Με 2 sold-out εμφανίσεις αλλά και μία γενική πρόβα με κοινό μαθητές Λυκείου, φοιτητές και καθηγητές Πανεπιστημίου, ολοκληρώθηκαν οι παραστάσεις της ‘Ιλιάδας’ σε σκηνοθεσία Στάθη Λιβαθινού στο Εθνικό Θέατρο της Ολλανδίας, Stadsschouwburg, στις 5 και 6 Οκτωβρίου.
Απoσπάσματα από την κριτική της Karin Veraart στην κύρια εφημερίδα της Ολλανδίας Volkskrant, Πέμπτη 3 Οκτωβρίου 2013.
5/5 αστέρια για την παράσταση της ‘Ιλιάδας’ τον Σεπτέμβριο στην Πειραιώς 260 (ενόψει της παρουσίασης στο Εθνικό Θέατρο της πόλης του Άμστερνταμ, Stadsschouwburg Amsterdam)
“5 ώρες παρακολουθώντας ακούραστoι, μαγεμένοι, την ‘Ιλιάδα’ του Ομήρου.”
“Η Ελλάδα μοιάζει να αγκομαχάει κάτω από το βάρος των προβλημάτων της, κι όμως, πίσω από τις σιδερένιες πόρτες ενός παλιού εργοστασίου τής Πειραιώς 260, κρύβεται μια ξεχωριστή ενέργεια.”
“…μετά από έρευνα 9 μηνών, 15 ηθοποιοί, μερικοί απ’τους οποίους βρίσκονται μαζί στην ίδια ομάδα πάνω από 10 χρόνια με την ένταξη και νέων ηθοποιών, μαζί με τον σκηνοθέτη τους καταφέρνουν ένα εκπληκτικό αποτέλεσμα.”
“…πολύ σπάνια πετυχαίνει κανείς παραστάσεις τόσο συμπυκνωμένες, τόσο πλούσιες σε ένταση και ενέργεια που έχουν κατακτήσει την τελειότητα σε όλες τους τις λεπτομέρειες. Ευφυέστατη!”
“...σε αυτή την παράσταση ακόμη και κάθε σκηνή μάχης είναι ένας ύμνος στην φαντασία. ”
“...ένα ανήσυχο χορευτικό ντουέτο, βήματα γεμάτα δυναμική, άλματα στον αέρα πάνω από τραπέζια και καρέκλες. Όλα σαν μια χορογραφία μέσα σε ένα πεδίο μάχης γεμάτο χλαίνες στρατιωτικές. ”
“...έτσι η ομάδα του Λιβαθινού καταφέρνει να κρατά το κοινό ακίνητο για πέντε ώρες.”
“Σ' αυτούς τους Έλληνες ερμηνευτές, αξίζει μια ευρωπαϊκή σκηνή.”
Five hours effortlessly under the spell of Homer's Iliad
It is not often that one comes across such an exciting, energetic and precisely executed production.
We are in a raw and grimy industrial complex in Athens. The road here is lined with decay and abandoned buildings. A graffiti clad wall says ‘Be calm and f*ck the crisis’. Greece seems to sigh under the weight of her troubles, yet behind the gates of a former furniture factory there is a vibrant energy.
Peiraios 260 was this summer’s location for the renowned Athens & Epidaurus Festival. This fall it will remain open for the first time ever in order to house one this cultural seasons biggest hits: Illias by director Stathis Livathinos.
The director and his group of actors have built a reputation in Greece for being innovative and not afraid to experiment as well as through their repertoire pieces. They have however not yet traveled much abroad. Until now. The Stadschouwburg in Amsterdam will play host to performances on the 5th and 6th of October. The expectation is that they will be no less impressive in the Rabozaal than in the gritty factory hall of Peiraios 260. At least 3 months where spent on interpreting, studying and selecting from the 24 books with their 800 or so verses that makes up Homers Illias. A total of nine months where then spent preparing, reading, researching, testing and being guided by Livathinos hand when needed. Finally, the act could begin. 15 actors, a number of which have been performing together for up to 10 years, backed up by a younger generation, and their director. The result is astounding. Not often does one come across such an energetic, ultra focused, intense and yet so precisely executed production. Simply brilliant. No endlessly lamenting women, no tricks with horses. Illias may be about the siege of Troy, but the focus is on the powerful warrior (Achilles) feeling betrayed by his commander (Agamemnon) and deciding not to got to battle against the Trojans. With this as the starting point for a humorously told and ingeniously envisioned tale of war-weariness, honor, leadership, foolhardiness and nonsense of war. Through known figures, like the charming Hector, his slacker brother Paris, their worried parents, a slightly drowsy Menelaos and an Agamemnon known to like his drink, the public gets drawn in. As they descend the winding gold tinted stairway from above it quickly becomes apparent that the Gods interventions end up dangerous to the mere mortals below. These scenes delight the audience and keep it caught up in the act. In preparation for their roles the actors trained with Shaolin monk Shi Miao Zi. This provides an interesting dynamic. The Gods move with grace and elegance, and at points freeze, motionless in stunning tableau vivant, all in wonderful stage dress. The special preparation does not go unnoticed among the mortals either. They push and pull each other with effortless fluidity. With Livathinos directing even a battle is an ode to the imagination: an uneasy dance duet, steps full of power, around and over each other, a jump through the air over tables and chairs all choreographed on a battlefield of dead coats. This mortal realm is particularly dark, earthern, hairy and intensely played, opposing the Gods at times ethereal murmurings. This is how the performers and Livathinos manage to keep the audience engaged for 5 hours. These Greek performers deserve a European stage.
Karin Veraart, Volkskrant, 3/10/13