Α’ performance: 1 June 2009, Attis Theatre
Direction- Set design: Theodoros Terzopoulos
Lights: Theodoros Terzopoulos / Konstantinos Bethanis
Production administration: Maria Vogiatzi
Photos: Johanna Webber
Jocasta: Sophia Hill
Narrator: Theodoros Terzopoulos
2009
1, 2 June, Attis Theatre, Athens, Greece
2010
22 November, Homage to Jannis Kontraphouris, Attis Theatre, Athens, Greece
2011
1 October, Theatre Center Na Strastnom, Festival SOLO, Moscow, Russia
2012
14 February – 20 May, Attis Theatre, Athens, Greece
22 May, Perm Tchaikovsky Opera and Ballet Theatre, Festival “The Diaghilev Seasons”, Perm, Russia
27 July, Piazza San Mateo, Festival “in una notte d’ estate”, Genova, Italy
2013
19 May, Alexandrinsky Theatre, Alexandrinsky International Theatre Festival, Saint Petersburg, Russia
2014
15, 16 November, Theater im Pumpenhaus, Festival “Signatures”, Münster, Germany
JOCASTA POST MORTEM
2017
30 April, Attis Theatre, in the frame of documenta 14 Athens- Kassel, Athens, Greece
28 May, Attis Theatre, in the frame of documenta 14 Athens- Kassel, Athens, Greece
18 June, Attis Theatre, in the frame of documenta 14 Athens- Kassel, Athens, Greece
On August 2007, a while before he dies, Jannis Kontraphouris wrote in the hospital a delirious monologue, the play Jocasta,. His wish was Jocasta to be directed by Theodoros Terzopoulos. Attis Theatre with this performance honors the memory of the significant Greek playwriter.
“The play belongs to the tradition of many contemporary plays, that go back to the ancient Greek myths to deal with heroic figures in a deeply and inevitably anti-heroic era. The individuality of this play consists in the fact that the mythic frame exists only at the margin, something that reinforces the universality of the suffering personae. With remnants of words and remains of memories, Jocasta constructs her own final nightmare and disturbs the order of a society based upon monstrous crimes. Jocasta emerges into the light to present to the audience her miserable glory. She declines her royal burdens and descents to the abyss of her devastating life. The language of the play is poetic and fragmental. The grammatical and syntactic derangement suggests the imminent destruction. The play, with the one-word phrases, functions as a countdown to the end. Denuded by the royal tumult, Jocasta, who only wished for silence, listens to the hymns of her sanctification. And like a saint, she offers her body like a Communion to the mouths of her enemies.”
Giorgos Sampatakakis
