The temporality of Th. Triaridis "embraces" past, present, future in an endless loop. Just as his spatiality progressively escaped the narrow limits of the theater and identified with the "everywhere," with "wherever there are people," so too time with this work touched the "always." It is a work condemned to be performed "as long as there are people." The theatrical community of an hour and a half, which he referred to in Football, can now be a community of hours, days, months. And a community in which everyone – even the actor – is themselves, in which all are encouraged to speak, act, and react and in which one lives for days, months, years is no longer a theatrical community. It is the world.

AFRODITE FLOROU

In Kukoula’s Triaridean universe, repetition is a return to the inhumane condition of every citizen of a state that "must not worry," as everyone is now "suitable for everything." However, for it to function, it presupposes the participation of the audience, a kind of modern "tragic irony": for the reader or viewer, this repetition does not entail any real hope; it essentially constitutes an emphatic declaration of resignation or consent of a society that does not mobilize against anything monstrous imposed upon it.

ROZALI SINOPOULOU

The heroes are not merely pawns of a power, but bearers of a "voluntary obedience." Just as Helen in The Trojan Women was the pretext for a disastrous war, so the hood in the play becomes the symbol of a constructed truth that leads to the loss of humanity. Beauty and horror can coexist, creating an aesthetic that provokes "pity and fear," shocking with its normality. The performance neither wagging a finger nor moralizing. It is a political act of resistance against oblivion. The spectator leaves having experienced a modern "hubris," forced to confront their own share of responsibility in social disintegration.

ATHINA PAPPA