Magazine: "CHOROS' number 34
summer 1999
criticism by Lena Zamboura

THEATER "FACTORY"
4-8 May 1999

"AEORISI" DANCE COMPANY (suspension)

"PHOTOSKIASEIS" (LIGHT-SHADOWS)

Choreography: Artemis Ignatiou
Poetry: Parts from the poetry collection of Koula V. Kotsapa "Photoskiaseis"
Music: Yiannis Makridis, Ravel, Mahler
Costumes: Alexandros Kombogiorgas
Lighting: Alexandros Anastasiou

Actor: Alexandros Kombogiorgas
Performers: Lila Zafiropoulou, Maria Manioti, Spyros Bertsatos, Artemis Ignatiou

The performers are worthy to be mentioned.

From the poems of Koula V. Kotsapa Artemis Ignatiou inspired the topic of her choreography "PHOTOSKIASEIS". She kept the title of the poetry collection and from the feeling that she acquired, she gave the story of a woman's life in three phases.
1st phase: The acquaitance. Maria Manioti, new figure in the place of dance, gentle, satisfactory young, performed her role that was full of expectation, wondering about what was happening to her.
2nd phase:The way of love. Lila Zafiropoulou, one of the most talented dancers in Greece today, danced with power and passion, the route of her relationship with all contrarieties appear during the time.
3rd phase:Loose. Artemis Ignatiou, wonderfull dancer, depended on Adagio of Mhler, gave us through a delirium lyricism, the variations of a hurt woman.
All the three solo that were given with sensitivity, were from the best parts that we rarely see in today's choreography. They are not behind the times, are diachronics when they will be performed by good dancers, as it has happened with the present performance. In the middle solo of the companion of life, the live music of Yiannis Makridis was very good. It was something special that emphasize the masculine being that marked the life of this woman. Spyros Bertsatos was very good technicaly, whereas I believe that the choreography, should minded even more the performance of the very strong dramaticaly course of the man towards the death, and not only the movement. A more dramatic performance could bring to the top the very strong poetical image of K. Kotsapa, who compares the man to a traped eagle, with hearted wings, until "he will channel untraped and free the sky marching to infinity.