solo work


Patrick e(s)t moi (2014-2016)
dedicated to Patrick Dewaere

« J’aimerais vous parler des acteurs. Des acteurs-mythes, comme Patrick Dewaere. Et des autres acteurs, comme moi, qui ne sont pas un mythe, ni le seront jamais – probablement. On est des êtres d’une grande imagination. On adore les histoires. On a du mal à nous plonger dans la réalité. La réalité nous étouffe… »

D’un côté, un acteur culte des années ’70, qui a mis brutalement fin à ses jours à l’âge de 35 ans et qui depuis est un mythe. De l’autre côté, une femme seule dans sa chambre. Elle se rappelle, imagine et raconte, en reproduisant des répliques des films de Patrick Dewaere. Une étrangère qui cherche les mots justes, une solitaire qui ressasse des vieilles histoires d’amour, une comédienne en répétition. Les deux histoires s’entrelacent jusqu’à n’en devenir qu’une seule. Un spectacle sur l’imagination et la réalité, le regret et l’espoir, le jeu de la comédie et la passion des histoires. Une réflexion sur les mythes et leur devenir.
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“Ich würde ihnen gerne von Schauspielern erzählen. Schauspiellegenden wie Patrick Dewaere. Und anderen Schauspielern wie mir, die keine Legenden sind und es niemals sein werden – wahrscheinlich. Wir sind Wesen mit enormer Fantasie. Wir lieben die Geschichten. Es fällt uns schwer, uns in die Wirklichkeit zu stürzen. Die Wirklichkeit erstickt uns…”

Auf der einen Seite ein Kultschauspieler der 70er Jahre, der seinem Leben im Alter von 35 Jahren ein brutales Ende gesetzt hat und seitdem zur Legende wurde.Auf der anderen Seite eine Frau, die alleine in ihrem Zimmer ist. Sie erinnert sich, träumt und erzählt, während sie Zeilen aus Patrick Dewaeres Filmen wiedergibt. Eine Fremde, die nach den richtigen Worten sucht; eine Einsame, die immer wieder die alten Liebesgeschichten wiederholt; eine probende Schauspielerin.
Die beiden Geschichten verflechten sich, bis sie zu einer werden.
Ein Stück über die Fantasie und Wirklichkeit, Bedauern und Hoffnung, das Spiel des Theaters und die Leidenschaft der Geschichten.
Ein Nachdenken über die Legenden und ihre Zukunft.
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“I would like to tell you about actors. Legends like Patrick Dewaere. And actors like me, who are not legends, and probably never will be. We are beings with enormous imagination. We love stories. It is difficult for us to plunge into the reality. Reality suffocates us.”
On one side a cult actor of the 70s, whose life came to a brutal end at the age of 35, for then became a legend.
On the other side, a woman alone in her room. She remembers, dreams and recounts, while she recites lines from Patrick Dewaere´s films. A stranger looking for the right words; a lonely person repeating old love stories again and again; an actress rehearsing.
The two stories intertwine, until they become one.
It is a piece about fantasy and reality, regret and hope, the play of the theater and the passion of the stories.
A reflection on legends and their future.

Solo theatre performance by and with: Christina Kyriazidi
Music in Accordeon: Patrick Dewaere, Friedrich Meyer, Guy Lafarg, Hubert Giraud, Petrovich Larinov, Georges Brassens and Gabriel Yared.
Presentations: Festival du Théâtre Francophone, FTF #5, ACUD Theater (Berlin, May 2014), Hoftheater Kreuzberg (Berlin, June 2014), KiNO Berlin (Berlin, July, August 2014), Théâtre de Verre (Paris, September 2014), Théâtre d’Aire Falguière (Paris, September 2014), TWINS (Berlin, April 2015), Casa XIS (Salvador, Brasil, July 2015), Café da Walter (Salvador, Brasil, July 2015)
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ORIGINS (2012)
Origins is a solo performance by Christina Kyriazidi that relates the story of 7 different women connected with the origins of the artist.

