Performance, 2018

Death is the ultimate theatrical act since it is the epitome of transformation.

Credits

Concept / Choreography  Lia Haraki
Performance Rania Glimitsa
Music Composition / Sound Design Stelios Antoniou
Scenography Yiorgos Yiannou
Camera / Editting / Picture Savvas Baltzis
Lights Alexander Jotovic
Technical manager Yiangos Hadjiyiannis

Duration 20’

Production .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture – Cultural Services, in the frame of the Dane Platform 2018.

Supported by Dance House Lemesos

Shows

Cyprus Dance Platform Rialto theatre

Press

Kathimerini Athens

Performance, 2017

Life is random and so is Lia Haraki’s new piece. Two dancers and a composer “cook” the piece on the spot by mixing words sounds and bodies in order to create a universe of randomness. As the human brain jumps from thought to thought allowing associations and references to mix and dance around over and under, so do the performers in ‘3 for random’. Time in the performance expands as the present moment becomes as important as any present moment can be.

Credits

Concept / Creation / Performance Lia Haraki
Creative collaborator / Performance Arianna Marcoulides
Music composition / Sound design Yiannis Christofides
Lights Alexander Jotovic
Mentoring Guy Cools
Graphic designer Despina Kannaourou
Production manager Yiangos Hadjiyiannis

Duration 40’

Production .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the Politismos program 2017.

Supported by Dance House Lemesos

Shows

Premier at Dentro theatre Nicosia October 2nd, 2017
Reservations 99517910

Open House Festival of Dance House Lemesos, October 6th, 2017
Reservations 25 340618

Performance, 2014

The Record Replay React Show is a solo performance where a soundscape is made visible and a landscape is made audible. 

In The R R R Show the artist is able to compose the piece live on stage, by producing and recording sound with the support of live loop recording. Once the first layer of the structure is recorded, it gets replayed, and the performer reacts on the already existing layer, thus creating more layers while navigating herself from order to chaos.

The first version of the piece was a solo performance Haraki made with the help of sound artist Christos Hadjichristou at the Rialto theatre in Limassol. The piece was presented again in different versions by keeping the performance method while changing the form by reacting to new sceneries and landscapes.

The RRR Show - Forget Amnesia (2014)

A new version of the piece was made for 'Forget Amnesia'  Fiorucci Foundation in Stromboli Italy, after an invitation of curator MIlovan Farronato. Haraki performed in a wonderful garden in the bottom of the huge volcano found in Stromboli.

The RRR Show -Treasure Island (2014)

Later the piece was invited to the exhibition ' Treasure Island' at Nimac after an invitation of curator YIannis Toumazis, where Haraki reacted to the sculptural studies for the Liberty monument found in Nicosia Cyprus that were placed inside the museum space.

The RRR show - Re-sculpting Freedom (2017)

This will is an extended version of the piece with the sculptural studies for the Liberty monument in the frame of the 'Terra Mediterranea' exhibition Nimac, at Theatro Polis invited by curator YIannis Toumazis.

Credits

Sound and movement composition/ Performance / Lights Lia Haraki
Sound advisor and technical support Christos Hadjichristou
Production manager Yiangos Hadjiyiannis

Duration 30'

Production by .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the Dance Platform programme 2014.

Supported by Dance House Lemesos

Shows

The RRR Show (2014)

Cyprus Dance Platform
 

The RRR Show-Forget Amnesia (2014)

Forget Amnesia-Volcano Extravaganza Stromboli Italy (Fiorucci Art Trust)
 

The RRR Show -Treasure Island exhibition (2014)

Nicosia Municipal Arts Centre

The RRR Show - Re-sculpting freedom (2017)

Nicosia Municipal Arts Centre

Press

Artforum
Fiorucci Art Trust
The Independent Project
Mixcloud

Performance, 2013

There's no greater story than ours. 
That of man and woman. 
It will be a story of giants.
Invisible, transposable. 
A story of new ancestors. 
Look. My eyes. 
They are the picture of necessity… 
From the film Wings of desire by Wim Wenders

The shape of necessity is a duet on love.

A coexistence of two bodies in space manifested in its most basic form: sharing weight. Depending on the other in order to balance, becomes a physical necessity. 

