The Municipality of Athens and the Karolos Koun Art Theatre signed a Memorandum of Cooperation with a common vision the strategic promotion of Athens into an international hub of contemporary theatrical creation and a model of utilizing theatre as a tool of democracy, culture, education, and sustainable urban development.
In this framework, the Mayor of Athens, Haris Doukas, and the Artistic Director of the Karolos Koun Art Theatre, Marianna Kalbari, presented the program “Athens World Theatre Capital,” which constitutes an initiative of the Karolos Koun Art Theatre.
The program begins with a prospect to grow gradually within the next three years: from the support of new dramaturgy and the first presentations of works, towards theatrical production and international co-productions, in parallel with educational, social, and cultural actions that will have permanent annual presence in the calendar of the city. The aim is the gradual establishment of Athens as an international hub of contemporary theatrical creation.
The Mayor of Athens, Haris Doukas, stated:
“Today, in the city that gave birth to theatre, we take a big step to bring it back to the global forefront. Theatre is the living vein that feeds our identity and our Democracy. With our partnership with the emblematic Karolos Koun Art Theatre, we commit to keep this vein alive and to open new paths of artistic expression with events inspired by the structure of the Ancient Dionysia. We want Athens to become a reference point for international theatrical co-productions.”
From her side, the Artistic Director of the Karolos Koun Art Theatre, Marianna Kalbari, stated:
“With the ‘Athens World Theatre Capital’ we look again at theatre with the gaze of the city that gave it birth. Our aim is not only the artistic work, but the creation of a common place of meeting, learning, and cooperation, where skills are cultivated, where access is for all, where the bridge culture–education becomes everyday practice.”
The program constitutes a multi-level cultural tool that is inspired by the structure of the ancient Dionysia.
Within the framework of the cooperation, the Municipality of Athens will utilize the conception, the know-how, the structures, the networks, the human resources, and the artistic programming of the Art Theatre as a strategic partner for the planning and implementation of the specific program with emphasis on quality, participation, international extroversion, and the historical identity of Athens.
The four axes of the program
“Athens World Theatre Capital”
1 – Theatre and City
At the heart of the axis are the following interconnected institutions:
Small New Dionysia (December)
Competitive festival of Greek dramaturgy that is accompanied by workshops, presentations, and networking actions of creators. The works that are distinguished enter a targeted path of development through feedback workshops. Aim is for Greek works to be selected and then presented in the competitive international festival of the Great New Dionysia, creating a clear “pipeline” of extroversion of Greek dramaturgy.
Great New Dionysia (Spring)
Competitive festival of international dramaturgy, where new works from Greece and abroad are presented, evaluated by international committee, and distinguished. Each year includes a tribute to an honored country with special presentations and exchanges, as well as educational actions, public discussions, and a complete cycle of professional networking with presentations of works, prearranged meetings for co-productions and tour planning. Aim is, within the next years, for international theatrical productions and co-productions to compete, culminating in a great award ceremony of international theatrical prizes (Athens Dionysia Awards) that will highlight creators and innovative practices based in Athens.
Dionysia Agora (Agora of Dionysia)
Original theatrical market modeled on the major markets of film festivals: organized environment where theatrical organizations, festivals, troupes, producers, translators, and curators from all over the world promote repertoires, close collaborations, and design co-productions. Presentations of works and groups, work meetings by appointment, thematic networking tables, “catalog” of productions in progress, and special sections (e.g. honored country) compose the framework. In parallel, through the digital platform Dionysia Digital (submissions, documentation, network) will operate catalog of works/organizations, appointment system, exchange of material, and monitoring of progress within the year. Aim: the establishment of Athens as a permanent theatrical hub where every year productions are launched and networks of cooperation are built.
2 – Theatre and Demo-cracy
Theatre functions as public space of expression, dialogue, and consultation: specially designed performances-reasons for open meetings, lead to participatory dialogue with citizens and bodies, with possibility of both live and digital participation. The city tests in practice democratic practices on stage.
Starting point of the process is the specially designed for this purpose performance “The Drama of Democracy,” with path from the Kolonos Festival of the Municipality of Athens (28/9) up to the beginning of the theatrical season 2025–26 (from 3/10) at the Basement of the Art Theatre.
3 – Theatre and Experience
Experiential, multilingual performances–tours–meetings with the history, mythology, the ancient theatre, and the contemporary life of Athens. Visitors and citizens participate actively and know the city through the living theatrical act, shaping an innovative cultural experience.
Starting point is the action “Athens Acting Ancient Drama” with its first version, “Medea Reloaded,” specially designed for this purpose, in Greek/English language, that is presented the season 2025–26 at the Basement of the Karolos Koun Art Theatre.
4 – Theatre and Social–Educational Work
Theatre for education, empowerment, healing. With tools collective narration and research, skills of expression, cooperation, and resilience are cultivated that give voice to all social groups. The results return to the public sphere as actions, presentations, but also complete performances that carry the imprint of the people of the city.
Starting point is the performance “Penelopes and Penelopiades,” the dramaturgy of which will emerge through a cycle of workshops with Athenian women citizens, where personal narratives, experiences, and reflections on the position of woman today will be translated into stage speech. Thus, the performance will function as living proof that theatre is not addressed only to citizens, but is co-shaped together with them and returns to the city as common property.
In the age of technology and instability, theatre remains the irreplaceable public space of living meeting, dialogue, and interconnection of citizens: the place where the city listens, speaks, co-creates, and moves forward.
