Our current co-production

based on the Diary of Vaslav Nijinsky

Direction, set design, lighting concept Robert Wilson with Mikhail Baryshnikov
Text: Christian Dumais-Lvowski
Dramaturgy : Darryl Pinckney
Music : Hal Willner
Costumes Jacques Reynaud
Collaboration to movements and spoken text Lucinda Childs
Lighting design A.J. Weissbard
Associate set design Annick Lavallée-Benny
Associate director Nicola Panzer
Sound design Nick Sagar / Ella Wahlström
Video design Tomek Jeziorski
The perfonnance is in English and Russian with English titles.
Running time: approx. one hour & 20 mins no intermission

"A collage of austere visual grandeur and Delphic incantations"

As Robert Wilson’s staging of the Diaries of Vaslav Nijinsky opens, we find Mikhail Baryshnikov as the troubled dancer in Budapest in 1945. He and his wife have found refuge with her family. These are the final weeks of World War II and battles between German and Russian soldiers rage in the destroyed streets. Nijinsky’s mental health had broken down in Switzerland at the close of the First World War. His Diaries are an extraordinary document of his struggle not to go mad and to understand what was happening to him. When he stopped writing his Diary, he locked himself away, as in a tomb. There he remained for more than two decades, watched over by his wife. But as another catastrophe in Europe draws to its close, the great artist seems to be coming to life again. We visit him behind his silence. For Nijinsky, time has stood still. He is alone with his ghosts, especially that of Diaghilev, the impresario who first put him on stage before the ballet world.

Associate director
Nicola Panzer
Sound design
Nick Sagar / Ella Wahlström
Video design
Tomek Jeziorski
Assistant director
Fani Sarantari
Stage manager Thaiz Bozano
Stage engineer
Mauro Farina
Technical director
Reinhard Bichsel
Lighting supervisor
Marcello Lumaca
Assistant costume designer
Micol Notarianni
Make up
Laura Tosini / Maria Rita Parisi
Production delegate Simona Fremder


a Change Performing Arts and Baryshnikov Productions project
In collaboration with Attiki Cultural Society (Greece)

Exclusive representative for Greece: Attiki Cultural Society

commissioned by Spoleto Festival dei 2Mondi, BAM, Cal Performances University of California Berkeley, Center for the Art of Performance at UCLA
in collaboration with Teatros del Canal Madrid, Les Ballets de Monte-Carlo/Monaco Dance Forum
executive production CRT Milano

a special thank to:
the Vaslav and Romola Nijinsky Estate
Farrar Strauss & Giroux's The Diary of Vaslav Nijinsky, Unexpurgated Edition,
edited by Joan Acocella

Giorgio Armani
Asylum courtesy of James Casebere and Sean Kelly Gallery

LTAM was presented in Italy Spoleto Festival, Milano, Paris Theatre de la Ville, BAM (NY), UCLA (LA), Madrid. It will be presented in Barcelona, Athens, South Ameriica etc


“A collage of austere visual grandeur and Delphic incantations”
Max McGuinness
Financial Times

“Baryshnikov plays Nijinsky in the grip of insanity.”
Joan Acocella
The NewYorker

“Baryshnikov here is an exaggerated being, suavely dressed and intricately made up so that he can be, depending on movement and expression and lighting and setting, a soigné, a clown, a vampire, a vaudevillian, a surreal character out of Gogol or a paranoid one out of Dostoyevsky. At the drop of a hat, Baryshnikov comes to life with the sly, smooth, beguiling shuffle steps. Stillness and motion are, for him, two sides of the same being, and whether moving or striking a pose, he is ever picture worthy.”
Marc Swed
LA Times

“Baryshnikov Delivers a Thrilling Letter to a Man- The exploration of Vaslav Nijinsky’s art and madness known as Letter to a Man, created by Mikhail Baryshnikov, the sole performer, and Robert Wilson, is a stunner. To be sure, it’s a slow stunner, checking in at 70 solid minutes and bereft of the kind of dancing Baryshnikov, 68, did at his peak of renown. But what it has is far greater than what it hasn’t.”
Janice Berman
San Francisco Classical Voice

