Stefanie Tsakona

She was dressed in a pink top and puffed skirt with round port holes in a pool of light, on a stage covered with white dawn feathers. She stood still, and I mean very, very still, yet somehow seemed relaxed and quite comfortable. As time passed and the sound of a revving motorbike’s engine didn’t produce any more action, a few audience members signaled their restlessness with the usual fidgeting in their seats. Soon somebody called out to friends across the hall, some youngsters yawned loudly and others giggled while their indignant neighbors shoosh-shooshed at them.

My Stefanie flicked her eye­lashes so I knew she heard it all, but she took her time, regardless of the rude Athenian audience.
Did she finally move, you want to know? Of course she moved, and threw feathers that she cupped out of her skirt, and the lighting turned into a gold circle around her. The point is: she moved when she was good and ready, not a second before. “About ... the Soul“ is a solo she composed and performed at the second dance platform in Athens earlier this year. The greater impact of this compact dance piece comes from its modest, intelligent concept that could be called a human-centric approach. ...