The association was founded for the expansion of the art of mime and more general of the corporeal theatre via personal creations. Aesthetically and ideologically the searches of the artistic members oscillate round the "transformed body" and the art brute- utilisation of materials that everyone can reach. With artistic personnel Dimitri Rekatchevski and Antonia Vasilakou. Dimitri Rekatchevski graduated from the Faculty of Art of Khabarovsk (Russia) specializing in acting and directing. He directed and participated in enough personal projects and collaborations in France, Switzerland, Poland and Russia. Body metamorphosis in the dramatic art and the connection of corporeal theatre with the plastic art constitute the bases of his personal artistic research. He lives in Paris where he is doing his research on the 'artificial body' and the ‘virtual body’ in the art of mime, at the university Paris VIII. Antonia Vasilakou participated in various seminars on the mime art and the corporeal theatre, in Athens with the Theatre of Silence, and in Paris with Luis Torreao, Thomas Leabhart, Gorge Gayon, with their Yves Mark and Claire Heggen and finally with Ariane Mnouchkine. She has worked as actress and movement adviser in France and Italy. She teaches mime in the Faculty of Fine Arts of the University of Peloponnese and works out her doctoral thesis in the university Paris-X. CRYING WOMEN
Crying Women is a trilogy- performance with minimalistic disposal, inspired by the actor’s paradox that Diderot describes in his homonymous work. Main axe of the performance is the impossibility of crying in a “normal-human” way. The characters portrayed represent their grief through artificial materials, so as to demonstrate their sadness. This performance is separated in three autonomous pieces: a) “Drawing in movement”. On a paper, with accompaniment the Sonata Trio no 9 of Schubert, a feminine figure crying with red tears is pictured. The drawing is transformed each time so the spectator supposes progressively the conclusion of each picture. b) “Crying Women”. A figure makes its appearance. With a long dress and sleeves, black hair and mask, it resembles to a person of ancient tragedy. She has her hands in front of her face. Through movement, the Crying Woman unfolds her effort to cry. She jumps, strucks, runs so as to represent the grief. Her hands open and her tears are unfolded. Only they are artificial, as her. c) Liebestraum. Inspired from the classic piece Liebestraum of Litz, behind a table, a person that “is manipulated” and “manipulates”, leads the public to new horizons of dream, expressing through her facial expression different sentimental realities. To all the three cases we take our distances from mime so as to be led to a new body, the artificial body of the actor.
