to Yannis Neros You don’t like “good” roles. He played an autistic child “Who killed the dog at midnight?” and took to the stage for three seasons as George Gerakaris, a son rooted in his troubled family “Stella Sleep”, among many others.
In fact, the actor also received Horn Award for his role in his programme Yannis Economidis, with whom he later collaborated on its musical adaptation “matchbox”, Directing and writing the music for one of the most talked about shows of the past winter.
However, he also starred “players”theatrical adaptation of Nikolai Gogol’s work by George Cutlis As a unified card player. After two years of sold-out audiences, the show is gearing up for its one-on-one summer tour Which starts on Wednesday, June 21 at the Catraccio Theater in Nice and ends with two performances (July 19 and 20) at the Municipal Garden of Papagou Theatre.
What does he himself do to keep his enthusiasm playing the same role over and over again? He invents new tricks and makes sure he doesn’t take himself too seriously.
– “The Players” returns in the summer after two years of successful shows. When you’ve been playing a role for so long, how does it evolve and how do you evolve within it?
—and trying to keep that thing interesting for you, too, gives you a lot as an actor because it keeps you on your toes, not bored, not to do the same things. It’s not easy.
Do you “hold on” to something every time so you don’t get bored?
– You make it like a game to yourself, every night thinking about it. Everyone handles it differently, I tell myself “don’t do what you did yesterday”.
– In demo play rom. That hero you “see” in the real world?
– You will certainly see him in a gambling club. You’ll also see him closer to you, the guy who wants to get along with everyone, who tells everyone what they want to hear. This person can be in any capacity, from a boss to an employee, to an artist, to a politician, the person who wants to be liked.
The roles we see you in are usually a bit perverted. Is it a way for the actor to deal with his own darkness?
– It’s definitely more interesting than playing the good guys. No role is boring, but these darker roles give you a chance to do things you’d never do in your life (I hope). They turn you on so much more.
– While performing these roles, have you ever fallen in love with these heroes?
– Yes, because you no longer see them as heroes, but see yourself in this very situation. So it’s no longer about liking another, but understanding yourself in that situation, being you, a true manifestation of yourself.
– Has it ever occurred to you to discover your items that scared you?
– No, I did not experience such psychological breakdowns.
Going to a more general topic about Greek theater which has seen #MeToo exposure in recent years. Have you seen, as someone who works at it, and given that it’s been around for a respectable amount of time, that things change?
– Those who were not well, are afraid. I don’t know if their worldview has changed, but they are definitely afraid to express themselves, and that’s okay.
– Has a path already been opened that would make us never see such phenomena again? And what would have to change radically to make this happen?
– For a radical change, human nature must also change, which is very difficult. There will always be people who want to abuse their power and harm another. This does not change with movement. But things are getting better and that is hopeful.
– I imagine something very basic is that the logic of the main exit does not exist.
– Yes, it must be stopped because it is harmful to the job, and the manager’s fear is also useless. This was very common.
– Is this thing living in the younger generation or has the mold been broken?
– No, it broke between us. There is no way I would ever tolerate such a thing, nor would anyone else, for that matter. And a lot of times the above is done in the name of respect, you’ll say, “Well, boy, he’s big, he’s very respected in the field, don’t contradict him.” But between us there is no such thing, there is mutual respect, it is something more equal and difficult to happen. Between the young people there will be a dialogue.
– Returning to you, one might say that so far things have gone very well for you. Have you ever “shopped” her a little bit before?
Nothing crazy, within reason and on a funny scale. Whatever shopping I carried when I was young, I carry it now, not fly. I’m not going to lose my mind either, I understand that it’s all subjective and ultimately stupid what you did and what you didn’t do.
– But to do this job, doesn’t it require you to be a little shopper?
– I think this has a grain of truth in it, in the sense of being comfortable exposing parts of yourself and your body. It’s not about how casual you are, it’s about being comfortable with exposing yourself and being willing to do so.
Was it easy with this show or did it take work?
Some parts were too easy. It’s easier for me to go all out and laugh, but harder to get upset or angry on stage. These are the things you struggle with when you play.
– Since you’re telling me so, making fun of yourself a little bit is a coping tool?
– Yes, in all jobs, achievements or failures, it is always necessary to look at them in a comical way. You are a small speck in the universe, who cares?
As you move forward and do things, are you raising the bar for yourself? Are you tough with him?
– Yes, unfortunately, I have to prove to myself and those around me that I am doing it professionally. It would be nice not to have that. Let what you see is a blank piece of paper, and you don’t know who you came to see. In this sense, being an amateur is a much nicer state of being aware of art and yourself. And the other person comes to watch the performance and sees the role, not the actor. This would be a perfect world. But the more you play, the more people will come to see you. It has the advantage that it is easier to confirm what the other person has in mind, good or bad. This is where the point of the case gets lost, from what you really see.
– Can you, respectively, see your colleagues as a blank slate?
– It’s so nice to play with someone you don’t know and discover him as an actor along the way.
Before you became an actor, you were a clown. What’s harder to make a room of children laugh or move an entire square in the playhouse?
– With children it is easier, because they are good-natured and have already come to their friend’s party to have fun. While in theatre, it’s very common for someone who has been “pulled” by someone to come over, because they have an obligation.
– But aren’t children also tougher judges?
– They are, but they are much more benevolent. You’ll make a joke on them and that’s okay. They’re here to have a good time, no matter how stupid you are, as long as you show you’re there to have a good time, that’s enough.
– What did your experience as a clown give you later as an actor?
I kept a lot of stuff. Neglect required, that theater starts by putting something in my head and telling a joke. Even if you go to Epidaurus to play, the basics are the same. You will put on something, you will disguise yourself, you will say a few words, it is not shocking.
– Does this thinking make you not feel stage anxiety?
– Well, alas, I always have it.
You said that without theater and acting you would be a very dull man. Are we all basically boring? And is that okay?
– I agree, of course. We don’t need to deal with something so shocking. We all want to be more than we are. But when we accept who we are, everything is so much better.
“The Players” by Georgos Kotlis starring Yiannis Niaros will be presented at the Catrakio Theater in Nice (21/6), the Frachon – Melina Merkouris Theater in Byron (26 & 27/6), the Vecchio Theater in Piraeus (29 & 30/6) and the Municipal Theater in Iliopoli” Dimitris Kentis” (4 and 5/7), the Petras Theater in Petropoli (10/7), the Orestes Makris Theater in Chalcis (11/7) and the Municipal Garden Theater in Papago (19 and 20/7).
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