadiamandis was a journalist who published Christmas short stories every Christmas in the “The Asti” newspaper and one of them was the “American”.  It was so successful that it was republished again the next day. The story is about a Greek emigrant in America who has lost every touch with his homeland, Skiathos, and about his return to his country to find his great love… The story pays an honor the Greek emigrants. The specific hero worked as a crop supervisor, back then Greeks did the slave’s work, many had even disappeared in America. He of course had made money. The concept of emigration urged me, because in a way I too was an emigrant for four years in the US and Berlin when I was studying. At that time I felt what nostalgia means. The whole concept of the text is the ideal love. He was in love with a woman and came back to find her without knowing whether she was waiting for him. Finally the story has a happy ending… The hero is a bit like Odysseus; he wandered, travelled and goes back to his Penelope. Naturally the text’s picturesque and glittering style cast a spell on me. It is a short story that has gone deep. I wouldn’t exaggerate if I said that Papadiamandis is our own Dostoyevsky. He even read and translated Dostoyevsky’s texts. We have written this off. Papadiamandis himself had no interest in fame, he was simple. He didn’t want nor yearn for publicity, he didn’t even like to have his photos taken. And this is another reason why I dealt with his work. Papadiamandis is so against our era of “seeming” that reading him and only brought piece inside me. I wasn’t looking to stage a play. I started researching this great writer and everything else came later on.
  
  How do you overcome the narrative style of the text and assign to it the theatrical aspect?
  Papadiamandis uses the language of his time, but it has incredible theatricality, he has x-raided his heroes’ idiosyncrasy. I play all roles with very simple mediums: with a scarf which can also be turned into a neckerchief for instance. I play the roles but I don’t identify myself with the heroes, they do come alive on stage through the narration. This is also assisted by Lambrou Pigouni’s music, who plays the piano live. The piano as well turns into many things. At some point Lambros also plays electronic music through a laptop and so we recreate his story: who is this man, why did he come, what are his home’s remains…
  
  Was Papadiamandis’ language difficult for you?
  Yes, the familiarization with the language was one of the most difficult stages. You cannot diverge from the text, it is like a score. You cannot remove anything, there’s so much music in this text. Through it, Papadiamandis passes all of his being, even his political belief. With one word only he talks about his times. Greece was then at several places under the Turks’ occupation and Papadiamandis becomes the chronograph of his era. I had to understand what was going on then, but mostly I wanted to find what was contemporary; and contemporary are the human relationships.  
  
  You direct, act and you have also a monologue… Three difficulties in one play…
  Yes, exactly… I basically deal with the “saying”. And this is what is important to me in the theatre: actors and directors are the medium through which the text passes on to the spectator. And when I say “saying” I also mean the thinking behind the words not only what you can hear. I would like of course to be able to watch myself act but I think that all actors have a third eye. My viewpoint on the text was that I didn’t want to hide from the audience. This is way I address the audience. My intention is to pass the text with out mashing it. I believe the spectators are in some way my team players.
  

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• ANNOUNCEMENT Tuesday, 1 February 2011 Free parking for MCF visitors- viewers at athensheart mall!
  A new cooperation between Michael Cacoyannis Foundation and the athensheart mall (located at Piraeus 180 –Chamosternas knot) began as from yesterday, by which MCF’s visitors-viewers are entitled to use the athensheart parking lot for free on the day of the show and by submitting their MCF tickets, provided that there is availability.
  
  The procedure is simple. The viewers, after the show and before they pick up their cars, should exhibit their MCF theatre ticket so as to get a receipt from the athensheart Customer Service Office (1st underground level, at the parking exit) which they will use afterwards at the special automatic parking ticket machines.
  
  Terms of use:
  1.One that does not have or refuses to exhibit the MCF theatre ticket is not entitled to free parking and must pay the fare at the automatic parking ticket machines.
  2.Free parking service is valid only on the day of the show (exhibiting their MCF ticket) while departure from the athensheart parking must be done by 1.30 a.m otherwise one must pay the fare at the automatic parking ticket machines according to the list of prices. 
  3.The general and Special terms of parking at athensheart park are in use
  
  

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  SEE ALSO

  • athensheart
  • How to get there
• PERFORMANCE Monday, 7 February 2011 A tribute to the 75th death anniversary of Federico Garcia Lorca
  Yannis Iordanidis, director, opens the tribute for the 75th death anniversary of the great Spaniard poet, Federico Garcia Lorca at Michael Cacoyannis Foundation and presents the play “The Last Day”, a theatrical composition which was created from Federico Garcia Lorca’s and Rafael Martinez Nadal’s narrative and other writings that fascinated the director who proceeded with their dramatization and formed a play that the viewer will encounter a text which is about Lorkas’s last day in Madrid, a month before his tragic death in August 19, 1936 as it is narrated by the man who delivered the unknown manuscript “the public”.
  
  A key sentence of the play: Before travelling or when we say goodnight to someone we love, we are always thinking death skulking. I am horrified in the idea that at some point I will have to take leave of myself. F.G. Lorca    
  
  The play “The Last Day” is about Lorca’s tragic dilemma on whether to remain in Madrid or leave for Granada, where he was finally arrested and executed after a few days by the fascists.
  
  Yiannis Iordanidis directed the play with a simple and poetic approach in an effort to set on the stage, through a cinematic structure, Lorca’s last days and that “incredible preapprehension of death that accompanied him through out his life”.
  
  Yannis Iordanidis apart from the direction administers the dramaturgic elaboration of the particular theatrical play as well, while stage scenery and costumes are designed by Yannis Metzikof, music is composed by Thodoris Ekonomou and lights are designed by Melina Mascha. Two main parts are featured by Othon Metaxas and Orestis Sofokleous.
  
  In the line of the particular tribute, the stage director Yannis Iordanidis will address a Master Class on the subject: “Despair and Violence in Blood Wedding” (four 5hour seminars – workshops) for young actors and Drama Schools students. He is going to teach, using practical application, a contemporary acting approach on the parts of the “Blood Wedding” unveiling another dimension of the play that longs for correspondences to nowadays.
  
  The Master Class will take place on Saturday 12th, Sunday 13th & Saturday 19th, Sunday 20th of February 2011 (from 12:00 until 17:00). Information – Registrations at Michael Cacoyannis Foundation.
  
  More info about the play
  

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• PERFORMANCE From January 20th 2011 for just a few performances Greece 11... Living in Greece of 2011 By Giorgos Nanouris
  Trends demand greeklish, however he writes in English language with Greek letters and dares to decode Greek reality of 2011, through expectations, desires, experiences, but mainly, through emotions of each and every one of us. Giorgos Nanouris, one of the most significant representatives of the new generation in the country’s theatre proceedings, directs as well as acts along with Giorgos Karamichos, Andriana Mpampali and 18 volunteering actors, in the performance Greece 11, which is presented at Michael Cacoyannis Foundation from January 20th 2011. Through 9 scenes, or else, 9 stories and 5 songs, he attempts to illustrate our emotions, living in Greece of today.
  
  Moments, or else, thoughts of our everyday routine, shape - in a different space – an alternative performance with prose, songs and music. A performance that, attempts to record the subversions that we all experience in the work place, with our financial income or even within our personal relationships, subversions that Giorgos Nanouris set into the focal point, talking and singing about them on the theatrical stage.
  
  It is a modern approach of satiric theatre, which is being structured around 9 stories, most of which are written by Giorgos Nanouris himself. For this specific performance, Giorgos Karamichos and Olia Lazaridou have written one text each, while part of Kiki Dimoula poem “Angelies” and a poem of C. P. Cavafy will be used as well.
  
  “The reason I initiated working for this performance, was that I wanted to say something about the situation that we all live in. Every time I direct, it is just because of that. Because something has triggered me. And the only way I have is this. I do not have money to spend, nor some power to appear in TV shows yelling. The only way I have to express what I feel for what is happening in my city as well as my country is just this one. Therefore, this is what I can and I actually do.”
  

  Giorgos Nanouris talking to Natassa Mastorakou
  Part from Newspaper Metropolis
  

  
  

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• SOON From 26.01.2011 to 26.02.2011 A MONTH FOR... “BAD FELLOWSHIPS”
  A MONTH FOR “BAD FELLOWSHIPS”
  At Michael Cacoyannis Foundation
  From January 26th to February 26th 2011
  
  

  The essence of arts and fellowship, a great artistic fellowship ”threatens” to astonish us in 2010 for a whole month at Michael Cacoyannis Foundation.
  
  Awarded directors, producers and actors of seven films from three continents present their latest movies and are willing to talk and commune with actors, cinematographers, painters, choreographers, musicians, photographers and dancers from Greece: All together, as a company, will communicate for their creations and will associate with their audience.
  
  They will be there, where arts cooperate, artists express themselves and companies grow big in order to include: a “vertebrate” theatrical performance, musical interludes inspired by cinema, exhibitions of visual arts, photography sculptural art influenced by cinema of nowadays as well as of the past.
  
  The outcome? New fellowships, full of potential prospect and… troubles for audience and creators.
  
  A meeting of arts and artists can lead only to more creativity, to even more heretical artworks, works of companionship.
  
  Our parents might have always been telling us “beware of bad fellows”, however we are of that type of persons who still believe that these are the most interesting of all.
  
  Moreover, let us not forget that “history is made by fellowships” and those fellowships promise to make history in the fields of music, cinema, theatre, dance, photography, painting, sculptural art.
  
  BAD FELLOWSHIP’S ACTIONS
  
  30 double cinematographic screenings
  (7 short films and 7 films)
  
  Theatrical Performance
  (4 shows)
  
  Musical Concerts
  (4 shows)
  
  Dance (3 shows)
  
  Painting, Sculpture, Photography Exhibitions
  
  9 Masterclasses
  
  
  SEE PROGRAM IN DETAILS WITH A CLICK HERE
  
  

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• SOON January 2011 2011: New Challenges for Creativity. Happy New Year!
  For all of us, people and stuff of Michael Cacoyannis Foundation, New Year’s coming brings new challenges for creative action. Therefore, close to new artistic trends, beside to young and creative artists, as well as together with the Athenian audience we look the forthcoming New Year with optimism and present an even more interesting program for everyone. January highlights the upcoming events with works from almost every sector of Arts.
  
  We strongly believe that culture and arts are, now, during these tough times, more than ever essential; hence, we initiate our actions in 2011, with a dynamic way, supporting new artists and interesting creations.
  
  Having marked the year 2010 with its multi-tasking actions, Michael Cacoyannis Foundation,  identified by many, as “the most vibrant” foundation in the city, invites this new, quite tough year all of his friends, young and older artists and creators, young and older arts lovers in order to offer them a breath of creativity, soul searching and entertainment through the exhibitions, the theatrical performances, the program for children, the special projects as well as the festivals that it presents.
  
  Warm wishes from us all and may 2011 bring will, good health, hope and faith in our prospects!
  

  
  FIND INFORMATION FOR THE PERFORMANCES YOU ARE INTERESTED IN, AT THE WHAT'S ON SECTOR WITH A CLICK HERE
  

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• CHILDREN PROGRAM 2010 - 2011 Cultural Events for Children & Teenagers
  The Michael Cacoyannis Foundation serving the field of shows for children with love and responsibility, welcomes you in its new program through a variety of shows which address to our little friends.
  
  By hosting artistic performances and artists with original, fresh techniques, Michael Cacoyannis foundation aims to offer high quality entertainment and education to children.
  
  Sundays with Puppet Theatre, Plays for children, Workshops, Cinema Screenings, are amongst others a few of the shows that our cultural center embraces. The performances deal with the basic principles and values of human nature and spread life messages. Participation in any of these suggestions elicits kid’s consciousness and contributes to the development of emotional intelligence and creativity.
  
  We invite you to participate and attend our events with your children or if you are a teacher to plan a visit with your students.
  
  

  
  

  FOR MORE INFORMATION IN REGARDS TO THE CHILDREN'S PROGRAMME CLICK HERE AT THE SCHOOL PERFORMANCES SECTOR.
  
  SEE DETAILS FOR THE CHILDREN PERFORMANCES AT THE PROGRAM SECTOR AS WELL
  

  
  

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• EVENT Monday 27 & Tuesday 28 December 2010 Cause... the Sounds of Christmas go Baroque! Festive Event by Michael Cacoyannis Foundation
  Michael Cacoyannis Foundation welcomes Christmas holidays with the glory they deserve and present a festive event with baroque concertos for recorder, flute, string ensemble and basso continuo of J. S. Bach, A. Vivaldi, G. F. Haendel and G. Ph. Telemann.
  
  Furthermore, the Sounds of Christmas go Baroque! Prominent and of international fame soloists, like Natalia Gerakis in flute and Dimitris Kountouras in recorder, lead a unique string ensemble that undertake the responsibility to offer us wonderful music moments, inspired by the holidays’ atmosphere.
  
  Soloists:
  NATALIA GERAKIS - flute & DIMITRIS KOUNTOURAS - recorder
  
  Texts – Narration: ANNA SAKALIS
  
  String Ensemble:
  FANI VOVONI - violin, ANASTASIA MILIORI - violin, ANGELA YANNAKI - viola,
  IASON IOANNOU - violoncello, DIMITRIS TIGΚAS - double bass,
  MARKELLOS CHRYSICOPOULOS - harpsichord
  
  
  

  Programme:
  

  
  JOHANN SEBASTIAN BACH (1685-1750)
  Ouverture from the Orchestral Suite No.2 in B minor,
  BWV 1067, for Flute, Strings and Basso Continuo
  Grave-Allegro-Lentement
  
  ANTONIO VIVALDI (1678-1741)
  "La Notte" - Concerto No.2 in G minor, op.10 RV 439
  for Recorder, Strings and Basso Continuo
  Largo, Presto, Largo, Presto, Largo (Il Sonno), Allegro
  
  ANTONIO VIVALDI (1678-1741)
  "Il Gardellino" – Concerto No.3 in D Major, op.10 RV 428
  for Flute, Strings and Basso Continuo
  Allegro, Cantabile, Allegro
  
  GEORG FRIEDRICH HAENDEL (1685-1759)
  Three Menuets from the Water Music
  Menuet I in G Major, Menuet II in G Major, Menuet III in G minor
  for Recorder, Strings and Basso Continuo
  
  GEORG PHILIPP TELEMANN (1681-1767)
  Concerto in E minor, TWV 52: e1
  for Recorder, Flute, Strings and Basso Continuo
  Largo, Allegro, Largo, Presto
  
  SEE MORE DETAILS FOR THE FESTIVE EVENT The Sounds of Christmas go Baroque! AT THE WHAT'S ON SECTOR WITH A CLICK HERE
  
  

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• CONCERT Wednesday, 22 December 2010 Thanassis Polykandriotis and his ensemble, "OI EPOMENOI", honor great folk music composers and Michael Cacoyannis
  We were all moved, at the Opening Ceremony of the 2004 Olympiad, in Athens, when they accomplished to attract global admiration. Now, the bouzouki ensemble entitled “OI EPOMENOI” (THE NEXT), inspired by Thanassis Polykandriotis, honors the great Greek-folk music composers, as well as Michael Cacoyannis, on stage.
  