In The Shape of Necessity we come across a personal gaze on human relations, a crystal clear creative formulation, the artist’s deep need to express her vision and question-marks, through a specific form of art, an inspired choreography and an integrated dramaturgy. Using just the basic, only two human bodies on stage, exempted from any unnecessary element, Lia Haraki strictly speaks of the necessity of things in our life, giving it shape and form. In this piece, the choreographer has achieved something rather difficult: that the two bodies be two abstract instruments when needed, and again that they be real bodies with flesh and blood when necessary. 

Christiana Galanopoulou
Art historian, Artistic director MIRfestival (Athens)

Credits

Concept and choreography Lia Haraki
Performance Christina Patsali, Petros Konnaris
Music composition Green by Pandelis Diamantides
Movement advisor Arianna Marcoulides
Lighting designer Alexander Jotovic
Photography Pavlos Vrionides
Production manager Yiangos Hadjiyiannis
Produced by .pelma. Lia Haraki

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ programme 2013.

Supported by Dance House Lemesos

Shows

Cyprus Dance Platform 2013
European Dance festival Nicosia 2013
The Athens Festival 2013
Emotion festival Bassano del Grappa Italy 2013

Press

Il Tamburo di Kattrin
Naftemboriki
Lifo

Performance, 2013

Humans Being is a physical performance about being human together.

The piece suggests that accepting difference makes co-existence possible.

Five individuals connect to each other through basic physical characteristics and abilities such as breathing or standing on one leg or sounding together in unison. The several ways of existing/being together stand as a reminder of the uniqueness of the human animal and as an awakening to the limitless potential of its individual and collective nature on various levels.
 

Credits

Concept / Choreography / Creation Lia Haraki
Performance / Creative Collaborators Eleana Alexandrou, Petros Konnaris, Arianna Marcoulides, Christina Patsali, Constantinos Rizos
Live Electronics Chris & Terry
Lighting Design Alexander Jotovic
Graphics Despina Kannaourou
Production Manager Yiangos Hadjiyiannis
Production .pelma.Lia Haraki

ponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Terpsichore’ programme 2013.

Supported by Dance House Lemesos

Shows

Rialto Theatre, 2013
THOC Theatre, 2013

Press

Philenews
Cyprus Dossier
Euronews

Performance, 2012

Moving from side to side
from now to now
in a forever changing moment
allowing consciousness
to perform itself
in a dance without an ego
of a body without a mind
which tunes into whatever is
with no judgment.

Tune In is a solo performance by Lia Haraki.

In this performance the aim of the artist was to allow movement to be created from being, to silence the thinking mind and tune in to the breath and the beating heart. From a point of silence, the performer tunes in to the movement within and allows it to extend to the outside, embodying the everlasting present with her presence.  

The artist was interested in exploring how motion brings emotion and how by witnessing this process one can reach a new state of being.

Credits

Concept/Creation/Performance Lia Haraki
Music and Sound Design Pandelis Diamantides
Mentoring Evi Haraki Mahera
Lighting Design Alexander Jotovic  
Sound engineer Yiannos Ionas  
Production manager Yiangos Hadjiyiannis  
Production .pelma.Lia Haraki

Duration 40'

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ 2012.

Supported by Dance House Lemesos

'I still don't know whether a protagonist of Lia Haraki's practice is herself or energy that makes the self happen. Or an energy that depersonalises us in an intimate act that discards the notion of a protagonist itself. Practicing electro-muscular vibration with her is where I would like to send most anxious visitors (those that fear of missing things out and keep following 'the next thing') of oO to. They could experiment with new states of collective embodied identity at the pace of the pulse.'

Raimundas Malašauskas , Curator in the 55th Venice Biennale Art exhibition

Tour

Venice Biennale of visual Arts 2013
Cyprus Dance Platform
Point Centre of contemporary Art
European Dance Festival Cyprus
Kalamata International Festival
Bozar Brussels
The Athens Festival
Made in Dublin Festival
Tanec Praha, Czech Republic
Studio Works, Cologne
Korzo, The Hague
Nouveau Musée National de Monaco
The Fringe Festival, Home of Cooperation Nicosia
Halle 14 Leipzig, Terra Mediterranea Exhibition

Press

Lifo
From Stage to Page
This is Tomorrow
Parathyro
The Culture Trip
New Museum
Parathyro
Banish Thought, loose Yourself! by Yiannis Papadakis

Sensory Performance, 2015

SKIN is a performance for one person who blind folded enters a journey of listening and sensing.

