THEY SAY

“The persistent representative of the Greek avant-garde. Eyes fixed on the international scene, bold often sarcastic..

 she never seizes to surprise us.”

“Elli’s 3 strong points”
Audience engagement: Since Vyrsodepseio [VYRSO], the hot spot of postmodern Athenian stage, Elli shapes theatre into live experiences driving audiences to long promenades within industrial spaces.

Music: Music works in a transcendental way taking audiences into a space-time beyond the ordinary.
Extroversion: Her work evolves through international residencies and collaborations over time, while touring internationally 
ATHINORAMA, Maria Kryou,Elli Papakonstantinou: The persistent representative of the Greek avant-garde,  28/1/2018

Such an assemblage of multiplicities, constitutes a first step towards the proliferation of an emancipatory politics of desire.
Philip Hager, ODC and the politics of desire.

Iconoclastic phantasmagorias, postmodern masquerades, and outrageous political fairy tales, aiming to map our collective melancholy and our confused vision of the world. Yet, the finale of each of these performances pointed the way to a transcendence. Yes, the scrutiny of History can be harrowing. At the same time, its awareness proves to be invariably illuminating
Iliana Dimadi, Alice in Gipsy Land,

 

ODC’s live art goes beyond the representation or anticipated avant-garde theatricality. Capitalising on lived experiences and socio-political awareness, ODC’s work bursts with the power of live art, urging us to revolt by way of questioning our empirical reality and critical engaging with it.
[…] Papakonstantinou and ODC essentially work along such over-lapping lines and concepts: establishing the precarious state of living in Athens/ Greece today, not only as a predicament, or mere entrepreneurial artistic strategy, but principally as an act of resistance and a persevering active presence. ODC’s performative energies and live art strategies go beyond the representation or anticipated avant-garde theatricality. Capitalising on lived experiences and socio-political awareness, ODC’s work bursts with the power of live art, urging us to revolt by way of questioning our empirical reality and critically engaging with it.
Maria Konomi, Lived Aesthetics of crisis and performance politics of discontent.

…for the Cave

A work that redefines the meaning of contemporary musical theatre with social meaning away from any realistic reference to prosaic complaints. A substantial aesthetic event
www.greek-theatre.gr,
 Dimitris Tsatsoulis, Elli Papakonstantinou – ODC Ensemble, “The Cave”, the Athens Consert Hall (Megaron) 10/2018, 13/10/2018

A  veritable bombardment of all senses. Eye, ear and not least brain fought to keep up… strange and beautiful, ugly and cruel
★★★★★NORDJYSKE.DK, Bent Stenbakken,Punkopera: It’s strange and beautiful, ugly and cloudy, 11/8/2018

The Greek ODC Ensemble is avant-garde at it’s darkest – It’s a solid, courageous and multifaceted ensemble.
★★★★★Sceneblog.dk, Se Mere, Cph Opera Festival goes avantgarde, 8/8/2018

The piece was entirely stylised and completely interpretive. It was certainly memorable due to it being a piece that steered away from our usual concept of theatre…
A view from Behind the arras, BE Festival – Saturday, Birmingham REP,7/7/2018

One of the best representatives of Greek avant-garde, Elli Papakonstantinou, never seizes to surprise us.
ATHINORAMA, Maria Kryou,Elli Papakonstantinou: The persistent representative of the Greek avant-garde,  28/1/2018

