Archive for Αύγουστος 2011

σχετικά με την ομάδα

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Ομάδα ΣΗΜΕΙΟ ΜΗΔΕΝ

 Η θεατρική ομάδα Σημείο Μηδέν δημιουργήθηκε το 2009 και έχει παρουσιάσει τα παρακάτω έργα:

Μάιος 2011:

Γαλλικό Ινστιτούτο-Forum Σύγχρονης δραματουργίας του Ε.Κ.Δ.Ι.Θ :

«Χρήμα; Φέρ’ το δω!»

των Andreas Sauter και Bernhard Studlar

Μετάφραση: ομάδα του ΕΚΕΜΕΛ – Συντονισμός μεταφραστικής ομάδας:
Γιάννης Καλιφατίδης.

Σκηνοθετική επιμέλεια:  Σάββας Στρούμπος .

Δραματουργική συνεργασία, βοηθός σκηνοθέτη:  Δανάη Σπηλιώτη.

Ηθοποιοί:  Μαρία Αθηναίου,  Ελεάνα Γεωργούλη, Μελέτης Ηλίας, Ρόζα Προδρόμου, Θοδωρής Σκυφτούλης, Δημήτρης Τσαλαπάτης.

Φεβρουάριος-Απρίλιος 2011:

Χώρος Ιστορικής Μνήμης 1941-44 :

«Οι Δίκαιοι», του Αλμπέρ Καμύ

Μετάφραση-Σκηνοθεσία: Σάββας Στρούμπος

Εικαστική επιμέλεια: Γιώργος Κολιός

Κοστούμια: Rebekka Gutsfel

Φωτισμοί: Κώστας Μπεθάνης

Δραματουργική συνεργασία-επιμέλεια μετάφρασης: Νίκος Γιαννίκας

Φωτογραφίες: Χρήστος Κυριακόγγονας

Ηθοποιοί: Μαρία Αθηναίου, Ελεάνα Γεωργούλη, Ρόζα Προδρόμου,  Σάββας
Στρούμπος, Μιλτιάδης Φιορέντζης

Μάιος 2010 :

Γαλλικό Ινστιτούτο-Forum Σύγχρονης δραματουργίας του Ε.Κ.Δ.Ι.Θ :

«Κασσάνδρα», του Σέρχιο Μπλάνκο

Μετάφραση : ΜαρίαΧατζηεμμανουήλ

Σκηνοθετική επιμέλεια : Σάββας Στρούμπος

Ηθοποιοί : Ελεάνα Γεωργούλη , Μιλτιάδης Φιορέντζης

Ιανουάριος-Απρίλιος 2010

Studio Κινητήρας :     
«Όπως σας αρέσει» – ελεύθερη διασκευή, του Ουίλλιαμ Σαίξπηρ

Μετάφραση-σκηνοθεσία: Σάββας Στρούμπος

Κοστούμια-διαμόρφωση χώρου: ομάδα Σημείο Μηδέν

Φωτισμοί : Κώστας Μπεθάνης

Σκηνικά αντικείμενα : Μαρία Σίδερη

Φωτογραφίες : Χρήστος Κυριακόγγονας

Ηθοποιοί : Ελεάνα Γεωργούλη , Ρόζα Προδρόμου , Αντιγόνη Ρήγα , Μιλτιάδης Φιορέντζης

Φεβρουάριος – Απρίλιος & Οκτώβριος – Δεκέμβριος  2009:

Χώρος Ιστορικής Μνήμης 1941-44 :

«Στη Σωφρονιστική Αποικία» , του Φρανς Κάφκα

Μετάφραση-σκηνοθεσία : Σάββας Στρούμπος

Σκηνικά-κοστούμια : ομάδα Σημείο Μηδέν

Φωτισμοί : Κώστας Μπεθάνης

Φωτογραφίες : Ειρήνη Κρίκου

Ηθοποιοί:  Νίκος Δροσάκης, Ρόζα Προδρόμου, Αντιγόνη Ρήγα, Μιλτιάδης Φιορέντζης.