“”Misha” quite some time ago ventured into modern and
contemporary dance, film, television, theater, and photography. Here he appears in a unique tête-à-tête with Vaslav Nijinsky, his equivalent in the first half of the last century.”
Marinella Guatterini
24 Ore

« Dans les rêves et la folie de Vaslav Nijinski. A Paris, Robert Wilson façonne un bijou de poésie scénique à partir du journal d’un danseur. »
Fabienne Darge
Le Monde

« Letter to a Man : Mikhail Baryshnikov, à la folie À l'Espace Cardin à Paris, Robert Wilson présente Letter to a Man. Inspiré du Journal de Vaslav Nijinski, ce spectacle bref, beau, volontairement répétitif, est illuminé par la présence du danseur russe qui n'a rien perdu de sa grâce envoûtante. »
Armelle Heliot
Le Figaro

Hellenic Festival
Letter to A Man
10-14 july

Ιnformation for the production LTAM
Attiki Cultural Society
tel.. 210 7225469

Tickets Hellenic Festival




Our current co-production

Based on The Mahabharata and the play by Jean-Claude Carrière

Adapted and directed by: Peter Brook and Marie-Hélène Estienne
Music: Toshi Tsuchitori
Light: Philippe Vialatte
Costume: Oria Puppo
With: Carole Karemera, Jared McNeill, Ery Nzaramba, Sean O’Callaghan, Toshi Tsuchitori
Produced by A C.I.C.T. - Théâtre des Bouffes du Nord production
Co-produced by Attiki Cultural Society / Athens,
Young Vic / London, Les Théâtres de la ville de Luxembourg ; PARCO Co. Ltd / Tokyo ; Grotowski Institute /Wrocław; Singapore Repertory Theater / Singapore; Théâtre de Liège.

"Destruction never approaches weapon in hand.
It comes slyly, on tiptoe, making you see bad in good and good in bad.

Statement of intent
The Mahabharata is not simply a book, nor a great series of books, it is an immense canvas covering all the aspects of human existence. In it we find all the questions of our lives, in a way that is at once contemporary and urgent.

Over many thousands of years the Mahabharata shows us, in an always-unexpected way, how to open our eyes to what reality demands.

The Mahabharata speaks of a great war of extermination, which tears apart the Bharata family. On one side there are 5 brothers, the Pandavas, and on the other side their cousins, the Kauravas, the hundred sons of the blind King Dritarashtra. Both sides use terrible weapons of destruction. At the end the Pandavas win. Millions of dead bodies lie on the ground. And now the eldest of the Pandavas – Yudishtira - is compelled to become King. The victory has the bitter taste of defeat. Both Yudishtira and Dritarashtra, the old King, are in deep distress and remorse, questioning their past actions, trying to unravel their own responsibility for the disaster.

How, having to live with this terrible massacre, having lost their sons, their families, their allies, will the new King and the old one find an inner peace?

The richness of the language of this timeless epic, and its always astonishing stories, allow us to bring to the stage this situation, which, belonging to the past, reflects at the same time the harsh conflicts of today.

