#Dimitris Papaioannou

[mentaltimetraveller]

Dimitris Papaioannou with Tanztheater Wuppertal Pina Bausch, Since she (2018)

Performers: Breanna O'Mara, Scott Jennings, Ruth Amarante, Michael Strecker

[productomag]

ink (2020)

dimitris papaioannou

[conformi]

Dimitris Papaioannou, Primal Matter, 2012 VS Evzones | Changing of the Guard, Tomb of the Unknown Soldier, Athens, Greece

[kaliarda]

Δημήτρης Παπαϊωάννου: συνέντευξη στη Ντίνα Δασκαλοπούλου και τον Λύο Καλοβυρνά από το περιοδικό «10%»

[delphhos]

Dimitris Papaioannou

Portrait of Suka, gouache on paper, 2020 lockdown

[eucanthos]

Dimitris Papaioannou (Athens, 1964)

The Great Tamer. Dance performance, 2017

Involving 10 performers [credited as co-producers] on stage, The Great Tamer takes shape around the notion that human life can be seen as a journey of discovery, an exploration for hidden treasure, an inner archaeological excavation for meaning [through the paradox]

It was his first international co-commissioned work including the Festival d’Avignon. “The Great Tamer” toured for 2 and 1/2 years through 4 continents, 23 countries, and 38 cities. Special award, Europe Theatre Prize, Rome, 2017

Papaioannou was nominated in 2019 for the Olivier award for “outstanding achievement in dance”

thnx papersandsheets

https://www.onassis.org/whats-on/great-tamer

https://exostis.gr/dimitris-papaioannou-is-he-the-great-tamer/

https://www.onassis.org/people/dimitris-papaioannou

[guy60660]

Dimitris Papaioannou

[whtaever]

[aimihayashi]

Dimitris Papaioannou "Transverse Orientation": A Silent Violence of Beauty

Dimitris Papaioannou, a Greek choreographer and artist, is also known for directing the Athens Olympics. His work Transverse Orientation which was performed in Japan, was undeniably beautiful, but at the same time it was somewhat difficult to fully empathize with.

The work was meticulously crafted down to the smallest details. It was so perfectly completed. too completed that I began to wonder if it even allows the dancers a range of expression. The series of beautiful landscapes in the work, paradoxically made it static as a contemporary dance performance. If that is the case, then could the same expression be achieved through different artistic mediums such as installations, video works, or even photography? Why, then, is it necessary to present this on the live stage?

The key to answering the question is Papaioannou's consistent use of ‘sudden spatial transformations’ in his work. When the audience caught off guard, the space that had been there suddenly transformed into a figure beyond the realm of the imagination. Once there was a scene once that looked like a Renaissance painting, a woman standing with a glass of champagne in her hand at the centre of a fountain. Then, suddenly, a giant bull appeared controlled by several performers. An overflowing cube of objects rolled in from the back of the stage and quickly filled the space. Finally, a water surface emerged from under the floor and swallowed the entire stage. The scene faded out, a new overlapping scene appeared, and then the scene changed again. Like this, the space never stopped transforming and continuously evolved. The essence of his work lies in this concept of an ever-changing space itself and the aesthetic appeal of each scene is just a side effect of it. Instead of a grand narrative or dancer's physical movements, Papaioannou used the spectacle itself to evoke the audience's emotional responses, drawing them into the unfolding phenomenon.

What was missing this time for me was that it was not a spectacle involving the audience. The audience was merely present in the space as an outsiders, sitting in their seats and witnessing the spectacle. It lacked the connection between the stage and the audience, which caused the sense of alienation that I described at first of this text However, now I think about it, Papaioannou must have been aware of the integration between the stage and the audience, considering the audience a constituent element of his spectacle. This was clearly shown at the beginning of the work—a spotlight floating on the stage wall eventually began to move and, like the light from a lighthouse, slowly made its way around the auditorium. The light reflected the faces of every audience, who watched the performance with bated breath.

Watched at Sai-no-Kuni Saitama Arts Theater, Saitama Japan on 29th July 2022 Performance Detail on https://rohmtheatrekyoto.jp/lp/transverse_saitama_kyoto/

[qualityavenuejellyfish]

Dimitris Papaioannou

Greek choreographer and visual artist (born 1964)

 Dimitris Papaioannou: Primal Matter, a Performance

[frmarino]

Dimitri Papaioannou

[so-much-for-subtlety]

I think this is a shot from Dimitris Papaioannou’s work Transverse Orientation. I haven’t seen it but i did see his earlier work The Great Tamer. I think it’s categorized as contemporary dance but I don’t know how to explain exactly what it was (nothing what you would ever imagine ‘dance’ to be). Videos on YouTube etc don’t do it justice. If you ever see anything advertising something by Dimitris Papaioannou and have a chance to see it please do it!!

[nofatclips]

Έχω ένα φόβο by Bad Movies from the album Σ​τ​ο λ​ά​κ​κ​ο με τα φ​ί​δ​ι​α​.

[daywat]

INK (2020)

play for two

created (concept, direction, sets, costumes, lights) by Dimitris Papaioannou