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Everything posted by savas

  1. I surely will not start a new thread just to respond to a members post. And about respecting this thread: "I got epiClepsytic seizures watching it. " Dont try to teach me about good manners Baron
  2. Better watch this version without those annoying commentators and without "NBC-Cut-Version" that excludes scenes because they were rated as "not moral"!!! The first scene of the Fertility Goddess is extremely importand because the Clepsydra starts with her and ends with a pregnant woman. The ancient gives birth to the modern and future evolves.
  3. Interview with Dimitris Papaioannou, Director of Medea II This weekend the Cultural Ministry in the Olympic Spirit bring us the fascinating retelling of the Greek tradegy set to dance, Medea II. City Weekend spoke with the famous Director and Choreographer, Dimitris Papaioannou. Dimitris Papaioannou's ground-breaking creative direction of the Athens 2004 Opening Ceremony – hailed a "triumph" by Time magazine and The Times of London – is widely considered a high-water mark of large scale spectacle. Born in Athens, Greece in 1964, Dimitris Papaioannou first attracted attention at the age of 19 as a painter, comics artist and illustrator. While still a student at the School of Fine Arts he took the Greek dance scene by storm, exploding the boundaries between theatre, dance and the visual arts, working not only as a choreographer and performer, but also in the areas of costume, lighting, make-up and set design. Co-founder of Edafos Dance Theatre in 1986, he conceived, directed and choreographed all of the company's productions. Edafos radically reshaped the Greek performing arts landscape over its 16 years and 17 works. L'Unità described the company as "a revelation." "Greece Rediscovered" headlined Le Figaro's review of Medea, while the New York Times praised the piece for its "striking intensity" and "extraordinary passion." Medea (1993) won "Best Choreography" at the Greek National Awards for Dance, while Human Thirst (1999) and For Ever (2001) both garnered "Production of the Year" awards. Beyond his work with Edafos Dance Theatre, Papaioannou has directed operas and large-scale music shows. His latest work, 2 (2006), enjoyed an unprecedented run in the Greek capital, with over 100,000 tickets sold. In 2005, Dimitris Papaioannou was awarded the Golden Cross of the Order of Honour by the President of the Hellenic Republic for outstanding artistic achievement. CW: Medea is such a violent story. What does it mean to you? DP: Medea is a betrayal story, Medea is a love story, it is a woman's story, and all these elements interest me. But what interests me most of all is to find solutions for telling a story – any story – without the use of language. CW: What is the difference between your original production of MEDEA and this one, MEDEA II? How does water element help retelling the myth in Medea II? Comparing with Medea, what are the advantages of Medea II. How do you manage to put ancient elements and modern elements together? DP: The new MEDEA is brighter, simpler and more refined than the original. It remains exactly the same work, but is inhabited by an all-new cast, and those performers bring their own energies to the production. The use of water is actually the key element for the arrangement of space in the dance of MEDEA. The suspense builds through the presence of water, and the evolution of the water's symbolism – starting as the sea and ending as blood – are basic elements of my story-telling. Being a modern personality, every time I incorporate my experience of ancient art into my work, it becomes modern by itself. I do not think anyone should be anxious to be modern. This happens automatically when we are honest with our creations. CW: Why do you choose to bring this piece in particular to Beijing this year? DP: This original production, staged in 1993, included elements and experiments of mine regarding Greek identity that were later applied on a huge-scale in the Opening Ceremony of the Athens 2004 Olympic Games. I thought that this would interest the Chinese audience to see, only days before the Opening Ceremony of the Beijing Olympics. CW: What do you expect the reaction from the Chinese audience to be? DP: I always dream of moving the audience. CW: What was it like working on the opening and closing ceremonies of the 2004 Athens Olympics? It was a life-changing experience. Agonizing, but nevertheless exciting. CW: Your ground-breaking creative direction of the Athens 2004 Opening Ceremony is widely considered a high-water mark of large scale spectacle. Could you tell us how long it takes to bring out this design plan? And where does Inspiration come from? DP: It took three years to materialise a script that was created in four months. The technical and aesthetic challenges were enormous, and we had to concentrate intensely on the quality of the materialisation. I have no idea where inspiration comes from, all artists seek it. In the meantime, until it comes, it's hard work, work, work. CW: Could you describe your cooperation with Zhang YiMou in the Closing Ceremony of Athens 2004 Olympic Games? What in your opinion represents Chinese Traditions? Do you agree that "red" represents China? DP: The collaboration with Zhang Yimou on the Closing Ceremony was harmonious, even though we did not interact a lot. I found that our contact in an off-the-record meeting we had last year was more relaxed and human than when we collaborated in Athens. It would be superficial of me, not having an in-depth knowledge of China, to express an opinion about what represents China. CW: Do you have any advice for the artists working on the opening and closing ceremonies of the 2008 Beijing Games? DP: Who am I to give advice to such an experienced and well-known artist, Zhang Yimou? I look forward to seeing what he and his team have prepared for the world. Advice and experience may perhaps have been useful one year ago. At the moment, I am happily waiting to be surprised by China. CW: What is your impression of the relationship between China and Greece (two very ancient cultures)? What similarities and differences do you find between the two? DP: I do not know enough about the enormous Chinese culture to be justified in my opinions. Having traveled to China quite a few times over the last year, I am learning more, and hope to continue learning. CW: How did you move from the fine arts scene to dance? And how do you find your experience in fine arts affects your choreography? DP: It seemed the natural thing to do, creating live paintings. And it happened to me first, I only realized it afterwards. I like to think that I am a painter who directs and choreographs. I understand through my vision, and I feel through my vision. CW: Tell us more about Edafos Dance Theatre. DP: For 17 years, Edafos Dance Theatre was the vehicle for my experimentations in performance art. My fellow artists of the company and I shared the best times of our lives. It was fun to play, to realise that we were dramatically influencing the Athenian arts scene. The years of Edafos Dance Theatre will always have a special place in my heart. CW: Tell us more about how you develop your choreography. DP: It depends. At times, I have ideas in my head and emotions in my heart, and I organize a workshop with the performers and we explore possibilities. Through this procedure, I realize more and more what I want to do, I collect elements, and then I compose. Other times, as with MEDEA for instance, I know the play in my head, and I use rehearsals to extract from the performers what I have envisioned. CW: What do you expect to see on the Opening Ceremony of Athens 2004 Olympic Games on August 8? Are you going to watch it in Beijing? DP: I will have returned to Greece and will have left for my holidays when the Opening Ceremony of the Beijing Olympics is presented. I do hope to see a rehearsal when I am in Beijing, and I forbid myself to have expectations. I will only have an open heart. Medea II is opening tonight and running for two nights at the National Center for the Performing Arts.
  4. It seems that my personall predictions (and fears) will come true. This will be visually a spectacular ceremony but aesthetically boring. It will ignore the human as a individual. The countdown? Its the idea of "human capital" in perfection! I guess it will be the epitome of totalitarianism packed in a beautiful wrapping paper. Or will i be prooven to be wrong? Hope dies last!
  5. .. mmhh.. until now: i do not like it. I hoped (after i realized that there will be only one pattern) that there will design elegant color combinations. This look of the Games reminds me of the "Kodak Store" i used to visit, back those days of analog cameras!
  6. Although i liked the "lucky cloud" pattern i think the banners that we have seen until now are rather uncreative. One thing that i just can not understand is the lack of creativity in the olympic look in a land with a great ctreative potential. I am missing the chinese element, i am missing the feeling that a designer tried to create modern patterns based on traditional ornaments.
  7. Let me help you Barron: savas, there is a meaning BECAUSE you gave it a meaning. First there is the birth of thought (The Centaur throwing the arrow of light which symbolises the birth of thought) and then comes creation (the thought gets its own dynamic makes his way and something new arrives, creation. But what the hell does DNA have to do with the Olympic Games? You are asking me what the human as an individual body of energy has to do with the Olympic Games and the Olympic Idea?
  8. Well to put thing straight bacause i may sound too negative. I have no doubt that we will watch a visual phantasmagoric show. My doubt is if there is a meaning behind this.. Example: Here you see also a perfect visual made with high-end technology. But there is meaning behind this. the mythology (Heras milk - galaxias), the human (the woman to give birth to new life), the science (the double Helix as a symbol of the uniqueness of every human). A single picture tells a story of immeasurable worth. This is what i am expecting from the OC in China also. I dont want to see a "Look how powerfull we are" show. I want to see a Ceremony celebrating Chinese Culture and the human individual as Athens did.
  9. I hope that it is going to be more then a globe comming out of the hole with torchbearers walking on it and a "Galaxy" around. Been there done that,...
