“Penthesilea” by Heinrich von Kleist
Pantelis Dentakis
Dates
Tickets
Venue
Time & Date
Information
Tickets
Full price: 7, 15 €
Reduced, Friend & Groups 5-9 people: 12 €
Groups 10+ people: 11 €
Νeighborhood residents: 7 €
People with disabilities & Unemployed: 5 € | Companions: 10 €
Group ticket reservations at groupsales@onassis.org
Νo performances on Mondays-Tuesdays
Duration
2 hours and 5 minutes (no interval)
Language
With English surtitles: On Saturday 17, Sunday 18, Thursday 22 and Friday 23 February 2018
Introduction
Kleist’s “Penthesilea”: Pantelis Dentakis takes the challenge of working with one of the masterpieces of romantic theatre, in a production that speaks about war and being in love. Can one fall in love with his enemy?
‘I want you, I desire you, I love you, I adore you, you are everything to me. To have conquered you suffices; to exist just for me, to possess you, to rule you. Otherwise, I will crash you, destroy and break you.’ An emblematic work of romantic theatre, Kleist’s “Penthesilea” (1808) will be directed by Pantelis Dentakis. It is a production that talks about war and being in love, passion, and the merciless games of power in the perpetual battle of the sexes.
In “Penthesilea”, Kleist is inspired by an episode from the Trojan War, unknown to many. It tells the story of an overwhelming love affair that takes place during the war. Greeks and Amazons fight against each other in front of the walls of Troy. Penthesilea, Queen of the Amazons, and Achilles, the leader of the Greeks, gradually turn these battles into a dangerous erotic game.
In love, they act like beasts, wishing to devour each other. The obsessive need to rule each other turns into a horrible blood orgy.
In the production, the characters initially give a sense of uncertainty and bewilderment, as if they are placed there by accident. In all their dealings, they have a playful mood that touches the limits of satire. No one takes the other seriously, and no one feels threatened by the other. Just like every one in love, they are both tragic and comic. They sometimes get carried away by the poetry of a rapid speech; at other times, it makes them awkward. The initial dreamy atmosphere of the scenic space is transformed into a landscape of deconstruction and destruction. As Pantelis Dentakis characteristically notes: ‘Narrative theatre meets comic prose, touching the limits of farce and gradually entering the realms of ancient tragedy and splatter.’ It is a production about falling in love that begins as a harmless game, but is ultimately identified with death.
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Artwork: beetroot
Friday 16 February
After performance talk with the participants
Moderated by Sophia Eftichiadou, theatre specialist
Credits
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