Στα τρία χρόνια ύπαρξής της, η ομάδα Σημείο Μηδέν έχει περιοδεύσει με τις παραστάσεις της στο Διεθνές Φεστιβάλ Αρχαίας Ολυμπίας, στο Φεστιβάλ Σικυώνας, στις Φυλακές Γεντί Κουλέ (σε συνεργασία με το ινστιτούτο Γκαίτε), στο Φεστιβάλ Ούγκα Κλάρα, στο Μακεδονικό Μουσείο Σύγχρονης Τέχνης (σε συνεργασία με το Βρετανικό Συμβούλιο) και στο Studio Ars Moriendi στη Θεσσαλονίκη, στο Θεατρικό Εργαστήρι Πρέβεζας, στο Θέατρο Λιθογραφείο της Πάτρας και αλλού.

Ταυτόχρονα, έχει οργανώσει συμπόσια με αφορμή τη θεματική των έργων με τα οποία καταπιάστηκε. Ενδεικτικά αναφέρονται:

  • Συμπόσιο με θέμα Βασανιστήρια και Εξουσία, Χώρος Ιστορικής Μνήμης, Κοραή 4 (Μάρτιος 2009) και Ινστιτούτο Γκαίτε Θεσσαλονίκης (Νοέμβρης 2009). Οι παραπάνω εκδηλώσεις έγιναν σε συνεργασία με το Ινστιτούτο Γκαίτε, στα πλαίσια της παράστασης «Στη Σωφρονιστική Αποικία».
  • Συμπόσιο με θέμα Το Ζήτημα του Φύλου στο έργο του Σαίξπηρ, Studio Κινητήρας (Μάρτιος 2010) και Μακεδονικό Μουσείο Σύγχρονης Τέχνης (Νοέμβριος 2010) , σε συνεργασία με το Βρετανικό Συμβούλιο, στα πλαίσια της παράστασης «Όπως σας Αρέσει – ελεύθερη διασκευή».
  • Συμπόσιο με θέμα Από την ηθική της εξέγερσης στην εξέγερση της ηθικής,  Χώρος Ιστορικής Μνήμης, Κοραή 4 (Απρίλιος 2011), σε συνεργασία με το Γαλλικό Ινστιτούτο στα πλαίσια της παράστασης «Οι Δίκαιοι».

 

Για τις ανάγκες των παραστάσεων της ομάδας, έχουν δημιουργηθεί νέες μεταφράσεις από τον σκηνοθέτη της ομάδας Σάββας Στρούμπος. Το έργο «Οι Δίκαιοι», το διήγημα «Στη Σωφρονιστική Αποικία», μαζί με τη θεατρική διασκευή του εκδόθηκε από τις εκδόσεις Νεφέλη και το έργο Όπως σας Αρέσει, μαζί με πρωτότυπα θεωρητικά κείμενα που γράφτηκαν στα πλαίσια της παράστασης, από τις εκδόσεις Αλφειός.

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About the Group

Zero Point Theatre Group

Zero Point Theatre Group was created in 2009 and up
to now it has presented  the following productions:

May 2011:

French Institute of Athens, Forum of
Contemporary dramaturgy of Hellenic centre of ITI (International Theatre
Institute)

“Money? Bring it here!”

By Andreas Sauter and Bernhard Studlar

Translation: EKEMEL team (European Translation Centre of Literature and
Human Sciences) – coordination of translation team: Yannis Kalifatidis.

Directing assiduity: Savvas Stroumpos.

Dramaturgical collaboration – assistant director:  Danae Spilioti.

Actors:  Maria
Athinaiou, Eleana Georgouli, Meletis Ilias, Roza Prodromou, Thodoris
Skyftoulis, Dimitris Tsalapatis.

