The new performance prepared by Yiannis Huvardas at the Art Theater is reminiscent of a horror movie. The action takes place in a remote dark hotel somewhere in Central Europe. Lonely owners, a mother and daughter who dream of escaping the North and living in a country where “the sun devours everything”, rob and kill any passing customer. The son was not spared when he returned 20 years later to his homeland with his young wife. His decision not to reveal his identity proves fatal.

“This is not one of the works that is often staged, with so much darkness and horror that it carries,” says Marianne Kalbari of The Misunderstanding, written by Albert Camus in 1944 and presented on February 3rd on the stage of Frinichou street in her own translation . . Artistic director of the Art Theater and director, she doesn’t act often, but in this thriller, as she describes it, she plays an abusive mother alongside Flormaria Papadakis, Anastasi Roylos, Penelope Tsilikas, as well as Blaine Renninger, who plays live music he wrote for show.

“Misunderstanding,” says M. Kalbari, “is fraught with many secrets, darkness, and the whole philosophy of Camus about life, death, fate, imprisonment, choices that we make and do not make, they are afraid to reveal themselves to us. Those times when we take risks, wanting to test the feelings of others towards us. For me, the most important thing is what the author himself stands up for: You must tell the truth. Otherwise, you and those around you can lead to death.

The woman she plays is not your typical mother. She, as the actress explains, “is a woman whose heart is worn out, who has lost the habit of love. Sharp, cynical, dark, you don’t understand what she wants and how she feels. What’s interesting, but at the same time creepy, is that we don’t understand if this mother will recognize her son when he returns. A topic that the author leaves open to the viewer. When a child holds a grudge against a parent for something, this is normal. But when a parent holds a grudge against their child, it cannot be overcome.”

Written by a French Nobel laureate during the Nazi occupation of France, The Misunderstanding “is a work built on the Aristotelian rules of tragedy, and its plot roots can be found in both classical and biblical tradition.” Camus attributes his inspiration to a news story published in the Echo Algiers newspaper in 1935. In his novel The Stranger (1942), the author made a related allusion: “Between my straw mattress and the side of the bed, I found an old newspaper article (…) it was about the real news (…), but also about the biblical parable of the prodigal son who was killed by his family.

Leaving aside what concerns the work and performance of G. Huvardas, M. Kalbari talks about the historical theater she directs. How does he keep up with directing, writing, translating, teaching at school? “My path is directing,” he replies categorically. However, he is always fascinated by challenges. Such was her decision in 2014 to take over the leadership of such a theater organization during the financial crisis. Many happy and unhappy minutes have passed, as he says, “of the struggle and the constant search for everyone who comes here. The main thing that has changed is that many consider this theater to be their home, from which you can leave for a while and return. This is something I want to further strengthen.”

He has no illusions. “Kun is not one of us,” he emphasizes, adding, “We continue his legacy. Ensemble productions, works, directing, interpretations that have something to leave behind, new Greek works and a space in which to open discussions, experiment with an idea.”

“We often talk about the Kun era. The theater then was 1/10 of what it is now, and the actors were totally dedicated to what they were doing.”

He succeeded in meeting with agencies, gathering strength, but not financial independence. “However, for all these years we owe nothing and have not entered. But we always have anxiety about what might happen to us. As for the archive, we will sign a memorandum of cooperation with the Ministry of Culture in order to record and preserve it.” Without constant financial support, he notes, there is no repertoire, as on state stages. “In order for the show to happen, two or three producers have to be involved so that everyone gets paid. Versatility arose out of necessity. If the theaters managed to secure their artists and performers, there would be a core, time, concentration, brilliant performances. We often talk about the Kun era. The theater then was 1/10 of what it is now, and the actors were totally dedicated to what they were doing.”

To those who say that the Art Theater is leased to collectives, M. Kalbari answers categorically: “We enter into collaboration as co-producers after a good choice. There are many proposals that we accept, but they must correspond to the physiognomy and spirit of the theatre. This year, an attempt was made to use meetings and projects. Instead of uploading jobs for multiple impressions, let’s give them a location and a time. As happened with Anuig’s Antigone directed by Maria Protopappa last year, and revised this year with excellent results. Stella, a co-production with the National Theatre, was also shown live there, and here, having reworked it, Yiannos Perlegkas came up with something different. I want fewer performances to be made with the backbone of people who will stay at the Art Theater for two or three years, and then leave and come back.” Before Easter, eight new productions and co-productions will be presented. Everything points to the economy in the theatrical overabundance of that time. “When you don’t get paid decently in art, you have to do many things at once. Show excess is driven by necessity, not choice.” And, of course, because of the amount of people who come out of drama school every season. Every year from 16 to 20 people graduate from the theater studio of the Art Theater. They cannot work in theater or television. She experienced it herself when she was in school. “We are trying to protect a student who must understand that he will be taught for three years,” he replies.

From the early days when Marianne Kalbari took over Th.Technis, she said the authoritarian director model was no longer convincing. “Now even less,” he comments. Have there been any changes in the theater since MeToo? “To some extent, yes, because there is a hold when there is abuse of power, sexual harassment or abusive behavior. It’s harder to be kind and patient than to throw a tantrum and freeze everyone’s blood. Kindness takes effort.” Did he catch up with the much-discussed ashtrays thrown at rehearsals at the Art Theatre? “Yes, some kind of ashtray. In general, there was hidden violence everywhere. I caught it in education too. For those of us who experienced this as children, it was only natural to experience fear later on. I’m so glad it all came to light. Some say, “It’s made with MeToo.” It doesn’t matter, let it happen. To find a measure, let’s go to extremes. It’s okay to think twice or thrice before you speak so you don’t hurt anyone. I am afraid that women and men have been abused and have not even told themselves about it.”

As a director and artistic director, does she work according to theater quotas? “When I was first told about this, I reacted:“ Gender is not important, but the ability of a person, ”I replied. However, this is a way for more women to take up positions of responsibility and become the main creators.” When planning a program, she always has this in mind. “The theater,” he emphasizes, “should open roads. When everything is moving, you are bound to go to extremes until you find the golden ratio.”

At the Art Theater this year, he started a workshop for teenagers “Entering the Art” and is preparing a master class with interns and junior writers who will work on what comedy means today and how theater approaches problems that were not there before. (climate, energy, geopolitical crisis, changing morals, digital world, diversity, reverse gender stereotypes, etc.). Short films by new authors will be presented in the foyer before the start of the performance, at the “Second Call”, and will not exceed eight minutes. “The point,” emphasizes M. Kalbari, “is not so much in having new works, but in seeing how they will be written better.”

The show is a co-production between Malentendou, Karolos Koun Arts Theater and Panik Theater Productions.