  A unique concert, on Wednesday, December 22nd, invites us to recall memories of the great artists of Greek folk music, singing again, Vamvakaris, Tsitsanis, Mpayanteras, Mitsakis, Kaldaras and others, adapted uniquely by Manos Hadjidakis. In parallel the musical ensemble “OI EPOMENOI” honor Michael Cacoyannis, as a composer, presenting four old songs as well as two new, set to music by Thanassis Polykandriotis, while the composer himself will co-perform for a surprise song.
  
  During the first part of the concert, the whole work of "Hard April of 1945" by Manos Hadjidakis. It is an artwork including 11 songs by Vamvakaris, Tsitsanis, Mpayanteras, Mitsakis, Kaldaras and others, adapted uniquely by Manos Hadjidakis and having as bouzouki soloist Thanassis Polykandriotis, an album that firstly released in 1972.
  
  During the second part of the concert the ensemble “OI EPOMENOI” honor the lyrist Michael Cacoyannis presenting four old ones as well as two new, set to music by Thanassis Polykandriotis, songs, in Michael Cacoyannis lyrics.
  
  The bouzouki ensemble is accompanied on stage by a guitar, a classical piano and percussion instrument.
  
  In the singing part, apart from the ensemble members themselves, the young singer Christina Michalaki participates as well.
  
  Thanassis Polykandriotis conducts as well as co-performs for a surprise song.
  
  The Artistic – Music Society “Oi Epomenoi” was founded in 1993 due to Thanassis’ Polykandriotis will to transmit his own love for traditional folk instruments to young people and through them finally gather all those, who really love folk – music tradition. Today, the ensemble counts 280 active members, of 16 to 35 years old age, from all over Greece. This group was chosen to perform at the Opening Ceremony of the 2004 Olympic Games in Athens, appealing global admiration.
  
  SEE MORE DETAILS FOR THE PERFORMANCE Thanassis Polykandriotis and his musical ensemble "OI EPOMENOI" perform and sing AT THE WHAT'S ON SECTOR
  

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• DANCE From Saturday 18 to Tuesday 21 December 2010 CRACK: The new choreography by the awarded Zita Dance Company
  Just before presenting their new work, entitled CRACK, from December 18th until 21st at Michael Cacoyannis Foundation, “Zita” Dance Company and Iris Karayan have been awarded with the 1st place for Choreography Award (Jarmila Jerabkova Award 2010) by the New Europe Festival of Prague. A festival recognized as one of the topmost in the fields of contemporary dance and dance-theatre, which is organized by the Divadlo Duncan Centre in Czech Republic.
  
  Thus, from this Saturday, let your senses enter the constantly alternating universe of CRACK and explore the outcome of cooperation between the awarded choreographer Iris Karayan, visual artist Nikos Papadimitriou and composer Nikos Veliotis, in a performance exploring the relation between INDIVIDUAL & COLLECTIVE.
  
  The work invites spectators into a sensorial spatiotemporal experience. Forms and shapes emerge and transform while figures and structural elements of the performance function as independent elements that build up into integral ensembles. Intense rhythmic structures determine the movement altering from repetitive accumulations to the total pause of actions.
  
  The continuous process of space transformation is achieved through the performers interaction and mobility, while space and that which occupies it become one. Collective-individual, order-disorder oppositions create a spatiotemporal condition of constant change.
  
  
  SEE MORE DETAILS FOR THE PERFORMANCE CRACK AT THE WHAT'S ON SECTOR WITH A CLICK HERE
  

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• PERFORMANCE 10, 11, 12 & 17, 18, 19 December 2010 Breath: The short plays of Samuel Beckett in one performance OmIcrOn 2, a Company for the Arts
  Meet Samuel Beckett through his short plays, but for the first time, in one performance, in favor of the modern and subversive approach of significant, in their fields, contributors. Stavros Tsakiris presents the theatrical play Breath in new translation Dimitra Petropoulou, from Saturday 10 December and only for a limited number of performances, at Michael Cacoyannis Foundation.
  
  Along with him, Yannis Metzikof creates costumes and Eleftheria Deko lightings, while the performance is being settled on visual installations by young artists like, Antonis Volanakis, Yannis Diamantis, Eleftheria Deko and Alexandros Psichoulis.
  
  As the director himself highlights, Breath is a text, in which, through a moving image and two sounds, Beckett compressed not only his philosophy, but also his total theatre universe. This short play composes the canvas for the performance “Breath”, while the other short plays of Samuel Beckett are being developed with the same speculation, like concentric circles.
  
  SEE MORE DEATAILS FOR THE PERFORMANCE BREATH AT THE WHAT'S ON SECTOR WITH A CLICK HERE
  

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• DANCE From Thursday 9 to Sunday 12 December 2010 IL paRRaiso / Paradise: New choreography by ki omOs kineitai for just a few performances
  Familiar to all the friends of contemporary dance, are about to excite, again, all those who will be lucky enough to enjoy their new work from Thursday 9 until Sunday 12 December 2010. The contemporary dance group ki omOs kineitai, after the successful performance Purgatorio, presents its new choreography at Michael Cacoyannis Foundation, entitled IL paRЯaiso / Paradise.
  
  This time, the occasion is the 3rd part of commedia Dante Alighieri, as far as physical features and dramatic characters are concerned. The result seems to promise exciting moments for everyone of the contemporary dance lovers, even if, the creators themselves do not allow us to know more information about what they hold in store for us on stage. However, ki omOs kineitai have already put their sign on the artistic proceedings and this seems more than enough, in order to be optimistic for their new proposal.
  
  It is all about an artistic cooperation with divertive movement information, a group of complicate body performances, where dance, circus and performance encounter.
  
  Within the function of a united and complete performance, based on the body action and expression of the performers circus techniques are being incorporated as far as the creation and the development of the three-dimensional space and the expressional prism of the performers, as well as the communicational distinctiveness of the performance.
  
  SEE MORE DETAILS ABOUT THE PERFORMANCE IL PaRRaiso AT THE PROGRAM SECTOR
  
  

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• ANNOUNCEMENT 3.12.2010 The Cinematic Tribute entitled “TOGETHER AGAINST POVERTY” is canceled due to technical reasons
  The Cinematic Tribute entitled “TOGETHER AGAINST POVERTY” is canceled due to technical reasons.
  
  The Cinematic Tribute would be presented by the Ministry of Labour and Social Security, in the line of European Year for Combating Poverty and Social Exclusion, at Michael Cacoyannis Foundation, on Saturday 4th and Sunday 5th of December 2010, in collaboration with the Greek Film Archive and the Michael Cacoyannis Foundation.
  
  
• CHRISTMAS BAZAAR Sunday, 5 December 2010 A Great Christmas BAZAAR for Chatzikyriakeio Foundation for Children Care by Michael Cacoyannis Foundation
  A Great Christmas BAZAAR for Chatzikyriakeio Foundation for Children Care by Michael Cacoyannis Foundation
  Sunday, December 5th, from 11:00 until 21:00
  

  
  
  Chatzikyriakeio Foundation for Children Care was founded in 1889 aiming to cure orphan and poor girls and it is one of the oldest and most historic Foundations in Greece in the fields of social care, solidarity and protection for children of vulnerable social groups, with valuable work.
  
  Michael Cacoyannis Foundation in the line of values and life attitudes inspired by the concept “etsi” by R. Sedouka, initiates a new unit of actions entitled as “etsi because we can” aiming to sensitize public as well as institutions to a direction of more awaken and aware social presence of everyone.
  
  Thus, this year, the Christmas Bazaar by Michael Cacoyannis Foundation, apart from selling many different products in low prices, is going to be accompanied by parallel events like: screenings and cultural proceedings, inspired by the Bazaar’s character as well as the celebrative atmosphere of the Christmas days.
  
  Books, DVDs, CDs, games, Christmas objects, calendars, handmade jewelry, artistic artifacts, gifts, clothes, sweets and so many other products.
  
  Parallel Events:
  •    Christmas Chorus by the Center of Care for the Elderly (KAPI) - Municipality of Tavros at 13:00
  •    Film Screenings at 13:30 (SABRINA by the Academy Award Winner Director Billy Wilder) & 16:00
  •    Puppet Theatre Performances at 11:00 & 17:30
  
  
  Participating:
  •    Eleftheroudakis (Books)
  •    Nikoletta Tsiama (Jewelry)
  •    En Plo Editions (Books, Games, Christmas objects)
  •    Rodanthi Sedouka (etsi objects)
  •    Chatzikyriakeio Foundation for Children Care (calendars)
  •    Center of Care for the Elderly (KAPI) of the Municipality of Tavros (calendars, Christmas objects)
  
  Objects & products offering:
  •    Kraft Food Hellas
  •    Venetis Bakery
  •    SATO
  •    Styling Club
  •    MINOS EMI
  •    New Star DVD
  •    Mika
  •    Attrattivo
  •    Oltre Mare
  •    Toi Moi
  •    Athens Heart
  •    Koan Bookstore
  •    EROS lingerie
  •    MOUGER shoes
  •    P. KYRIAKIDIS PUBLISHING COMPANY
  
  

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• VISUAL ARTS 1 to 30 December 2010 "Shades of Love" - Exhibition of Photographs and Videos on C. P. Cavafy poems by Dimitris Yeros
  Now, for the first time, Greek audience will have the opportunity to be introduced to Dimitris Yeros' photographic work, in an exhibition entitled "Shades of Love". Through his photographic lense, Dimitris Yeros has “illustrated” in his uniquely individual way poems of C. P. Cavafy.
  
  In a lot of the exhibition’s photographs we will have the chance to admire some of the most important personalities in the fields of Arts like the Nobel awarded Gabriel Garcia Marques and Naguib Mahfouz, the multi-translated author in Greece Gore Vidal, the writer and academic professor Michel Tournier, the most important alive Mexican writer Carlos Fuentes, the awarded American authors Edmund White and Richard Howard, the philosopher Jean Baudrillard, the famous visual artists Jeff Koons, Arman, and Tom Wesselmann, the Director Clive Barker, the actor Olympia Doukakis, and many others, who all have been asked to pose for Dimitris Yeros since they all have a special relationship with C. P. Cavafy’s poetry.
  
  The exhibition is going to be hosted from December 1st to 30th at Michael Cacoyannis Foundation. At the official opening of the exhibition, on Wednesday December 1st 2010, at 20:00, Michael Cacoyannis will address a speech.
  
  A selection of 35 black & white large-scale photographs is going to be presented in the exhibition, among 70 photographs in total. On some of the photographs, videos are going to be projected with the portrayed person reading the poem that has posed for, creating this way the illusion that suddenly the photographs become alive.
  
  All the portraits are included in the new book of photographs by Dimitris Yeros, entitled Shades of Love, which is out in Greece this November and in the rest of the world in January 2011, published by Insight Editions, California. The book includes foreword by Eduard Albee and introduction by John Wood and contains 67 photographs taken by Dimitris Yeros to illustrate an equal number of poems by C. P. Cavafy.
  
  The book will be available at the Michael Cacoyannis Foundation Shop during the exhibition as well as at the greek bookstores.
  
  
  SEE MORE DETAILS ON THE EXHIBITION "Shades of Love" AT THE PROGRAM SECTOR
  

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• VISUAL ARTS From Monday 29 November to Thursday 30 December 2010 LOUKIANOS KILAIDONIS presents "THE COLOURFUL SONGS"
  A visual arts exhibition and a study on the relation between sound and colour.  A story that originates many years ago and has stimulated musicians, painters and architects. As Kandinsky says: "The eye can listen and the ear can see".
  
  The exhibition will be hosted from November 29th to December 30th. The entrance is for free. Those who will attend the official opening of the exhibition, on Monday November 29th, at 21:00, they will have the opportunity to enjoy live performance with music by Loukianos Kilaidonis at mcf Bar - Restaurant, at the 3rd floor of the Cultural Center.
  
  THE COLORFUL SONGS - How it all started...
  It all started from the phenomenon called synaesthesia. Synaesthesia is what we call the rare neurological state in which a healthy man feels two or more senses at the same time. A stimulant, which arouses a specific sense, unintentionally arouses another one as well. In simple words, if you think the rightangled triangle you designed to prove the Pythagorean Theory is a bit “salty”, then you are probably synaesthetic (much more interesting than being sentimental).
  
  Music – Chromatic synaesthesia
  Correspondence of the tone hights (i.e. Do, Re) with specific colours. Not all music-chromatic synaesthetics see the same colours (i.e. Messian’s Re colour is different from that of Scriabin’s). I felt the phenomenon, yet I didn’t know its name, neither that this happened to other people as well.
  
  I wanted an objective correspondence, which would be based on the laws of physics. I was sure that there is a relation between the frequencies of sound, with the wavelength of colour. I searched through it as much as I could, with information I asked from friends. A musician (sound) and a light coordinator (colour). We are in 2001. Later I realized I was very close to what had been set out by Pythagoras and the ancient Egyptians thousands of years ago, and most recently by Madam Helena Blavatsky (around 1850).
  
  
  This is how it all started; I said, as notes have colours, I will put them in order, and make jewelry that will be songs. So I searched for beads that would have the same shape with the keys of a piano (rectangular). So the matter is: The colourful songs are a brave step ahead.
  
  

  Loukianos Kilaidonis
  
  

  
  SEE MORE DETAILS ON THE "COLOURFUL SONGS" EXHIBITION AT THE PROGRAM SECTOR
  

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• READ 8.02.2011 The Taiwanese director Hou Chi Jan associates with… “Bad Fellowships” in Athens A MONTH FOR... BAD FELLOWSHIPS
  He has masterly combined in his film “One Day”, that is going to be screened at “Bad Fellowships”, at Michael Cacoyannis Foundation, dream with reality.
  
  The Taiwanese director Hou-Chi Jan, on of the most talented representatives of the contemporary Asian cinema is going to be from the forthcoming Thursday morning, February 10th, in Athens, along with the producer of his film, Mrs. Chen Chun Wung, in order to attend the screenings of his film, that has already made great impression at the previous year Berlin Film Festival.
  
  The director will stay in Athens for a week while this Saturday, February 12th at 18:00 will offer a Master Class along with Drago Sholev, the director of the film Podslon which also being screened at “Bad Fellowships”, at Cinema Hall of Michael Cacoyannis Foundation with free entrance for the audience.
  
  

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• THEATRE FESTIVAL From Saturday 20 November 2010 to Sunday 19 December 2010 1st LOW BUDGET FESTIVAL or, else, Arts in low budget times! By www.tospirto.net
  10 groups, 10 plays, 30 performances and 60 actors put their individual mark on the theatrical proceedings of the city. The 1st LOW BUDGET FESTIVAL is coming true from November 20th 2010 for a whole month, at Michael Cacoyannis Foundation, offering space to new, subversive Theatre approaches, in order to offer, accordingly, expression pace to young creative artists. As Lakis Lazopoulos, the driving force of the festival, highlights, “we are going to meet the top representatives of this young theatre generation, who fight for a long time without having great support and sponsorships, the artists who are asked to offer breath of life to the entire brand new project, all these who are asked to enlighten theatre during this dark period for all of us.”
  
