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"since she"/pina died: "seit sie" by papaioannou

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(photo: julien mommert) once again i'm in wuppertal, in the barmen opera. i'm tremendously excited; for me pina bausch is on the same level as divinities not just in the field of performing arts but that of art in general, and in a little while i'll watch a piece performed by her company tanztheater wuppertal directed by dimitris papaioannou who follows pina in my ranking of divinities.  the piece has already been named: "seit sie". it can be translated into english as "since she". it is likely that "she" refers to pina; so the title could easily be formulated as "since the absence of pina / since pina passed away". (photo: mehmet kerem özel, 19th may 2017) during the first evening my seat is in the middle of the first row on the balcony. as soon as the doors of the auditorium are opened I go to my seat.  the colour of the stage is anthracite. at the back are a pile of plates stacked on top of each other, in time i
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Dance days in Athens

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©  Mehmet Kerem Özel, 24.02.2024 - Onassis Stegi, Athens On a late February Saturday afternoon, an early harbinger of spring in Athens, I spent five hours in the sterile foyer of the Onassis Stegi building, shuttling between floors -1 and +5, experiencing five performances from the 2024 edition of ODD - Onassis Dance Days, which was organized by the Onassis Foundation for the 11th time. This contemporary dance festival, which usually lasts for about 10 days, but focuses on a three-day period from the first Friday to Sunday, includes new pieces by Greek choreographers and at least one piece by a choreographer from outside Greece. Last year, Marina Otero, an up-and-coming Argentinian choreographer, was a guest at the festival. She presented her pieces, FUCK ME and LOVE ME . This year, the Belgian visual artist Miet Warlop, who gained much attention with her new piece One Song since its premiere at the Avignon Festival two years ago, performed in front of the Greek audience and left a l
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An étude on the primal matter of hu"man"kind

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Dimitris Papaioannou had opened Istanbul Theater Festival with “Medea” in 2000, however I could not attend “Medea” at that time. And long after I admiringly watched the opening ceremony of 2004 Olympic Games in Athens, I learnt that it was Papaioannou who designed and staged it. As a person who watched all opening and closing ceremonies since 1984 Los Angeles Olympics, I can say that 2004 opening ceremony in Athens was the most creative one, followed by 1992 Barcelona ceremony designed by La Fura Dels Baus. Papaioannou's work was a contemporary work of art deriving its inspiration entirely from the past and culture of its territory and which managed to be universal without being folkloric like 1996 Seoul or pop like 2012 London ceremonies. I continued to follow the works of Papaioannou from the videos he shared on the internet which contained some parts of his works, DVD record of his work called “2” and finally from opening ceremony of 2014 Baku Olympics. That ceremony als
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