Returning to the Source of Ancient Hellenic Theatre
Welcome to Imalis,
Imalis is a research and training center dedicated to the study of the performing arts in the Ancient Hellenic tradition. Imalis proposes, organizes and hosts a wide range of activities from in-depth professional workshops in the performing arts to healing and self-development retreats for the general public, conducted on location, and offering dedicated spaces and direct access to the archeological spaces.
Announcement: 2016 Marks the Successful Completion of Imalis' Cultural Development Initiative
With the announcement of Hellenic Festival's establishment of an international school in Lygourio under the leadership of its new director Mr Vaggelis Theodoropoulos, we recognize the completion of our third mission goal of bringing cultural development to the region and its closure
We are proud to have set the model for Hellenic Festival in its participation in our projects with Bradfield College (UK) in 2015 and Hippokrene Font with Castallan Pool (UK). Further, our three year collaboration with Central Saint Martins College - Drama Centre London served to guide and educate the local government and the Ministry, and Hellenic Festival in the pursuit of their efforts to find the solution to the impasse first proposed to them in 2011, concepted, implemented and successfully tested by Imalis and signaled internationally through many conferences and collaborations.
In its unanimous vote of our NPO House of Neuses' initial proposal in 2011 to the current Mayor of Epidauros, Mr Kostas Gatsios, the Municipality of Epidauros inaugurated the creation of the first historic center for research and training in Ancient Hellenic Theatre in Epidauros:
Imalis indeed was the first such initiative to challenge the stagnant and exclusionary policies , lack of transparency and the micro-politics of the 4th Ephorate of Archaeology, and the Scientific Committee for the Preservation of the Monuments of Epidauros (SCPM of Epidauros), and their representatives Mrs Papadimitriou and Mr Lambrinoudakis and the special interests which continue to monopolise and exploit Greece’s cultural heritage for narrow benefit.
Within the break down of the economic, social and political fabric caused by the Greek crisis, Imalis represents a pioneering and heroic venture that successfully opened the avenue for larger and more powerful entities to finally take note of the gap created by their own exclusionary policies, and perpetuated by their representatives until now. We are hopeful that Hellenic Festival's Lyceum marks the end of these practices.
It is unfortunate, however, that as is typical here in Greece, not only was no recognition or support ever given to Imalis' initiative by these authorities whose public mission is precisely that, but on the contrary, it was from the outset barred from access to the spaces for the very same activities of research and education now being undertaken by Hellenic Festival and the Municipality of Epidauros.
Any thinking artist or educator will see that these policies and the ethos they build serve neither local artists and cultural operators like ourselves, struggling to survive in the present crisis, nor the international community of practitioners and researchers, nor, indeed the tradition and the heritage we share and serve. We are certain that Mr Theodoropoulos, as a fellow artist and Hellene, and the successor to Jan Fabre as Hellenic Festival’s director is aware of these issues and sensitive to his own legacy in the role he has undertaken.
After all, what every artist and educator participating in the Lyceum needs to consider here is why should a public entity such as Hellenic Festival, as opposed to any other bona fide educational and artistic entity like Imalis, be the only one allowed access to our common heritage? And if such an entity is invited to do so, trampling underfoot the very same work done by others before them, then in what is it acting as an entity serving the public interest? It is not.
We are hopeful therefore that Mr Theodoropoulos and the Committee of Hellenic Festival, and their partners in their own initiative of the Lyceum of Epidauros will not allow Imalis’ initiative to be a victim of the same deplorable ideology represented by Mr Fabre, and that they will lend us their support and openly share access to the resources and legacy of the tradition we share and serve equally.
We wish our colleagues the best success in their endeavor and look forward to continuing our collaboration with them in the future.
We are thrilled to announce that we are presently in the final development of our first full fledged production, to be staged for touring Europe and the US in late 2017, more TBA, shortly.
We continue our research in the areas of the ancient actor's practices and techniques, particularly in the areas of the interaction of space and the process of catharsis. We will be posting further announcements as we enter 2017.