  
  It is all about an important initiative and production by the new cultural website of Lakis Lazopoulos, www.tospirto.net, in the line of which, 10 Greek Theatrical Groups present their new productions having as budget just the amount of €500. This way, the Athenian audience will have the opportunity to attend the new theatrical trends, the directors and the groups that set apart in the local theatrical scene, together, in a festival that hopes to prove that imagination and talent are more than enough, in order someone to make art, even in hard times of low budget.
  
  
  The 10 plays featured in the festival are presented to the public for the first time and are sponsored by www.tospirto.net.
  
  
  AbΟvo, «Greece for free» 20, 21, 22 November 2010
  Pequod - «From fifty-fifty to love» by Dimitris Chatzis 23, 24, 25 November 2010
  John Kalavrianos - «Easter»  26, 27, 28 November 2010
  George Nanouris - «15 minutes» 29, 30 November and 1st December 2010
  Sofia Karagianni, Gaff team - «Crash» 2, 3, 4 December 2010
  Costas Gakis - «The Stairs» 5, 6, 7 December 2010
  Euripides Laskarides - «Battery Girl» 8, 9, 10 December 2010
  Vassilis Mavrogeorgiou - «Hamlet» 11, 12, 13 December 2010
  VASISTAS – «Control freak» 14, 15, 16 December 2010
  Blitz - «Galaxy» 17, 18, 19 December 2010
  
  
  SEE MORE DETAILS FOR THE PERFORMANCES OF LOW BUDGET FESTIVAL AT THE PROGRAM SECTOR
  
  

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• DANCE 17-18, 21-22 & 27-28 November 2010 A "Contemporary Dance Triptych from Israel", for the first time in Greece
  Dance, dance and… dance at Michael Cacoyannis Foundation, this time coming from Israel. Three spectacular performances, three prominent artists, three opportunities for all of us to be introduced to various languages of body expression. Enjoy three unique performances during this November, a “Contemporary Dance Triptych from Israel” that make us face modern problems as well as eternal feelings.
  
  The talented choreographer Arkadi Zaides addresses his speech with a political work, through an extraordinary choreography and he longs for a place of hope, a place for everyone, a Quiet place. While the choreographers Niv Sheinfeld and Oren Laor, reproaching the classic and always modern masterpiece “Who's Afraid of Virginia Woolf?” create the performance “Post-Martha”, a meeting place for the world of contemporary dance and that of theatre. Moreover, Yasmeen Godder could not be absent, a choreographer with an intense individual style, who this time and in her recent work Love Fire, attempts to unveil the identities of men and women. Exploring the limits of their roles in a relationship, glancing to stereotypes, fantasies as well as romantic imaginaries, call us to see things through a point of view, that as always is defined by poetic mood, audacity, talent, romance, sense of humor as well as a fresh choreographic vocabulary.
  
  SEE MORE DETAILS FOR THE PERFORMANCES “A CONTEMPORAY DANCE TRIPTYCH FROM ISRAEL” AT THE PROGRAM SECTOR
  
  

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• CINEMA Thursday, 11 November 2010 Bicycle Film Festival... for the first time in Greece
  Athens joins the metropolitan cities of the world and… everything starts to move around a common goal on two wheels. Michael Cacoyannis Foundation participates in the biggest celebration for the bicycle friends and welcomes, for the first time in Greece, the Bicycle Film Festival, an international festival, at its 10th anniversary of presence in the global cultural proceedings.
  
  Music, fashion, visual arts and mainly cinema embrace the contemporary bicycle culture and get inspiration by the most increasingly popular of the transportation means, for the modern, urban way of life, globally.
  
  At the halls of the Foundation’s Cultural Center, on Saturday & Sunday, November 13th & 14th, we will all have the opportunity to watch an extraordinarily interesting program of films, while on Thursday, November 11th will take place the official opening for the visual exhibition SPOKED!, which has bicycle as main subject as well as inspiration. Simultaneously, on Sunday November 14th, MCF presents its normal program and gets into the nowadays mood presenting the special pre-election puppet-theatre performance, “The Polling Booth” with free entrance for the audience interested in, by the puppet theatre groups FTOUXELEFTERIA and TSIRKOLELETA.
  
  BICYCLE FILM FESTIVAL
  
  Bicycle Film Festival is an international cultural festival having bicycle as main subject. It was initiated in New York 10 years ago aiming to celebrate the rising bicycle culture through music, fashion, cinema and the arts.
  
  Now on, Bicycle Film Festival travels to more than 30 countries all around the globe annually. From November 11th until November 14th is going to visit for the first time Athens, with an extraordinary program that includes screenings, bicycle-rides, bicycle-races, BMX-shows, parties, concerts and a visual arts exhibition having bicycle as subject as well as inspiration. The exhibition will be held in Michael Cacoyannis Foundation with well-known artists participating.
  
  The main part of the festival will be the selective screenings program, that this year includes films like: “Birth Of Big Air” in a production of Spike Jonze devoted to the legend of BMX, Matt Hoffmann, "Riding the Long White Cloud” for a company of pro skateboarders with a skate trip with bicycles, "Line of Sight” devoted to the legend of alleycat races, Lucas Brunelle, "Cyclocross Meeting” for those who love mud as well as the highly expected fixed gear film “Empire”.
  
  SEE MORE DETAILS FOR THE PROGRAM OF BICYCLE FILM FESTIVAL AT THE PROGRAM SECTOR WITH A CLICK HERE
  
  SEE MORE DETAILS FOR THE VISUAL ARTS EXHIBITION SPOKED! WITH A CLICK HERE
  
  SEE MORE DETAILS FOR THE SPECIAL PRE-ELECTION PUPPET THEATRE PERFORMANCE "THE POLLING BOOTH" WITH A CLICK HERE
  
  

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• CINEMA Saturday, 30 October 2010 Michael Cacoyannis prefaces the film "Sweet Country"
  The film Sweet Country of Michael Cacoyannis is going to be screened this Saturday, October 30th 2010, at 21:20, with the presence of the director and the composer, Stavros Xarchakos, at Michael Cacoyannis Foundation, in the line of the Tribute to 80’s Greek Cinema during the 23rd Panorama of European Cinema. Michael Cacoyannis is going to preface the film screening by taking us to a journey to cinematic memories from a decade that was a transitional period and according to the majority of the audience, it is probably the most crucial in Greek cinema’s history.
  
  
  The film describes the painful events of the dictatorship in Chile after the murder of the President Salvador Allende, and the takeover by General Pinochet. The films talks about two families being trapped by the troops.
  
  SEE MORE DETAILS FOR THE SCREENING OF THE FILM "SWEET COUNTRY" AT THE PROGRAM SECTOR
  
  

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• CINEMA 20 October 2010 23rd Panorama of European Cinema
  Michael Cacoyannis Foundation welcomes the 23rd Panorama of European Cinema at its Cultural Center halls and along with it, all of the city’s cinema lovers. This year, for a second time in a row, Michael Cacoyannis Foundation hosts a large number of the 100 and more films that has been chosen to be screened in the line of Panorama. Among others, this time, the true lovers of European Cinema and not only can travel to cinema moments that will relive memories and will reintroduce us significant movies from the distant as well as the recent past. In the dark hall of the Foundation, somebody can enjoy Tribute to 80’s Greek Cinema, Tribute to Spaghetti Western, part of the tribute to “Lonely Clown”, three movies devoted to the celebration of the 50th Anniversary of the Cyprian Republic foundation, as well as part of the tribute to “Everyday Fascism”. 
  
  Simultaneously, the audience will have the opportunity to visit visual exhibition with subject the 80’s Greek Cinema by “10 + 1” young artists and the supervision of Yannis Psichopaidis.
  
  See more details for the screenings of the 23rd Panorama of European Cinema at the Program Sector
  
  

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• EVENT Monday, 18 October 2010 Europe’s Promise - Event Invitation by (IPEDIS) with the writer, columnist and political professional Steven Hill “Europe’s Promise: Europe’s leading role in forging socially responsible institutions and green development strategies“
  The INSTITUTE FOR REGIONAL DIALOGUE & STRATEGY addresses an open invitation to everybody who is interested in, in order to attend the event entitled Europe’s Promise – “Europe’s leading role in forging socially responsible institutions and green development strategies”. The event will be supported by the Ministry of Foreign Affairs, the Michael Cacoyannis Foundation and the Hellenic Association of Young Entrepreneurs (YoungLeaders), and will be held at the Kranidiotis Auditorium (Ministry of Foreign Affairs) on Monday, October 18th at 5:00pm. (Akadimias Street 1).
  
  
  The Institute for Regional Dialogue and Strategy (IPEDIS) is an independent nonprofit organization, dedicated to foster dialogue and understanding, to improve policy and decision making and to advance regional cooperation that will generate innovative, practical solutions to today's challenges.
  
  It is in this context that the event entitled “Europe’s Promise: Europe’s leading role in forging socially responsible institutions and green development strategies“is being organized, with keynote speaker the writer, columnist and political professional Mr. Steven Hill, co-founder of Fairvote and former director of the political reform program at the New America Foundation – who recently published the book “Europe's Promise” (www.europespromise.org).
  
  Steven Hill's book has received outstanding reviews from distinguished academic, research and media circles, as it portrays the significance and the role that Europe and its institutions hold within the international community, and how it represents – through its constitutional forms, economic regulations, and social values – a paradigm to be followed for America. It is certain that Steven Hill's speech will highlight important questions and will remind us of the significance of green economy and social welfare.
  
  
• READ NOVEMBER PROGRAM Shortly... in a Glance The November Program Summarily
  The November 2010 Program of Michael Cacoyannis Foundation goes to the movies on a bicycle, honours the hundredth anniversary since the Mexican revolution with special films, it dances with Contemporary Dance Groups from Greece, Israel and Korea, keeps up closely with the new work of 10 theatrical companies, it learns and entertains with Puppet Theatre for adults as well as children. In other words, it gives promise for an exciting month to all, who will visit the Cultural Center venue in order to enjoy numerous events signed creatively by young as well as prominent artists. The work of distinguished representatives of contemporary Greek as well as international creativity is being unveiled, so as to cover a wide range of arts and ways of expression before the Athenian audience eyes. Take a glance of the upcoming program here, find out more details for the upcoming performances at the Program sector and place yourself in the center of the city’s cultural proceedings.
  
  
  

  The program
  
  

  Cinema
  

  Βicycle Film Festival
  Saturday 13th & Sunday 14th of November, Screenings at 17:00, 19:00 & 21:00
  Thursday November 11th: Visual Art Exhibition
  
  Friday 18th & Sunday 14th of November 2010
  Cinema Festival – 100 YEARS SINCE MEXICAN REVOLUTION
  
  
  

  Theatre
  

  LOW BUDGET FESTIVAL
  10 Greek Theatre Groups present their new productions
  Duration: November 20th until December 19th
  A production of the new cultural website by Lakis Lazopoulos, www.tospirto.net
  
  
  

  Puppet Theatre for Adults & Children – UNIMA Hellas
  
  

  Puppet Theatre Nights for Adults – Every Thursday at 22:00
  
  Thursday, November 11th 2010 – Puppet Theatre Company “King’s Fool” & Alexandros Monokandylos: Presentation for Japanese Puppet Theatre
  Performance: “the nobody and the anything”
  
   
  Thursday, November 18th 2010 – ParaMana Puppet Theatre
  Performance: "Crescent Moon Bear”
  
  
  Thursday, November 25th 2010 – Art Theatre Nevma
  Performance: Lemonia
  
  
  Puppet Theatre for Children – Every Sunday at 11:00 & at 17:30
  
  Sunday November 7th 2010 – ParaMana Puppet Theatre
  Performance: Crescent Moon Bear
  
  
  Sunday, November 14th 2010 – Puppet Theatre Group Ftouxelefteria
  Performane: When the red thread got lost in the woods
  
  
  Sunday November 21st 2010 – Skala Theatre
  Performance: “The Bewitched Green”
  
  
  Sunday November 28th 2010 – Puppet Theatre Kokou-Mouklo
  Performance: “The Moon-Soup”
  
  
  

  Dance
  

  Wednesday 3rd, Thursday 4th & Friday 5th November 2010, at 21:00
  “Always Beasts” – Dance Group Ditto
  On Thursday, November 4th the performance will be followed by music concert by EleKtroBalKana with the same ticket
  
  
  Wednesday 17th until Sunday 28th of November 2010
  Three Groups, Three Choreographies, Six Contemporary Dance Performances from Israel
  
  
  13, 14, 19, 20, 21, 26, 27, 28 November 2010, at 21.30
  mind the map - fingersix - Yunjung Kim
  
  Tuesday November 30th & Wednesday December 1st 2010, at 21:30
  Cinderella – MYIA Contemporary Dance Group
  
  
  

  Seminar
  

  TALE-MYSELF - Seminar for the oral narration and the art of speech - With the psycho-pedagogue & story-teller Sasa Voulgari
  
  Continuing Performances
  
  

  Theatre
  
  

  “Black Letters on White Background” by Ruben Galiego
  Until November 16th, Every Monday & Tuesday, at 21:00
  
  

  Exhibition
  
  

  “10+1” – “Eleven young visual artists comment 80’s Greek Cinema” – Until November 7th 2010
  
  
  

  Theatrical Play for Children
  

  “The Song for the Earth” Until December 19th 2010, Every Sunday at 11:30
  

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• INTERVIEW Friday, 15 October 2010 The Pursuit of Truth… Korina Chrysaidou and Giorgos Haratzas talk to www.mcf.gr By Achilleas Kourias
  In their words, someone could easily distinguish hearty love and profound knowledge about theatre, characteristics that they do not keep undisclosed for their own selves, but they choose to share with, mainly young colleagues, in order to make them communicants of the truth that they have already discovered in the art of acting. Korina Chrysaidou and Giorgos Haratzas talk about the “Practical Aesthetics” and the workshop that has already been taking place in Michael Cacoyannis Foundation.
  
  
  1.    How the technique of “Practical Aesthetics” can be distinguished among other acting art models?
  
  G.Haratzas: Practical Aesthetics is based on the last period of the work of Stanislavski (who talked about ‘physical actions’), the teachings of Aristotle, the Stoic philosophers and the American teacher of acting Sanford Meisner. Practical Aesthetics focuses on the notion of ‘physical action’, e.g. what we do on stage, here and now, in our effort to fulfill a goal, an objective. Although the notion of Action is common to all schools of acting, many other schools focus on the ‘emotion’ as a main tool, or the ‘body’ or the ‘imagination’. In this way they deflect the awareness of the actors from the fact that in the final analysis they are called on stage to play ‘actions’ and through the actions to tell a story to the audience (something that was first defined by Aristotle). Practical Aesthetics also focuses on how the actor will remain totally connected on stage with his fellow actors and interact with them moment to moment without anticipating his or their responses.
  
  
  2.    Would you characterize it as a complete and exclusive method for a role approach, or could it work, perhaps, even as auxiliary to other techniques? In other words, is it demanded someone to disown other techniques and enter Mamet’s world without having prepared forms and solutions?
  
  K. Chrysaidou: Practical Aesthetics is a complete method of acting but exclusivity is not perceivable today in any system of acting. All the modern western systems rely on Stanislavski and are, therefore, communicating vessels. We believe that Practical Aesthetics can collaborate perfectly with other acting approaches, especially those which train and cultivate the expressive means of the body. Nevertheless, in order to train in Practical Aesthetics one has to approach it with a clear mind, free from other models and conceptions, so that it is given a fair chance to work for him or her. 
  
