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Alarme 16

Stage composition based on the correspondence between Queen Elisabeth A’ and Mary Queen of Scots


Attis Theatre – Athens, Greece

Director: Theodoros Terzopoulos

Performed in Greek with Hungarian and English subtitles.

55 minutes, without breaks.

Alarme, the first part of the trilogy continued by Amor and Encore, explores a historical and influential fatal conflict: the struggle between Queen Elizabeth A’ and Mary Stewart Queen of Scots for the throne that ended with the decapitation of Mary Stewart. Alarme reveals the conflict between the two women based on fragments of their “official” correspondence. Their relationship is fueled by love, hate, violence and the desire over power which can drive them to any length. Beside the two women, the stage is claimed by a third person, a narrator, an impoverished civilian, who observes and sarcastically comments the anguish and battle of the two Queens.

The conflict between the two queens, Maria Stewart and Queen Elisabeth has the elements and dimensions of the conflict between the feminine and the masculine. What prevails is the Eroticism. In the matter of fact, this conflict is even more intense and premature than the battle between a man and a woman, since in this case the female activates within herself her male elements and an extreme aggressiveness and becomes relentless. The extreme aggressiveness suggests an extreme eroticism, since eroticism is the other face of aggressiveness. 

A constant desire for fusion lies behind the fatal conflict of the two women. They are both attracted and intimidated at the same time by this fusion, since it means the abolition of their individuality. The two women fight each other and invoke violence, in order to defend and protect themselves against the desire for fusion; their constant battle and rivalry suggests an absolute love that intimidates them more than the hatred and the violence. This dynamism, that remains unsaid to the end, drives them to the total destruction.

Alarme premiered in Athens on 2010 and was presented in Attis Theatre for three seasons, subsequently followed by tours in international festivals; it was greatly appreciated by the audience and praised by the critics- especially by Michael Billington, the eminent and demanding critic of Guardian. 

Színészek / Actors:

Sophia Hill, Anastasios Dimas, Aglaia Pappa


Díszlettervező / Stage designer: Theodoros Terzopoulos
Jelmeztervező / Costume designer: Loukia    
​Zeneszerző / Composer: Panagiotis Velianitis 

Gobbi Hilda Stage
Theodoros Terzopoulos

Theodoros Terzopoulos

He was born in Makrygialos, in the village of Pieria.
1965–1967: K. Michailidis Drama School (Athens).
1972–1976: Berliner Ensemble (Berlin).
He founded Attis Theatre in 1985.

He has directed Greek tragedies, opera and contemporary plays in Greece and in many theatres worldwide, presenting 2100 performances all over the world, throughout 34 years.

His approach on ancient Greek tragedy is taught in Drama Academies and Universities all over the world. He is leading many workshops and lectures about his method; he is an Emeritus professor in Academies and Universities, and has been awarded with many Theatre Prizes in Greece and abroad. Books on his method have been published in Greek, English, German, Chinese, Turkish, Russian, Italian, Korean and Polish. The book about his method, The Return of Dionysus, was published in 2015, and has been translated into many languages.

1981–1983: Director of the Drama School of the State Theatre of Northern Greece. 1985–1988 and 1995–2004: Artistic Director of the International Meetings of Ancient Drama in Delphi. Since 1990: founding member of the International Institute of Mediterranean Theatre and President of its department in Greece. Since 1995: Chairman of the International Committee of Theatre Olympics; events have been held in Delphi, Shizuoka (Japan), Moscow, Istanbul, Seoul, Beijing, Wroclaw (Poland) and in 17 cities throughout India. He is the founder and Artistic Director of the International Meetings of Ancient Drama in the municipality of Sikyon (2005, 2006 and 2011).

Photo: Johanna Weber

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