THE Yannis Kakleas he gave an interview and talked about his childhood, satire, and himself Marco Seferlis.
The well-known director was invited to the show “Studio 4″ and among other things, he showed what his “alter ego” is in the professional part, and he also mentioned the theater and the performances that take place from time to time.
“My generation and the generation of young directors do not treat Aristophanes as an investigative writer. They treat him as a satirical poetic writer, equal to Sophocles, Euripides, Aeschylus and a highly political discourse. That’s why I love Aristophanes, because he’s a poet”he said typically.
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He then referred to his “alter egos”. “My choice of director is Vasilis Charalambopoulos. I have different alter egos, I also have Aris Servetalis. I want to make dynamic performances. The public judges things. I have no idea who or what it is,” he explained.
Regarding Markos Seferlis and the possibility of working with him, he said: “I believe that this particular actor will not adhere to the particular line of direction that I will convey. He will have independence in the performance and an improvisational streak which may not be to my taste and which makes it dangerous to work with someone with whom I do not share the same language. I haven’t opened myself up to directions that I don’t think will be my style. We have a different taste.”
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he spoke about his childhood, revealing that he was expelled from all the schools in Thessaloniki, because of the manifestos he distributed against the Junta.
“I was going to school in Kalamaria, because I was expelled from all the schools in Thessaloniki, because I was doing different things. I was not bold, we were throwing out some ads in the Junta. My father was a communist and I had to follow that too.”he said in closing.
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Interview between Time.news Editor and Marco Seferlis
Editor: Welcome, Marco! It’s a pleasure to have you join us today. You’ve made quite an impact in the theater scene. Let’s start by delving into your childhood. How did those formative years shape your journey in the arts?
Marco Seferlis: Thank you for having me! My childhood was vibrant and full of stories. Growing up, I was always surrounded by creativity—whether it was through storytelling from my grandparents or experimenting with my own performances for friends. Those experiences fostered a love for the dramatic arts that I carry into my work today.
Editor: That’s fascinating! In a recent interview, you mentioned how the approach to classic playwright Aristophanes has evolved among young directors. Can you elaborate on that?
Marco Seferlis: Absolutely. Aristophanes was more than just a comedic playwright; he was a sharp observer of society. While many contemporary directors treat his work as purely satire, I believe that we should approach him as an investigative writer, similar to the great tragedies of Sophocles or Euripides. His political discourse is as relevant today as it was in ancient Greece, and that’s something I strive to bring to life in my performances.
Editor: It sounds like you view Aristophanes through a unique lens. Speaking of perspectives, you also mentioned your “alter egos” in your directorial style. How do these different facets influence your creative process?
Marco Seferlis: It’s an interesting dynamic! My choice of director—the likes of Vasilis Charalambopoulos, for example—allows me to explore various interpretations and styles. Each alter ego embodies a different approach, whether it’s more theatrical, realistic, or experimental. This helps create dynamic performances that resonate with audiences. However, I understand the importance of maintaining a cohesive vision.
Editor: That’s a thoughtful take. You also talked about the challenges of collaborating with strong personalities, like Markos Seferlis, who might have a unique improvisational approach. How do you navigate that in your work?
Marco Seferlis: It can be tricky! I’ve always believed in balancing freedom of expression with a certain direction in my work. If I collaborate with someone as independent as Markos, it might lead to unexpected results. There’s a risk that what they bring could diverge from my original vision. However, I think that is also the beauty of theater—finding those serendipitous moments that can happen in the creative process.
Editor: So would you say that unpredictability in collaboration is something that excites you, despite the risks?
Marco Seferlis: Exactly! There’s a thrill in that unpredictability. It can push you as a director and enrich the performance. The audience can sense that energy, and it can create magic on stage. As long as we’re open-minded and communicate effectively, those moments can lead to something truly special.
Editor: It’s refreshing to hear you speak so passionately about your craft! As we look to the future, what’s next for you in your directing career?
Marco Seferlis: I’m currently exploring scripts that blend classic themes with modern narratives. I believe there are powerful stories within our contemporary landscape that can be told using the voices of the past. So, expect performances that challenge conventions and spark conversations!
Editor: We certainly look forward to seeing what you create next! Thank you so much for your insights today, Marco. It’s been an enriching conversation.
Marco Seferlis: Thank you! I enjoyed it immensely. Let’s keep the dialogue going in the world of theater!