  
  3.    “Practical Aesthetics” seems to promise an integrated encounter with the soul-searching, the doubts or hesitations as well as the fears that usually actors feel. In which way can this be accomplished?
  
  G.H.: When someone reads the handbook of Practical Aesthetics called A PRACTICAL HANDBOOK FOR THE ACTOR, which is written by six of D.Mamet’s students, he realizes that for the first time an acting approach analyses fully the process of the actor, pinpoints all its crucial issues and suggests solutions that are specific and practically applicable. We think that it is liberating for the actor - as is true for the painter or the musician or even the carpenter - to know exactly what the tools of his craft are and how to use them. To know how to work when he takes for the first time a text in his hands, apart from the guidance of a teacher or a director. For the first time a technique codifies so clearly the work of the actor and this is why A PRACTICAL HANDBOOK FOR THE ACTOR is considered today one of the best books on acting.
  
  4.    In an article of yours, you highlight that David Mamet’s method transcends the limitation of a technique and obtains spherical dimensions, as if it were a philosophical approach to acting. Is it possible for “Practical Aesthetics” to unveil a different and more essential dimension of Theatre? If so, could that happen just for the actor, or could it reach the audience as well?
  
  K.C.: In a creative group process the actor recognizes that, sometimes without noticing it, his ego feels threatened, starts being defensive and reacts negatively to the processes he doesn’t identify with. The Stoic philosophers said that ‘People are disturbed not by things, but by the views they take of things’. This hinders the creative process because it interrupts the fertile exchange of ideas and the flow of energy. Practical Aesthetics, on the other hand, teaches the professional actor to behave with humility, generosity, consideration and tact. The actor learns to consciously observe the events within a group, not to take them personally, and to digest them in a way so that he can offer creative feedback. Thus, the actor of Practical Aesthetics learns how to retain his personal integrity while at the same time retaining high availability, an element that is absolutely necessary in any collective artistic process. Consequently, when a performance is the result of a group process with these creative and collaborative elements then the audience, being sensitive, will perceive behind the actual events of the performance a message of faith and positive energy.
  
  
  5.    For those who are not familiar with acting, the “pursuit of truth” in the “art of acting” sounds as a controversial pattern. Could “acting” involve “specks of truth”, and if so, how could these be defined in the relationship that is being developed by the actor with his/her part as well as the audience?
  
  G.H.: With ‘acting’ we don’t mean to lie, to pretend, to deceive. This is a common misunderstanding between those who haven’t delved in the art of acting. On the contrary, acting is about being truthful with oneself; it is about taking the elements of one’s expressive means from one’s own self and transforming them into ‘actions’. An actor is asked to build his roles by digging deep into the infinite realm of his personal world, something that makes him ‘believable’ and ‘truthful’ on stage. When this happens constantly, in every moment of a performance the audience gets fascinated and leaves the theatre relieved and reinvigorated – which is the ultimate goal of any performance. 
  
  6.    David Mamet seems to attempt, to bare actor’s status away from transcendental, or someone could say “divine”, characteristics that are usually being attributed, and finally restore it to the realistic dimension of a profession. Do you really see a twisted reality in the theater sector? Could “Practical Aesthetics” keep an actor grounded, avert him from becoming a big-headed “star”, and make him a truly “theatre-servant”?
  
  K.C.: It is our belief that the Greek theatrical reality is disproportionate. While on the one hand there is a horizontal development of the theatrical art with the formation of innumerous new companies which produce all kinds of theatre (devised, physical, popular, street theatre, etc.), on the other hand there is a lack of a vertical development, one which explores its deeper elements and can create a current strong enough to become a school of acting. The theatrical world is broken down into many little pockets, the companies don’t have a long-lasting life and most importantly there is a lack of a common language about what is theatre, what is acting. Young actors aim to become recognizable knowing that that will help them survive in a very difficult and harsh professional world. Thus, many of them find refuge in the Greek television which, in its turn, strangles and devours them artistically. The Practical Aesthetics actor who knows exactly what his job is doesn’t resort to creating a false image of himself, thinking that it will allow him to survive in his profession. Simultaneously, as we explained earlier, Practical Aesthetics helps every actor to keep himself grounded and humble and his artistic integrity intact, which is a matter of a very demanding personal struggle.
  
  7.    Which audience does the workshop for David Mamet’s acting technique invite? Obviously it is appealing to a young actor, however, could it be suitable for an already successful professional, or even for an amateur?
  
  G.H.: David Mamet’s technique is for any person would like to delve seriously into acting. We say ‘seriously’ because it demands consistency and continuity, discipline and the complete commitment of the studying actor. Our acting workshop regards mainly young actors who have previously conquered the basic elements of acting at their drama schools or through a serious engagement with theatre and would like to move ahead. It is for actors that would like to acquire a specific, crystal-clear and practical technique that is able to give them the means to work efficiently under any professional circumstances. For this reason we will ask them, for the time being, to put aside any preconceptions and ideas they have formed about acting from other teachers and allow themselves to approach this workshop tabula rasa (like a ‘white board’).  Therefore our workshop is also suitable for the successful professional given that he will also be available to follow this procedure.
  
  8.    Could you mention some elements from your personal relationship with Mamet’s technique, either as actors or as tutors as well as the benefits that you might have derived personally?
  
  K.C.: We now have a clear idea what to do when we take a text in our hands for the first time. How to work on it. How to learn the words of the text (there is a specific way to memorize the words which helps when we are playing). We know how to build a role, a character and how to handle our emotions when they arise on stage. We know where to put our attention on stage, what liberates and energizes us and what stresses us up and blocks us.  We are fully aware of the tools of our craft. We also know how to behave in a creative group and how to relate to our fellow actors. We can adapt in any professional circumstance. Because Practical Aesthetics is so clear and transparent, as tutors and directors we know exactly what we are teaching and what terms to use, which language we need to use to guide our actors so that they can fully comprehend their objectives and ultimately their job.
  
  

  Korina Chrysaidou - Giorgos Haratzas
  Actors, Practical Aesthetics Tutors
  

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• CINEMA Wednesday, 22 September 2010 Before the Mysterious Lady got a voice… 1st Silent Film Festival -A tribute to the American Silent Films
  
  

  Michael Cacoyannis Foundation in cooperation with the Cultural Affairs Office of The American Embassy in Athens presents the 1st Silent Movies Festival –a tribute to the American Silent Films which opens on Thursday September 30 and it will last until Tuesday October 12, with the support of Studio, Parallel Circuit (Paralilo Kikloma).

  
  

  The films are a choice of Michael Cacoyannis, who suggests 19 of his favorite ones that were filmed in the US, in the beginning of cinema. Black and white images, intense acting, explanatory cards that interrupt action, no sound at all thought accompanied by live music, the festival will take us back to the numerous Buster Keaton’s gags, Charlie Chaplin’s unlimited sensitivity, the “divine’s” Greta Garbo unsolved mystery, and to the other great stars of this era, the "Glasses Character" Harold Loyd , the "Latin Lover" Rodolfo Valentino, the special directors Griffith, Niblo and Brown. Beautiful films with magnificent techniques, despite the early years of cinema, with extremely melodramatic or funny acting, thriller or romances, an era mosaic and adventures will offer us a tour in this autonomous form of expression, the silent films that bloomed in the beginning of the 20th century.

  
  

  The festival opens on 30/9, with a lecture by the distinguished American professor and a specialist in silent films, Mark Garrett Cooper, who will answer questions, while at the last screening on October 12 Michael Cacoyannis speech will close the festival. The screenings will be accompanied by live music, just as it happened in those days.
  

  Entrance is free
  

  
  

  3 morning screenings for schools are also offered (information: 210 3418584, morning hours)
  

  
  

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• READ Tuesday, 7 September 2010 The bright side of life Screenings and an ehhibition etsi for the environment
  Michael Cacoyannis Foundation collaborates with Rodοs International Films+Visual Arts Festival Ecofilms and its Art Director, the director Loukia Rikaki and presents a two-days screenings event – on September 14 and 15- dedicated to the environment. A number of short films will be presented, which, as Loukia Rikaki notes “were screened at Rodos Ecofilms and constitute the suggestions of independent filmmakers who illuminate the bright side of life, offer creative solutions for our disengagement from the crisis and underline the most significant values of our being. “  Films that not only signify the filmmakers’ agony for the planet’s future, but also for the human relationships and whose topics cover a wide range of ecological and social problems.

  
  

  Read more about the screenings

  
  

  The screenings complement in their own way the unique exhibition under the title “etsi for the environment” by the visual artist and creator of the Athens 2004 Olympic Games emblem Rodanthi Senduka and the participation of the viual artist Harry Lambert, the designer Vasilia and the ceramicist Christina Morali which takes place at Michael Cacoyannis Foundation from 9 September to 10 October. The exhibition includes painting works, sketches and useful handmade objects made of recycled or environmental friendly materials. Apart from their natural exhibition, their swinging holograms will be projected on screens. The exhibition aims at a new way of thinking and acting concerning the protection of the natural environment not only because of the use of technology as an ecological medium in generating and presenting arts, but also because it evaluates every piece of art in its environmental equivalent.

  
  

  Read more about the exhibition

  
  

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• DANCE 7 July 2010 Catherine Diverres -Blowin’ on 10, 11 & 12 July A project for 8 dancers and 2 musicians
  Catherine Diverres introduces herself to the Greek audience with "Blowin’" (2007), a project by which she reveals a kinship with Merce Cunningham in her use of aleatory processes -through with different bodies, sensitivities and techniques and a less formalist vocabulary.
  
  See more at "What's On" section
  

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• READ Wednesday, 30 June 2010 Giorgos Koumendakis & DissonArt Ensemble - Unknown Dialects: 8 lectures in music Giorgos Koumendakis & DissonArt Ensemble
  It is eight music works, eight music letters, eight theatrical performances, eight music lectures. Without a doubt, it is an extremely interesting approach of the latest, brand new, music work of Giorgos Koumendakis by DissonArt Ensemble. A performance that promises to let us become witnesses of an open dialogue between the Greek music tradition and the present times that we all live in. Having as starting-point the brand new music creation by Giorgos Koumendakis, a group of young artists, the DissonArt Ensemble, presents at Theater Hall of Michael Cacoyannis Foundation, a performance of music theatre, in which the musicians of DissonArt Ensemble become actors, overcoming the limits that are set by their own art. This way, they actually accomplish to carry into effect the concept “post-action” (metapraxis) that firstly was used by Giannis Christou.
  
  With scripts by Giannis Svolos, directed by Alexandros Efklidis, and with costumes and stage, designed by Petros Touloudis, the performance “Unknown dialects: 8 music lectures” implements a new idiom between music and theater, where theatrical action, performed by musicians, attempts narration and exploration of the story that lies behind every music work.
  
  
  A dialogue with tradition, nowadays, is a difficult matter. Giorgos Koumendakis attempted that with various works of him, trying to highlight music tradition as a substance of today, sensing in the music material the global dimension, beyond any national use and possession. The various music dialects of the Greek music tradition discuss in the framework of the eight music works and shape the backbone of the performance including diverse forms and idioms.
  
  SEE MORE ABOUT THE PERFORMANCE "UNKNOWN DIALECTS: 8 LECTURES IN MUSIC" AT THE PROGRAM SECTOR
  

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• PRESS RELEASE Wednesday, 16 June 2010 Conference on Subject: Water Resources - Obligation for Sustainability and Protection
  Michael Cacoyannis Foundation (MCF) in partnership with the Voluntary Organization for the Urban Environment ECOCITY and focusing on the undoubtedly key role of sectors like the maintenance, protection and administration of water resources, organize Conference with subject: Water Resources: Obligation for Sustainability and Protection, on Tuesday 29th of June 2010, at M. C. Foundation, from 09:30 until 13:45.
  
  The Conference aims to combine as well as put on the map current aspects of various opinions and points as far as the ways of “Water” Administration and Protection are concerned, areas which are in crisis at the moment and are without a doubt some of the most demanding and crucial fields of human culture. The co-organizers address open invitation to all organizations, academics as well as the public who are interested in, so as to participate in brainstorming as well as the search for action proposals and initiatives. Prominent and specialized scientists participate in the conference, who at the majority are Academic Professors at the Higher Education Institutions of the country.
  
  Confirmation of participation as well as place booking can be arranged daily from Monday to Friday, from 10:00 until 14:00, over phone at 210 3418579 or at the email address info@mcf.gr
  

  
  
  PROGRAM
  

  On behalf of the Global Water Partnership Mediterranean, Mrs. Konstantina Toli will address an inaugural speech.
  

  
  

  1st Unit
  Coordinator: Giannis Koumandakis, Member of the ECOCITY Scientific Board, Professor Emeritus for the National Technical University (NTUA)
  
  10:15 Aims and Policy Planning of the State for the Water Resources maintenance and protection – A. Andreadakis, Specialized Secretariat for Water Resources, Ministry of Environment, Energy and Climatic Change, Professor NTUA
  
  10:30 The Main water supplier and its obligations for the nowadays as well as the future consumers, Themistoklis Lekkas, President of the Board of The Athens Water Supply and Sewerage Company (EYDAP SA), Professor of Aegean University, former Doyen.
  
  10:45 The underground water in Greece. The situation today and the perspectives for the future, P. Sambatakakis, President of the scientist association of the Institute of Geology and Mineral Exploration (IGME), Phd Hydrogeology
  
  11:00 Cyprus – Recoverable Reserves, Enrichment and Administration of Water Resources, E. Galiouna, Civil Engineer, Postgraduate Student N.T.U.A.
  
  11:15 Questions – Discussion
  
  2nd Unit
  Coordinator: Siskos Panagiotis, Professor of Environmental Chemistry, National & Kapodistrian University of Athens (U.O.A)
  
  12:15 Greek Rivers and Lakes. Nowadays Situation. Protection Measures, N. Skoulikidis, Research Director of Inland Waters Institute - Hellenic Centre for Marine Research -H.C.M.R
  
  12:30 Utilization of diminished quality waters, emphasizing on sludge, D. Mamais, Assistant Professor N.T.U.A., Laboratory of Sanitary Tecnology.
  
  12:45 Ancient Greece and Water, H. Mariolakos, Professor Emeritus of Athens University (U.O.A), Department of Geology, Member of Central Archaeological Council.
  
  13:00 Questions – Discussion
  
  13:30 Conclusions
  
  13:45 End of the Conference
  
  Co-organizing: Voluntary Organization for the Urban Environment ECOCITY, Michael Cacoyannis Foundation
  
  

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• READ Monday, 31 May 2010 At 921931 Bar, at the city's new, artistic hang-out place!
  The puzzle of delightful surprises by Michael Cacoyannis Foundation seems to be completed, as the Cultural Centre at 206 Piraeus Street obtained the 921931 Bar, at the 3rd and top floor of the multiuse building.
  
