Antigoni Fryda

Antigoni Fryda was born in Αthens in 1984. She studied Electrical Engineering and Computer Science at the Aristotle University of Thessaloniki (AUTH) and graduated first from the Drama School of the National Theater of Northern Greece in 2009. At the same time, she completed her studies on Flute and Music Theory. In 2013 she was awarded with a scholarship to follow a three-month intensive course at the Stella Adler Acting Studio of New Υork and, during the same year, she was awarded with the International Ibsen Scholarship for an experimental performance on “Peer Gynt.” On her return to Αthens in 2016, she acquired a Master’s degree in Philosophy by the National and Kapodistrian University. In the past 15 years, she has worked as an actress/performer alongside diverse groups of artists, participating in more than 25 productions for the most significant institutions in Greece such as the National Theatre, the National Theatre of Northern Greece, the Αthens and Epidaurus Festival, the Οnassis Cultural Centre, Megaron – The Αthens Concert Hall, and more. In 2019 she participated in the bilingual Chinese-Greek performance “Agamemnon” hosted by the National Theater of China and worked with the Cie Ioannis Mandafounis group for the performance “Faded” in Geneva.

Antigoni Fryda is a participant of the Onassis AiR (Inter)National Residency Program for 2018-19.

Why is man always trying to corrupt what is purer in mankind? What kind of pleasure is deriving from such an act? Consequently, why is mankind trying to cast away every aspect of sanctuary from its life? Antigone Fryda’s project will try to draw a connecting bond between Cassandra and the main character of Kierkegaard’s book “Diary of a Seducer.” Both women appear as ‘non-fitting’ figures, as complete ‘outcasts’ in their social environment. The innocence and purity that they incarnate, transforms them into prey for mankind’s deeper instincts.

By acknowledging this common place emerging between these women, this solo project will study the connection between ‘body and sanctuary’. It is rooting back to Fryda’s ongoing research that commenced one year ago with the dancer and choreographer Ioannis Mandafounis. The fundamental principles of his method will be used as implementing tools which will serve and define the form of the research procedure that will be followed.

According to these principles, the narration leads to an existential understanding of the performance, recalling and addressing the memories of the collective consciousness, rather than a realistic representation which could be interpreted through logic.

A condition has to be created in which the spoken word/text contains the freedom and maneuverability to express itself in a pure form of interaction, free from causal or time-related parameters, without betraying its stochastic and philosophical nature. The biggest challenge though, and the most important aspect of this study, will be whether – and to which extent – the spectators will manage to follow this path where the conventional stage/theatrical rules have been omitted. It is crucial for this project to fulfill this expectation and succeed in communicating it in every possible way.

Through an initiative of choreographer Ioannis Mandafounis, Antigoni Fryda is supported from the Ioannis Mandafounis company to create a new solo work, with full production and touring support provided by the company. Onassis ΑiR will support the research phase of the new solo work through the Pilot (Inter)national Residency Program.