[...] Endeavors like Elli Papakonstantinou’s META [AFTER], which ran at Vyrsodepseio [...], invoke not the 'I' but a lost 'we' that they seek to unearth [...].

[...] A similar overflow of energy, though more anarchic and in a diametrically opposed environment, distinguished the stage of Elli Papakonstantinou's META II at Vyrsodepseio [...]

[...] We will agree, I think, that merely reflecting on 'homeland' carries within it the desire to rediscover common references that would compose a new cohesive fabric from both old and new materials. [...] The performance locates this new fabric in our agonizing questioning about the end and whatever awaits us after [...]. On this axis parades a series of very accurately and sensitively selected excerpts attempting to explain the historical moment we are traversing [...]. This palimpsest, which assimilated essayistic and poetic discourse alike to touch very substantially on the present day, also contained personal texts by the actors themselves [...].

[...] What won you over, nonetheless, was the total engagement of the actors—both the excellent core ensemble and the amateurs who movingly surrounded them—in the service of this ambitious plan: to channel into the stage the current of a society that feels it is sinking, using every available means, from parable to realism and from choreographic parody to lyrical delirium...

Concurrently, the direction made highly creative use of the relationship between this site-specific spectacle and the space that hosted it, [...] functioning in an Aristotelian, cathartic sense. [...]

What definitely brought audience and performers close during the show was the disposition to deconstruct our common fear—the liberating sharing of a generous gesture. Even if, in the end, the magnificent suspense of the 'After' remained, and still remains...