For the second time, Dimitris Tarlow deals with the work of Henrik Ibsen, the basis of all modern European theater and, according to him, the forerunner of psychoanalysis. “A Doll’s House”, which is on the 9th of the month at the Poreya Theater in its own translation, production and production, with Eri Kyrgia as co-dramatist, when it was first presented at the Royal Theater in Copenhagen, in 1879, caused ” a storm of controversy” in the theatrical world and in a prejudiced society.

The hypocrisy that can creep into a marriage, false ideals, the consequences of superficiality, lies, blackmail, violence are some of the things the play touches on. In such a setting, the marriage of Nora, played by Lena Papaligura, and Thorvald Helmer, played by Giorgos Christodoulou, collapses due to the exposure of lies and mainly lack of communication, and the “doll wife” decides to leave their house. . All this is half a century ago. What woman could rebel, leaving her husband and children? Who could she be or does she want to discover in a purely male society, “with laws issued by men, and with prosecutors and judges evaluating women’s behavior from a male point of view,” as the author wrote?

Who could Nora be today? “A girl from a wealthy family who lives in Kifisia, studied at a theater school, dubbing, married to the head of a large company and at the same time is a woman who hides so as not to give herself away, and thus becomes subordinate to the people around her. There are many such well-intentioned women who have agreed to operate within a false framework. That’s what a dollhouse means: a place of dead feelings. When he discovers that real contact is needed, and not social promotion, the reverse process begins.

Thorwald is basically a gentleman with lifestyle ideals, he loves trendy bars and has a good wife, but he lives without realizing that he has neglected neither Nora’s needs nor himself. He wastes his life and pays for his choice.

A feminist manifesto for many, for Dimitris Tarlow, as he says in K, “A Doll’s House is something more.”

A feminist manifesto for many, for Dimitris Tarlow, A Doll’s House “means so much more.” For him, an important issue is how a person reads works. Often viewers find it difficult to recognize classic texts in some downloads. “This is in the context of a kind of artistic narcissism, where the director is higher than the writer. Fortunately, this opens up a discussion about how to treat the classic text. There is a big difference in how to bring the work into a more modern form, so that some things from the 19th century are not heard, and in inserting your own or some literary works, etc. And this happens for the purpose of advertising, so that someone gets a patent. But it is important to do the deep work so that the result highlights the complexity of the relationship, especially in such an important project.”

A notch in the social reality of the 19th century, as well as today, characterizes the “Doll’s House”. Among his most difficult roles, the director considers “Ibsen’s remark that people seem to have one relationship, but in fact it is something else, as well as the last scene between Nora and her husband. The big question is whether Nora’s decision is within the bounds of morality. There is no answer to this question either in the play or in our performance. There remains the big question of human relationships. It seems that her decision is not entirely desirable, but painful and necessary.

All this Tarlow wanted to talk about at a time of many femicides, complaints, burning and topical issues such as violence against women, as well as more complex things, such as marriage. “How does the institution affect their lives, how much does it change their sexuality, what is right and acceptable and what is not, how do we raise children, are we all capable of raising children. Modern parents often communicate with their children through a tablet. Personal contact between parents and children in many families is reduced due to lack of time or interest, and children grow up alone or with another person. It’s also about what it means to bequeath to my children the life I choose.”

Civilization, state and big fish eating small

Nora’s husband cannot make decisions about his life, but support his wife. “He is not hateful, but a tragic figure. The project is relevant for this reason. We see men exploiting women, but we must also see the opposite, how men are unable, because of the way they have been brought up, to take on their responsibilities in order to exist as sentient beings.”

We are discussing the parent-child relationship that the play touches on, and children’s happy voices are heard in the background. This is newcomer Filio, who recently appeared with him and his wife Stella Giovani. The relationship between 16-year-old Philippos and 15-year-old Manio from his first marriage is good. “They trust me, we discuss what concerns them. Recently, in connection with Cavafy’s poem “As Much as Possible”, which was staged at school, Maniu and I talked about the trivialization of everyday life. I have given as an example the way I will choose to make a referral. I’m not a saint, but I usually act within the bounds of morality. She understood and gave me her example. That she refused to follow her band, who chose a popular singer live because she didn’t like it, even though the trend was to follow everyone. It was right, she insisted on her point of view on what she does not accept. I’m not the perfect dad who takes his kids to events. I am very busy with my creative activities and this may cut me off from a part of everyday life. Philippos and I will go to the stadium together and discuss. Like a dream that scared him. It was about death and what we do while we are alive. You have to allow yourself to become a fan and shout for AEK and see an open rehearsal, I told him. They always tell me their opinion about the show too.”

“When the years have passed and you are middle-aged, you must forgive your parents in deeds, not words, on your own.”

His own relationship with his parents? “The whole context is condescending. When the years pass and you are middle-aged, you must by your own strength forgive your parents in deed, not in word.

Six productions (both co-productions) of the Poreia program this year started off with strong pre-sales. With over 3,000 tickets a month before the release of A Doll’s House, it’s “the best pre-sale since The Great Chimera.” The “dream of the funny” by DIPETHE of Crete is also full. Grants are a thorn in the side, “unfair to those who did the two-year planning. You cannot, for example, get 50,000 euros for planning five projects and 30,000 euros for another with annual planning.” The Fiery School of Dramaturgy continues – in April another work that arose from it, Garamond 12 by Maria Dreamy, came out – “but I don’t know to what extent it will be possible to save the school. It’s a matter of sustainability.” There is no support for masterful and modern Greek work, although, as D. Tarlow says, “we have for the first time such an organized interaction between stage practice and education.”

There is no initiative to participate in international festivals. “How a person perceives cultural politics is a question. In Lithuania, they consider their culture to be heavy industry, which their directors also promote with performances abroad. There is no such thinking here. Large organizations such as Steg or Niarhos take it upon themselves, but I don’t think it’s right for there to be no government involvement. The relationship between the state and large institutions should be different. Why should it be a monopoly of large private organizations? In this wild reality, everyone is trying to survive as best they can. But big fish eat small ones.