The whole body acts as a gate of perception, receiving information mostly through touch and sound which trigger an inner playground of sensations, emotions and ideas to evolve. The work gives the opportunity to the one audience member to come in contact with a vulnerable and sensitive part of the self by allowing the piece to have an impact on their existence, even momentarily. 

The 3 performers in SKIN are never seen or announced allowing the work to exist exclusively in the perception and imagination of the spectator. The spectator becomes the main material for the performers and therefor a protagonist himself/herself. 
 

SKIN is
A tribute to vulnerability
A test of trust
A safe place to feel

Credits

Concept / Direction Lia Haraki
Performance / Improvisation Several performers (It is best for the piece their names to remain unknown)
Music advisor Panos Bartzis
Production .pelma.Lia Haraki

Duration 30'

In the frame of the summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers)

Sponsored by the Ministry of Education and Culture - cultural services

Shows

Summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers) July 2015
The Performance Shop November 2015–March 2016
Cyprus contemporary dance platform (parallel events) 2016

Interactive Performance, 2017

The Speaker is a 24 hour performance where a speaker is made available to play any song it is being asked to by the passers-by.

A speaker is placed in the middle of a busy square in town and is available to be in dialogue with any individual. The potential conversation usually ends up in a song request which the speaker will play and the individual enjoys in any way he/she chooses, either alone or with support from three performers who ‘happen’ to be there.

Credits

Participants Maria Kassapi, Andreas Louka, Vera Stylianou, Maria Tofini, Lia Haraki.
Music collaborator Panos Bartzis
Production .pelma.Lia Haraki

In the frame of the summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers).

Sponsored by the Ministry of Education and Culture - cultural services

Shows

Summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers) 2017

Immersive Performance, 2015

The performance is for a limited amount of audience (12 people) who are willing ‘to play’ and be involved in the fictional situations guided by actor Marios Ioannou. It is a show based on ‘transformation’ which soon gets established as a common code for everyone in the room! The audience becomes active by contributing to the creation of different realities and characters who have one thing in common: were not loved enough!

 The Active Spectator is a show for the performer in everyone!

Credits

Concept / Direction Lia Haraki
Performance / Improvisation Marios Ioannou
 

Sponsored by the Ministry of Education and Culture - Cultural Services.

Shows

The Performance Shop, 2015

Press

Sigmalive
Politis

Performance for children, 2016

Lia Haraki’s first production for a childrens’ audience is made of movement, music and vocal sounds which create a perfectly functional universe, without the use of text.

JAKATOYMBA is a colorful interactive dance theatre performance for children and for the whole family on the value of free expression, diversity and the magic of adventure. 

Yakinthi, a little girl, opens her last birthday present on the day of her party which is a microphone but is too shy to use it. In her dream she finds herself in a land of sound where the different characters who speak their own language together with the help of the audience, will encourage her to eventually find her own way of expressing herself.

The piece aims to be a reminder and an inspiration to children regarding the natural gifts they are already blessed with which are essentially creativity, imagination, the pleasure of experiencing the world through the senses, the strength of character when facing fears, the openness towards adventure and play, the courage needed for expressing one’s self and the joy triggered by movement and sound.

Credits

Concept / Choreography / Direction Lia Haraki
Assistant to choreographer Arianna Marcoulides
Dancers Arianna Marcoulides, Rania Glimitsa, Panayiotis Tofi
Live electronics and sound design Christos Hadjichristou
Music composition Costas Cacoyannis
Set Eva Korae
Costumes Arianna Marcoulides
Lights Alexander Jotovic
Graphics Despina Kannaourou
Marketing Elena Menelaou
Technical manager Yiangos Hadjiyiannis
Production .pelma.lia haraki
Many thanks to Stella Herodotou

Duration 50' with no interval
 

In the frame of the ‘TERPSICHORE PROGRAMME 2016’ of the Ministry of Education and Culture - Cultural Services.

Supported by Dance House Lemesos

The proceeds from the performances were donated to the Centre for Preventive Pediatrics in Limassol.
 