Peter Brook
Marie-Helene Estienne

"Peter Brook's return to the Mahabharata is breathtaking -
a dazzling piece of theatre"
The Guardian
"An hour of magic realism… it has a gentle power that lingers”
The Times
"Luminous and potent"
The Independent
"Delivered with remarkable grace and deceptive lightness of touch"
Financial Times
"Combines the immediacy of story-telling
with the purity of Greek tragedy"
Sunday Express
"Cool perfectionism"
Arts Desk
"Something profound is felt on the pulse here...
Peter Brook achieves rare magic, and with the slenderest art"
The Telegraph
"A production of stunning beauty"
Le Figaro on Battlefield
“If we go on asking basic questions about what
theatre is for, we have Peter Brook to thank for it.”
Michael Billington in The Guardian, 2015
Athens trailer
Currently on tour
28 sept – 9 oct Harvey Theater / New-York / USA
17 – 20 oct Theatron / Athènes / GREECE
24 – 30 oct Atelier Théâtre Jean Vilar / Louvain-la-Neu…
3 nov Théâtre de l’Arsenal / Val-de-Reuil
8 – 9 nov New Classics of Europe Festival / Łódź / POLAND…
12 – 13 nov The Grotowski Institute / Wrocław
17 – 18 nov Le Parvis scène nationale Tarbes Pyrénee
25 – 26 nov Festival Temporada Alta / Gérone / SPAIN
30 nov – 2 dec Radiant-Bellevue / Caluire-et-Cuire
7 – 9 dec Théâtre municipal de Villefrance-sur-Saône
14 – 16 dec TRAFÓ – House of Contemporary Arts / Budape…
5 – jan Comédie de Clermont-Ferrand
8 – 9 jan Comédie de Reims
12 – 14 jan Grand Théâtre – Théâtres de la Ville de Lux…
18 – 20 jan Comédie de l’Est / Colmar
25 – 27 jan Les Treize Arches / Brive-la-Gaillarde
30 – 31 jan L’Estive – Scène nationale de Foix et de l’…
3 – 4 feb Odyssud / Blagnac
28 feb – 2 mar Théâtre National de Nice
6 – 9 mar Comédie de Saint-Étienne
22 – 25 mar Place des Arts / Montréal / Canada
24 – 28 mar Wallis Annenberg Center for Performing Arts / Los Angeles / USA
29 mar – 2 apr The Kennedy Center / Washington / USA
5 – 8 apr Museum of Contemporary Arts / Chicago / USA
13 – 23 apr Guthrie Theater / Minneapolis / USA
26 may – 21 jun American Conservatory Theater / San Francisco/ USA




Attiki Cultural Society is co-producing
Peter Brook's new work:

The Valley of Astonishment

opened in Paris at Théâtre des Bouffes du Nord on 29th of April 2014

If we go to the theatre, it’ s because we want to be surprised, even amazed. And yet we can only be concerned if we can feel a strong link with ourselves. So, these two opposite elements have to come together the familiar and the extraordinary. In ‘The Man Who’, our first adventure into the labyrinths of the brain, we met neurological cases who in the past had been conveniently written off as ‘mad’. Our first surprise was to encounter beings like ourselves, whose condition made their behaviour totally unpredictable. Painful to watch, though often very comic, they were always touching deeply human.

Today, once again, we are exploring the brain. We will take the spectator into new and unknown territories through people whose secret lives are so intense, so drenched in music, colour, taste, images and memories that they can pass any instant from paradise to hell and back again.

We link this to the great Persian poem ‘The Conference of the Birds’. Thirty birds in their quest for a King have to cross seven valleys of mounting suffering and discovery. An amazing series of anecdotes from the life of the time with poetry and humour brings their story into sharp relief.

So as we explore the mountains and the valleys of the brain we will reach the sixth valley, the valley of astonishment. As we go forward with our feet firmly on the ground, each step takes us further into the unknown.

- Peter Brook, Marie-Hélène Estienne

A theatrical research by Peter Brook and Marie-Hélène Estienne
Lights Philippe Vialatte
With Kathryn Hunter, Marcello Magni, and Jared McNeill
musicians Raphaël Chambouvet and Toshi Tsuchitori

Production C.I.C.T. / Théâtre des Bouffes du Nord
Coproduction Theater for a New Audience, New York ; Les Théâtres de la Ville de Luxembourg
Associated coproducers Théâtre d'Arras / Tandem Arras Douai ; Théâtre du Gymnase, Marseille ; Warwick Arts Center ; Holland Festival, Amsterdam ; Attiki Cultural Society, Athènes ; Musikfest Bremen ; Théâtre Forum Meyrin, Genève ; C.I.R.T. ; Young Vic, Londres

Currently on tour

Tour dates

Season 2014/2015

Season 2013/2014


On tour

Tao Dance Theater

Choreographer Tao Ye’s dances are rigorous and richly allusive – The dance moved like a force of nature

“When seen side by side, “4” and “5” are gripping explorations of magnetic pull, not only between dancers, but between the viewer and the dance.”

Since its founding in 2008, TAO Dance Theater has taken China’ s dance world by storm. The company has collaborated with leading Chinese artists across genres including theatre, experimental music, film, visual arts and installation.

Tao Ye, the 27-year-old choreographer behind Beijing’ s six-member Tao Dance Theater is just getting started and yet he is already a worldwide festival favourite and distinctive to boot, in spite of – or perhaps because of – his deliberately limited means.

