Tell me a few words about the show.

It is a new play by Yasmina Reza which was first performed in Germany by Thomas Ostermeyer. It is a play which was created for the actress Nina Hoss who played the leading role. When the rights were released by Saubine with great pleasure we decided to present it in Greece. We are one of the first countries to present the play after Germany. A first, then, directed by Manos Karatzoyannis at the Stathmos Theatre and translated by George Archimandritis. It is a play with Beckettian references with poetic symbolism and sometimes speech, with highly sculpted characters with a depth of psychoanalytical depth but also a sparkling comedy.

What is your role?

My role is Françoise, who is an independent woman, a feminist and a member of the bourgeoisie. She's divorced from her first husband and has been a couple for two and a half years with Eric whom she doesn't want to marry. She is oppressed by patriarchy, hypocrisy, oppression and abuse of women by men, pink women. All this creates an underground hysteria for her, as she is not happy with the relationship and life. She is due to bourgeoisie conservative and judges too easily, like most people. She freaks out with Andrea at the beginning of the play, but then through the oppression they both have suffered in their relationships they kiss. Françoise breaks her facade and is set free through this night of many twists and turns.

What do you like most about this show?

I love the comedic pace and how well our director, Manos Karatzogiannis, has worked the characters. Also, the communication we have as actors. Also, the different levels of the play, the poetic realism that runs through the play and the many surprises and twists that happen in just one night.

What challenges do you face in relation to the role you play?

Françoise is completely unlike me. Since she is a conservative person on the verge of a nervous breakdown permanently and uses a mask. I am unfortunately or fortunately quite spontaneous and very, very relaxed in my life. So I had to understand the way she sees reality and that ultimately moves me. I understand her and I loved her very much. The organization she tries to have in her life in detail and not let anything slip through the cracks is there because she tries to hide the hole in her soul. She seeks balance and joy. In fact, she has a monologue in which she describes that her dad, who was rather too strict, was always scolding her, always "schooling" her, always pushing her to be right and perfect. Françoise tries very hard to earn this "thumbs up" from her father and from her family. We all want to hear that "thumbs up". She is asking for attention. She wants to be noticed.

What character traits do you think have helped you in this demanding job?

If we mean the job of an actor then I think the elements that have helped me are donkey patience, optimism and an "oh you're not bored bro, let's move on". Like a phoenix rising from the ashes, but I think we all do it because of so many daily difficulties.

How do you handle criticism; positive or negative?

Criticism doesn't concern me because I think art is a free field anyway, quite subjective. It is a form of expression with objective rules but we live in a free country. So there the criticism is the experience of that expression and when criticism is subjective it is always welcome because it opens the door to dialogue and communication. When criticism is dogmatic, didactic and well "objective" it is so outdated and blind that it does not concern me because I don't think that way. We are calling for another era, another way of thinking, horizontal.

Have working conditions in the art world changed since the#metoo movements and the scandals that have erupted in the last 2-3 years?

In general, we have a very important union and colleagues who are working very hard to be able to improve some conditions and have our labour rights properly represented and be able to work in a healthy environment and with healthy wages, conditions, etc. Still, of course, spring has not yet come. We are still underpaid and there are pathologies, but we all hope that at some point everything will slowly get back to a more normal rhythm. Collective agreements have also been signed.