February-April 2011:

Space of Historical Memory 1941-44 (Gestapo Prison):

“The Just Assasins”

By Alber Camus

Translation-direction: Savvas Stroumpos

Scenography:Yiorgos Kolios

Costumes-GraphicDesign: Rebecca Gutsfeld

LightDesign: Costas Bethanis

Dramaturgical collaboration: Nikos Giannikas

Photography:Christos Kyriakogonas

Actors:
Maria Athinaiou, Eleana Georgouli, Roza Prodromou, Savvas
Stroumpos, Miltiadis Fiorentzis

May 2010:

French Institute of Athens, Forum of Contemporary dramaturgy of Hellenic centre of ITI (International Theatre Institute)                       

“Cassandra”

 By Serchio Blanco

 Translation: Maria Chatziemmanouil

 Directing assiduity: Savvas Stroumpos

Actors: Miltiadis Fiorentzis & Eleana Georgouli.

January-April 2010:

Studio Kinitiras:

“As you like it”- free adaptation

 By William Shakespeare

Translation-direction:Savvas Stroumpos

Costumes-set design-adaptation: the group

Light Design: Costas Bethanis

Scenic objects: Maria Sideri

Photography: Christos Kyriakogonas

Actors:
Eleana Georgouli, Roza Prodromou, Antigoni Riga, Miltiadis Fiorentzis.

February-April & October – December 2009:

Space of Historical Memory 1941-44 (GestapoPrison):

“In the Penal Colony”

By Franz Kafka

Translation-direction:Savvas Stroumpos

Costumes-set design:the group

Light Design: Costas Bethanis

Photography: Irini Krikou

Actors:Nikos Drosakis, Roza Prodromou, Antigoni Riga, Miltiadis Fiorentzis.

Ground Zero Theatre Group has toured in the International Festival of Ancient Olympia, in the Festival of Sikyon, in the Prisons of Yedi Koule (in collaboration with Goethe institute of Thessaloniki), in the Festival of Ouga Klara, in the Macedonian Museum of Modern Art (in collaboration with the British Council) and in Studio Ars Moriendi in Thessaloniki, in the Theatrical Laboratory of Preveza, in the Theatre Lithografeio of Patra and elsewhere.

 

The group has also organised conferences upon the thematic of the plays it has
confronted with. To indicate shortly:

  1. Conference upon the subject: Tortures and Authority, Space of Historical Memory 1941-44, (March 2009) and Goethe Institute of Thessaloniki (November 2009). The events mentioned above were
    organised through the company‘s collaboration with the Goethe Institute in the frame of the “In The Penal Colony” production.
  2. Conference upon the subject: The Question of Gender in the work of William Shakespear, Studio Kinitiras (March 2010) and Macedonian Museum of Modern Art (November 2010). The events mentioned
    above were organised through the company‘s collaboration with the British
    Council, in the frame of the “As you like it” – free adaptation production.
  3. Conference upon the subject: From the ethics of revolt to the revolt of ethics, Space of Historical Memory 1941-44 (April 2011), in collaboration with the French Institute in the frame of the “The Just Assassins” production.

 

For the needs of each performance, new translations have been created by the group’s director Savvas Stroumpos. The play “The Just Assassins”, the short story “In the Penal Colony”, along with its theatrical adaptation were published by
Nefeli publications, while the work “As you like it”,  along with new theoretical texts, were published from Alfios publications.

‘The Justs’ by Alber Camus

Video & Photos from the performance

 

Photos

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‘As you Like it’ by William Shakespear

Video & Photos from the performance

 

 

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‘In the penal colony’ by Franz Kafka

Photos & Director’s note

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On the Traces of ‘Penal Colony’

 

Kafka’s ‘Penal Colony’ was written in 1919. One could say that it presents phenomena which left a scar in the historical memory of the 20th century, such as the Goulag, Auschwitz, Guantanamo, the white cells, the islands of exile for political prisoners etc, before these even appeared. In one sense, then, the political significance of the text, as a denunciation of the phenomenon of totalitarianism, becomes clear from the very first moment. Without ignoring the importance of this political approach, it is worth exploring what lies beyond this level, the meta-political, and what echoes or memories convey this other.