He likes to designate his dances by number rather than name. After 1, 2, 3, 4, 5 now comes 6 and 7.

Tao Ye danced with Jin Xing Dance Theater in Shanghai and then Beijing Modern Dance Company until he decided to launch out on his own.
Dancer Wang Hao, a specialist in Mongolian folk dance, joined him to found TAO Dance Theater in 2008.
Duan Ni danced with two modern dance legends – Shen Wei (US) and Akram Khan (UK) – before returning to China to work exclusively with Tao Dance Company.

Dancers now come from across China to train with the company in hopes of learning their unique movement technique and joining their ranks.

TAO Dance Theater is devoted in dance education and has been invited to teach at the China Central University of Nationalities, Beijing Languages University, Shaanxi Normal University, Yan’an University, International School of Beijing, Henny Jurriens Stichtin in Amsterdam, Dance in Olten Festival in Switzerland, among other schools, universities, and festivals. They also offer open classes and workshops at, among other places, the Beijing Dance Academy, Chaoyang District Culture Center, Beijing Contemporary MOMA Art Center, and ULLENS Center for Contemporary Art (UCCA) in Beijing.

TAO has been featured in performances as well as choreography and teaching residencies worldwide, including Sadler’ s Wells (UK), Europalia (BE), M.A.D.E. Festival (SE), Singapore Arts Festival, Fall for Dance (US), American Dance Festival (US), Lincoln Center Festival (US), and Spring Dance Festival at the Sydney OperaHouse (AU).


Attiki Cultural Society co-produced:

“A Magic Flute”

Freely adapted by
Peter Brook, Franck Krawczyk and Marie-Hélène Estienne

Directed by Peter Brook

Lighting by Philippe Vialatte

Piano Franck Krawczyk

With (alternately) :
Tamino: Antonio Figueroa, Adrian Strooper

Pamina: Dima Bawab, Aylin Sezer

Reine de la nuit: Leïla Benhamza, Malia Bendi-Merad

Papagena: Betsabée Haas

Papageno: Virgile Frannais, Thomas Dolié

Sarastro: Jan Kucera, Vincent Pavesi

Monostatos: Jean-Christophe Born, Romain Pascal

Actors: William Nadylam, Abdou Ouologuem, Stéphane Soo Mongo

Costumes Hélène Patarot with the help of Oria Puppo

Artistic council, Christophe Capacci / Movement director, Marcello Magni / Singing coach, Véronique Dietschy / Magic effects, Célio Amino

Attiki Cultural Society is co-producing along with C.I.C.T. / Théâtre des Bouffes du Nord ; Festival d’Automne, Paris ; Musikfest, Bremen ; Théâtre de Caen ; MC2, Grenoble ; barbicanbite11, London ; Grand Théâtre de Luxembourg ; Piccolo Teatro di Milano – Teatro d’Europa ; Lincoln Center Festival, New York.

The title is important. This is “A Magic Flute” not “The Magic Flute”; a free adaptation of Mozart and Shikaneder by Peter Brook, the composer Franck Krawczyk and author Marie-Hélène Estienne

His "Flute" is far from what one would expect.
A 'Flute' light and effervescent, where the proximity of the performers allows the audience to enter into the magic of the piece.

“We see Mozart coming towards us with a wicked smile, ready to play tricks on us, to catch us unawares. We hold out our arms to him, with the same impudence that hides a deep love and respect for the essential qualities he reveals.

This will be a Magic Flute far from the expected ways. The vast panoply of scenic effects, the heavy and solemn symbolism are all put aside. In their place, the audiences will find an ever-young Mozart surrounded by an equally young and talented cast of singers and musicians ready, like the composer, to improvise, transpose, to explore new colours, to juggle with forms. We propose a light, effervescent Flute, where an intimacy with the performers will allow the tenderness and the depth of the score to appear.
This “Flute” takes its place in the Bouffes du Nord’s approach to opera, as in “La Tragédie de Carmen” and “Impressions de Pelléas”.

