Konstantin Bogomolov / ONASSIS CULTURAL CENTRE

Konstantin Bogomolov

"Demons" by Fyodor Dostoyevsky

22 NOV  – 10 DEC 2017
(no performances on Mondays-Tuesdays)

Age guidance: 18+
Main Stage
1 hour and 55 minutes (with no intermission)
With English surtitles
This is the first time that OCC invites a foreign director to work with Greek actors. The innovative Russian director, whose 2016 production of “The Karamazovs” was critically acclaimed, returns to OCC yet again with Dostoyevsky.
Early bird from 4 to 27 OCT 2017: 20, 25, 28 €

Full price: 7, 15, 20, 28, 35, 40 €
Reduced, Friend & Groups 5-9 people: 6, 12, 16, 22, 28, 32 €
Groups 10+ people: 5, 11, 14, 20, 25, 28 €
Νeighborhood residents: 7 €
People with disabilities & Unemployed: 5 € | Companions: 7, 10 €

Group ticket reservations at groupsales@sgt.gr
Nihilists and prophets, terrorists and revolutionaries, assassins and people committing suicide swarm the Onassis Cultural Centre. The vast fictional material of the Demons (1870–72) is adapted for the theatre by Russian director Konstantin Bogomolov (b. 1975), marking the first time OCC has invited a foreign director to work with Greek actors.
The choice is no coincidence. Bogomolov was introduced to the Greek public with the five-hour adaptation of The Brothers Karamazov at OCC, which was enthusiastically received by both critics and the public. The production transported Dostoyevsky’s emblematic novel from the late nineteenth century to the salons of contemporary Russian oligarchs. It was characteristic of his sharp satire and his importance as an artist.
The innovative Russian director returns to OCC yet again with Dostoyevsky. With his Greek team, Bogomolov will transport us to the dark universe of Stavrogin, Verkhovensky, and the rest of Fyodor Dostoyevsky’s antiheroes. A polyphonic work of a borderline character, a political libel, and at the same time a philosophical novel of a confessional and sarcastic nature, the Demons focus on the activities of a cycle of young nihilists.

‘Dark instincts and ancient demons are unleashed from the innermost depths of our existence, and come to mislead us. Are these demons though our new gods, speaking of a new truth? Where will the search of a new truth lead us, to a new redemption or to a new version of fascism?’

The Demons were never more contemporary, ‘Greek’, ‘Russian’, or universal.


With English surtitles 
(Surtitles translation: Memi Katsoni).

Direction, Adaptation: Konstantin Bogomolov
Translation: Alexandra Ioannidou
Set - Costumes: Larisa Lomakina
Lighting Designer: Yannis Drakoularakos
Dramaturgical Editing of Translation: Eri Kyrgia
Translator for Rehearsals: Irina Smyshlyaeva-Stathopoulou
Assistant Directors: Dimitra Mitropoulou, Chrysa Kougioumtzi
Assistant Set Designer: Myrto Lamprou 
Assistant Costume Designer: Daphne Iliopoulou
Sound engineer: Iosif Tziabazidis
Camera operator: Pygmalion Kalimeris 

Set construction: Lazaridis Scenic Studio 
Special Effects: Michael Samiotis, Prokopis Vlaseros, Maria Staikou 
Special constructions: Yannis Voulgaris, Amalia Theodopoulou, Dimitris Lazoulos, Christos Xenitopoulos, Sokratis Papadopoulos
Costume construction: Despina Makarouni  

Performers: Chrysa Kougioumtzi, Elena Meggreli, Aris Balis, Antonis Myriagos, Dimitris Xanthopoulos, Maria Panourgia, Yiannis Papadopoulos, Elena Topalidou, Aineias Tsamatis, Miltiadis Fiorentzis

Special video appearance: Artemis Giza 

Production Management: Rena Andreadaki, Maria Dourou
Produced by: Onassis Cultural Centre–Athens

Special thanks to Valery Vasukov and Ilia Shagalov
We also thank Provis family, Kostas Lambropoulos, Giannis & Stavros Bonis, Kallirroi Papadopoulou and Fredy Gizas.