In exploring the meta-political landscape with Kafka’s text as a starting point, the focus of our research is on the incarceration of modern man within his own existence, within the cogwheels of his own social body. In the next section, we look more closely at this question.

The human body constrained within the limits of modern alienated and at the same time oppressive society, is itself transformed into a potential punishment machine. This machine embodies the socially institutionalised necessity of repression; it inscribes on the mass of human existence the moral commands and values that are imposed from without. Kafka sees man imprisoned in his own body, being castrated psychologically and spiritually, until his total mechanisation is achieved. He sees the existence of man imprisoned in mechanical, socially accepted behaviour.

The impossibility of revolt against this social incarceration and against society itself by a body already castrated by society defines the limits of the potential of the profoundly personal power of the individual. Henceforth, we shall speak of man as a machine of consumption, man as commodity. We perceive the scale of human existence within the pre-determined, secure and wholly conventional limits of the social reality of a supermarket.

The repressive/alienating mechanisms, inscribe on the structure of the individual certain predetermined behavioural codes, certain  moral dictates and values, obliging people to function according to a pseudo-naturalness, with a pre-defined and therefore safe  spontaneity. The social machine of the Penal Colony tolerates no deviation. Each individual is obliged to be completely devoted to his/her particular, imposed, pattern of behaviour. Every aspect of behaviour that surpasses these limits must be immediately suppressed.

The individual suffers painfully, at first hand, the repressive moral codes and values and the laws that he violates. Even the slightest difference or deviation from the pre-determined, institutionalised norms cannot be allowed. The above bring forth the ideal behaviour of modern societies: an army of homogenous human objects, with all possibility of even the slightest differentiation excluded, with the same needs, desires, ideas and behaviour.

The question then is: who is revolting, or rather: where does the possibility of revolt lie? The landscape is bleak. It’s difficult to identify the possibilities. The potential for revolt seems to be present, but the question is where this potential lies and how it will develop. The cloned human beings may lack consciousness, and may have destroyed the possibility of the process of thought and action. However, they cannot by their very structure be swallowed up by the social mechanism. The potential (and force) of the phenomenon of life itself, revolts, clashes with and breaks the limits of any kind of imprisonment. In Kafka we won’t find either conscious or committed revolutionary forces however we do find the revolt of life itself. This vital impulse that inhabits the core of human existence (even when it is mechanised) reacts, revolts and finally leads the individual unwillingly to deviant behaviour. In the Penal Colony, the Soldier, who later becomes the Convict, falls asleep during sentry duty, reacting subconsciously to the military protocol that obliges him to remain standing day-and-night outside the Captain’s door. When the Captain reprimands him, the soldier, while still half-asleep, attacks him, something he would never consciously allow himself to do.

Therefore reactions like the above are not conscious in the conventional sense of the term. Perhaps they stem from the depths of human existence, from an instinct for life or from a force that resists assimilation and ‘robotisation’. Perhaps we are dealing with a form of embodied/expanded consciousness, a channel for destructive/creative human potential, not strictly entrenched within the limits of rational and manipulative reasoning, but, on the contrary, as the expression of the mental and simultaneously psychosomatic (existential) desire. Perhaps this life-force, with all its innate tendencies for destruction and creation, is where the last hope of man for his survival on the planet lies.

Hence the social mechanism reacts, it expands by attempting to repress and to assimilate even the slightest deviation of behaviour. It cannot, however, be ubiquitous. Despite the cancerous growth of the power of control and repression, human existence appears to be vindicated through the cracks of social being, since it is impossible for any repressive, suffocating structure to contain and limit human potential in its entirety.

Thus the mechanism is stuffed to capacity, it short circuits, it collapses and takes with it its own operators. Life explodes, it expresses itself in the most dynamic way, as it must go on! All the limits that have been imposed and that repress the living are destroyed from within. No oppressive mechanism can survive forever. Everyone and everything is a medium for the death of oppression! Without expecting paradise on earth, life itself has the potential to impose, in the most unforeseen way, its relentless force, its will to survive. 

Savvas Stroumpos