…for REVOLT ATHENΣ


A brilliant performance…
DEUTSCHE WELLE


Totally mad and mesmerizing… See it to believe it
THE GUARDIAN


Yesterday, it was as if a bomb, planted at the foundations of Athens Festival, went off. Revolt Athens, a deliberately disturbing and chaotic performance kicked off this year’s programme at the Peiraios 260 venue. It was met with mixed reactions, ranging from the most enthusiastic to the most negative. It makes sense: the performance had nothing ‘proper’ about it, nothing that could make us talk today of a “brilliant opening night.” […] Papakonstantinou and her ensemble do not beat around the bush: what they really mean to do is to (re) negotiate our turbulent historical present. Their project is not one of politeness and rhetoric. Neither is it, nec-essarily, a radical suggestion of escape. Nevertheless, it is a project charged with emotion: rage, anger, com-plaint, despair, and an honest embarrassment about the Now becoming History.
ATHINORAMA, Iliana Dimadi, We saw REVOLT ATHENΣ, 16/6/201


An absolute treat to behold.
WHAT’S ON


Elli Papakonstantinou dares to speak out about painful things, both in Greece and abroad. Papakonstantinou toys with clichés and turns them upside down, leading Revolt Athens to its chaotic denouement which serves perhaps both as an exorcism and as a warning. After all, we should know by now that Papakonstantinou has a talent for bringing to life such moments of euphoric anarchy.
POPAGANDA , Giorgos Voudiklaris, At the Athens Festival premier, 16/6/2016


Tremendous aesthetic craft… a perfect combination of different arts
CNN GREECE, Yorgos Pefanis, Historical Truth and Realistic Politics, 25/6/2016 

…for Louisette: The Backstage of Revolution

Perhaps Elli Papakonstantinou and ODC Ensemble’s most impressive and creative performance yet. Not just because it is a solid, professional work of art on its own merit, but also because it signals a return to the artist’s innocence, back to the basics of true democracy (the theatre in the midst of the agora), to a form of art that speaks both to the innocence of a fresh take on things and to the necessity of self-reflection and self-redemption.
Efsyn, Grigoris Ioannidis, The French History, humane and close to us, 26/2/2017

When one decides to tackle issues such as human rights, the limits of revolution, the contemporary socio-political landscape, one should go about it in a political manner. Perhaps this is the greatest achievement of Louisette: The Backstage of Revolution.
The performance is deeply political insofar as its ensemble functions as a political entity, its every member investing the end result with freedom, equality, and fraternity—that is, the performance’s subject matter. The goal will never be met if there is an incongruity of form and content.
POPAGANDA, George Voudiklaris, We entered the Backstage of Revolution, 24/6/2017

…for Richard II

This laudable company of actors consists of only four performers skilfully portraying the play’s thirty characters. Thanks to meticulous textual editing, […] the characters are deconstructed, shedding their schematic qualities, their discourse and gender. The characters themselves observe and remark on these qualities in self-sarcastic fashion, while also serving as a mirror to the audience. […] In its philosophic and meditative spirit, this production reminds us that today’s world is a new version of the Dark Ages.
Popaganda, Zetta Pasparaki, Theater Critic: Richard II and the New Middle Ages, 23/05/2014

A performance that made us believe 500 years ago Shakespeare was actually writing for Greece in crisis.
Eleftherotypia-printed edition, Christos Zografos, The nowdays’ face of Richard II, 27/2/2014

Theatre at its best!
You’re left with the sense that you have just experienced a unique two-hour journey; here, we talk about baroque theater, rich with ideas, … and imagery that refers to paintings but also to Peter Greenaway’s cinema, with an overwhelming atmosphere, ritualistically Medieval, obscure, but with the right tone of self-sarcasm.
Αthensvoice, Konstantinos Tzikas, Shakespeare and the absurd neo-Greece, 24/2/2014

…for SKIN

If theatre is an empty space that is meant to be revisited, with each new performance presented at Vyrsodepseio Papakonstantinou restructures the entire space to match her dramatic concept. The interior of the building is reshaped to receive a site-specific performance, with the director employing new ideas, new structural material and new spaces, wherein the audience can wander.
Eleftherotypia, Dimitris Tsatsoulis, Α trip to Utopia, 3/6/2013 

