INSIDE took place in a room set inside a theatre in the centre of the city. A simple series of movements showing our daily return home was uniformly repeated by 30 performers in countless combinations and superimpositions. Six hours on stage with no beginning, middle or end. The theatre doors opened every day at 17.30 and closed at 23.30. The stage action began before visitors came in, and continued after they left. Visitors could watch as much as they liked, sit wherever they liked, exit and re-enter as many times as they liked. INSIDE treated the theatre as an exhibition space and the work as an exhibit, and invited audiences to act as visitors, watching the action as if gazing at a landscape.

舞台戏剧哲学气质浓郁不失幽默。Inspired by the Greek myth of Sisyphus who was condemned to roll an immense boulder in front of him

Dimitris Papaioannou has garnered rapturous acclaim in the first international press reviews for his new Onassis Stegi production: “If Michelangelo had been active in this era, would he not have left such a work?” wonders the Korean “auditorium.kr”; “A jewel, of ingenuity and of beauty,” writes the French “Le Progrès”; “A long act of artistic magic created before our eyes by the superbly precise performers,” notes the “NEW YORK Times”. This December at ONASSIS STEGI, the curtain will rise on “Transverse Orientation”, a work set to dazzle us all once more.

Each new work that Papaioannou creates is something you want to experience. Because “Papaioannou is without doubt one of the four most important choreographers in the world,” as noted by “Le Figaro” in June 2021. His images, movements, and sounds launch us towards the source of life and of creation, of imagination and play, and call on us to discover our own truths, closer to the light. Transverse orientation is the method by which insects keep a fixed angle on a distant source of light for orientation – this is why they fly towards all that shines. This latest ONASSIS STEGI – Dimitris Papaioannou production, co-produced by more than 20 major international venues and institutions, began touring the globe in June 2021.

A true master of visual spectacle, the Greek artist explores existential themes, mining mythology and art history to conjure vivid and often humorous imagery. Taking inspiration from the natural behaviour of moths to seek light, Transverse Orientation follows the human compulsion to find meaning on the journey of life.

With a background in fine arts, Papaioannou’s creations blur theatre, experimental choreography and live performance to transform bodies and objects by illusion. Coming to international prominence following his direction of the 2004 Olympic ceremonies in Athens, his work has been seen by audiences across the world.

The unmistakable style of Tanztheater Wuppertal Pina Bausch was forged over decades performing Pina Bausch’s huge catalogue of extraordinary work. Following the choreographer’s death in 2009, the company are now ready to embark on the expansion of this hallowed repertoire.

In an exchange of firsts, Since She marks the creation of the Tanztheater Wuppertal Pina Bausch’s first full-length work by a guest choreographer, while also being the first work that Greek choreographer Dimitris Papaioannou has created outside of his own company.

Trained as a visual artist, the author of over 40 comic books, and the creative director of the 2004 Olympic Opening Ceremony in Athens, Papaionannou’s work is renowned for its dream-like atmosphere, inhabited by a circus of contorted and absurd creatures.

　On 24 November 2006, Papaioannou premièred 2 in Athens, his first work following his creative direction of the Opening and Closing Ceremonies of the Athens 2004 Olympic Games. 2 was produced in collaboration with the electronic music composer K.BHTA for the production company Elliniki Theamaton. A "dissection of the male psyche",[13] the production commanded a large of amount of Greek press attention, not least for its open references to homosexuality.[14] 2 proved a commercial success; its run was extended twice and over 100,000 tickets were sold in total.
　　The work seems to draw upon a range of influences, including the work of Jean Genet, René Magritte and Robert Wilson. Inspiration for the show also came partly from Papaioannou's experiences as a gay man in Greece.[15] Contemporary magazine described 2 as an "inspiring" work that "captures the zeitgeist".[16]
　　A DVD of 2, produced and directed for the screen by Athina Rachel Tsangari of HAOS FILM, was released on 11 December 2007 by Elliniki Theamaton and Modern Times.
　　From

　　(2002) His play, "2," was performed at the Eclipse Theatre Company in Chicago, Illinois with Steven Fedoruk in the cast. Nathaniel Swift was director.
　　from

History is often made of floors and ceilings, and in The Great Tamer, Dimitris Papaioannou doesn't hesitate to challenge his eleven performers to find their balance and projection points on an inflated stage constantly going through a process of deconstruction, swelling up, absorption, and even rejection. Starting from this metaphor of man in a position of research, the show becomes a sensorial and primitive epic. “The point is to dig and bury, then reveal. We're talking about identity, about the past, about legacy and interiority.” Revealing the small tragedies and great absurdities of our modern lives, bringing together well-known and ambiguous figures from the world of the circus—the clown, the acrobat—the work of the Greek choreographer is at once melancholic and funny, and plays on theatrical conventions with the audience, in all simplicity. Between levity and tragedy, within a plastic world that pays homage to some of the greatest European painters—Botticelli, Raphael, El Greco, Rembrandt, Magritte, Kounellis—Dimitris Papaioannou sets the bar high and asks all of us to “exhaust our lives” and to give everything we can before leaving this world. This quest for grace and beauty is neither relaxing nor contemplative.

在疫情封锁期间，帕帕与德国舞者Šuka Horn共同创作的这支40分钟的双人舞作品

一个人回家，一个人拉撒吃喝睡。