Diningtable 2 -The Time Curve

dir. by Aggeliki Bozou , Greece
runtime: 8 min

The video was filmed at Vyrsodepseio Theater and was open to the audience that could attend the action in real time along with the soundscapes and improvisations of Vally Ioannou. Ten performers (choral members) are sat around the table. Their faces are covered with scarves so they can only feel by touching. On the table, between their hands, the symbols lay: weapon, ash, fire, book, box, scissors, water, cards, branches, body. At the head of the table is Supermarionetta: She will lay the cards on the table and reveal the prophecy so that everyone can dive in the curve of time. Then the second self will appear.

Cast

Giorgos Anrakis
Eleanna Apostolaki
Aggeliki Bozou
Nickos Georgiou
Sofia Liakou
Vicky Mastrogianni
Ioanna Michala
Vaggelis Papadakis
Manos Papadas
Giannis Tzemis
Myrto Voudouri

Credits

Directors: Aggeliki Bozou
Screenwriters: Aggeliki Bozou
Producers: Aggeliki Bozou
Cinematographers: Thanos Kosmidis Nyssos Vasilopoulos
Product designers: Marina Stat
Composers: Thanos Kosmidis

Directors Statement

My art work is a combination of different art media (sculpture, constructions, stage direction, interactive performances, videos), that are used, transformed and digitally processed in order to create a new essence - a substance full of motion and emotion.
The most important elements of my work and part of the final form of each act are the animations and the action, either presented live or through video. The result is a surrealistic, fantastic world that stems from personal experiences and from the dream world in which human shape is prevalent. The place is sometimes a real location or other times a storyboard made of paper, fabric, latex and more.
My inspiration in the stories are my every day experiences and emotions, disguised in poetic speech, and also my dreams, written down and analyzed systematically, before they are organized in a narrative form. The common characteristics of the dreams are never altered or deformed - narrative excerpts, concealment of the real persons and facts through distortion effects and unconventional representation of situations are always part of the storytelling.
This is my way to create a universe full of odd creatures and mysterious objects, in which I act in the flow of the play but always using elements of improvisation, a mechanism that makes me be a real part of the story narrated as if it is real life. For my acts I use the nickname supermarionetta, which in theatrical terms has the meaning of the complete authority of director over actor. In my personal dictionary, as a supermarionetta I exist in my world but at the same time I am the creator of it. The term is also related to the motion of the persons that is usually slow, fragmentary and non natural.
My experiences and my body are parts of my performances. A strong bond is created and I am directly exposed. It is a process that leads to a personal purge and psychoanalysis. My goal is to achieve the communication between the act and the viewer. It is something happening more through the ambience and general atmosphere rather than through a clear storytelling. Social affairs, love affairs, interpersonal affairs, and also human being, fears, desires, past experiences are all included in the story. The dramatic level and the intensity of emotions are being reformed and processed at the montage phase through lighting, speed alteration and sound techniques.
The places I use for my acts are urban, mainly internal and the natural essence is represented by the naked female body that is usually equivalent. The movement is theatrical, excessive and emphatic. The expressions are sometimes intense and other times expressionistic, revealing clear influences by silent cinema, German expressionism, also by theater of the absurd, by Becket and Ionesco, by butoh, contemporary dance and circus aesthetic.
The persons-roles are moving in the place disguised, hidden behind masks and massive costumes that exude a world of mysticism expressed in the artistic essence of materials. My art work is seen as a whole and not as separate parts. This is the reason why the heroes’ presence is repeated in different space-time and various storytellings.

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