Skin is a personal commentary on the question of ‘Greekness’ and the crisis of the western capitalist system […]. Elli Papakonstantinou anatomises these issues, not with a surgeon’s precision, but with the roughness required from a skinner.
ελculture, Τonia Karaoglou, The skin we used to live in, 28/5/2013

Skin is an uncanny painting with familiar touches of horror. The audience’s collaboration and complicity are required. Hobbes’ theory of the autocratic state, Dionysios Solomos’ vision of national sovereignty, Dalai Lama’s teachings, American-style consumerism, anti-capitalist commentary, psychoanalytic approaches, all are brought together in this unique puzzle which gives food for thought and asks to be deciphered.
Click At Life, Mania Staikou, We went to see: “Skin”, 23/5/2013

We applauded standing on our feet.
We cannot rate this performance – installation; this is a masterpiece. Elli Papakonstantinou and talented ODC Ensemble offered us a superb political spectacle, avant-garde resistance and finally left us with a deep feeling that our skin is the last frontier.
Kulturosupa, Ariadni Kanavaki, Standing up we applauded the performance Skin. In awe we’re commenting, 12/2/2013

This performance, which is the end result of a gruelling and thorough research, is set up as a boxing ring. After several rounds, the two opponents collapse to the ground, looking forward to the next boxing match, looking forward to the next performance, the next trial.
Cat is Art, Irene Aivaliotou, “Skin”, fencing utopia, 31/1/2013

…for Woyzeck Quartet

Director Elli Papakonstantinou discerns a clear analogy between Woyzeck—the victim of those in power, the guinea pig of the educated elite—and contemporary Greece vis-à-vis the European troika, the guinea pig of Europe. […] Papakonstantinou fearlessly explores the glaring and startling associations of the above connection.
Mixtape, Manolis Vamvounis, Woyzeck Quuartet – Athens Festival, 15/7/2012

…for ΜΕΤΑ

Words, music, dance, improvisation, cinema, visual arts, philosophy, poetry, politics, satire: the ingredients of this explosive, anarchic production […]. An anguished celebration of catastrophe is at the heart of this performance. After all, this is the very premise of Vyrsodepseio: the catastrophe of a world leaving its mark on the post-apocalyptic world that succeeded it. Nothing is to be taken for granted, […] nothing is to rest on theatrical conventions. Indeed, rarely does it happen that theatre is able to lose itself, voluntarily ‘de-theatricalise’ itself, interact with other arts and engage in open dialogue with the audience and its time.
Aixmi, Orestis Andreadakis, And “After” what? The feast of our disaster, 25/11/2011

The atmosphere of the space as well as the political events that are shaking Greece and the European Union deeply impregnate the piece. ODC Ensemble take the risk to inscribe themselves in the here and now, with their always razor-sharp piece.
WordPress-SPHENOIDE, Marie Juliette Verga, META, a disaster performance, 1/11/2011

In many ways, this was an establishing piece for the company and the assemblage-like, performance style of ODC that has been their trademark since. The piece built upon themes ranging from the end of grand narratives in the postmodern era, mediatised realities, and the society of the spectacle to glocal tensions in the era of globalisation, thus blending fragmented yet dynamic set pieces with haunting, post-apocalyptic visuals and the ambience of Syntagma’s ‘Aganaktismenoi’ (Indignados Movement).
Vyrsodepseio. A θeatre in times of crisis, Maria Konomi, Lived Aesthetics of Crisis and Performance Politics of Discontent, page 98, 100

…for ODC, after Homer’s Odyssey [2009]

Explosive and epic work, by turns horrific and hilarious, appalling and endearing, is wonderfully brought to the stage thanks to Elli Papakonstantinou’s imaginative direction.
TO VIMA, D. Maronitis, 30/8/2009

…for ODC AFTER HOMER [2002]

An outstanding performance with a truly interesting and refreshing approach to the ancient Greek text.
Here we see a DJ in the part of a rapsodos (ancient storyteller)…
BBC WORLDWIDE, Dimitris Papanikolaou, 30/8/2002

