It's a spectacle that conciliates two contradictory esthetic lines: the first one, concrete, almost clinical, the cold broadcast of information (vague scientific speech). The other one, sensible and intimate, an audiovisual universe of emotional charge.
Before the final rehearsals and the creation of Phobia: A Spectacle at Contemporary Theatre of Athens in coproduction with National Theatre of Athens in May 2010, a timetable in different residencies had been scheduled; in Berlin (Phobia: 1), in Santorini Greece (Phobia: 2), in Marseille (Phobia: 3), space L'Eolienne in collaboration with The Bernardines Theater.
Stage direction: Argyro Chioti
Collaboration in dramaturgy : Labros Hrisogonidis
Scenography : Eva Manidaki
Costumes: Paul Thanopoulos
Lights: Tasos Palaioroutas
Collaboration in choreography: Sofia Mavragani
With: Naima Carbajal | Ariane Labed | Petros Stathakopoulos | Efthimis Theou | Argyro Chioti
Societies of control. Each city has its centre, its periphery, each one of us has their point of referrence, the routes, the neighbourhoods, a life that is organized in security zones. Seeking balance and security. Seeking specific contexts of action. Submitting to norms and rules. Following the requirements of the times. The natural flow of things is established as long as these contexts are consolidated, crystallized and dried up from infertile repetitiveness, the satiety of the rules, the static quality of energy. As long as authority (with the sense of "the many") aims at an ever increasing control at a physical, psychological and emotional level. As long as human beings suffocate in the very same context they have shought to be part of, because the escape routes are ever lessening, because they think the train is running too fast and they are left behind, because, both generally and specifically, reality (with its great degree of demand) overpowers and sucks them, for they don't act as they intended to or the don't act at all. Societies in which spectacle seems to be omnipotent and omniscient. Everything "in view", everything "in appearances". Advancing, unaccounted for and unaware, towards automatism in all levels. In a reality in which simulation seems more real than reality itself. In a place where (even when ill at ease) we have to be like this and act like that, quietly accepting control and guidance/patronage. Within such reality, I see each one of us as a sealed toothpaste tube, so intensely squeezed, that due to lack of outlet, it bursts open in random and erratic cracks, through which the content runs uncontrollably. Phobias are represented in our play in a similar fashion . We approach them as cracks in a compact whole, as bodily wake up calls that struggle to display (render "in view") and tell us: "something is wrong...". To our benefit. That means that at least something remains alive.