REVIEW: "This play stands as a living anachronism from a contemporary artist. No one can guarantee what the ancient Greek sounded like. But no one will say that it could not be like this. The production is a curious synthesis of a "dead" language and modern technology. The main partner of Panteleakis - a homemade metal string instrument, nicknamed "Poppy". The play is a  sound meditation".

“Solo” International Moscow Theater Festival 2017 in Strasnom Theater/ October 11/2017

Experimental Theatrical Team Meth’odos

Hellenic Centre London  September 2017

Valeria Kudryavtseva (TV Cultura.ru) October 2017

 

REVIEW: “This was a chance to catch a relative rarity: Homer delivered in Ancient Greek with musical accompaniment. Was this what it sounded like thousands of years ago when people first heard it? Perhaps, but that isn’t what this production sets out to do. The circumstances are very different and this presentation is a piece of contemporary theatre with all its technology of sound and lighting, we are not sitting around the fire in the megaron, but perhaps it does capture something of the spell that was cast by an ancient teller of stories.This is worth seeing just to hear the extraordinary voice Panteleakis produces, the vibrant instrumentation and a charismatic performance. It is not theatrical archeology but a contemporary take that tries to imagine creating things for the first time now as others did thousands of years ago.”

Hellenic Centre/September 30th/ 2017

Howard Loxton (British Theater info guide)

 

REVIEW:  “…The symbolic transformation takes off, everything becomes one, you touch the ultimate Deity. Shocking feeling, this is. And again back to the Metal instrument and again over to the bloody purple rain. The performance itself produces symbolic changes, becomes a judge and guardian of the symbolic transformations, that it so masterfully creates and recreates. Odysseus. Red Rhapsody X is the reason. Yiorgos Panteleakis emerges as a formidable craftsman and performer of the philosophy of symbolic forms, creating a melting pot of language and art, a kaleidoscope of shape and motion, a riot of rhythm and color, elevating us to transcendence. Well Done, Yiorgo!”.

MCF/Athens/Greece November 22

Review by Dr Chrysostomos Papaspyrou phd/Linguist

 

Odysseus. Red Rapsody X (Greek title: Μνηστηροφονία mnistirofonia)

Odysseus. Red Rapsody X

Greek title:

Μνηστηροφονία (mnistirofonia)

 

The play was recently performed at the prestigious "Solo” Moschow International Theatre Festival 2017 ", with great success (reviews follow). It premiered this year in (MCF) Michalis Cacoyiannis Foundation, Athens Greece and then performed at the the Hellenic Greek center on September  in London. Various performances are scheduled for the following year.

 

Staged as a 50-minute long “Solo” performance, ODYSSEUS.Red Rhapsody X revolves around one actor entering on stage as  Homer, the blind “bard”.

 

He carries on the Myth “improvising while being in a manic state”, lost within, blind for the outer world. A maniac on stage becoming his protagonists, one after the other. As then, when the myth was born, he is transcending through a range of roles, Odysseus, his son Telemachus, Athena the Goddess  and several suitors. The concept behind is the actual reenactment of how it all started, how Poetry was born. Not a work of a scholar but that of a scorned maniac, transcending the invisible into something tangible. Discovering the Art of Poetry and music.

 

The actor accompanies the spoken language by an improvised phorminx, a metal hand made string instrument. The result is a primitive and yet contemporary.

ODYSSEUS. Red Rhapsody X, is performed under a real “Rain storm” on stage. The actor dancing enters murder, enters into the diseased body. The revengeful blood bath begins. The encounter with something in the body that has gone astray is performed in a ritualistic aesthetic dance of death, becoming murder, becoming death, slaying and being slayed. It some times becomes conceptual with no movement.

In this Purple rain the final bath of purification takes place in three intervals, the visual impact is raw and direct.

The Performance is carried out in Ancient Greek , in prosody, in the original archaic dialect. It aims to take modern audiences on an experimental journey. Part time-travel, part discovery, possibly unlike anything they’ve seen or heard before and one of a kind experience.

Subtitles in English and(or) any other language are projected.

 

Experimental Theatrical Team Meth’odos

Meth’Odos is one of a kind because it is a group that performs Ancient Greek Drama in the original Ancient Greek Language via the Metric laws.The work conducted is rear and authentic, as there are few that involve themselves in a similar manner. Ancient Greek is a dead language but at the same time the base for all Western languages and the Crossroad of Eastern and Western communication medium.It is a language complexed and musical in its tonation, where sound and meaning are felt rather than thought of.Tragic Logos is the base by which the Actors carry out the Myth.

 

The Myth

The Slaughter of the Suitors also known as Rhapsody 22 has been described as one of the most brutal, yet most gripping and richly symbolic pieces of world literature.

 

Surviving a ten years’ war and an adventurous journey at sea, Odysseus comes home a stranger in rags and finds his palace taken over by strangers. Over a hundred suitors have occupied the grounds and surrounded his wife, while plotting to steal his throne and kill his only son. The hero devises a plan to take back what’s rightfully his, and that’s where ODYSSEUS. Red Rhapsody X begins. It is the bloodiest of the saga, as its Alexandrian title denotes.

 

The murder reaches merciless cruelty stigmatizing Odysseus's body with blood within his own home. Here we pass in the new era, a concept of human justice more advanced. The Gods regress back into the unconscious, man takes over. The final scene of the slaughter is yet another struggle in the Odyssey of struggles. What’s at stake is the quest for individuality and the self,” says actor/director Yiorgos Panteleakis. “The suitors’ names are symbolical. They stand for intrusive thoughts, obsessions, delusions and vices. Antinous (“against reason”), Agelaus (“herd behavior”), Amphinomus (“contradictory”) and so on. Odysseus kills his daemons on the road to self awareness.”

 

"Here is a rose from Homer's grave!" AHC

 

 

CONTACT INFO

 

+30211 2018131

panteleakis@live.com

www.igc.gr