Totally mad and mesmerizing. An Odyssey that really transports you to a place where pigs can fly. See it to believe it.
★★★★★The Guardian-The Guide, 15/8/2002

The Pitch: Greek gods getting jiggy in da club.
The Prognosis: Now this ain’t strictly hip hop but it ain’t no Homer Simpson neither. Here the DJ is king and he’s casting up some seriously heavy cats: the Cyclops, the ram and all the while Odysseus is just trying to get back to his crib
Chances of survival post-fest? Now this is a li’l bit crazy but worth the ride.
 The List, Dr Dre, 1-8/8/2002

Fascinating, multi-media cubist experience performed with inspired confidence. These guys are so cool you just want to hang out in the underworld with them.
Philippa Snell, Three Weeks, 8/8/2002

An eccentric rendition of Homer’s classic Odyssey…an enthralling, sensual fairytale…an adventurous and avant-garde way presentation.
Thrill: great use of trance-inspired sound
Fest, Kristin Annexstad, 7th Aug 2002

A surreal fairytale, a new truly interesting approach to the ancient Greek text, a mixture of theatre and music, a show that cannot be unnoticed…
The DJ transports the audience to the dark side! An insane Picasso-esque world
cultureguide.com, The Hellenic Ministry of Culture, October 2002

The human voice fused with the instruments and the electronic mediums contribute to this incomparable timbre.
TA NEA (Athenian Daily Newspaper), 21st Oct 2002

Elli Papakonstantinou and Dimitris Kamarotos on a hazardous avant-garde trip with a variety of languages and kinds of music.
ELEYTHEROTYPIA (Athenian Daily Newspaper), 13th Oct 2002

…for The Decameron of Women

Take good note of this name: The entrance of Elli Papakostantinou in the Greek theatre is dynamic and impressive… truly, an important work
Eleutherotypia, Minas Christidis, 13/1/2001 

The performance is brilliantly directed by Elli Papakostantinou … With a minimalist and inventive scenography, a playful use of the lights, a very successful use of the music… The actresses just with the use of fragmented monologues, succeeded in building complete characters, to the extent that one identifies with them, even when the social status is unfamiliar and unbecoming… The women narrate with true charm their destiny… Referring to concentration camps is surely the most denouncing and cruel part of the play … again, the director and the actresses dealt with it through a sensitivity and a successful balance between the tragedy and the irony.
Kathimerini, Anna Fragoudaki, 25/11/2000

…for Nine Lives Ten Tales

★★★★★The Evening Standard, Critic’s Choice – Nick Curtis & Nicholas de Jongh, 2/4/1998

She has drawn a succession of vivid characters which, as the performer, she lifts beyond the words of the script with energy and acerbic wit – to the credit of director Elli Papakostantinou. As the song has it, “R-E-S-P-E-C-T: Respect.
The Stage, Thom Dibdin, Nine Lives, Ten Tales, 22/8/1997

Deftly imaginatively and with awe-inspiring force.
The Herald, Anne Donald, 10/8/1997

Mixes sheer entertainment with a deep, personal and social observation.
BBC Radio Scotland, Arlene Stewart

Strongly recommended… If you can imagine Stephen Berkoff as a working-class woman, you have some idea of this piece’s power
The Scotsman, Claire Smith, Strongly Recomented, 18/8/1997

Wonder Woman. Despite the grim subject, Nine Lives is very funny… What is most striking is the physical bravery of the performance. It takes some courage to act out a rape scene in a on-woman-show, and quite some talent to make it seem viciously real, not once but twice.
★★★★★The Times, Hettie Judah, Wonder Woman

It’s a simple feminist story that’s probably been told a thousand times before. But somehow, through some really funny comedy and some harsh tragedy, Nine Lives Ten Tales, is a highly memorable show.
What’s On, Ruby Williams, 10/5/1997