Press

“[…] it is a different kind of performance. It is rather a contemplative experience that afterwards demands your own reflection. It is also a peculiar and uncanny performance, with a metaphysical aura. Its essence though is universal.”
Ioanna Vardalachaki, clickatlife.gr, December 3, 2019

“[…] it is a performance that invites the spectator to a journey while revealing the power of words which lead to a metaphysical experience that is hard to forget“.
Panos Antonopoulos, envivlio.com

“Eau de Cologne’s subject seems tricky, and definitely requires a further thought process, but the performance is so beautifully presented that you feel deeply moved and oddly lighthearted“.
Eleni K. Touloupi, maxmag.gr, December 17, 2019

“Dans une Europe incertaine, Apologies 4 & 5 offre un paysage teinté de sérénité et d’intériorisation au sein d’une méditation éclatée dont la beauté des chants figure comme un absolu bouleversant“.
Sonia Bos-Jucquin, theatoile.wordpress.com, February 12, 2017

“Enigmatique, le texte veut retrouver la force des récits mythiques en resituant les individus dans le contexte contemporain de l’intégration européenne à marche forcée. […] Un spectacle hypnotique.”
Noël TINAZZI, ruedutheatre.eu, May 11, 2017

“[…] c’est alors deux états qui s’entremêlent : celui du théâtre qui se cherche, et des hommes qui se perdent, ou inversement“.
Jean-Christophe Brianchon, iogazette.fr, February 5, 2017

“Within her Kafkaesque universe, with the strict geometry and stunning uniformity, where no rupture or collision has a place in, we are confronted with the existential drama of the astonishing uniformity that is incubated with neo-fascist terms into the arms of globalization“.
Iliana Dimadi, athinorama.gr, June 28, 2016

“VASISTAS’ theatre is a contemporary one, and it rises to every direction, towards past and future. Only when you’ve encountered absolute darkness can you comprehend the power of light.”.
Giannis Moschos, clickatlife.gr, April 25, 2017

“This is most definitely a wholesome work of art, one that manages to work on multiple layers, by means of a notable minimalism and high aesthetics. […] It is truly remarkable how such a seemingly simple work, without artistic pluralism, achieves to transfer so many images and sensations to the audience“.
Tonia Karaoglou, elculture.gr, April 28, 2017

“The performance bears a unique identity, sometimes sung as a chant, other times like a salvatory chirps by the actors, with the contribution of four wonderful musicians in the center of the stage. Around them, VASISTAS move in circles and interpret Dante’s downward spiral at Inferno. […] Strange sounds, natural noises and intangible voices, together with the works of Steve Reich and Philip Glass and the synergy of exceptional lighting design, create a ritual of inner turbulence. Beams and floods of light, mists and thunderbolts intensify every emotion.“
Chara Kioussi, newsbeast.gr, May 3, 2017

“The dominant, decisive trait of this performance is Argyro Chioti’s directorial point of view, that dared to envision an austere rendition of the Divine Comedy, through music and physicality, through aesthetics and ritualistic energy. This is the kind of performance that we rarely -I dare say never- watch“.
Yannis Gavrilis, aVecNews.gr, April 28, 2017

“[…]the director attempts to create an oratorio -or, rather, a choral on the Divine Comedy, through the rhythm of speech and the exceptional pieces of music selected by Markellos Chryssikopoulos, performed live by a string quartet. And she hits the target right on point“.
Yorgos Sariyannis, totetartokoudouni.blogspot.gr, May 2, 2017