2016 was the centenary of Dada, the avant-garde movement that, together with Futurism, led to the emergence of performance, tearing down the constraints of dramatic tradition and stage conventions of the previous centuries. The break with the mainstream art and the embracing of popular entertainment forms such as music hall, cabaret, puppet theatre and circus, coincided with the dadaist urge for s
pontaneity, absurdity, ludicrous parody and disorder, on and off stage. The dadaist soirée “To Da or not to Da?” as performed by the School of Drama, Aristotle University of Thessaloniki, brings together past and present, by mingling texts of the historical avant-garde, contemporary reconstructions of dada costumes and props, dadaist performance practices and elements of modern mass culture in an attempt to comment on the politics and aesthetics of Greek society during the economic-crisis era. The performance follows the abstract form of a dadaist variety evening and consists of sound and tonal poems, manifestoes, chansons, sound music, dance, and scenes from short plays in various languages. “To Da or not to Da?” is far from a fully organized stage production; it is more an experiment on the means and manners of Dada, which attempts at the same time to comment on the situation in Greece and Europe, the past seven years: the financial and political instability, the identity crisis, war and the refugees, the post-colonial models of dependence, the struggle for hegemony, the quest for democracy. Short interactive skits and a number of dada texts, such as Hugo Ball’s ‘Gadji Beri Bimba’, Emmy Hennings’ “Gefängnis”, an excerpt of Tzara’s ‘Dada manifeste sur l'amour faible et l'amour amer’, fragments from Tzara’s Le Cœur à gaz and Schwitters’/Richer’s, ‘Θεατρικά έργα άγχους’, provide the performance material; cut and shredded, uttered in imaginary and existing languages, and interspersed with improvisations on traditional music and popular songs as well as abstract movement, they tend to offer an absurd satire of a world «bitter and feeble». WORKING TEAM:
Damianos Konstantinidis (directing)
Lila Karakosta (scenography)
Ioulia Pipinia (dramaturgy)
Olympia Sideridou (masks-props)
Stergios Proios (technical management)
Scenography, costumes and props:
Hara Argyroudi
Katerina Vafiadi
Dimitra Giovani
Peni Dani
Elina Eftaxia
Matina Efthymiadou
Christina Kouvouklioti
Anastasia Papaioannou
Εro Papakosta
Acting:
Ioanna Kanellopoulou
Dimitrios Kapetanios
Dimitrios Lolis
Eleni Mavidou