Marisa SouliotiArt Director


Medvedi, In Honor Of Spring Exhibition | Belgrade 2016

This is a collaboration with Nefeli Steirou, created in February 2016 for Medvedi – In Honor Of Spring, an exhibition curated by Marko Ulic, Milica Mrvic and Manja Lekic, presented at the Belgrade City Museum in Serbia. It is a typology composition using bears as a common element in order to capture the spirit of the Athenian spring as interpreted by people of various professional backgrounds living and working in Athens.

participants: Marisa Soulioti (stage designer), Nefeli Steirou (illustrator/costume designer) Than Tsoumas (video artist), Cooglis (UI/UX designer), Stathis Doganis (cultural digital media curator), Nancy Kostakopoulou (new media editor), Anna Chalikia (theater historian/practitioner), Myrto Steirou (photographer)

EXCITING NEWS: The exhibition will be traveling to Slovenia!! From the 24th of November until the 23rd of December 2016 you can see the works at the Poligon Gallery in Ljubljana.


The Flies by J.P. Sartre

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.

The Seagull by Anton Chekhov

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.

Waiting for Godot by Samuel Beckett

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.

Aeschylus Oresteia | Agamemnon

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.

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