Facebook 

Shows

Rialto theatre Limassol, October and November 2016
State Gallery of Contemporary Cypriot Art in Nicosia as part of the Day of Museums, November 2017

Reviews

ELLVM
Cyprus Dance Discussions

Main sponsor
Cultural Services of the Ministry of Education and culture

Sponsors
Technological University of Cyprus
Limassol Cooperative Bank
Mama Toto
 

Supporters
Dance House Lemesos
Kids Stuff
Free Feet-Creative movement classes

Sound Performance, 2017

Word March is a vocal duet which happens through the intense movement of the two performers who are not seen but heard. The piece proposes the physicality of word in an audible choreography where the performers are in a constant dialogue of simultaneous talking and moving via repetition and variation. The viewing happens within the spectator’s imagination and expectation as they begin to formulate - in their mind's eye - what each sound might look like.

The power of the performers’ coordination was inspired by the women’s march in America in 2017 as an example of how unity and togetherness can be the strongest forms of resistance.

Word March starts with the phrase ‘WE NEED A PLAN B’ and continues with basic questions like:

‘giving up?’ or ‘getting up?’ 

‘Fight?’ or ‘hide?’

‘step?’ or ‘stop?’

Word March is a reminder that no one is alone when all is one!

The piece can also be presented as a sound installation in a room.

Credits

Concept / Choreography and composition / Performance Lia Haraki
Performance / Collaboration in creation Arianna Marcoulides 
Mentor Guy Cools
Rhythm and sound mentoring Christos Hadjichristou
Lights Alexander Jotovic
Sound engineer Yiannos Ionas
Graphics Philippos Vassiliades
Technical manager Yiangos Hadjiyiannis
Production .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ 2017.

Supported by Dance House Lemesos

Tour

Cyprus Dance Platform 2017

Reviews

Philenews

Performance, 2016


A soundscape made visible and a choreography made audible. The voice, the body and the music create a universe of drama. 

The first version of the piece was presented in the Cyprus dance platform in March 2016 and later as a solo performance by Lia Haraki to the sound of Christos Hadjichristou. The piece emerged out of the guilt adults feel knowing their generation is to blame for the death of nearby children. Through the artificial circumstance of the theatrical space we can be reminded of the responsibility towards life, in an age that makes uncomfortable those not suffering.

Credits, Duet version

Concept / Direction /Performance Lia Haraki
Performance and artistic contribution Marios Ioannou
Music composition and sound Christos Hadjichristou
Picture Christos Hadjichristou

A .pelma.Lia Haraki production with the support of the cultural services of the Cyprus ministry of education and culture.

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ 2015.

Supported by Dance House Lemesos

Shows

Cyprus Dance platform 2015 (duet version)
Old vinegar Factory–The Yard residency 2015

Performance, 2009

A piece about dance, but not necessarily a dance piece.

Through the lyrics of 80s songs, the choreographer initiates a conversation about dance stereotypes, by exposing the dancers’ biography in all its flawed and tragic- comic rawness. It is easy for audiences to become, in turn, attuned into the performers' humanity and humour. The result is the annulment of the performer-spectator boundaries through the continuous interaction between the two.

PretenDance is an extremely virtuosic piece with regard to the multiplicity of physical mediums used to comment on the art of dance, which catches the spectator expecting to see a straightforward Contemporary Dance performance, completely by surprise. It is rather, an investigation on that touching aspect of human intimacy, which is paradoxically communicated through bad acting and predictability. Hence the title: PretenDance. The magical game of creating realities, performing stereotypes, the bonding potential of pop culture predictability, all come into play in the visual language of this complex piece, deceiving in its immediacy. It is the first creation belonging to the practice Lia Haraki named Standup PerformDance. A fusion of the communication codes of contemporary dance and standup comedy.
 
An unpredictable, ironic, funny blurring of genres, with Pop Culture twisting the foundations of Performance to an explosion of hilarity, that leaves audiences feeling giddy. Yes, PretenDance is as bubbly as Coke, as touching as Fame and as memorable as Thriller.

Credits

Concept / Choreography / Direction Lia Haraki
Created and Performed by Alexander Michael, Lia Haraki
Mentoring Guy Cools
Art Direction Polys Peslikas
Vocal coaching Cathryn Robson
Lighting Design Alexander Jotovic

Production .pelma.Lia Haraki

Duration 30’

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance Platfrom’ 2009.