  The carefully chosen cinematic pieces of music promise to accompany us with memories that rise from the white screen of the dark movie hall and take us by the hand in order to meet heroes we adored, to recall moments that made our personal history, reminisce thoughts that overwhelmed us…
  
  Furthermore, it is the myth of a film that inspired even the name of the wonderful place. The “lucky” lottery ticket, numbered as 921931, that Ellie Lambeti lost in the film “Sunday’s Awakening” (1954) and was the occasion to meet Dimitris Chorn, is obliged to revive feelings that film reels of passed times used to bear, as well as the contemporary soundtracks create.
  
  At 921931 Bar, the city’s new artistic hang-out place, can someone draw his or her own pause in between the rush of everyday routine, to be inspired with his or her own soundtrack, making the nights so interesting, as the good company and the nice conversations, after every performance or event that takes place at the Foundation’s Cultural Center. There, with the sight being lost in the city’s embracement, viewing the scenery that doesn’t omit the opportunity to remind us that everything in Athens has begun somewhere around the sacred rock of the Acropolis that predominates on the left, while evolved to be transformed into a highly modern, urban and industrial centre, as it is the heart of Athens that lies ahead, and is run over by Piraeus Street, there the pause of each and every one of us seems to be priceless. At the heart of the capital city, the 921931 Bar takes over to become starting-point and destination equally for a Journey full of leisure and fun…
  
  The customer of the 921931 Bar can enjoy a drink or a cocktail, escorted by high quality finger food and fresh salads in low prices, always combined with an environment of high aesthetics and minimal elegance. The leading role in the atmosphere that is being created every night at 921931 Bar is the illumination, which undertakes to highlight the architectural forms of the building and couple them with the image of the interior design. Someone can choose for his or her friends, any of the comfortable sofas that environ the space, or to be at the “heart of action”, at the mobile bar, that during the summer months “smartly” has been settled on the balcony, in order to integrate harmonically with the illuminated city of Athens. Lastly, the experienced staff is there to serve your needs in the best way possible and fulfill all of your desires to the outmost.
  
  

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• PRESS RELEASE Thursday, 27 May 2010 ECOCITY 2010 PRIZE AWARD THE NIGHT OF WEDNESDAY, 2ND OF JUNE 2010
  On Wednesday the 2nd of June, at 20:30 is going to be organized the Ceremony for the prize award about Awards for Environmental Sensibility, ECOCITY 2010, at Michael Cacoyannis Foundation that is located at 206 Piraeus street, in Athens.
  

  
  A night full of excellence for prominent Scientists, Scientific Institutions, Municipalities, Business Corporations, Organisations as well as Mass Media, which have presented significant work during 2009, for the protection of the environment. The event that is being prepared by the director Nikos Krontiras and a remarkable partners team, will take place at Theatre Hall of the Foundation.
  
  The evaluation committee for the ECOCITY 2010 awards, in which individuals from the academic, environmental, communication, visual and private enterprise sectors are participating, will complete the evaluation process and reach the final choices the last day of May 2010.
  
  The statuette for this year prize award, is being created with recycled glass that is inspired and designed by the artist, Christos Michael Papandropoulos.
  
  The ECOCITY awards is being organized for 6 years on end, by the Non-Profit Voluntary Organization concerned with the Urban Environment, Ecocity and rewards the environmental undertaking as well as contribution, aiming to create the circumstances for a sustainable society where the dominant values are the respect to the Environment and the Quality of Life.
  
  The organizing process for the ECOCITY 2010 Awards Ceremony is being supported by the Michael Cacoyannis Foundation and the companies AVAKON and AVITRON. Communication Sponsors are the FLASH 96 radio, the APOGEVMATINI newspaper, the magazines AD BUSINESS,  REVIEW CSR and ECOTEC.
  
  
  ECOCITY is a voluntary nonprofit organization which aims are the improvement of the quality of life within urban Environments and orientation towards sustainable cities, the sensitization, development and cultivation of Environmental consciences, as far as environmental problems are concerned, as well as the establishment of behaviors friendly to the Environment.
  
  The ECOCITY awards enhance with moral motivation those who realize the necessity for commitment, contribute, promote, and cultivate the collective concern as well as show in fact environmental conscience.
  
  

  Contact Information: Dimitris Mpokaris,
  Tel. 210 6196757, mob. 6974 476855, info@ecocity.gr
  ECOCITY, Kefalinias str. 9, 15126,
  Paradeisos Amarousiou, Athens
  

  
  

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• Sunday 13 & Monday 14 June 2010 Αthens Metropolitan College, BA in Performing Arts
  Athens Metropolitan College (a member of the AKMI Educational
  Group) in collaboration with Queen Margaret University, Edinburgh present Euripides Medea. The performance-assessment of the BA in Performing Arts graduates, is taking place on 13th-14th June, 9.00 pm at the Michael Cacoyannis Foundation, 206 Piraeus St.  Tavros. Admission free.
  
  
  

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• DANCE Tuesday 25 & Wednesday 26 May 2010 Αthens Metropolitan College, BA (Hons) in Dance Performance
  Athens Metropolitan College (a member of the AKMI Educational Group) in collaboration with Roehampton University, London present a showcase of the dance works created this first academic year of BA (Hons) in Dance Performance, under the title First Footings. The repertory performance-assessment is taking place on 25th-26th May, 9.00 pm at the Michael Cacoyannis Foundation, 206 Piraeus St.  Tavros. Admission free.
  

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• READ 28 April 2010 Significant Premieres at Michael Cacoyannis Foundation throughout May
  Michael Cacoyannis Foundation presence in the city’s cultural proceedings is going to be apparently fresh, as new performances are integrated in the program for May 2010. Not long before Summer 2010, the Foundation hosts significant premiers of Theater, Contemporary Dance and Dance Theater, Theater Class, Music Concerts as well as Cinema, while an exhibition of photography by House of Cyprus, dedicated to Michael Cacoyannis, after its extension, will keep being open for the audience. In parallel, the performances by Fresh Target Theater Productions with the site specific performance “New World Order” in three one-act texts by Harold Pinter and directed by Paris Erotokritou, will keep being presented in May.
  
  
  Premiers…
  
  •    "The Wastrel" (1961) A film of Michael Cacoyannis - Archive Film Premiere of the Restored Copy in Greece
  Michael Cacoyannis Foundation presents for the first time in Greece, the film “The Wastrel” directed by Michael Cacoyannis with Ellie Lambeti in the leading role.
  
  

  “The Wastrel” – See More
  

  
  
  •    “Music for the stage” Live with Stavros Gasparatos
  
  In May 3rd, Stavros Gasparatos, in collaboration with the Cultural Affairs Department of the Municipality of Patras and the Municipal and Regional Theatre of Patras, presents a concert in two parts in Michael Cacoyannis Foundation. In the first part, material from his solo release album “Rehearsals” (a selection of music pieces for theater and dance) will be presented live, and the second part will be consisted of a series of new unreleased tracks, composed by Stavros Gasparatos, that are going to be presented for the first time in this concert.
  
  

  “Music for the stage” – See More
  

  
  
  •    “Tales of Mystery and Horror from Japan”- Buzz Productions Theater
  Following, the button passes to Buzz Productions Theater company which presents in Michael Cacoyannis Foundation, from May 6th, the performance “Tales of Mystery and Horror from Japan”, a fresh and experimental discourse – dramaturgic approach of Narration in Theater Plays, focusing on popular tales of mystery and horror, directed by the Cypriot artist Philippos Philippou.
  
  

  “Tales of Mystery and Horror from Japan” – See More
  

  
  
  •    With2Feet - 5 Contemporary Dance & Dance Theater Performances
  
  From 5th till 9th of May, Van Dog Event Group presents performances of Contemporary dance & Dance theatre at the Michael Cacoyannis Foundation Theatre.
  A solo performance by Yannis Karounis (Orbital), a duet by Ted Stoffer (In a landscape), a  trio by Jozsef Csaba Hajzer (S.K.I.N.S.) , a choreography with eight dancers by Athanasia Kanelopoulou (Shadows of Nothing) and a dance theatre performance by Paracoon Compnay (the Night), are presented in such a way as to project a wide perspective of contemporary dance art.
  
  The performances are divided in two parts. On the first two days, the 5th and 6th of May, With2Feet presents the show entitled ‘the Night’.
  On the  7th, 8th and 9th of May the second part is being presented with contemporary choreographies  by Ted Stoffer (U.S.A.), Jozsef Csaba Hajzer (Hungary), a Greek who lives and works abroad, Athanasia Kanelopoulou and Yiannis Karounis. Those four acts aim to merge different schools and dance art forms through the approach of different choreographers with standards and experiences that originate from different countries.
  
  

  With2Feet - 5 Contemporary Dance & Dance Theater Performances – See More
  
  

  •   Shakespeare’s Villains by Steven Berkoff

  Attiki Cultural Society carrying on “Theatre beyond Boundaries” presents in 18th, 19th & 20th of May 2010 in Theatre of Michael Cacoyannis Foundation the performance Shakespeare’s Villains by Steven Berkoff. It is a Theatre Class by the famous and awarded writer, actor and director who carries his personal success from the London as well as the international stage for the first time in Athens. Shakespeare’s villain heroes through the writer’s original texts are being presented and commented by Steven Berkoff. After every performance, Steven Berkoff answers the audience's questions.
  
  

  Shakespeare’s Villains by Steven Berkoff – See More
  

  
  
  Continued…
  
  

  •   “New World Order” - Fresh Target Theatre

  “New World Order”, a subversive site specific performance is going to be presented by Fresh Target Theatre Ensemble in the 2nd Underground Floor of the Michael Cacoyannis Foundation Cultural Center’s Parking Place throughout May 2010 as well. In parallel, in the same space and during the same period pictorial artworks by important Greek and foreign artists are being exhibited as a structural element of the performance, with the kind allowance of The DESTE Foundation for Contemporary Art, as well as works by Marikita Manolopoulou.
  
  In fact, it is a compilation of three one-act-plays by Harold Pinter (“The New World Order, “One for the Road”, “Press Conference”) translated by Errikos Belies and directed by Paris Erotokritou. All of the three texts can be identified for their criticizing view over the governmental physical as well as mental violence, forced by the ostensible “democratic”, totalitarian regimes.
  
  

  “New World Order” – See More
  

  
  
  

  •   Exhibition of Photography – Dedicated to Michael Cacoyannis

  The exhibition includes photographic portraits of Michael Cacoyannis and photographs of his directing career.
  Supervision: House of Cyprus
  
  

  Exhibition of Photography - Dedicated to Michael Cacoyannis – See More
  

  
  

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• INTERVIEW 20 April 2010 Anastasia Parava interview at www.mcf.gr The director of puppet theater performance “Crescent Moon Bear” talks to Afroditi Ermidi
  Which is the story of the “Crescent Moon Bear”?
  
  The “Crescent Moon Bear” is a folktale borrowed from folk oral Japanese tradition, which was adopted by our copywriter, Magi Poupli, especially for the performance’s needs. Through this story we want to talk about the catastrophic consequences that war brings about, as well as the journey of a little girl towards her soldier-father’s soul salvation. Through original galanty show techniques, directness of live electronic music as well as narration, we wished to travel along with you into time, and share our thoughts and emotions at regard of the era that we live in.
  
  
  Which is the target group of the performance?
  
  Our performance targets on adult audience. The subject, the messages, the atmosphere, the narration as well as the electronic music compose a puppet theater production for adults base on galanty show and the technique of depiction through the three-dimensional shade.
  
  
  According to your experience, how adults presume tales and puppet theater, a genre of art that has been associated with our childhood years?
  
  Important is to attract adult audience in puppet theater performances. After all Puppet Theater and galanty show in Greece are strongly associated with children and this is not essential. We have been presenting puppet theater performances for adults since 2003 and I thing that it takes time to introduce to the people this type of art. By the time spectators will realize the existence of adult puppet theater art, I am convinced that they will love it. Puppet theater is magical because when a puppet, a figure, or even a lifeless object come alive by their heartener, and suddenly breathe and they do exist on the stage, a such strong illusion is being created, which, in combination with the a strong subject and story, accomplishes to make the audience be forgotten(lost) in space and time, to follow, believe, dream, be moved, be awakened. All of us who work on puppet theater talk about a “virus” the renown virus of puppet theater which once infects you, it’s over, it escorts you for the rest of your life!
  
  
  Your performance refers to the catastrophic consequences of war on human beings. Do you spread on purpose an anti-war message, besides other?
  
  The story of the performance takes place in 1st World War, known as the war that would stop all wars. On the contrary, nowadays, war exists all around the globe. And it doesn’t make sense, taking for granted that life is the most valuable good that someone could have, people keep on being recruited voluntarily in order to honor death in a celebration of slaughter, pain and disaster. Definitely there is an anti-war message, but our aim was to go beyond the national wars and distinguish the everyday “wars” that we suffer from in the cities we live, and in our routine.
  
  
  Which is the feeling that you would like spectators to have leaving the performance?
  
  It would be ideal for us to come close to Purgation feeling, as it is defined and experienced through the ancient tragedy.
  
  

  By Afroditi Ermidi
  
  

  SEE MORE INFORMATION ABOUT THIS PERFORMANCE IN THE SECTOR "WHAT'S ON"
  

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• INTERVIEW 16 April 2010 Philippos Philippou Interview at www.mcf.gr The director of the performance “Tales of Mystery and Horror from Japan” talks to Achilleas Kourias
  “Buzz” seems to prepossess us in favor of your theater company actions, in terms of “fuss” provoking. In other words, somebody would claim that the name of your team inclines us to believe that you are here in order to bring “turbulence in stagnant waters”. Is it all about an effort of reversal, as far as straight theatrical patterns and forms are concerned? If it is so, how this performance aims to contribute to this procedure?
  
  I cannot bear it any more…, I cannot watch any longer this traditional theater, which has predominated in Greece at the moment. It is the situation of the Grand-Director, the Grand-Actor and the Grand-Movement Master (in the bad sense of the words), who try to create a performance. On the other hand indeed, there are directors and art-people in general, who have offered to the arts, through their character, their work and mainly their principles, masterpieces of inconceivable beauty and inspiration for the forthcoming generations. You can still, then, watch a structure, at least from the moment I can remember, since 1997 when I started watching theater, that is exactly the same, nothing has changed on that thing. It is always this; you step out on the stage to say the words (act), then your co-leading actor steps out as well, to say her words along with you, two ballets step out in the end, and actually that was all of it. Finally we are all being applauded by the crowd and we are done! This thing is something I am not interested in at all. I do say that in order to protect (prevent) myself as well from that. I would never like to do such a type of theater. If theater is not constant study on a subject, then it has nothing to do with the “real” theater. It is crucial to carry on a research, to look for new forms, new ways and new images in order to say what you want to the audience. From that point, you go further and you discover other important matters. This is the real reason that motivates you for instance, and so on and so forth…
  
  
  The majority of people claim that there is an established system, like the Academia of the neoclassic times, which sets norms and patterns for the artistic creation/ expression. Have you ever felt such a thing?
  
