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  • The Kouros of Apollonas, also called the Colossus of Dionysus in an Apollonas, Naxos, Greece. <br />
<br />
The unfinished statue is 11 meters long made of light grey Naxian marble and weights around 80 tonnes. It is locates in an ancient quarry dating from the Archaic Period if Ancient Greece 7-6 century BC.
    090917_193.jpg
  • The Kouros of Apollonas, also called the Colossus of Dionysus in an Apollonas, Naxos, Greece. <br />
<br />
The unfinished statue is 11 meters long made of light grey Naxian marble and weights around 80 tonnes. It is locates in an ancient quarry dating from the Archaic Period if Ancient Greece 7-6 century BC.
    090917_200.jpg
  • The Kouros of Apollonas, also called the Colossus of Dionysus in an Apollonas, Naxos, Greece. <br />
<br />
The unfinished statue is 11 meters long made of light grey Naxian marble and weights around 80 tonnes. It is locates in an ancient quarry dating from the Archaic Period if Ancient Greece 7-6 century BC.
    090917_188.jpg
  • The Kouros of Apollonas, also called the Colossus of Dionysus in an Apollonas, Naxos, Greece. <br />
<br />
The unfinished statue is 11 meters long made of light grey Naxian marble and weights around 80 tonnes. It is locates in an ancient quarry dating from the Archaic Period if Ancient Greece 7-6 century BC.
    090917_192.jpg
  • Fosse Dionne (Dionne Pit) is an ancient wellspring located in Tonnerre district of France. <br />
<br />
This natural spring has been built up into a grotto since Roman times. The spring was used in Roman times to supply clean water to a nearby palace and  later in medieval times it became the focal point around which a settlement developed.
    101112_335.jpg
  • Fosse Dionne (Dionne Pit) is an ancient wellspring located in Tonnerre district of France. <br />
<br />
This natural spring has been built up into a grotto since Roman times. The spring was used in Roman times to supply clean water to a nearby palace and  later in medieval times it became the focal point around which a settlement developed.
    101112_300.jpg
  • Fosse Dionne (Dionne Pit) is an ancient wellspring located in Tonnerre district of France. <br />
<br />
This natural spring has been built up into a grotto since Roman times. The spring was used in Roman times to supply clean water to a nearby palace and  later in medieval times it became the focal point around which a settlement developed.
    101112_323.jpg
  • Fosse Dionne (Dionne Pit) is an ancient wellspring located in Tonnerre district of France. <br />
<br />
This natural spring has been built up into a grotto since Roman times. The spring was used in Roman times to supply clean water to a nearby palace and  later in medieval times it became the focal point around which a settlement developed.
    101112_298.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_066.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_050.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_127.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_111.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_121.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_084.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_129.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_081.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_023.jpg
  • The Carnac stones (Alignements de Carnac) are an exceptionally dense collection of megalithic sites around the village of Carnac in Brittany.  The stone formations are either alignments, dolmens, tumuli or single menhirs. More than 3,000 prehistoric standing stones are in the area, erected by the Pre-Celtic people and it’s the largest collection in the world.
    101120_049.jpg
  • An ancient sarcophagus turned into a water fountain during the Ottoman period, under a plane tree inside the castle of Chios.
    090924_669.jpg
  • An ancient sarcophagus turned into a water fountain during the Ottoman period, under a plane tree inside the castle of Chios.
    090924_667.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    40110121_388.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    39110121_369.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    36110121_341.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    28110121_291.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    23110121_241.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    08110121_016.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    41110121_391.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    43110121_442.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    38110121_367.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    35110121_334.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    34110121_305.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    33110121_304.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    29110121_294.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    31110121_300.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    27110121_276.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    25110121_246.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    26110121_260.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    24110121_245.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    18110121_189.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    19110121_179-2.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    21110121_205.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    13110121_142.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    15110121_149.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    14110121_028.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    11110121_098.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    05110121_023.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    10110121_067.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    09110121_066.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    07110121_056.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    06110121_273.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    04110121_013.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    44110121_418.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    42110121_422.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    37110121_360.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    30110121_296.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    32110121_476.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    22110121_216.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    20110121_201.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    17110121_171.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    16110121_080.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    12110121_112.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    02110121_003.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    03110121_012.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
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Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
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