Thursday 23 November
Masterclass by Konstantin Bogomolov

Friday 24 November
After performance talk with Konstantin Bogomolov
Chaired by George Veltsos, author

read more

Aesthetically and politically a radical, Konstantin Bogomolov (b.1975) has been described in the international Press as the enfant terrible of the Russian theatre.
His parents were film critics. He studied Literature at Lomonosov Moscow State University (MSU) and Direction at the Russian Academy of Arts (RATIGITIS).
The winner of numerous awards and distinctions in his home country, Bogomolov has worked with historic Russian theatres (the Moscow Art Theatre and the Leninist Komsomol Theatre / Lenkom) while staging productions in equally prestigious European theatres and international theatre festivals, including the Polish National Theatre in Warsaw, the Festwochen in Vienna, and the Theaterformen in Hanover.
All in all, he has directed over twenty productions, also undertaking the adaptation/dramaturgy in the majority of cases. Works (theatrical and literary) he has staged include: Iphigenia in Aulis by Euripides, Much ado about nothing and King Lear by Shakespeare, Black Snow by Mikhail Bulgakov, The Trial by Franz Kafka, The Seagull and Platonov by Chekhov, Gargantua and Pantagruel by François Rabelais, The Dragon by Evgeni Schwartz, Ice by Vladimir Sorokin, and The Idiot and The Brothers Karamazov by Dostoyevsky. He recently staged Husbands and Wives, a production based on Woody Allen's film of the same name.
Two directorial practices which often feature in his aesthetically unconventional and politically innovative productions are, first, casting female actors for male roles and vice versa, and, second, shifting the action to a different period than the original. For instance, in King Lear, the lead role was played by a female actress and the action was transferred to the Soviet Union in 1941, just before the German invasion.
Staged by the Moscow Art Theatre, his five-hour, adults-only version of Dostoyevsky’sThe Brothers Karamazov, which was entitled The Karamazovs and subtitled "A dream fantasy of the director, K. Bogomolov", was the production with which Bogomolov introduced himself to Greek audiences from the Main Stage of the Onassis Cultural Centre in January 2016. Click here for a taste of the production.
In this production of Demons, all the cast and crew are Greek, with the sole exception of Bogomolov's long-standing, multiple award-winning set and costume designer, Larisa Lomakina.
The Demons takes place in two dimensions: in the social and political reality of its era (nihilism, pre-revolutionary demands, religious and social dialogue), but also on a metaphysical plane. This is the fundamental difference between Demons and Dostoyevsky’s other works.
At the time Dostoyevsky was writing Demons, the revolutionary movement was already underway in Russia and committing its first acts of violence. In 1869, the body of a Moscow Agricultural Academy student, who was also a member of a revolutionary cell, was found floating in a lake close to the Academy. The crime was conceived by the leader of his revolutionary group, Sergey Nechayev, who also took part in the murder. It was this blood-curdling crime that provided Dostoyevsky with the germ of the plot for Devils, which painstakingly records every detail of the murder and features a protagonist who is modelled to the last detail on the young student's murderer.
Fyodor Dostoyevsky was born in Moscow in 1821. An orphan from his teens, his father most probably having died a violent death, he lived meagerly but had a passion for gambling and alcohol. When still young, he gave up his office job and decided to live by his pen. In 1846, he wrote The Double and Poor Folk, works which gained him entry to Russian literary circles. Having joined a group of utopian socialists, he was imprisoned and sentences to death in 1849 for revolutionary activity, but had his death penalty commuted to hard labour in Siberia. His experiences in prison and the army strengthened his already profound connection with Orthodoxy. A critic of European philosophical movements, his writing focused more on the power of Russia's tradition and its simple folk. He was forced to write both Crime and Punishment and The Gambler at great speed to pay his debts. Having quit Russia for Europe to escape his creditors, Dostoyevsky's fame in Russia increased in his absence. He wrote The Idiot in 1869 and Demons in 1870–72. By the time he wrote The Brothers Karamazov in 1879, Dostoyevsky was already considered one of Russia's greatest writers. That work would be his last. He died in 1881 following an epileptic seizure—he had suffered from epilepsy since childhood.
Dostoyevsky influenced a number of important authors around the world. It is said that Tolstoy burst into tears when he learned of Dostoyevsky’s death, even though he had never met him. When Tolstoy died, he had a copy of The Brothers Karamazov with him. Einstein had this to say: " Dostoevsky gives me more than any scientist".

23 Nov 2017

Participation cost: 12 €


Masterclass by Konstantin Bogomolov

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