  Definitely! This usually starts happening already from the drama school years. It is actually originated from the unskilled tutors. I begun studying acting, although I always liked and was more interested in directing, just because I wanted to understand and experience how an actor performs on the stage and then focus on directing. By the way, there is no theater directing school in
  Greece, in the country, in which, as we all proudly support, theater was born, and having that in mind, you just want to “shoot” yourself… There is no theater academy; there is no framework, no rules to regulate this thing, called theater, we are all possessed by apathy. Thousands of actors graduate annually and all those poor ones do not know what to do. We have teachers in drama schools, who are empirical and nothing more, who actually work as if they were traffic cops: They say, “You have to step out on the stage here, you have to say this and that(a-b-c-d), then you have to move a bit your hand like this here…” Show me a method, this is all I am asking for, there is no method anywhere, isn’t it terrible? Not only in theater, everywhere in our lives.
  
  
  Are you referring to a phenomenon of amateurishness?
  
  No, it is not exactly this, because amateurishness signifies a notion of love and passion for what you do, it is probably ignorance.
  
  
  What approximately the audience should expect from the performance that is going to watch?
  
  As I observe European proceedings with information I gather from the web as well as friends who live abroad, currently all around Europe, storytelling has penetrated everywhere. Everything is narration. This is what we try to do with this performance. We chose narrative theater which has been dilated by Peter Brooke and so many other great people and we make an effort to introduce it gradually in Greece again. We try to transmit the picture to the spectator through our words.
  
  
  
  Do you believe that experimentation and novelty can find space for expression easily in our country’s cultural proceedings?
  
  It is very difficult on account of money lack. It is widely believed in Greece that working on theater means that you are doing just your hobby, whereas theater is our job. This is the way that we would like to be treated. It is our job, this is how we earn our living, this way I have to pay my rent, with this money I want to pay off my bills, and this is how we do want to earn our living as I said before. Why theater and arts in general have to be treated by people just as a high culture conception? It may be labeled as quaint, what I am going to say now, but as the dustman is a professional so as the actor should be one. Directing is a profession as well, so as the commercial artist designing and painting. Acting is an indispensable labor, in which, unfortunately, in Greece has predominated the idea of not being well paid, not being covered by insurance fees, not being sponsored if there is no nudity in the plot, or even if there are no celebrity actors involved in that… and so many other things.
  
  
  
  Does theater guild reject novelty when this contravenes commercialism?
  
  Surely, some time or other you are forced to do things that you don’t like, in order to earn just €800 per month, it is unbelievable. On the other hand, you see all those fat politicians sitting in big offices, enjoying highly respected posts, all those who amuse themselves by travelling from Mykonos to Santorini, who travel abroad in order to discuss a bit with their corresponding persons in Europe… If this is proper politics, I am an astronaut. However, as you can see, despite my alarmism words, there are a lot of young people who try hard. Just bear in mind that annually 450 performances take place in Athens, which comparably means that we have the most theatrical plays globally, New York for instance has not as many every year. You see young artists who try it very hard, who fight for it. The question quite often is instead of trying to build something new, to create a new form, to bring along a new proposal, in all that chaos of information and arts in general, to end up trying to create something that would help you to be noticed, in order to become a celebrity one day, to get the leading role. I strongly believe that everything has to be initiated through team work. Without any doubt, the final decision has to be taken by one person, I do accept that, but you cannot be an omniscient, you cannot know everything, you need people all around you, as they need you as well, it is all about conciliation, a debate of different points of view in order to reach a conclusion, a clear statement, an immovable viewpoint.
  
  
  
  
  If we would attempt to trace the “Buzz Theater” identity, which characteristics would be the ones that we should focus on the most?
  
  This time we chose to approach these texts in a narrative manner, through the mask. It is around fourteen roles and we have three actors on stage, on purpose as well as because of financial strait. Furthermore you set off through your difficulties and you become innovative, this way you explore and find things. Not to be misconceived, I do not consider our effort pioneering. It has happened and it will happen again throughout the world and in Greece as well. It has came true successfully in Greece several times in the past by many teams, such as Simos Katalas with the team “Choros”, that has worked a lot on narrative theater through the mask, creating spectacular shows. At this moment, we have collectively eventuated to a model where: Since I don’t know very well narration, mask, or movement and voice technique, me as the director, I called Athina Trevlia in order to teach us phonetics, Thodoris Ekonomidis to work on the mask, Mania Maratou to teach narration and Marios Mettis to work on movement. I have to collect all these pieces of information that have been given to the actors and do montage. It is like working on a sequence for a movie, using a montage program, and trying to compose images into a film in fact. It is the first time that we work this way. Until the moment, we have worked already three weeks as if it was a seminar, where all the experts mentioned above came to show us techniques while we were all absorbing like sponges all that information. Now we venture to make a synthesis out of all this. It is a model, we realized that functions perfectly and we want to propose it, to say, guys, that is a proper method that worked for us, take it, work on it, improve it, transform it into something different or reject it. It is exactly this that I think is missing from Greek theater at the moment.
  
  
  
  Will the spectator be able to distinguish the approach of the narrative style that you follow, shorn on the stage? In other words, are the method and the technique that are laid in close up in comparison with the entity of the show?
  
  In fact the spectator is not interested in the technique that is used by the actor. It is like listening to a singer who has strains over his head. I do not care if the actor acts with his/ her feelings or in this or the other way. My concern is the image to be conveyed by the actor’s words to the spectator’s mind. As Mania Maratou sais “where lies the story guys?” The story lies in you, the actor? Or lies in the spectator? Whereas the story lies somewhere in the middle. It is like actors and audience holding constantly a fibre, which has to be always stretched and never cut, so as the information flows smoothly. Whereon there is not something isolated in the performance. For instance we now watch technique, now is the mask or the actor’s feeling and so on and so forth. It is a mixed outcome, an image synthesis. The differentiation compared to an ordinary play consists of the form used, the mask and the narration. For example, when you narrate a story or even a joke, the thing that you accomplish is to convey an image into your listener’s mind. You have no stage prop, no stage, nothing. The image is what really concerns us, in regards of the narration. Thereafter, putting on the mask, the performer acts with the form, just because the mask doesn’t allow you to be normal human, you are transformed in a way into a “cartoon”, let’s say, you present the shape of the things. Consequently, we have narration, form, and mask. Three different elements put together. The performer forced by the mask has to act with his/her body shape and scenario. He or she has no other arts and crafts. With a combination of ways since the body often drives the things that have to be said. It is not possible to have only one thing on the stage, for example a guy just walking on the stage. In conclusion, technique is something that doesn’t concern anyone. No one is concerned if I have studied for 60 years guitar and now I can play for you a very nice blues… You just ask for the result, nothing more, the differentiation is all about our approach to the texts.
  
  
  
  
  Mania Maratou talks about “a magic of narration”, how do you define this element?
  
  If you look for oral narrations from Homer times till today, have not managed to reach us even in one per cent. Though, they have managed to carry along historic events that took place ages ago and finally made it to reach us. It is in there that you can find the little truths. Undoubtedly the event is being transferred through the myth. Now, where the myth ends to let the truth start, is something that doesn’t concern me. It is enough that this wonderful piece of information managed to reach me.
  
  
  
  The performance “Tales of Horror and Mystery” since as a dramaturgic proposal is a constant study on narration, is differentiated compared to an ordinary theatrical performance?
  
  A lot of people come and ask the duration of the performance. I respond that I don’t really know. Although we have stated that is going to be 1 hour and a half, I think that it can be longer or even shorter than that. We have trained audience in watching productions in fast forward. We try to create speedy performances just because everything else all around us is fast. On the other hand, we cannot understand that if I stand for a while, just breathing, I could imbibe so many things from the nature, or the people all around me. In fact I recommend what I personally have done the last few years. I have switched off my television, I don’t listen to anything, and I close my eyes to everything. All the producers have been entrapped believing that the spectator comes to the performance having a remote control, ready to change the channel by the time he/ she will be bored. This is a disaster for theater. This spectator does not concern us. Somebody has to go to a performance open minded.  Ready to get things instead of emptying his/her thoughts during the performance. This is why nowadays we watch performances in which audience command to the director, the producer etc what is going to be shown even if vice versa is the proper way. Manos Chantzidakis has said: “You won’t tell me what you are going to listen to, I will tell you!” If you don’t agree on that, do not come! Stay at home, watching TV where the pussy-cat tells you what to do… For instance, they tell you: It rains! Stay at home! Hello, its winter! How the hell not to rain? And this is news!
  
  I am not interested in a deal like this with the spectator. I want you to come open and receptive, in order to listen and understand, to be interested in that, to come back home and the day after still to be thinking of it, something to have been changed, something to have been broken in you. I would like the spectator to come with the best of the intentions. The performance should fill you with power and strength in order to face the day coming, and we are blessed to live in a country, where every day you know that you are able to see the daylight. We don’t live in the Nordic circle were night covers everything. We demand the spectator’s involvement with his spirit as well as his body. To be there 100%! Obviously, if the audience comes to watch a failure, it is going to be mentally absent. It is not going to be persuaded. Availability is necessary regarding both sides in this communication, the audience (emitter) and the spectators (receiver). It is not proper to have either ways encrypted messages where both sides move in one way direction and finally crash onto a wall. Whether we have a joke, or a Homer epos the image conveyance is our aim.
  
  
  
  Could you state the reason that tales of horror and mystery having origins in Japanese culture was convenient for your study?
  
  I started participating in a seminar for narration organized by Mania Maratou in 2007 and I realized that, although I am an actor, I had a fear for telling a story, to convey an image, to describe something even outside the theatrical framework. I started reading and discussing about the subject with several people who work on narration. Suddenly I found texts by Edgar Allan Poe, Hector Hugh Munro (Saki), Rionosouke Akoutangawa and Leucadius Hern. I felt for some reason that my study would tend to the Japanese texts, without being able to explain it. It was probably this minimalistic philosophy that is enclosed in them, as well as the obsessions and the morality that is implanted deeply in their culture. Just think that they still do hara-kiri for moral issues. That’s why I am so passionate for those texts. I go to bed and I wake up having these texts in mind the last two years. It is a world completely different from Greece. They respect job so much, that is considered an honor to die while working. Not in an accident, but because of exhaustion. This cultural difference attracted me, even if we cannot understand it coming from another cultural background.
  
  
  
  The journey from “Drama” to “Comedy”, and vice versa, which purpose serves?
  
  How many times have you watched something that is dramatic, terrifying let’s say, and immediately bearing another thought in your mind, you did it comic. That is what we try to explore through this performance. The way that somebody passes from one side (horror) to the other (laughter), without staying at the middle, where realism lies. Both of them are absolutely extreme, therefore you might think that drama is funny and the other way around. In fact, we do play with horror, and it’s a dimension that is interesting to be evolved.
  
  
  
  Was the director or the actor that was attracted and “challenged” more, in order to study narration in that extend?
  
  I think that both happened. I really miss to act on the stage. On the other hand I have stopped going to auditions, just because I am not interested in nothing that takes place all around me. I don’t want to be part of the system that does nothing else but produces, produces… having on the other side somebody who constantly consumes, consumes… That’s why I decided to participate in seminars and become a director. It has started from the director as well as the actor. What would I really like to act as a performer? This! How would I really like my director to be? This way! That’s what I try to do. To define things again! Can we? Can we be gathered in a place, three thousand people in order to settle things again under discussion, and recreate a framework, working each one of us on his/ her subject? This is the effort in the performance’s situation, in its space and time. I see a lot of people who try to resist. Resistance for me could mean at least recycle at home. A step to change my own little world, in order to change the world all around us as well.
  
  
  Have you met supporters of your effort?
  
  I am really glad that we managed to be met, guys having similar interests and the same diligence. All the fellows have been really involved in that, actors and partners, from the very beginning whereas initially they felt insecure just because something completely different of what they were used to, was proposed to them. And although I was about to believe that I would lose them, suddenly you see that everyone, from Rita Zikidou, the stage designer, Elisavet Antapassi who makes our masks, Thodoris Ekonomidis who teaches mask technique, Mania Maratou who tutors narration, Tania Giannouli who supervises the music, Marios Mettis who is responsible for the movement, Athina Trevlia who teaches voice technique, Eleni Moleski and Marina Dimaki who help me in directing, Eliza Alexandropoulou who is lights director, Giorgos Stylianopoulos, Leonardo Sfontouris and Christos Tantalakis who perform… and everybody else that helped, to be here, without being paid, in order to work hard, to find something new from ground zero, to collaborate in a team spirit. This really honors me and is an honor for them as well.
  
  Let me tell you how I discovered the Michael Cacoyannis Foundation. I had a conversation with a friend who told me that he would perform in MCF and exactly the same day my proposal was turned down by another cultural center. When I face a problem, I hit the road walking and listening to the music. I said to myself that I could find the solution. This way I ended up by coincidence in Piraeus street 206, outside the Foundation. Why you don’t call, I thought! I called, I arranged an appointment, I came, and here we are, in only a few days my proposal was accepted. The circumstances was positive since Mr. Cacoyannis comes from Cyprus and wants to help young Cypriot artists. In addition I would like to mention that the Foundation stuff consists of smiley faces, and that is wonderful. From the reception to the headquarters, everybody will tell you a kind “good morning” and will be willing to help you. It is very important that there is a Foundation that aims to help houng people. If youngsters are not the future, then what is left to hope for? The 60yearold man that tries to convince me that I have to become a civil servant in order to survive? That would be a nightmare! A poet once said: “You should be aware of the guy who found a little roof on top of his head”, I am really afraid of those people, who have their eyes and their ears wide shut, and they walk…
  
  

  SEE MORE FOR THIS PERFORMANCE IN THE SECTOR “WHAT’S ON”
  

  
  
  

  By Achilleas kourias
  

  
  

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• INTERVIEW 26 March 2010 Paris Erotokritou interview at www.mcf.gr The director of the "site specific" performance "New World Order" talks to Afroditi Ermidi
  The underground level of Michael Cacoyannis Foundation’s Cultural Centre is being transformed into a theatrical stage and welcomes the performance “The New World Order”. “Fresh Target Theatre” company presents a subversive, site specific performance, in which three texts-plays by Harold Pinter coexist with pictorial artworks by significant Greek as well as foreign artists!
  
  

  Paris Erotokritou, the director, talks about his inspiration, about Pinter, as well as the way that he comprehends contemporarily the “World Order”.
  
  

  •    What differentiates the audience’s experience in this “site specific” performance?
  
  At first the fascinating thing is that parking space has been transformed into theatre! I really like to use venues that are not merely theatrical as the venue itself quite often leads you. Therefore, spectators do not just seat in theatre’s seats but they participate with all their senses, they coexist with the actors thus they live a common experience. There is a contact between actors and spectators, and among the audience itself.
  In fact audience acts as if they were actors. Since they are in the space that action takes place, automatically there is a reason for them to be there. We do want that to happen in our performance. However, only in the end of it, spectators will realize which exactly their role is.
  
  •    How the theatrical elements of the performance are integrated with the pictorial ones?
  
  The occasion is given by Pinter’s text “Press Conference”, where a Minister of Culture, who has ministered in the past as Secret Agency chief, answers to journalist’s questions. The Ministry has organized an event in order to present its method. In the line of this event presents an art exhibition which aims to address life’s “positive” side. In addition, some allusions in the play are associated with the exhibition’s artworks, in a way that will be revealed only through the performance itself.
  
  •    Why did you choose Harold Pinter’s texts?
  
