In this edition of 2 Minutes with Greta, Greta speaks with Ciara Adams from bluemouth inc. about Dance Marathon and immersive versus participatory theatre.
Dance Marathon runs May 18th and 19th at the Enwave Theatre as part of Harbourfront’s World Stage Festival get your tickets here.
Greta Papageorgiu is an actor, writer, teacher and director. She performs and teaches throughout Ontario and Quebec. Greta loves the theatre and hopes to share some of her love with you through 2 Minutes With Greta.
Omar Majeed and Ryan Mullins tell us what frog princes and punk rockers have in common and weigh in on the recent Telefilm and NFB cuts. The two directors are in town for HotDocs to promote their film The Frog Princes, a documentary about a troupe of developmentally challenged actors staging a production of The Frog and the Princess.
“When anyone has this debate over why we fund the arts for young people, I say ‘Watch this documentary.’ I challenge anyone not to cry.”
The first screening was yesterday, but there are two more chances to see it: Tuesday, May 1st @ 4:45pm and Saturday, May 5th @ 9:45pm.
Greta Papageorgiu is an actor, writer, teacher and director. She performs and teaches throughout Ontario and Quebec. Greta loves the theatre and hopes to share some of her love with you through 2 Minutes With Greta Papageorgiu.
Welcome to my new video column for Praxis Theatre: 2 MINUTES WITH GRETA. You might remember me as the person behind an earlier series for Praxis called Celebrity Theatre. Now I am taking a more in depth look at the personalities who tread the boards of Toronto’s stages. For this first installment, I talk to Nina Lee Aquino on the set of SIA about being an Artistic Director, wearing different hats and what Toronto theatre needs.
Greta Papageorgiu is an actor, writer, teacher and director. She has performed extensively throughout Ontario and Quebec and was invited to teach in Munich, Germany last year. She loves the theatre and hopes to share some of it with you through 2 Minutes With Greta.
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”
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