  10. Yes it seems to be the most logical idea. But still... The "tube connection" hasnt necessary to be a gas line. I think it is clear that this construction moves. So it could be a tube for wires! Or it is a gas line but only for a "fire spitting dragon head"... Ihave the feeling that this is nit the cauldron
  11. I also dont think that the construction on the roof is the Cauldron. The position of it alone is strange. It is not in the center of one of the diametric lines of the stadium. It isnt harmonic with the shape.
  12. ... but the Warriors Uniforms are really cool... I always liked them very much. Chinese traditional clothing is very beautifull anyway...
  13. You dont have to feel sorry Barron. I know there are people which have to eat out of golden spoons to feel rich... I dont care how expensive the production is or if there are 20.000 performers. Numbers and cool effects dont impress me long. The glow of meaningless things fades away quickly. It is like Disneyland: The fancy world dazzles you for a moment but you can feel the emptiness and you know the lie! So, i said it before, i say it again: We have to wait until after the Ceremony to express our opinions.
  14. Well why not? Everyone diserves a second chance. If she is clean then why shouldnt she compete?
  15. I searched for the pictures of the outfit of the German Team but i couldnt find it. Can you post one CAF? I saw an interview of Sascha Klein 1 month ago... He seems to be a quite nice guy but also very promising for some medals!
  16. You never get tired of being the first Team to enter the Stadium as it is one of the highlights of the Parade of the Athletes. It is also a source of pride as the connection of the Greeks with the Olympic Games is a highly emotional one.
  17. Lol... sorry this looks like this first olympic aerobic contest!! Sorry just a joke! Woa, Barron you let almost speechless. i just wasnt prepared for such a mature answer from you!! You can think what you want and have every opinion you want. My reaction is on the way you talk about something you dont like.. You dont have to use a derogatory tone such "dolls in plattforms" when you are refering to "Clepsydra" a word you "accidental" write wrong every time. Demoting of what you dont like or dont understand doesnt make your opinion stronger!
  18. As for the gradients: I think this is a nice idea. Perhaps they need more and more specific combinations: like "Green theme", "Fire theme" etc. I suppose this is a generic banner: I like the idea of "From the blue water, over the green of the land to the orange of the sun"...
  19. i like the lucky cloud pattren also very much but and dont get me wrong this is not a breakthrough design. Using a single pattern on gradient backrounds is nothing new. Athens had already o look of the games with 10 different patterns and a palette of 20 colours. This without counting the look of the banners with the pictogramms. Please dont get me wrong but this is a very nice look of the games but surely upgradable. But i am sure this will happen as we have not see the banners hanging on the venues yet
  20. Yeah i did notice that. I just said it would be very obvious copied if they let torchbearers walk on and fly to a globe. You can see all the performers raising a hand in the air like they are holding a torch..
  21. Well i couldnt find any information about Eurosport showing it live. But the german sport broadcaster D:SF is showing it live.
  22. Oi Barron... Dolls on platforms? Your statements can be so unpretentious sometimes. You just can understand that technology doesnt ends in itself. It is just a medium that it is sometimes necessary for the dramaturgy. The "dolls on platforms" part of the Ceremony was meant to be as simple as a dreamlike passage through time where people only concentrate on the fine movements of the passage and the performers. As for the rest of the Ceremony; the olimpic rings of fire, the lake with 2,162,000 liters of water drained in less then 2 minutes, the giant Cycladic head brokes in pieces which are floating and moving in the whole stadium, the fountain of water and the hologramic presentation of the DNA Double Helix, a special lighting system underneath the pool, the staging system utilizing a complex network of automated cables that lifted, maneuvered, and choreographed the floating pieces of sculpture and the torchbearers, a Parade of Nations with a completely new sound, a lighting design which was awarded with an Emmy.... And this is just a technical part of the Ceremony. We are not talking about the dramaturgy, the artistic value, the symbolism and the message of the Ceremony. So please, get real.. If this wasnt an innovative Opening Ceremony then i dont know what you was watching... About the Pictures above: the giant earth.. It seems like this will be a "global torch relay" section!?? I hope not.. Because if it is then it would be a complete copy of Athens floating torchbearers moving to the giant globe screen in the middle of the stadium... Paper-like screen: This looks very interesting.. Is it a projection surface or can ot display pictures itselve? The projection system of the roof is also great. I am sure that those are just test images..
  23. woa,.. i didnt knew that you can get so ecstatic barron! The pictures look very promising but i have my provisos. What i am expecting to see but dont want to see: - Massperformances - Chinese opera with fireworks - Star-Guests I just hope Zhang Yimou will avoid a cliché ceremony and will surprise us just like Papaioannou did.
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