A monologue by Dimitris Potamitis at Vault Theater Plus - Wishevoke

A monologue by Dimitris Potamitis at Vault Theater Plus

After a biblical catastrophe, a semi-conscious woman wakes up amidst mud and trash to find herself on the marble roof of the Parthenon. After the catastrophe, the rock of the Acropolis turned into an island as the whole of Greece has now sunk. Next to her are remnants of a lost civilization.

Everything shows that only she survived. As she searches the labyrinths of her mind at the moment of catastrophe, she wonders if the swan named Aesop hid her in his wings along with his fable and saved her… She finds a frog, names him Diogenes, names him hers Friend and every day a myth teaches him the latest Greek mythology. This begins a journey with ten allegorical myths that attempt to understand the reasons that led the entire country to the abyss.

The show is a lyrical journey of self-knowledge – self-criticism, chronicling the rise and fall of man, atonement and revival, using Greek mythology as a vehicle. The rebirth.


Director’s note

When I read The Greek Frog, I immediately recognized a timeless, prophetic text that, although written in the 1990s – essentially a period of development for the country – speaks of a Greece in the throes of consumerist vanity and depravity who loses entertainment. Just as satirical drama draws its themes from Greek mythology, Dimitris Potamitis, like Aristophanes, predicts the future based on the myths of the past. It covers the period from the founding of the new Greek state to the decade of the 1990s when the text was written. He sees the Greek of the crisis, the Greek of the pandemic, the “Greek frog”. Insightful and sarcastic, he reminds Greek society of its shortcomings and traumas and looks for ways to revitalize Greece. Through a lyrical, symbolic, but above all satirical and humorous writing, Dimitris Potamitis presents us with a classic work. When I delved deeply into the work, I preferred to add some minimal elements – words – that bridge the period from 1995 to the present and are actually missing from the monologue. I tried to maintain the style adopted by Potamitis in his performances and created a show with the main elements of play, satire, parody and grotesque caricature. I removed accusatory elements that obscured the work, so that the show acrobates between ridiculousness and seriousness, folk tradition and classical drama, Karagiozis and cartoon.
Music plays a dominant role. Original compositions, lyrics from the “Hymn to Freedom” and folk songs arranged with a special and modern look by Nikolas Karimalis (Razastarr) connect the past with the present.

Finally, I chose the main character X to be a woman because a maternal presence symbolically signals the concept of rebirth.

The performance is a tribute to the theater man Dimitris Potamitis.

Augustino’s Remundos

Author’s note

“I consider the following clarifications useful for a fuller understanding of the reasons that led to the writing of this work, but also for a clearer decoding of the parable it represents:

The sole survivor of a “science fiction” disaster wakes up in the ruins the next day. Crazy about his own autonomous logic, he approaches modern Greek reality and the causes of the catastrophe and constructs personal myths from historical materials, collective and personal memories.

In work, the political becomes deeply personal, and the personal determines political becoming and affirms the responsibility and complicity of each of us. Ultimately, the work is nothing more than a semiological examination of indigenous adventure.

The hero’s nature of fiction is delusional, not only because of his obvious insanity, but because everything is inextricably linked like links in a chain, like knots in electrical cables that produce a spark at any point when they are connected. The logical order has no meaning here. On the contrary, he may have oversimplified and limited the materials of a building whose construction is based on chemistry rather than mathematics. For if our modern Greek life is sick, then its sickness is the result of violent, varied and random chemical mixtures and not the result of logical or mathematical assessments and calculations.

Finally, I would like to say that I no longer think about “parex freedom and language”, i.e. Greece. And when I’m bitter sometimes, it’s because of love. Self-criticism can only be useful if it is distressing. After all, isn’t chauvinism the worst enemy of patriotism?”

Dimitris Potamitis


Text: Dimitris Potamitis
Direction/adaptation: Augustinos Remundos
Interpretation: Anita Koulis
Original music: Nikolas Karimalis (Razastarr)
Set design/costumes: Tonia Avdelopoulou
Choreography: Mata Marra
Lighting design/assistant director: Jelena Gagic
Photos: Despina Klouva/ Stefanos Kyriakopoulos
Video trailer: Nikitas Haskas
Poster/flyer design: Katerina Semertzoglou
Contact/promotion of the show: Daisy Lembesi

REPRESENTATIONS: Every Monday and Tuesday at 9:15 p.m

PLANNED PREMIERE: Monday, February 20, 2023

PERFORMANCE DURATION: 70 minutes without a break

TICKETS: General admission: 12 euros.

Reduced: 10 Euro

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