Galery

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They are subjects and plays, which have been with me for decades. From time to time when a modern text comes along, which I am interested in, I work on it. For example, there is a Müller’s text, which a Shakespearian remake – “Titus Andronicus, the fall of Rome – Shakespeare, comment.” I have been interested in this text for thirty years and only a year and a half i produced it in Berlin. This is not something new for me. It is the continuation of the subjects, which interest me. Obviously, for decades I didn’t know how to produce this text..I was scared. It is an exceptionally hard text. Obviously I have been gathering experience and it was not a spontaneous decision.

What is you impression of the Greek theatrical scene?

I am not familiar that well with the modern Greek theatre. I have seen some guest-appearances in Germany, I have seen some plays here but I am enraptured with the actors I am working with right now. It has nothing to do with the German discipline but it is rare to see such creativity and responsibility. It is a pleasure to work with those people.

What is your next project?

From mid August we are starting some guest-appearances with “Hamletmachine” in Latin America – Brazil, Sao Paolo, Rio de Janeiro, Argentina, Monte Video – our program is loaded. We will do 15-17 plays. During the plays I will be preparing the same text with Brazilian actors. After that I will start working on “King Oedipus” in Hamburg.

What are the differences between actors from different countries? Is there a difference at all?

There is no difference. Good actors are good wherever you go.

What is required in order to keep you identity as a creator abroad?

To remain who you are.

When Samuel Fintzi went to Germany he brought his culture with him and he needed time to integrate, to be accepted…

This is also a question of endurance – to remain true to yourself. It is hard not to give in to easier meetings. Fintzi needed more time to become integrated in the German theatrical landscape but the Germans also needed time to find out his great talent. This is a principle not only for Fintzi but for all of us.

What can entertain you in Athens, in this chaotic city?

Rehearsals are not only intensive, serious and deep, because we start with jokes. Laughter and giggle are vital in tragedy. Yesterday I told them a story of a meeting I had with Heiner Müller, who told me that directors are beggars, who live off of the amps of actors. I agreed and added that you need to ask for something very politely, in order to receive it. I do not take myself very seriously as a director. For me, the meeting with actors is very important. We mutually enrich ourselves. I see things faster when they are on stage. They also supplement their work with my visions.

Marina Nikolova