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ΙΣΣUE | APR-JUN 2017 JOHN DIMOTSIS75*123 ΒΕΣΤ THINGS TO DO | NOW!
STATHIS
120 LIVATHINOS
A NEW STAGE OF MIND
A new era at the National Theatre of
Greece, as envisioned by its creative
director. | Η νέα εποχή του Εθνικού
Θεάτρου, όπως την οραματίζεται ο
καλλιτεχνικός του διευθυντής.
What have you gained to date?
Theatre is full of surprises and a collection
of experience and knowledge. At the
National Theatre, the work of a creative
director, at least in the way I understand
it, is not only to make your personal
vision come true but also to promote
the country’s finest and most creative
talents, without ever losing yourself in a
purely managerial role. It is a complex
and also very sensitive position, which
as I understand is a feeling experienced
by everyone at the helm of such
organisations. On the one hand you need
to tap into your humanity, so that you
can listen and understand all that goes on
between the 300-some people involved
with the theatre, while also not losing
touch with society, because theatre is an
occupation involved with the here and
now of a particular time period; it is not
like cinema, attached to the permanent
“other”. And we should not forget that I
have taken on this position at the National
Theatre at perhaps the most difficult
time for our country since the Second
World War. This creates an anxious yet
interesting landscape, full of challenges.
What is new about your term?
All together we follow the same line, which
stems from the management, and we try to
create a landscape without compromises.
CONTINUED ON PAGE 222
STATHIS
120 LIVATHINOS
A NEW STAGE OF MIND
A new era at the National Theatre of
Greece, as envisioned by its creative
director. | Η νέα εποχή του Εθνικού
Θεάτρου, όπως την οραματίζεται ο
καλλιτεχνικός του διευθυντής.
What have you gained to date?
Theatre is full of surprises and a collection
of experience and knowledge. At the
National Theatre, the work of a creative
director, at least in the way I understand
it, is not only to make your personal
vision come true but also to promote
the country’s finest and most creative
talents, without ever losing yourself in a
purely managerial role. It is a complex
and also very sensitive position, which
as I understand is a feeling experienced
by everyone at the helm of such
organisations. On the one hand you need
to tap into your humanity, so that you
can listen and understand all that goes on
between the 300-some people involved
with the theatre, while also not losing
touch with society, because theatre is an
occupation involved with the here and
now of a particular time period; it is not
like cinema, attached to the permanent
“other”. And we should not forget that I
have taken on this position at the National
Theatre at perhaps the most difficult
time for our country since the Second
World War. This creates an anxious yet
interesting landscape, full of challenges.
What is new about your term?
All together we follow the same line, which
stems from the management, and we try to
create a landscape without compromises.
CONTINUED ON PAGE 222