Supported by Dance House Lemesos

Tours
Cyprus Dance Platform
European Dance festival-Pallas Nicosia
Tanec Praha Festival

Performance, 2010

On self-liberation from one's own self

She is tall. She is slim. She is unique. She is charming and witty and passionate, with a double personality and some identity issues. She is GIRAFFE: both the title of biographical Standup PerformDance solo created by choreographer Lia Haraki and the alter ego of performer and interpreter of the piece, Eleana Alexandrou. A daring solo performance about self identity and self liberation that has moved audiences with its bittersweet humour and humanity.
 
How much of what others believe about us becomes part of our own self-concept? And furthermore, if we dare to liberate ourselves from the projections of others, do we in the end also lose a part of ourselves? These are the questions asked in the performance, the central element of which is Eleana Alexandrou's personal history. It brings to life the conflict rising between her attempts to define her identity according to her own personal standards, and the identification with the giraffe, a projection imposed on her from an early age by her social circle, on account of her height. Eleana interacts closely with the audience. She makes them part of the friction, the love-hate relationship with this animal-self, represented by a staffed toy.

Credits
Concept / Creation / Costume Lia Haraki
Created with and performed by Eleana Alexandrou
Props-Prop modification Eva Korae
Music Selection Loizos Olympios
Vocal coach Cathryn Robson
Production .pelma.Lia Haraki

Duration 30'

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ programme 2010.

Supported by Dance House Lemesos

Reviews
TheatreWorld
Lia Haraki Interview

Shows 2010–2011
Cyprus Dance Platform
European Dance Festival Pallas Theatre Nicosia
Kalamata International Festival
EUnion Southbank Centre London

Performance, 2009

Our body language has remained untouched by the advance of civilization. To watch it, is to witness a fascinating human ballet of gestures and expressions, of postures and movements, an every day ballet in which the performers need no training.
Desmond Morris

A fabulously white dance floor. A big pile of debauched beer cans. The stage is set for the human animal to… party! Party Animals, the highly acclaimed production of Standup PerformDance, by radical choreographer, Lia Haraki, comes in a glossy confection of pure Pop. Underneath the shiny surface, though, lies a daring new creation, based on the observation of the elemental aspects of animal behaviour, which make us human.
 
The audience is brought to sit on the stage, surrounding the central part of it, where the action takes place. Observation is cardinal here. What is observed is paradoxically familiar: three party guests during a party. The body language, the sounds, the hair, the clothes are instantly recognizable. They directly address the audience’s imagination, at first, using their voice to narrate the presence of absent elements pertaining to a fantastical set design. Yet, as the piece proceeds the vocal narration becomes itself abstract, governed by signifying sounds revealing exclamations and question marks. The performers’ physical presences also become ever more alien, through the startling use of the choreography, based on behavioural gestures. The richness of the human social animal’s body communication unfolds in this way, allowing the power that art has to challenge social conventions and to reveal the unfamiliarity underlying familiar territory, such as the space where a party is taking place.

Credits
Concept / Choreography / Direction Lia Haraki
Created with and performed by Arianna Marcoulides, Alexander Michael, Lia Haraki
Art Direction Polys Peslikas
Vocal coaching Cathryn Robson  
Sound Yiannos Ionas
Light Sakis Birbillis, Alexander Jotovic
Production .pelma.Lia Haraki

Duration 60'

Produced by the Athens and Epidaurus festival
Co-produced by the Dance House Lemesos

Shows 2009
Athens Festival Pieraios 260
Kipria Festival Cyprus (Larnaca Municipal Theatre)
Unesco Building Paris (Cyprus 50 year anniversary)

Dining Performance, 2010

The Feast is a dining performance with seven wonderfully rebellious, hilarious, and madly talented performers. It is a piece, where the personal biography and voice of each performer inspires and feeds the structure, being enacted in direct contact with the rest of the dinner guests: the audience. The Feast is set in a restaurant wing. A limited number of seats is preferred, for more intimacy. It is an irresistible opportunity to explore what the ritual of eating together really means, to smell the tension steaming up from the primordial instincts shaping our relationship with food and table etiquette. And best of all, to get a taste of breaking social rules. The team of performers at the feast do more than play with their food. They shake the legs of the table holding up convention and rattle the plates serving audiences’ expectations.
  
