Created and performed by: Εleni Mylona
Artistic Advice in ΑrtEZ, Master of Theatre Practices: Konstantina Georgelou
Artistic Advice-External Mentoring: Danae Thedoridou
Dramaturgy: Rodia Vomvolou
Feedback Discussions: Romy Rüegger
Costume: Εleftheria Domenikou (Hallelujah)
Photos for ΑrtEZ: Fenia Kotsopoulou
Special thanks to: The teachers and peers of MA Theatre practices, ArtEZ University of the Arts
NL, to Mariela Nestora, Laura Munteanu, Elena Novakovits and Zoe Segai
In ‘Three Orange Trees. In the future’, I explore the relationship of language to imagination in space and in time. Language is used as a compositional tool, through which imagination is activated in order to transform the narratives into micro-choreographies, fictions of mental movement.
The topic of this performance is related to how can a personal story be transformed into fiction.
Starting from the story of a catastrophe that relates to my life personally, I imagine different fictional scenarios that move the story to more open understandings. A connection with the ‘here and now’ interrupts several times the narrative, in order to switch our focus to our bodies (the collective body of spectators and performers), the relationships among them, and our senses and feelings.
The action of intervening and transforming the initial (autobiographical) story is, apart from a way to confront with one’s own precarity and see her/his story from different angles, also a proposition on how to converse with the social and the political.
The socio-political proposition that emerges from this work is to create a social and public space, where engagement with imagination can happen.
In that space, events are placed out of their spatial and temporal contexts; they move away from the personal and towards the relational and the public (in the world). Narratives are understood as open-ended.In regards to spectatorship,
This piece also engages with the relationship between the performer and the spectator, and is interested in creating conditions that will take care of this relationship. Guided by Jacques Rancière’s text on the ‘Emancipated spectator’ in which he talks about a theatre that consists of a community of storytellers and translators, creating safe, intimate, caring spaces of co-existence where the autobiographical fictions are shared with the spectator, is vital for such ’emancipation’ to take place.
The approach I have taken in relation to the construction of these spaces, is influenced by the ethics of care theory, and by principles of care-focused feminism, associated with values of ‘interdependence, community, connection, sharing, and the body’.