  I really like his writing style. He throws out insinuations without using words. There are things that are not being said with words, Para –linguistic things that are hidden in between the words. Additionally he uses language as a weapon, he is cynical and violent – though, not in the conventional way of violence. He has exasperation.
  The performance’s text consists of three political texts. The trigger was the play “One for the Road”, which is actually the main text. It is just a small sample of Harold’s Pinter masterly manner of play writing.
  
  •    What motivated you to choose political texts?
  
  I am interested in politics and since I come from Cyprus, politics (in the strict conception of the term) is rightly or wrongly in my life. Since I was relatively young I used to read newspapers, though, I am interested in some aesthetical dimensions of politics in general. The way a politician is being expressed, his – her gestures, what he or she wears etc. However, a couple of years ago I realized that I felt part of a strange system. Without being aware of what it really is. I realized that I do not have complete control of my life.
  
  •    Is there an attitude of criticism in regards of the general situation that we all live nowadays? As far as the “New World Order” is concerned?
  
       No, just because this situation is muddy after all! I cannot understand it either mentally- logically, or instinctively. It is not something clear, though I am aware that there is indeed a “New Order”, or whatsoever it has already started being shaped. Somebody could tell that it is the Financial Crisis, but this would be a hyper-simplified consideration.
       We do not aim to pass along the audience a specific message. I would like them to watch a story that possesses introduction, body and conclusion, this is the primal aim for me! In other words we created a play in order to “amuse”! Thus, if spectators decode any messages forasmuch as the plays are political, this has been fallen to personal estimation or view. Nor do I aim to make a comment on the existing situation, just because it is anyways “forceful”!
       As Pinter himself said in 1957, concentration camps used to be a wound that no one could ignore. Whereas nowadays, there is so much violence all around us, that easily can be ignored. Even in our own homes, in our relationships, in allegedly civilized societies.
  
  

  By Afroditi Ermidi
  
  

  See more about the performance "New World Order" on the "What's On" sector
  

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• ANNOUNCEMENT 23 March 2010 April in Michael Cacoyannis Foundation
  This April, Michael Cacoyannis Foundation presents an interesting program that consists of new productions and events as well as others that are going to be continued or repeated due to their successful presence as far as the city’s cultural proceedings are concerned.
  
  The audience of Athens will have the opportunity to attend a subversive approach of modern theatre by Fresh Target Theatre, the initiation of a new Film Festival that is organized in collaboration with the Network of independent cinematographers entitled Chainfree, the comeback of the dance company “κι όμΩς κινείται”, an exhibition dedicated to Michael Cacoyannis by “House of Cyprus” as well as come in close contact with the art of puppetry attending “Puppet Theatre Nights”.
  
  

  APRIL 2010
  

  • “Puppet Theatre Nights” – Performances by alternate Puppet Theatre Workshops

  
  

  • New World Order by Fresh Target Theatre Ensemble

  
  

  • Purgatorio- By the dance company “κι όμΩς κινείται”

  
  

  • Chainfree Film Festival 2010

  
  

  • “The girl who wanted to touch the Crescent Moon” Puppet Theatre by ParaMana

  
  

  • Exhibition dedicated to Michael Cacoyannis by the “House of Cyprus”

  
  
  

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• 10 March 2010 The inauguration of “a lifetime dream”
  With a glorious ceremony, the Cultural Center which houses the “Michael Cacoyannis” Foundation was inaugurated, yesterday, Tuesday the 9th of March. The inauguration ceremony performed by the President of the Hellenic Republic, Mr. Karolos Papoulias and the President of the Republic of Cyprus, Mr. Dimitris Christofias, who travelled to Athens especially for this event, with glory and the attendance of politicians, artists and a lot of beloved friends as well as the family of Michael Cacoyannis.
  
  The hostess of the ceremony, personal friend and partner of the director, Mrs. Katia Dandoulaki, initially referred to the inauguration event saying: “Today we came together in order to inaugurate the Foundation’s Cultural Center that is named after a Greek, a cosmopolitan Cypriot, Michael Cacoyannis, who accomplished, during tough times, to spread the idea of Hellenism abroad, beyond the tight local borders, transmit it all around the globe and involve in it millions of spectators. We are here to accompany a restless man who, even at present, lives with the vision of contribution, since what else could be this Foundation if not a place, which has no other aim but to broaden the horizons of art. The Foundation is a baton that Cacoyannis passes to the younger, a baton which covers, or actually reveals his vision.”
  
  Following made a speech the Director and Founder, M. Cacoyannis, the Presidents of Hellenic and Cypriot Republic and the Minister of Education, Lifelong Learning and Religious Affairs, Mrs. Anna Diamantopoulou, on behalf of the Greek Prime Minister.
   
  The artistic program was dedicated to Michael Cacoyannis work and proceeded with projection of ancient tragedy movies’ parts, directed by Michael Cacoyannis, such as the Ifigenia, The Trojan Women and Elektra, a performance of William Shakespeare theater plays’ parts, directed by M. Cacoyannis:
  •    Hamlet, (featuring) Konstantinos Markoulakis, Translation: M. Cacoyannis
  •    Coriolanus (featuring) Vladimiros Kyriakidis, Translation: M. Cacoyannis
  •    Romeo & Juliet, (Re- Directed by M. Cacoyannis especially for the inauguration ceremony) Featuring: Katerina Geronikolou, Fotis Karalis, and Translation: Errikos Belies
  
  Finally, the ceremony was followed by a reception for all the attendees with famous as well as unpublished songs in lyrics/ poetry of Michael Cacoyannis and music composed by Alkis Kollias. The songs were performed by Lia Vissi, Doros Dhmosthenous and Yakinthi Lagiou, accompanied by the accordion player Zoe Tiganouria.
  Especially for the inauguration ceremony arrived in Athens the Director and M. Cacoyannis’ friend, Mr. Kostas Gavras, as well as M. Cacoyannis sisters, Mrs. Yannoulla Cacoyannis Wakefield and Mrs. Stella Soulioti and his friend and partner Yael Dayan.
  
  Among the Attendees we distinguished:
  The artists, Dionysis Fotopoulos, Nonika Galinea, Thanos Mikroutsikos, Dimitris Papadimitriou, Giorgos Ntalaras, Maria Farantouri, Elli Paspala, Foteini Darra, the members of the Greek Parliament and actors, Pemi Zouni and Giannis Vouros, the Directors, Sotiris Chatzakis, Grigoris Karantinakis, Stavros Tsakiris, Stathis Livathinos, the writer, Maria Papayanni, the actors, Tatiana Papamoscou, Efi Mouriki, the stage designers, Yannis Metzikof and Ersi Drini.
  
  In addition, the museum Directors, Angelos Delivorias and Marina Labraki Plaka, Mr. Efraimoglou on behalf of the Foundation of the Hellenic World, the Doyen of The Athens School of Fine Arts, Mr. Giorgos Charvalias, the painter and professor of The Athens School of Fine Arts, Yannis Psychopaidis, the visual artist, Kostas Tsoklis, the Director of European Cinema Panorama, Mr. Nino Fenek Mikelidis, Mr. Chistos Ioannou, Mr Alexis Kostalas.
  
  Mr. Karoyan, the President of the House of Representatives of the Cypriot Republic, Mr. Giorgos Vasiliou, Former President, Mr. Andreas Dimitriou, Minister of Education & Culture of Cyprus.
  
  Mrs. Dora Bakoyanni, Mr. Dimitris Sioufas, Mr. Costis Mousourlis, Mrs. Anna Ntalara,
  The City Mayors of Athens, Mr. Nikitas Kaklamanis and of Tavros, Mr. Dimitris Soutos.
  
  Mrs. Yanna Angelopoulou, Mrs. Sasa Vardinogiannni, Mrs. Vana Lavida, Mr. M. Kyriakidis, Mrs, Kaiti Tsekeni, Mrs. Fotini Livanou, Lydia and Kostas Karras.
  
  The Ambassadors of France, Venezuela, Cyprus, Poland as well as the diplomatic attache of the Embassy of the United States of America in Athens.
  
  “Michael Cacoyannis” Foundation, on behalf of its Founder, the Board of Directors and its partners, acknowledges and thanks warmly the audience of Athens for attending the function of its Cultural Center’s inauguration ceremony.
  
  

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• READ Tuesday, 9 March 2010 Michael Cacoyannis Foundation welcomes the audience at 15:00 The Inauguration Ceremony of the Cultural Center, 9th of March 2010
  Michael Cacoyannis’s dream came true with the effectuation of the Foundation’s first big aim, the creation of a home for culture in Athens, the city that, as the Founder himself says, became his own city as well. The official inauguration ceremony for the Cultural Center is a landmark in the progress of the Michael Cacoyannis Foundation’s undertaking. The 9th of March 2010 is identified by the Foundation’s people, the audience as well as mainly by the Founder himself, as the day that an orbit of vision and planning comes to an end, in order to be followed by a surely bigger orbit of actions. At this moment, in other words, a moment that is conceived as the capstone of dedicated efforts to the Founder’s vision, as well as at the starting-point of an ambitious and promising planning, equal to the Founder’s calibre, their Majesties, the Presidents of the Republics of Greece and Cyprus are honoring the Founder by their presence. On the occasion of the inauguration ceremony by his Majesty the President of the Republic of Greece, Mr. Carolos Papoulias and his Majesty, the President of the Republic of Cyprus, the MCF Cultural Center welcomes the audience on Tuesday the 9th of March for those who want to:
  
  •    Tour in the venue’s facilities
  
  •    Visit the Costume and Photography Exhibition with material from Michael Cacoyannis’s work, by his fellow stage designer, Yannis Metzikof.
  
  •    Watch three documentaries:
  1. by History Channel
  2. by Lydia Karra: “My Life and Times”
  3. Research-Documentary by Nounou Skaltsa- Alexopoulou, on the contribution of Michael Cacoyannis work
  
  The above are being projected simultaneously and repeatedly in the cinema halls and on the foyer’s big wall.
  
  The artistic proceedings of the program are dedicated to the work of Michael Cacoyannis and will be projected lively on the foyer’s wall from 19:00 in the evening including:
  
  1. Projection of ancient tragedy movies’ parts, directed by Michael Cacoyannis:
  •    Ifigenia
  •    The Trojan Women
  •    Elektra
  2. Performance of William Shakespeare theater plays’ parts, directed by M. Cacoyannis:
  •    Hamlet, (featuring) Konstantinos Markoulakis, Translation: M. Cacoyannis
  •    Coriolanus (featuring) Vladimiros Kyriakidis, Translation: M. Cacoyannis
  •    Romeo & Juliet, (Re- Directed by M. Cacoyannis especially for the inauguration ceremony) Featuring: Katerina Geronikolou, Fotis Karalis, Translation: Errikos Belies
  
  Hostess: Katia Dandoulaki
  
  

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• PERFORMANCE Thursday, 25 February 2010 “untitled: A study on Samuel Beckett” gets extension for just 4 more performances
  Michael Cacoyannis Foundation extends the “untitled- A Study on Samuel Becket” for 4 more performances, hosted in the Theater hall. The performance directed by Efi Birba with Aris Servetalis on stage is going to be presented this week on Thursday 25th, Friday 26th, Saturday 27th and Sunday 28th of February 2010 at 21:30 and on Sunday at 20:30. Find information or make a ticket reservation on the “What’s on” sector of the Foundation’s website.
  
  It is an extraordinary event approaching one of the most “difficult” writers ever existed in the history of global literature and theater fields. It is based on a so called “hermetically sealed” text by the Irish author, titled as “Embers, 1957”. The performance is identified as an idiomorphically directed as well as played show. Action does no longer follow the classic theater norms, using in this case terms derived from the visual performance in controversy to the typical theatrical interpretation of a play. In this way, action is being developed in space by using an audiovisual installation, bearing an undoubtedly individual “apocalypse”, in other words laying bare the deeper truth of this masterpiece.
  
   
  

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• INTERVIEW 1 February 2010 Nikolas Stravopodis' Interview to www.mcf.gr by Afroditi Ermidi
  From February 8th, “lonely cartoons” (Lonely Tunes) will appear at Michael Cacoyannis Foundation. Get ready to meet your juvenile heroes, once again in year 2010, in order to watch the last episodes of their stories, the ones that their creators never let us see, or even wrote.
   
  Nikolas Stravopodis, the director and scriptwriter of this performance, introduce us to the world of comics, through his own individual point of view, and he invites us to experience this surreal, black comedy.
   
  How are you related to the world of cartoons?
  Firstly, I have to admit that I didn’t use to watch cartoons throughout my childhood! On the contrary everybody believes that I used to be a cartoon maniac. I actually used to consider them too childish for me! I finally started watching them as a grown up, when I realized that I had a lack of memories that other people of my age did have. On the other hand, being 20 years old, I discovered that I couldn’t watch them the same way that I could do it as a child, I have formed a different perspective after all. It was then, that the idea of this performance was born. For instance, Jessica Rabbit as a character reminded me the act of bestiality. Therefore I thought it was something horrible, a beastly creature. Trying in other words to regain lost ground as far as my relation to comics is concerned, I saw them as pervert beings.
   
  Was it this reason that motivated you to demystify our childhood heroes?
  Yes, because I don’t love them! I am not interested in protecting all those people who, as I am aware, adore them! In fact I think that I don’t frustrate anybody. I present cartoons in a realistic dimension, not the way that children watch them. If you see somebody, let’s say John, having sex violently with Mary, this will not bother you. On the contrary, if you see Looky Look having sex with Olive, you will be really upset. Candy-Candy is a little girl, just 12 years old, and she has over than 12 affairs. This kind of comic is paedophilic! I cannot understand the reason that this performance would cause any kind of disturbance. If you watch it as cartoons, it is really funny. If you bring it in real life it is disturbing.
   
   
   
  Do you believe that the origin of this phenomenon is actually the lost guilessness of childhood?
  The thing that scares me is the undoubted corruption of relationships, our personalities as well as the body. Cartoons are a reference to bring you back to the world of reality, to remind you: I used to think this way, then! How have I changed? Where is all that innocence? It was us, who lost it, not our childhood heroes!
   
  Are we going to laugh with this black comedy or we are going to feel sad?
  The title “surreal black comedy” was chosen on purpose, just because I wanted this performance to be an entrapment. It seems to be a very glamorous and shiny project, with wonderful packing but by the time the spectators “open” it, they will be really shocked. It is a sock on the stomach but the atmosphere is very light-hearted. There are no dark elements. That is to say, that if a 10 year-old child watch the performance (the performance is not suitable for viewers under 18 years old), he or she will have great time, he or she will not understand the real notion of the project. The one that is able to understand, really see and interpret the messages in between the lines of the performance will not have fun, or laugh. Spectators enter a world of fairytales, where childhood heroes appear but in the end they are entrapped… (I won’t tell even a word further!). I aim to show that it’s us who changed, not the cartoon characters, nor our heroes. The viewers will not leave the performance in the best mood whatsoever.
   