“One of the main sources of The Feast is the book, The Rituals of Dinner by the Canadian writer and historian Margaret Visser. In her book Visser describes how the rituals of dinner have as their origin the basic tension between culture and nature: men’s desire to keep under control and pacify his in essence violent and animal nature. Eating used to be devouring and the rules of etiquette that were developed all along humanity are covering up the rituals of cannibalism underneath.”
Guy Cools – Dramaturge
 

Credits
Idea / Creation / Direction Lia Haraki
Created with and performed by Eleana Alexandrou, Alexis Vasiliou, Evita Elia, Michalis Koromias, Arianna Marcoulides, Cathryn Robson, Lia Haraki
Dramaturgy Guy Cools
Song and vocal coaching Cathryn Robson
Music selection Loizos Olympios
Props Eva Korae
Costumes Christina Georgiou
Make Up Evi Haraki Mahera
Graphic Design Christina Olympiou
Production Manager Yiangos Hadjiyiannis
Movement warm up Arianna Marcoulides
Production .pelma.Lia Haraki

Duration 2,5 hours during which a two-course meal and dessert are served

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Terpsichore’ programme 2010.

Shows
Aliada restaurant, Limassol, 14 shows. 2010
Palia Electriki Restaurant, Nicosia, 4 shows. 2010

Performance, 2003

Topography
They say that a forest lives inside my house. Once, my house used to live in a forest. Our moving away from nature seems to be significant and nostalgia is characterized by the paradox of replacement. The verb "lose" undeniably accompanies (perhaps even determines) the history of humanity. Singing birds know this well. 

I abandon the houses and other buildings of our geometrical certainty. I am often drawn to the sensitive voices of dinosaurs. I am transported into forgotten historical and geographical landscapes. I create a forest-bibelot. I enter a parenthesis. Beauty kills us out of love.

My body is now becoming a storage space for classified knowledge and detail.

Theatre is, after all, a primitive virus with the intelligence to mutate and adapt. On the contrary, theatrical space is characterized by a specific dynamic which is architectonically determined (hardly flexible). The "micro space" of the stage desperately wants to function like the "macro space" of our reality.  The "virtual" nature of the video might allow for this modification to happen. My body is now becoming a storage space for classified knowledge and detail.
Christodoulos Panayiotou

Evergreen is a solo performance piece for a female dancer who moves on an empty stage where a monumental installation of plants eventually appears behind the cyclorama - a forest-bibelot. The piece ends outdoors in the road situated in front of the theatre through a live transmission showing the performer abandoning the theatrical space. Going home

Inside me,
Familiar and comfortable
I am constantly arriving into the next moment
adjusting to the now
all ways     

Lia Haraki
 

Credits
Choreography / performance Lia Haraki
Direction / Installation / Costume / Text Christodoulos Panayiotou
Lighting Panayiotis Manousis
Music John Dowland (Flow my tears), Henry Purcell (The plaint, Fairy Queen), Tobias Hume (Captain Humes Pavan)
Camera operator Christina Olympiou
Production .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture - Cultural Services, in the frame of the ‘Dance platform’ 2003.

Shows 2003–2004
5th Platform for contemporary dance (First prize), Cyprus
Break a leg festival, Croatia Zagreb
6th European Dance Festival, Cyprus
Aerowaves Festival, The Place theatre, London
Tanec Praha Festival, Prague
Julidans Aerodance, Amsterdam
Euroscene Leipzig festival

Press

Site-specific Performance, 2014

Dream On is a walk inside the dreams and desires painted or written on the city walls that stand as silent cries of awakening from the sleep of habit. It is also a walk inside the dreams and desires of the artists that made themselves available to become symbols of an utopic reality for a while. Just like in the context of dreams or in other words deepest desires or in other words secrets that were meant to be untold.

Credits
Concept / Creation / Programme text / Picture Lia Haraki
Performance / Creative Collaborators Arianna Marcoulides, Christina Patsali, Eleana Alexandrou, Kalia Maliali, Petros Konnaris
Costumes / Life shift mentoring Evi Haraki Mahera
Production .pelma.Lia Haraki

In the frame of the summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers), 2014.
Sponsored by the cultural services of the ministry of education and culture 

Dance Festival Cy
Nea Kinisi

Site-specific Performance, 2008

The house of Dr Spyros G. Pavlides where the piece takes place was built in 1901 in the outskirts of the town of Limassol, with elements of colonial architecture.

