Attis theatre is a vivid organization of inexorable power, as it proves to be through this heretic Prometheus.
For 25 years now, Attis theatre evokes cracks in theatre normality, creating beneficial erosions to European’s scene aesthetic surface. Attis has been acting and negotiating within the space of meta-Brechtic Europe, in a space where the great traditions have become inactive and the noble glories have started to collapse. Within this spiritual framework and ignoring the laws of realism, Attis became an example of scenic fight with what used to be established.
Terzopoulos’ discussion with tragedy has been extremely creative through time, not only because he has denounced the nationalist arguments, related with the alleged revival of tragedy, but also because he was creatively incorporated to the European tradition of using tragic texts as materials for the ceremonial renegotiation. Attis’ scenic idiom is a complete code consisted of expressive images shaped through the elaboration to the deep core of tragedy. What justifies the priority of aesthetic form against drama is the axiom that the denouncers of formalism seem to ignore: that “the form that accepts the content is by itself an already settled content.
Terzopoulos returns to Prometheus Bound reestablishing the process of distilling authority. The victims of History are washed up at the edges of the luminous civilizations, in order to redeploy the essence of the tragedy. The de-humanized Chorus of spectrums has the primacy in the cosmic pogrom of dissolution, having the Fall as its main décor. The dead god of the chained is left adrift to his strength and Violence becomes a misprint of State. Prometheus seals the end of the History of romantic revolutions. Only Death can elicit the Change.
Giorgos Sampatakakis