  Which are your criteria in order to choose those particular heroes to figure in “Lonely Tunes”?
  Apart from Dolly, I didn’t want to use animal characters, like the “Three little pigs” just because it is kind of odd to see an actor dressed like a pig and talk. As far as the other characters are concerned, I was just interested in their stories. For example I was wondering about the fate of the “Vanity Smurf” the gay Smurf. Where would we meet him in 2010? How the “Little Red Riding Hood” girl would be in her 60’s? How Ovelix would be on his own, without his friend Asterix? How a police officer like “Inspector Gadget” would be nowadays? These are the initial thoughts in order to find the starting point for the transmutation process of the character.
  Finally, I had to watch all the 155 Candy-Candy episodes in order to write the script. I discovered very interested things. For example that she ought to commit suicide in the end, because of depression. That was not allowed by the authorities, who put pressure to alternate the ending to a silly and of course inferior one, compared to the quality of the whole story. It was then, that I decided to create a story having as subject the last episodes of every cartoon.
   
  The way that the performance scene is designed, is very special. Talk to us about it.
  I indeed believe that scenery is very important and that’s why it costs that much. The grass, the pool, the lights and the costumes resulted to a very high budget for the performance, but thanks to our sponsors the outcome is very exuberant. My purpose was to give spectators the feeling that they are not in a theater hall, but that they went back to kindergarten, where everything is magical. That’s why I removed lights as well as seats.
   
  Do you feel anxiety about your first attempt in scriptwriting and directing?
  It sounds awkward to say that I am the director! To be honest I didn’t know that I am capable to write a script, I realized it when I was studying. When I was in National Theater School, I used to write some texts for some courses. Having felt the acceptance by the audience, I managed to comprehend that my writing is quite agreeable and that I really like it as well. Being an actor- I don’t like to name myself a director- I want to put the spectator into the thinking process, to tease the audience, furthermore I believe that this is my responsibility. This performance will be the most essential disturbance I have ever made personally, as an artist. I hope that everything will run properly and finally the audience will like it!
  

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• DANCE 14 January 2010 All things are quite silent at Michael Cacoyannis Foundation
  A portrait, a creative research on a solo dance performance by Andonis Foniadakis based oh his own personal journey as a dancer and a choreographer.
   
  it is focused on his unique artistry of human kinetics and his choreographic and visual aesthetic.
  The performance is structured by three mains sections that marked the passage from the external to the internal,  the mystical universe of the subconscious  and finally it climaxes on the personal utopia of the creator/performer.
   
  The music plays the part of an underground companion and the visual set up and art direction of the play are co-existing for the creation of an imaginary landscape where  transformation  mirroring and surrealism are producing a demanding but informative glance of human adaptability.
   
  The piece was created on 2009 and has been performed in Berlin Germany  at Dock11 and Lyon France at Maison de la Danse and Ierapetra in Crete Greece during the Kyrveia Festival.
  
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• DANCE 22 December 2009 A Waltz by Fotis Nikolaou and X-it Dancetheater
  The ‘performance’ has just finished.
  
  Lonely and isolated, the characters of Waltz embark on a journey into the unconscious in desperate pursuit of happiness.  This journey reveals both dreams and nightmares. Gradually another world emerges, consisting of dreams made up of light and shade; a circus inhabited by secret desires and muted fears. In this world nobody remains unpunished.
  
  Driven by their own dreams and by fragments of memory, the travelers reveal hidden sides of consciousness in an effort to find that long-forgotten innocent gaze and childhood feeling that was lost as they grew up.
  
  The world of Waltz is inspired by the glittering world of the circus and its poetic melancholy.
  
  The ‘performance’ has just started.
  
  The music is performed live by Giorgos Demertzis (New Hellenic Quartet)
  
  Another 10 volunteers participate for the performance.
  
  More about the performance
  

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• EVENT 15 December 2009 Christmas at Michael Cacoyannis Foundation
  A few days before Christmas, on December 19 & 20, from 10 p.m. to 7 a.m., Michael Cacoyannis Foundation invites you all to visit (however, this is not the official opening). In collaboration with KYADA, the City of Athens’ Shelter for the Homeless, the Foundation organizes a Christmas bazaar, sending a message of love and solidarity to those in need. This weekend, do come and enjoy free screenings, puppet shows and story telling.
  
  program
  

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• VISUAL ARTS 8 December 2009 CINEPHILE Exhibition Opening
  Exhibition opening at Michael Cacoyannis Foundation on Thursday the 17th of December 2009, at 8 p.m.. The exhibition presents works by 15 young artists-graduates of the Athens School of Fine Arts Z’ Painting laboratory.
  
  The exhibition is organized by Yannis Psichopedis.
  Duration: 17/12/2009 - 28/2/1010.
  Visiting hours: Monday - Friday & Saturday - Sunday 6 p.m.-9 p.m. (Except 24- 25/12/2009 and from 31/12/2009 – 7/1/2010)
  
  CINEPHILE
  15 artists go to the cinema
  A tribute to Michael Cacoyannis
  

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• EVENT 25 November 2009 Werner Herzog at Michael Cacoyannis Foundation
  Werner Herzog, one of the most well-known German "new wave" filmmakers of the late 20th century presented his film “Encounters at the End of the World” at Michael Cacoyannis Foundation on Tuesday November 24, at 20:00. After the screening a Q & A session with Mr. Herzog followed.
  
  Mr Herzog’s presence at “Michael Cacoyannis” Foundation was within the context of the retrospective to his films organized by the 50th Thessaloniki International Film Festival in cooperation with Goethe-Institut Griechenland, supported by the German Embassy in Athens and the General Consulate of Germany in Thessaloniki.
  
  

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• Q & A 18 November 2009 Werner Herzog at Michael Cacoyannis Foundation
  Werner Herzog, one of the most well-known German "new wave" filmmakers of the late 20th century will present his film “Encounters at the End of the World” at Michael Cacoyannis Foundation on Tuesday November 24, at 20:00. After the screening a Q & A session with Mr. Herzog will follow.
  
  Mr Herzog’s presence at “Michael Cacoyannis” Foundation is within the context of the retrospective to his films organized by the 50th Thessaloniki International Film Festival in cooperation with Goethe-Institut Griechenland, supported by the German Embassy in Athens and the General Consulate of Germany in Thessaloniki. We will keep you informed.
  

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• SOON AT "POLYTROPON" 6.11.2009 “Michael Cacoyannis” Foundation hosts part of Werner Herzog Retrospective
  November 19 through 25, “Michael Cacoyannis” Foundation and the Goethe Institute will be presenting part of the retrospective of Herzog's work. A retrospective organized by the 50th Thessaloniki International Film Festival in cooperation with Goethe-Institut Griechenland, supported by the German Embassy in Athens and the  General Consulate of Germany in Thessaloniki.
  

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• EVENT 1 November 2009 Francis Ford Coppola's Masterclass at "Michael Cacoyannis" Foundation
  The world famous director Mr. Francis Ford Coppola gave a master class at the theatre of “Michael Cacoyannis” Foundation on Friday, October 30.
  
  The master class was one of the events of the Panorama of European Cinema festival, which is organized by the City of Athens Cultural Organization and under the artistic direction of Mr. Ninos Fenek Mikelidis.
  
  Mr. Coppola arrived at the Foundation accompanied by Mr. Mikelidis, the General Manager of “Feelgood Entertainment” Mrs Irini Souganidou and by his three close associates Mrs Adriana Rotaru (Production Manager), Mrs Anahid Nazarian (Executive Producer), and Mr. Mihai Malaimare (Cinematographer).
  
  Mrs Yannoulla Cacoyannis – Wakefield, the Foundation’s Vice President and a well known Hollywood Executive Producer herself, welcomed Mr. Coppola at the Foundation.
  
  The master class was organized with the sponsoring contributions of COSMOTE and NOVA. Present at the event was Mrs Marilena Fatsea, COSMOTE Corporate Affairs Director and Mr Lambis Tagmatarchis, of Netmed, Filmnet and Nova.
  
  The discussion was coordinated by Mr. Ninos Fenek Mikelidis.
  

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• READ 21.10.2009 Secondary Education Ancient Drama Plays By the Theater Company “H ALLH PLEVRA (THE OTHER SIDE)”
  Having as purpose the encouragement of theatrical literacy in the educational field, the Theater Company “H ALLH PLEVRA (THE OTHER SIDE)”, that conducts studies, research and gives live performances on scene, of ancient drama plays since 2001, proudly presents two of the tragedies that are taught in secondary education; “Helen” by Euripides and “Antigone” by Sophocles, at “Michael Cacoyannis" Foundation.
  
  The plays were set up pursuing:
  

  • deeper understanding of the taught scripts,
  • learning opportunities pouring out of the world of ideas and dramatic poetry,
  • aesthetic delight and appreciation,
  • proof of diachronic values covering ancient Greek literature through the emotional experiences and the mental stimulation born by theatre.

  
  The plays, directed by Aris Michopoulos, are notable for developing all the distinct parts of the tragedy in an equal manner. The script is based on modern acting techniques and offers an edge to the artist and its creation. The costumes and scene are set up using minimal means, natural mediums and diachronic elements.
  
  “Helen” as a play deals with the following issues: double entendre, tragedy of the human nature, war lust, conflict between showing and being, and assembly of various myths and interpretations. The instability of the mortal world, the flimsiness of matter, the “in-between” of divine and otherwise, are all pointed out to the students and are better perceived as concepts.
  
  The focal point of “Antigone” is the concept of hubris. Not only Kreon but also Antigone forgets to avoid extremes when pursuing the absolute interpretation of the cosmic and divine Law. The acting level of the play blends with a modern stage approach without extremities, thus initiating the student into the art of theatre while equipping him with humanitarian values.
  
  The secondary Education Ancient Drama plays will start in November, in an everyday basis (except for Saturdays, Sundays & holidays).
  
  Theatrical Producer: Stamatia Antonatos
  Tel.: 210 3418584 (8:30 am – 1:00 pm), Mob: 697 4926755 (8.30 am - 9.30 pm)
  
  

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• ANNOUNCEMENT 13.10.2009 Panorama of European Cinema festival and Francis Ford Coppola at “Michael Cacoyannis” Foundation
  After 21 years of common course with the newspaper Eleftherotipia, the Panorama of European Cinema festival turns page. For the first time, it is organized by the City of Athens Cultural Organisation (PODA), while part of it will be hosted at “Michael Cacoyannis” Foundation, as the Art Director of Panorama festival Mr. Ninos Fenek Mikelidis announced at the Press Conference held on 14/10/2009 at the Municipality of Athens. Keynote speakers were also the Mayor, Mr. Nikitas Kaklamanis, as well as the President of the City of Athens Cultural Organisation, Mr. Angelos Moschonas.
  
  During the 11 days that he Panorama will last and having always in focus the achievements and  the promotion of the European cinema, more than 100 films produced in Europe and elsewhere, will be presented at Edeal Cinema (22/10 – 1/11), Trianon Filmcenter (22/10 – 28/10)as well as at “Michael Cacoyannis” Foundation (24/10 – 31/10). What’s more, on Friday, October 30, Francis Ford Coppola will give a master class at “Michael Cacoyannis” Foundation.
  
  Again, an exhibition of photographs and posters since 1962 dedicated to Cypriot cinema, will be held at “Michael Cacoyannis” Foundation.
  
  The master class is organised with the sponsoring contributions of COSMOTE and NOVA.
  

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• INSTALLATION 12.10.2009 “The Events’ Horizon – a visual arts proposal” by Yorgos Harvalias
  On Tuesday the 20th of October 2009, at 7 p.m., the work of George Harvalias “The Events’ Horizon – a visual arts proposal” is presented at the -2 level underground garage of the Cultural Centre “POLYTROPON” of the Michael Cacoyannis Foundation, Piraeus 206, Tavros.
  
  The exhibition is organized by Batagianni Gallery.
  Duration: 20 October - 5 December 2009.
  Visiting hours: Monday - Friday 12 p.m.-8 p.m. / Saturday - Sunday 12 p.m.-3 p.m.
  
  “The Events’ Horizon” is an installation of combined media, the outcome of the artist’s work the last two years (2007-2009). The work has been realized with the artistic cooperation of the sculptor Fotis Raftopoulos.
  
  The work consists of two parts:
  1.    “26 June 2009, Share Rates Panel of the Stock Market of Athens” (2007-2009). Installation, data wall, 2,28 x 10,62 m.
  2.    “Nuit Américaine” (2007-2009). Video-installation, two synchronous projections HD, 49’16’’, 2,50 x 8,65 m.
  
  “The continuous vertical flux of the alternating share rates of the Stock Market of Athens, which is the simulacrum of an incorporeal war, is intersecting with the horizontal movement of the account of its material implications.
  Thus, in the mediate space between the spectator and the work condensates the horizon inside which, the awareness of the tragic aspect of the events leads us to the comprehension of reality”.
  
  
  
  
  Batagianni Gallery / Τηλ. 6944759560 / E-mail: vbatag@otenet.gr
  
  Giorgos Harvalias / tel. +30 6974015556 & +30 210 4801229 /  E-mail: harvalias@yahoo.gr, http://harvalias.blogspot.com/
  

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• SOON AT "POLYTROPON" 11.10.2009 Moving Image
  “Michael Cacoyannis” Foundation launches cooperation with the Athens School of Fine Arts introducing the “Moving Image” project. In cooperation with the Postgraduate Programme in Digital Arts, the Foundation organises night projections of young artists’ films, students and graduates of the Postgraduate Programme.
  
  The “Moving Image” project is aiming in creating a meeting point where public projections of young artists’ films, open discussions, exchange of ideas and experiences between young artists and the viewers (mainly young artists that use video or film as a medium, students of relative schools, art critics etc) can be achieved.
  
  Our time is characterized by exceeding production, reproduction and circulation of information. While everybody has possible access to everything (internet, media), attention as well as the critical ability is scarce. Between the abundance of information and the scarcity of attention lies the structure of meaning(1). The “Moving Image” project aspires to create a core that focuses on the artistic works of the young and promotes immediate dialogue and questioning about the works but also the process of creativity itself. So beyond the public projection of the films, there’s an underline sense of the education process, in which anyway the works where created in the first place.
  
  Organisation: "Michael Cacoyannis" Foundation in cooperation with the Postgraduate Programme in Digital Arts (The Athens School of Fine Arts)
  George Harvalias, Head of the Postgraduate Programme in Digital Arts
  Art Direction: Vicky Betsou, Visual Arts, Lecturer at the Athens School of Fine Arts
  
  (1) Norbert Bolz, Theory of the New Media
  

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  SEE ALSO

  • The Athens School of
    Fine Arts
  • Blog Moving Image
  • Postgraduate Programme
    in Digital Arts web site
• READ 12.10.2009 Michael Cacoyannis –In Close Up Kathimerini, Kappa, pp 56-65: 11/10/2009
  “The 87years old director’s life in close up, in a new biography, full of juicy stories about the stars of another era […] Everything he has lived, he has shared with Christos Siafkos, who wrote the picturesque biography “Michael Cacoyannis –In close up” (Psichogios Publications). His biography will be released on October 21st. Through its pages, which are enriched with rare photographs, disclosures are made about the great but also about the little and very interesting of his life” by Yota Sykka (Kathimerini, Kappa: 11/10/2009)
  

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  READ

  • Article about Michael Cacoyannis' biography [file type pdf, 2056,3 kb]