2nd Week (16-19/7) – 4 hours/day
10:00-14:00, DANCE CENTRE CLASS 2

Clown’s Crutches

How can I cannot dance? Can you forget how to ride a bike? Imagine if one morning, just at the moment that you found yourself in front of the toilet, you forgot how to pee? “Yesterday the whole night long, for ten hours, I was battered by the waves. I swallowed lots of water, but every now and then, without my knowing how, my mouth would emerge on the surface” Which would be the impressions of a drowned man drinking the sea? And what could water have been called before we called it water? Imagine if it couldn’t quench thirst if it was called twoter? And if you eventually manage to die, imagine if for you instead of black unavoidable Death came merry adorable Beth? And what is a deceased, a loss or the end of the world? Do you imagine if instead of wishing “happy birthday” we were wishing “happy ashesday“? And instead of “good morning”, we said “move out of the way limo for the wheelchair to pass, how did you sleep?”

– You forgot the light on in the hall!

With the clown’s crutches we will wander through logics of illogical logic, exploring a world in which we never believed, because it is too simplistic. And with existential imagination, we will search for that brave side of life, which on the stage looks totally ridiculous. That much so, that it unclogs our colorful parrot, death, which constantly repeats itself.

PS. It is needless to say that anyone who has not forgotten the light on in the hall, is not suitable for this failure. Thank you.

Elias Kounelas

He is teaching since 2012 at the Athens Conservatory Drama School the class, “Clown / a class about failure“. It’s a self-exposure class that has as subject the things that actors do not love about themselves.
He is rapporteur of the Laskaridis Foundation. The title of his contribution is “The pleasant story of a failed man”.
An alumni of the National Theatre of Northern Greece Drama School, since 2006, he has collaborated with many distinguished directors and many important theatres.
In 2010, after working for commercial theatre, he starts dreaming of a chamber theatre where the audience and the actor will be sitting on the same level and will have “common skin in the theatre game”. He thus creates a theatre “of the person”, where he starts giving value to each spectator as a person. He believes that every person in herself constitutes a full theatre. He abandons the classical theatre stages and creates performances in natural surroundings that are addressed each time to a limited number of spectators. He plays in abandoned neoclassical houses, in church yards, in squares, rooftops, prisons and hospitals.
The performance “Garden – Ashes / from the velvet album of the 20th century” (2011 -2013) for example, was staged for two years in an abandoned neoclassical building at Kolonos for 22 spectators each time.
The performance “The 8th day” was staged in 220 homes in the whole of Athens. The performance hosted and was hosted. It could be played in anybody’s living room, but you could always visit it in any living room it was being played. It traveled to Cyprus, Salonica and Greek-speaking homes of Switzerland, and it constituted a distinct experience for those who attended each time.
In the summer of 2014 he conceives the action ”Hospital visit” and suggests it to the National Theatre, which embraces it to this day. In this action, theatre is performed in hospital rooms, always around a bed, for sick spectators, usually in their final stage. The action ”Hospital visit” counts 600 performances and keeps on.
On May 2018 he grounds the Cultural Consolational Care Organization “Person/face”, which has as its goal to make performative art accessible to spectators that on the current moment of their lives cannot come to the theatre.
He also directs performances that represent the “narrative of the good” in the era of the crisis and convey hope and braveness to the audience.
Some of them are:
“Love / a trilogy about the narrative of the good”
“I am sea years old / a song about the generation gap”
On March 2018 he publishes the book “The handbook of a good clown” (Kaleidoscope Publications).

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