Marisa SouliotiArt Director

Theater

Camerata: West Side Story

ASSISTANT COSTUME DESIGNER FOR THE  MUSICAL “WEST SIDE STORY”, PRESENTED AT MEGARON, THE ATHENS CONCERT HALL, ATHENS 2016

photography by Vangelis Aggelakis, Evi Fylaktou

Music: Leonard Bernstein | Lyrics: Stephen Sondheim | Text: Arthur Laurents | Conducted by George Petrou |Direction: John Todd, George Petrou | Set Designer: Paris Mexis | Costumes: Georgina Germanou | Choreography: John Todd | Text Coaching: Pantelis Dentakis | Lighting: George Tellos | Co-production: Greek Festival – Megaron, the Athens Concert Hall – Camerata, 2016

Under Siege – MĒTA platform | 2016

Under Siege is a work that focuses at the brutal abolition of human values via the abrupt change of the most crucial human right, the Freedom. When a human being caused to be free and has no spiritual life, it leads to collapse and dissolution. From that moment and until the end, humans try to regain their values via the perpetual struggle but mainly through his/her’s mental and spiritual freedom.

In the state of siege, time becomes space
Transfixed in its eternity
In the state of siege, space becomes time
That has missed its yesterday and its tomorrow
(Mahmoud Darwish, translated by Marjolijn De Jager)

Concept Idea and Choreography: Stathis Doganis | Interpretation: Gavriela Antonopoulou, Konstantina Mparkouli, Adrian Kolaritz, Aggelos Papadopoulos, Eythimios Moschopoulos | Choreographer’s Consultant: Irini Kalaitzidi | Music Composer: Christos Sakellaridis | Stage Design: Marisa Soulioti | MĒTA platform

The Man Who Planted Trees by Michalis Koilakos

ART DIRECTION FOR THE  THEATRICAL PLAY “THE MAN WHO PLANTED TREES”, BASED ON THE FRENCH TALE “L’HOMME QUI PLANTAIT DES ARBRES” WRITTEN BY JEAN GIONO, PRESENTED AT DANCEVACUUM – CENTRE OF PERFORMING ARTS, ATHENS 2016-2017

Directed by: MICHALIS KOILAKOS, Written by: JEAN GIONO, Translation: PANAGIOTIS KLINIS, Movement: MARGARITA TRIKKA, Art Direction: MARISA SOULIOTI, Light Design: VASILIS KLOTSOTIRAS, Set Construction: NIKOS DENTAKIS, Photography: GIORGOS GIKAPEPAS, Starring: PETROS SPIROPOULOS and MICHALIS HADJINIKOLAIDIS, Live music by: DIMITRIS KOUSTAS, Dancevacuum 2016

One Thousand and One Pages by Michalis Koilakos

STAGE DESIGN & ART DIRECTION FOR THE PLAY “ONE THOUSAND AND ONE PAGES”, A NEW THEATER PLAY FOR CHILDREN 3 TO 9 YEARS PRESENTED AT THE MUSIC LIBRARY OF GREECE “LILIAN VOUDOURI” (AT MEGARON-THE ATHENS CONCERT HALL), ATHENS 2015-2017

Written and Directed by: MICHALIS KOILAKOS, Assistant Director: MARIA CHANDRA, Stage Design | Art Direction: MARISA SOULIOTI, Costume Design: NEFELI STEIROU, Music Composition: GIORGOS MORAITIS, Movement: MARGARITA TRIKKA, Starring: CHRISTELA GIZELI, SOTIRIA ROUVOLI, MICHALIS KOILAKOS, Music Library of Greece 2015

Donna Non Rieducabile by Stefano Massini

STAGE & COSTUME DESIGN FOR THE PLAY “DONNA NON RIEDUCABILE, A THEATRICAL MEMORANDUM ABOUT ANNA POLITKOVSKAYA” PRESENTED AT POLYCHOROS KET, ATHENS 2014

Directed by: MICHALIS KOILAKOS, Assistant Director: MARIA CHANDRA, Stage & Costume Design: MARISA SOULIOTI, Music Composition: THODORIS OIKONOMOU, Light Design: ALIKI DANEZI – KNUTSEN, Video Projections: EIRINI STEIROU, Movement: MARGARITA TRIKKA, Sound Design: GIANNIS CHRYSOGONOY, Starring: TANIA PALAIOLOGOU, MICHALIS KOILAKOS, Translation in Greek: DIMITRIS ALEXAKIS, Polychoros KET 2014

The Flies by J.P. Sartre

SET DESIGN PROJECT FOR DAMU, PRAGUE, 2014

For my interpretation of The Flies the play is unfolding inside an oppressive new “reality” of media, propaganda and fear. Cameras that follow every movement of the actors, as well as the audience’s, and a big video-wall that stands as the main element of the set. The cameras represent the flies, the all-seeing eyes that surround us. Somebody is always there watching, analyzing, processing and judging what we do on a day-to-day basis. And through that fear of others watching, the other gains power over all those who feel remorse. The cameras also represent the clear distinction in the two versions of the modern man’s image; there is the true self and there is the image that one selects to project to the people around him, the carefully constructed internet profile, the precise movements one takes to create the image he wants others to see and the perception one gives through this carefully built up profile. The other element on stage that signifies the constant reminder of the shame that the people of Argos should feel, is the multiple screens. Constantly projecting a transition of news media coverage, white noise and distorted recordings of the people’s movements. All this set in a contemporary city landscape that includes a component of archaic architecture that survived through the years but at the same time was manipulated and destroyed, showing a city in ruins, hiding guilt, hubris, corruption and murder.

Aeschylus Oresteia | Agamemnon

SET DESIGN PROJECT FOR DAMU, PRAGUE, 2013

For this project I drew my inspiration from the decay of the modern city landscapes and buildings in Greece. I wanted to explore the idea of construction and deconstruction, through a visual aesthetic of ruined or damaged buildings that is also associated with the decay of the people residing in them. A metal scaffolding supports a wall, invisible – but falling in ruins. We see only the palace double door, which will hide the assassination. The same set may stand also in an open air ancient Greek theater, where the landscape behind it will play its own role.

Waiting for Godot by Samuel Beckett

SET DESIGN PROJECT FOR DAMU, PRAGUE, 2014

For this project i worked mainly with the actors’ movements on stage. I transported my setting into a wasteland filled with garbage and one water tube appearing through them and used those elements with a white floor and strong industrial lights trying to create Beckett’s feeling of hopelessness. As the actors enter the stage and move around they unwillingly create the crossroads and continue on destroying them before the end.

 

The Seagull by Anton Chekhov

SET DESIGN PROJECT FOR DAMU, PRAGUE, 2014

photography by Vladimir Dimoski

In my interpretation of the seagull the whole play is unfolding as Treplev’s memories right before he tears up his life work and then proceeds to kill himself. The house is an allegory of his mind, a dark, unstable and smothering place. Two walls divide the interior and the exterior of the house. They are made from a wire metal construction and are covered from the interior with hanging papers, Treplev’s texts and pictures, all showing parts of his memories. During the play the actors will explore the papers, reading them, sometimes removing them or adding more. Those texts/papers/pictures are essentially the script, they are parts of how Konstantin remembers the events unfolding.

Experimenting with Light & Color