Stage works

Perhaps life has no intrinsic meaning at all and perhaps we are living in a continuous loop of trying to reach the peak of a never ending imaginary ladder.

A performance with original text and choreography, and a mountain, that is said to hold rivers with the blood of the gods.

Buffer Fringe is an annual festival with a mission for peacebuilding and social justice, organized by Home for Cooperation in Nicosia, both sides. In 2020, because of the pandemic restrictions, the festival was restricted to one theatre.

A city, a community, a war, a ghetto, a displacement, a farewell, a promise for an uncertain meeting after the return to a place that may no longer exist. A project which is a tribute to the citizens of emptied cities. At night the breeze brings their voices and songs to the neighbourhoods where they once lived.

The magic moment of rehearsals. Is it true that you will always wait for me? when the performance was still to be mounted.

A solo performance about the literal and figurative meaning of the word ROOTS.

Insecurities, fear, confusion and pessimism are caused by the life experiences a person has in a society. Her environment seems threatening and dark. Reconnecting with nature, with the sun and his natural state helps her to go inside her soul to dispel the fog and let her inner flame shine. For her and everything that surrounds her.

A performance about a world gradually diminishing, dedicated in memory of a lost forest. A performer on stage creates an ever-changing landscape using natural and man-made materials, and invites you to look at how fragile and temporary the world has become.

Δημιουργείν (Create) deals with the effort to understand this phenomenon, that is, to create. This performance is the result of a research intention regarding the evolutionary process of production as well as the driving force of the producer.

How many surfaces do we go through as human beings in our everyday life? The performance deals with the human desire and need to create groups, to belong and to adjust in those.

Brecht tries to take us away from the primary and instinctive reaction to the issue of paedophilia. He suggests us to approach the mother–killer man, through sensitivity, understanding and humanity.

By establishing the body’s presence within the space and time of the spectator as the workshop’s central axis, participants came in conversation with the image, the object and the relational connections that are produced, in order to expand their mode of practice into a new vocabulary of tools, values and notions provided by the field of performance art.