The “m0mentum” theatre team of KEDITH presents the classic work “The Pelican” of August Strindberg
August Strindberg chooses the ancient myth of the Pelican and uses it in a deeply symbolic and ironic way. The mother of the work does not feed her babies. She removes the cream from their food, forces them to live in a frozen environment, abandons them when they are sick, steals from her husband, gives her son to a prostitute and falls in love with her daughter’s fiancé. The characters are called Mother, Father, Son, Daughter, and Son-in-law. A symbolic reconstruction of the concept of family in a world that has fallen, cannot rise and is in danger of disappearing.
A few words about the team: The “m0mentum” theatre team was founded in January 2014 in Thessaloniki, by a group of people sharing a common love for theater and a need to balance between two worlds. The world of pure logic and social conventions and the vast world of imagination and dream. The motivation for its creation is the externalization of emotions and thoughts through the push of momentum into a physical body.
Direction: Stathis Papoulidis
Actors: Georgia Lampidou, Eleni Karamesini, Evi Tripolitsioti, Dionisis Gonatas, Stella Patsioura, Lefteris Milonakis, Olga Ananiadou, Andrianos Friliggos and Katerina Ganda.
Intro choreography: Achilleas Panagiotidis
Set construction: Giorgos Sidiropoulos
Costume design: Elena Gkiorgkini
Lights: Andrianos Friliggos
Photographs: Pegki Kampouroglou
We would like to thank Bensusan Hann for the provision of space for the needs of photography.
Christopher Durang was born in 1949 in New Jersey. He has written many successful plays, such as “Baby with the bathwater”, “Sister Mary Ignatius explains it all for you”, “Beyond therapy”, “Media amoc”, etc. In 1973, still a student in Yale – in the Department of Theatrical Writing – he made people aware of his presence, causing a scandal with his work “The idiots Karamazov”. Meryl Streep played in this show for the first time.
He has won three “Obie” awards, a “Dramatist Guild” award and was a candidate for the “Tony” award and the “Drama Desk” award. Since 1994 he has been co-teaching with Marsa Norman at “Julliard School”.
The title “Laughing Wild” is a reference to Samuel Beckett’s “Happy Days”. This is not only because it immediately makes you think that it’s a comedy, but also because, once one sees the show, he/she realizes that the title is related precisely to the essence of the work itself and paves his/her own way into the center of the author’s way of thinking.
“Laughing Wild” is a comic and at the same time a tragic portrait of modern life in a big city where there is a mix of psychoses, nerves, passions, bad behaviors and appetites of lonely, sexless and unhappy people who are ready for everything, people, for whom a can of tuna in a supermarket suffices as an alibi to have a fight.
Do not play with the dirt, by Stella Vlachogianni
“Do not play with the dirt “is the wandering of human agony in time. It is a trip with three women traveling several kilometers of memory. They go from childhood to adolescence, from adolescence to youth, from youth to maturity. At every stop of this bus, the viewer sees from his/her windows what comes from the agony of these women, but in the end these windows end up being the mirror of our own self. The passengers of this strange bus are a homeless woman who wants back her ages, a woman who buries her suicidal brother and other “family members” and finally a woman who is hurried to perform an imposed mission.
Direction: Stathis Papoulidis
Actors: Viky Zafeireli
Ideal Suicides – A tribute to Sara Kane
Sarah Kane was born on February 3rd, 1971. A daughter of a teacher and Mirror journalist, she grew up near Brentwood, Essex. From a young age, she read and wrote a lot, but the environment of her school was disgusting for her. She seeks autonomy and reacts with the vigor and rebellion of a teenager who claims the right to self-determination of her identity. Negativity and reaction followed her in all her studies, up to the postgraduate courses at the University of Birmingham, in the playwriting department.
It is no coincidence that she chose the art of theater to express her existential concerns. She said she considered it the most existential art, because “the theater has no memory”.
Sarah Kane has written five works in her short career: Blasted, Phaedra’s Love, Cleansed, Crave, 4.48 Psychosis, and a movie (Skin). Eighteen years have passed since her suicide. Her works have been played and continue to be played with the same frequency all over the world. No other writer of her generation has been analyzed so much. Her short life, however and her suicide, permanently seal the authenticity of her voice. They are writings written by an agonizing being, who was writing with a sense of urgency, wanting to leave a trace more powerful than perishability.
Sara Kane left early and it will take many years for the creators to move away from the shadow of the violent death of Sarah Kane and to humorously penetrate the violent world she describes in her works, expressing sarcasm for the attitude of a whole world. Her works, those of a bleeding personality, almost prophetic for the years that follow, as we move away from the intensity of her premature death, will always tell us something unexpected, something worth reading and re-reading.