Peter Brook, Franck Krawczyk and Marie-Hélène Estienne

the critics said:

“Brook’s magic dust, lights up a classic!”
Independent, UK

“Le résultat est d’une poésie si intense par moments qu’elle coupe le souffle, d’une drôlerie si exacte qu’elle rend hilare, d’une écriture si juste qu’elle est la quintessence même du théâtre de Mozart. Chapeau bas monsieur Brook. Vivez longtemps, vivez loin !”
Le Monde

« ‘The Mariage of Figaro’, ‘Don Giovanni’ and the ‘Magic Flute’ have one thing in common - they cannot be classified. None of the three operas is just ‘amusing’ nor is it all ‘serious’, nor ‘light’, nor ‘solemn’ »
This what Peter Brook wrote when he was preparing Don Giovanni for Aix-en-Provence in 1998. He saw Mozart operas as real kaleidoscopes of ever-changing emotions much as in Shakespeare or else in Chekhov where there are constantunexpected switches and contrasts ; slipping in a flash from farce to deep feeling and back again. To create ‘A Magic Flute’ for the intimate and magical space of the Bouffes du Nord, he called on the composer Franck Krawczyk who had already collaborated on his adaptation of Shakespeare’ s sonnets ‘Love is My Sin’. Krawczyk is an experienced collaborator in theatre events - with Julie Brochen, in dance with Emilio Greco and P.C Schollen and the plastic arts with Christian Boltanski and Joan Kalman.
Together with Marie-Hélène Estienne, Peter Brook freely adapted Emanuel Schikaneder’s libretto the way he had done for his version of Tragédie de Carmen (1981) and Impressions de Pelléas. In fact, above all he wishes this opera to be a poetic souvenir and a rereading in a visibly reduced form aiming to give the artists - singers-actors – the possibility to release the tiniest light and shade of Mozart’s language vibrations.

Extract from the program of the Festival d’Automne à Paris, David Sanson

Read more : Interview with Peter Brook

Hamlet Prince of Grief
Leev Theater Group

“With dark, expressive eyes and a rich, versatile voice, Mr. Hashemi is a compelling presence, ably suggesting a man haunted by the agonizing tale he must recount”
The New York Times

“Today, Iran’s theater is an art combined with bravery, experience, novelty and freshness. Just as  society is, these days. Theater is one of the elements of breaking the borders, the differences and paradoxes."
Mohammad Aghebati, director


Riverside Studios and Theatre Lab present
freely adapted from Aristophane’s play

A hilarious, naughty musical adaptation of Aristophanes' comedy set
against the backdrop of the European crisis.

supported by Arts Council England


CSC of New York presents:
Chechov’s Cherry Orchard

With John Turturo, Diane Weist
Directed by Andrei Belgrader

“HEARTBREAKINGLY FUNNY...Ms. Wiest gives her finest stage performance in years. Mr. Turturro uses his radioactive intensity to appropriately disruptive effect. Juliet Rylance and Katherine Waterston are especially affecting. This production is positively poetic. More than any version I have seen, it illuminates THE CHERRY ORCHARD. If you are lucky you will see a production like this one.”
The New York Times


Junk Ensemble
Dance Theatre Group

‘Perfectly executed… adrenalin pumping and unsettling… marvelous’
Irish Theatre Magazine

‘junk ensemble have guts and ingenuity’
The Irish Times

Committed to creating works of brave and imaginative dance theatre and listed as a Sunday Times Highlight in 2011, multi-award winning junk ensemble continue to tour internationally.


Young Vic presents:
Chechov’s Three Sisters

Young Vic presents a new version by visionary director Benedict Andrews, lauded in Berlin and Sydney for his “Big and Small” with Cate Blanchette, returns to the Young Vic after his triumphant The Return of Ulysses in 2011.
Renowned German designer Johannes Schütz makes his Young Vic debut.


Steven Berkoff presents his play:

Oedipus was originally produced by Nottingham Playhouse and Liverpool Playhouse and subsequently presented at the Edinburgh Festival 2011.”

In this acclaimed new version of one of the world’s most enduring and greatest plays, writer and director Steven Berkoff has created ‘The bravest, most exciting and moving Greek tragedy in years’
Sunday Times.

“Berkoff’s expressionistic style, and Cockney idiom, operate like a Greek mask, conveying the unbearable with stylised ghastliness”.
The Independent