“Memory doesn’t belong to the past, but to the future.
And it is formed as a real action in the present.
Fragment by fragment.
Where do I come from?
I come from a place you sit in the shadow to hide from the sun.
I come from a crying tree in Buenos Aires.
I come from a train station full of lonely suitcases.
I come from a house of some old theatre players in Denmark.
I come from the words of a writer who cannot write.
I come from a Japanese love story.
I come from a long marriage table with a dead bride.
I come from a foreigner calling home every country.
I come from a wooden dream by the Mediterranean.”

In the seven fragments of the performance, the actress, through the dramatization of traditional myths, personal stories, old songs and hidden memories, passes from different characters: a writer, a bride, a traveler, a homeless, a mother, a woman in love and a mourner.

Presentations: KNOTS theatre festival, Roderich Filmkunst (Berlin, May 2011), T.I.R. InMovimiento theatre festival (Torino, June 2011), TheaterSpiel Raum Bethanien (Berlin, November 2011), Magfest festival (Torino, November 2011), ACUD-15 Jahren des ACUD Theaters Festival (Berlin, December 2011), TATWERK (Berlin, March, August 2012), SOLO FERTEIS festival (Brasilia, Brazil, September 2012), Grupo IN.Teatro (Bs.As. Argentina, November 2012), Sala Cuarta Pared (San Pedro, Argentina, November 2012), Festival LA CORDURA DEL COPETE (Bs.As. Argentina, December 2012), Festival de la VISPERA (El Baldio Teatro, Bs.As. Argentina, December 2012), KNOTS International Theatre Festival (San Pedro, Argentina, January 2013), MIMOTEATRO Escobar-Lerchundi (Bs.As. Argentina, Febrero 2013)
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NOmadS (2011)
The performance turns around a longing: the longing to travel, to change, to settle in a new land. The artist uses the language of poetry in order to bring in light a nomadic dream. A poetry that lacks of words, but instead places actions, sounds, fragmented songs and physical images within a claustrophobic space that evokes the unfulfilled longing of the open sea. A desert of salt within a room with the door closed. A sea without water. Or rather what is left from the sea, the leftovers of an old memory.
Dedicated to the 2000 boat people who die every year trying to cross the Mediterranean Sea.

“NO land S
NO
NO mad S
Sunday
The first Sunday of the world
A white dress adorned with garbage
A lullaby under the desert
Fragments of rain without voice
My hands and my words trembling with excitement
Waiting for miracles still
The yellow house in the blue sand was never mine”

Presentations: International Exhibition NOMADIC SETTLERS- SETTLED NOMADS, Kunstraum Kreuzberg/BETHANIEN (Berlin, July2011), TheaterSpiel Raum Bethanien (Berlin, October 2011)
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2047 sec (2010)
So many bodies
So little time

2047 sec is a physical theatre performance by Christina Kyriazidi. It lasts 2047 seconds (=34min) and it is an etude over the notion of Time.
Using a poetic language and a circular narration, it hopes to question the fundamental objectivity of Time, through the performer’s body in space.
Inside a universe of endless clock ticking and thousands of empty envelops, one body, trapped in the condition of waiting, denies the passing of Time.

Presentations: PLOT in SITU festival, ACUD theater (Berlin, March 2010)
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Las desesperadas trilogy (2009)
ONE DESPERATE SONG
“Es tan corto el amor, y es tan largo el olvido”
(so kurz dauert die Liebe, und so lang das Vergessen)

One desperate song is a solo physical performance based on the twenty poems of love and one desperate song by Pablo Neruda and on the songs of Cesaria Evora. The performance has the form of a ritual and the performer alternates between three characters: the two lovers and the poet. The performance hopes to touch, through a line of physical associations, the main feelings generated by these love poems: longing, lust, love, passion, pain, disappointment and oblivion. This is a performance based on a memory, after the departure of the loved one.
“the memory of you emerges from the night around me…
this is the time of departure.”
twenty poems of love and one desperate song, Pablo Neruda
And like any memory, it is mistaken, disproportioned, subjective, funnily sad and sadly funny. It creates hope and joy, only to suddenly break them later and reveal the illusion. The memory itself becomes the lover, later becomes a child and then an old man. After all, a memory belongs always to the past. It is something dead. And the ritual of the poet writing love verses, after the departure of his beloved one, is inevitably a death ritual.
“Though, this is the last pain she will make me suffer,
and these are the last lines I will write for her”
twenty poems of love and one desperate song,
Pablo Neruda