The very fact that every Limassolian would like to visit this charming house, makes the piece attractive even before the performance takes place.

On stage we create our imaginary environment. In this particular case the set already exists therefore we let ourselves be influenced by it, by feeling the absence of those who were once there and by believing that we, ourselves, had memories from experiences that never really happened. We become the guides of the space which is real, through an art that does not represent reality.

Credits
Concept / Direction Lia Haraki
Performance Arianna Marcoulides, Michael Koromias
Choreography /Texts / Costume Lia Haraki, Arianna Marcoulides, Michael Koromias
Piano Christos Savvides
Music Selection Christos Savvides, Lia Haraki
Warm up training Arianna Marcoulides
Production .pelma.Lia Haraki

In the frame of the summer festival of Nea KInisis (Cyprus new movement of dance groups dancers and choreographers), 2008.

Sponsored by the Ministry of Education and Culture - Cultural Services

Shows 2008
5th Summer Dance Festival of Nea Kinisis. Cyprus
Dance Festival, Cyprus

Performance, 2005

I am my body. The body as I, as me, identity, ego. But also as the 'eye' with which we explore the other and the world. Because after all, outside our sensory perception there is no experience and no reality.
Guy Cools

Allowing changes,
Transforming into me,
another me
Constantly being introduced to myself as a variation, of what I thought was once the essence.
Lia Haraki

Credits
Choreography / Performance Lia Haraki
Mentoring Guy Cools
Music Selection / Supervision Loizos Olympios
Artistic consultant Polys Peslikas
Lighting Panayiotis Manousis
Pictures Kevork Voskeritchian      
Production .pelma.Lia Haraki

Sponsored by the Ministry of Education and Culture – Cultural Services, in the frame of the ‘Dance platfrom’ 2005.

Shows 2005–2006
Cyprus Dance Platform, 2005
Leipzig-Euroscene Leipzig Festival, Germany
Dresden-Tanzherbst Festival, Germany
Julidans Fresh Dance, Amsterdam
2nd Mediterranean Platform for Contemporary Dance, Volos
Kalamata International Festival, Greece

One-on-one Performance, 2014

This is a performance where one can experience reality through the touch of a HAND. The spectator sits on a chair and is given directions through a set of head phones. He/She makes a choice of music and soon after puts his/her hand through a hole. The hand meets a human body on the other side, and the journey begins!

Concept / Direction / Music selection Lia Haraki
Performance / Improvisation Several performers (It is best for the piece their names to remain unknown)
Many thanks to Panos Bartzis

Duration 15'

Was hosted as part of The Performance Shop during 2014 and 2015.

One-on-one Performance, 2015

The silent dinner is a performance where the participant/spectator shares a meal with the performer in silence. The shared experience creates a space where both players communicate and meet themselves beyond speech. The performer guides the spectator to exchange worlds by sharing much more than food in an hour where personal realizations about morality and mortality reveal themselves in the most delicious manner.

Credits

Concept / Direction Lia Haraki
Performance / Improvisation Arianna Marcoulides
Production The Performance Shop

Shows

The Performance Shop, December 2015

Performance

The piece is a comment on mourning and the different ways it's being expressed.

Using elements from death rituals and tradition, real life experiences and black humour we created a piece that is about the consequences of death on the living and their reaction to the loss of a loved one.

With the Death or abandonment or separation of a loved one reality as we know it changes.
The time we take to mourn is the transitional period before we get used to our new reality.

People's reactions to death and the way they choose to express their grief is a very personal thing. By placing it on stage we get to have a closer look.

We live to love
We love to live
We love to love
We laugh


Credits
Choreography / Direction / Music Selection / Lyrics for songs Lia Haraki
Performers Elena Antoniou, Evie Demetriou, Michalis Koromias, Cathryn Robson, Lia Haraki
Dramaturgy Guy Cools  
Art Director Polys Peslikas    
Texts Lia Haraki, Cathryn Robson  
Lighting Design Panayiotis Manousis, Polys Peslikas   


Shows 2005
Cyprus Dance Platform, Rialto theatre