Come work with us - Imalis welcomes the inquiries of independent artists, schools and institutions who wish to honor the spirit and science of the Ancient Hellenic Theatre tradition to train, research and develop in Epidauros. You can see some of our work on our YouTube channel http://www.youtube.com/user/ProjectImalis. For more information, please email us at email@example.com
State University of California, Sacramamento - Imalis has been invited to Sac State to lecture and offer Master Classes on Ethopoetics. Sac State’s Theatre department has been using Imalis’ method in their teaching of Ancient Hellenic Theatre.
Hippokrene Font 2015 - the second year of a multi-year project, the Hippokrene Font is aimed at the creation of new works in lyrical theatre by a select group of both young and established poets, performers, and other artists. They will gather in Epidauros to develop new forms of dramatic verse, its application and expression, and to present the outcome of their work. 2015 greets Simon Mundy, Vasilios Arabos, Chas Libretto, and Louis Butelli in Epidauros.
Working Sessions - We continue with our annual working sessions, with sessions planned for Summer and Fall 2015, as well as Spring 2016. Sign up now…..
Paideia Institute Imalis welcomed representatives from Paideia in Nafplion this past January, and 2015 marks the beginning of what we feel will be a strong and fruitful collaboration.
Psittacus & Cyclops - Imalis and Paideia will be bringing Psittacus’ award winning rock opera Cyclops to Greece this summer, a musical adaptation of Euripides’ play.
Digital Imalis - We have been hard at work developing and extending our capabilities in the digital world. We are currently implementing collaboration and conferencing, mobile apps, and a full complement of tools dedicated to the translation, sharing, propagation, research, and evolution of new materials and sources, all on on proprietary and dedicated iron. For more, follow the link…….
Train on site
Located in immediate proximity to the twin ancient theaters and sacred healing centers of ancient Epidauros, Imalis offers in situ immersive experiential practice and study in the arts of the ancient stage.
A vital learning context
Our work seeks to bring together local citizens, international artists and seasonal visitors into a vital learning context for cultural exchange and self-development, in one of the most unique natural settings and cultural destinations of Greece, and indeed the world.
Art & community
Imalis fulfills many important roles at once. It is an international network of collaborating artists and organizations, it is a partnership in local development and it is an artistic process.
A healing center
As its name indicates, Επί της Αύρας “upon the aura,” the sacred site originally chosen by the Asklepian healers of Chios retains all its telluric and healing qualities, which any visitor can experience to this day.
1. dances & music that were performed around the well to celebrate the rising of the waters in springtime.
2. an international performance research and training center in the arts of Ancient Greek Theater in partnership with the historic township of Epidauros.
Ancient Theatre - Ancient Path
We imagine it overgrown. Though in the rough hills of Argolis, in reality far less than what we picture.
How does one find the path that leads to the palace of Orestes and Electra.
And there is a wall, they say, with no door. Ever crumbling by day. Blind, deaf hands rebuild it every night. It too is old. Older, even, than Greece. And keeps us out.
Speak to the wall for the door to hear. And you will enter the ancestral palace.
Walls, locked doors and labyrinthine corridors.
Shadow of Orestes on the new Millennium
What lies hidden behind? Walls, surfaces, interiors... landscapes, clouds and mirrors. Poor Orestes. One must multiply before one can divide. Poor brother, poor sister. Faces both familiar and strange. Masks. Ancestors and Gods, both forgotten and real, living and dead. Father... Echoes, symbols and the emptiness of space. Loss, and open sky.
For whom is the bell ringing in my Father's house? Whose lonely voice bellows in the courtyards and empty halls? Hungry, loveless, outraged... monstrous.
What lies in the ancestral palace. The monstrous and its ironies.
Tragic, pathetic, laughable. Oh, so terribly human.
Mother... A door into the tradition.
We continue, one step further down the path of ancient ethopoetics. How do we speak to the wall for the door to hear? The amphitheater seems flat and empty. Yet this is not just an illusion.
Opening a path. It seems simple. A path with heart. A thread, a bobbin that love alone unravels.
Sister. Take your first step, dancing. Surely this is a trap...
This year we are once again proud to have several outstanding artists and teachers joining us in our journey. We invite you to browse our site and learn more about our upcoming workshops as well as the open work sessions which we regularly schedule in the Spring and Fall of every year.