Presentations: ACUD theater (Berlin, May 2009)

ONE DESPERATE MEMORY
ONE DESPERATE MEMORY deals with the separation from a painful past and the loss of memory as an escape.
To walk, to run, to remember.
Walking. Running. Inside. Outside.
To disappear.
One day. The first day in every new place.
The first moment.
To remember.
Remember how to walk.
Inside. Outside.
To run. Remember how to run.
To do. Something to do. Find something to do.
To die. Remember how to die.
In. Side. Out. Side.
It is the story of an old woman who decides to travel inside her memory.
All alone, surrounded by photographs and objects, traces of memories she has no longer, she is looking for her past. Her body remembers what her mind has forgotten. Through physical memories, she travels to her youth, the Yugoslavian war, and her escape from a homeland that soon afterwards, seized to exist.
Old songs and dances of her childhood, accompany her to a ritual of transformation: from girl to woman, from normal life to exile, from oblivion to memory. The memory itself becomes the destination of a desperate travel towards the past. But is she actually trying to remember or to forget? Time becomes a dance- her movement includes the past, the present and the future. While she moves backwards and forwards in time inside her mind, connecting and disconnecting real memories and unfulfilled wishes, she discovers or imagines, a different end to her story. A second memory to make up for her lost memory. Resolution, conciliation and remorse.
But is memory a country we can escape from?

Presentations: ACUD theater (Berlin, September 2009)

ONE DESPERATE WOMAN
ONE DESPERATE WOMAN deals with the physical, emotional and mental violence exercised over women by their partners. It is the story of a young woman that lives under a domestic dictatorship.

Presentations: itinerant performance in collaboration with the Art Residency HOTEL 25 and the Neofarius Orchestra (Berlin, 25.11.2009: International Day For The Elimination Of Violence Against Women)
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4-logie of Exile (2004-2008)
MILA (2004)
Presentations: ENTROPIA Theatre Festival, Athens

Α-ΝΑ-ΠΝΟΕΣ (2004)
Presentations: Research Scene, Greek National Theatre, Athens

SONGS OF SMALL EXILES (2007)
El exilio comienza cuando comenzamos a matar las cosas que amamos
Exile starts when we start to kill the things we love
SONGS OF SMALL EXILES is a three lingual solo performance about immigration and travelling, based on the poetry of J.P.Sartre. V. Perez-Sauquillo. K. Kavafis and C. Kyriazidi and the original music of G. Koumaradios and Sanghoon Kim.
Be on exile. Be out of home. Out of love. Out of oneself. Be ξένος- extranjero- stranger in a place. The silence of the new beginning. The loneliness of the first day. What drives people to run away from a place? What makes a home? What makes an exile? How can a paper ticket buy the return? Is there such a thing as return after all?

Presentations: TheaterHaus Mitte (Berlin, August 2007), Brotfabrik (Berlin, September 2007)

eX-patri-POLIS (2008)
“Une vie est ce que l’homme fait de ce que l’on a fait de lui”
Jean Paul Sartre
eX patri POLIS est une solo performance polyglotte sur l’immigration illégale et la réalité de vie des immigrantes sur le territoire européen. Il est composé des histoires des expatriés et des chansons de leurs pays d’origine.
Il s’agit d’un théâtre physique qui aspire d’embrasser le phénomène de l’immigration, particulièrement l’exode, le désespoir et la peur a travers des sons et des mouvements. Plutôt que les mots, les instruments principaux de cette performance seront le corps, la voix, le silence et la musique.

Presentations: DAKI LING, Marseille (April 2008), theatre ALIZE, festival d’Avignon OFF (July 2008)