Choreographer: Angeliki Sigourou
Performer: Dimitris Baltas
Sound/Music: David Lang (I lie), Fotis Mylonas
Image: Evi Aresti
*angeliafóros is an ongoing project set to premiere in the summer of 2025 in Greece, featuring 17 performers.
It is a collaboration between Akropoditi Dancetheatre, British historian and writer Timothy Ashplant, and ibodies.
Akropoditi Dancetheatre
Akropoditi (Greek adverb): on tiptoes, softly, silently, carefully but also boldly, above and beyond the fragility of the limits
Akropoditi Dancetheatre was founded on the island of Syros in 2004 by Angeliki Sigourou. Since its inception, the company has remained a diverse ensemble, featuring dancers and actors from Greece and abroad, as well as community artists from various disciplines.
Among other works, the company has produced the following pieces to date: Glossa (2018), Medusa (2014, 2017), Punishment (2017), Sebastian (2013, 2015), Prayer in 7 Parts (2012).
RADIX is in collaboration with Atalante, Konstepidemin , Scenstudion Gerlesborg and Danscentrum Väst
RADIX is supported by The City of Gothenburg Arts and Cultural Affairs Committee, The Region Västra Götaland Cultural Affairs Committee and The Swedish Arts Grants Committee's International Program for Dance
angeliafóros
an encounter between the choreographer and the performer
Akropoditi Dancetheatre
SATURDAY 22 MARCH 2025 16.30 AT KONSTEPIDEMIN
FREE ENTRANCE
The messenger (in Greek “angeliafóros”) in the ancient Greek tragedy is an extradiegetic narrator, a narrator who exists outside the framework of the story, beyond the action, and detached from the tragic passion. He is an epic narrator who, although not a divine envoy, is perceived by his audience as the bearer of absolute, objective truth. In most ancient tragedies, the messenger typically appears as an anonymous figure who swiftly transitions from "I" to "we". Apart from the prologue and epilogue of his monologue, where he has form and presence, he seems to vanish in the main body of his narration, erasing his own existence and becoming the narrative itself. It is as if the narrator is never actually seen, and the narration gains autonomy solely through his words. The messenger is positioned high above his audience, between earth and sky, between the mortal and the divine –like a bird, like an angel– occupying a space where the vertical and horizontal worlds intersect. He ascends to recount what has transpired and what he has witnessed with his own eyes.