Creo dance company- Polina Kremasta

Posted on September 5, 2013


Creo  is a contemporary dance company based in Athens, Greece- created in 2008, part of the Reon non-profit group of artists and a member of the Association of Greek Choreographers since 2010. 



The research is an attempt to explore the interaction between contemporary and Greek traditional dances and the encounter of the two in a “new” dance.

It is conducted over the past two years and studies the influences that the traditional dance could exercise in the contemporary but also the ways in which traditional is redefined through contemporary. The choreographer insisted on this procedure in order to discover a personal movement and dance identity. Dances from Macedonia, Thrace and Epirus were selected as an inspiration.

The research aims:

  • to reveal common movement mechanisms and ways of body use through the study of Greek traditional dances and contemporary techniques
  • to reveal the movement coming “from the earth”, as the main common mechanism and as the root of this research
  • to discover a personal movement and dance identity
  • to present the dance that will be created through this union (performance and workshops)

This research is initiated by the question and the interest on how dancers can question or redefine their identity and place it in their dance by infiltrating the western contemporary dance through their background and culture. Posing thus the question could a dancer, while being educated in a professional dance school and while acknowledging the techniques of international dancing, be able to filter all this through his/her geographical, historical and social influences and culture?

Through this “marriage” of the traditional and the contemporary the dancer will propose a transformed dance, a new point of view, personal and national but also potentially international as there are commonalities and even common roots between the different dance cultures.

What attitude should we keep towards tradition? “In order to keep alive something of the past and not merely wander a corpse, we have to rethink, to reconsider and redefine our relationship with it …” writes O. Tatsis in his text for the performance «ceci n ‘ est pas un siege » by the Creo dance company in 2008.




“The performance is an improvisational wandering on the movement which the body knows and loves. The aim is to uncover new paths on the challenge of the moment and the predominance of the unconscious. The dancer is constantly fighting with herself to enter the known, welcome the unknown and go to the next. The flow and the pause, the body changing, the body that is transforming, that is delighted or fails. The space (and dance) who includes me and I surround it.”

Polina Kremasta

The term flâneuse comes from the French noun flâneur, which translates as “wanderer”, “walker”. The term itself comes from the French verb flâner, meaning “wandering.” In prose and poetry of the 1850s and 60s, Baudelaire describes walking the streets of the city as one of the most exciting adventures for mankind. So what distinguishes flâneurs as a characteristic is that they have no practical goal in mind. What they do is to look, to observe. They have opened their eyes and ears on the scene around them. Open themselves to the path, to the route. “Observer, philosopher, planets-call it as you wish,” says Baudelaire, but the flâneur is something more: “a painter of eternity and of all traces of eternity that it inspires.” Wandering happens where is crowded, because wandering may seem personal, but has a public character, as pointed out by Walter Benjamin in his book on Baudelaire.

“The dancer may not be moving in the metropolis during the show but she looks and shapes her relationship with the surroundings and the movement itself. As the flaneur explores the town and the steps within it, and so the dancer observes and moves the body. No one knows if the city takes us to walk, or the path or our own body. Space and dance become one. The perpetual search of that other which makes the body moves, the mental tone of the space and the creator are put together, interact through the movement of the body. This quest or otherwise wandering, certainly has no end, the viewer is left to renegotiate, to ignore, to think or to just feel it. The flaneur is none other than the Baptist, the one who is asked to name the artwork. Naming means bring to reality. ”

Orestes Tatsis / consultant of dramaturgy


flâneuse photo: Anna Tagalou 2013


A dance performance based on the play of Samuel Beckett “Waiting for Godot”

The company by choosing one of the masterpieces of the world wide dramaturgy faces a double challenge. The aim is to somehow maintain the structure and the personages but also to give the topical content of the play. A play that is always based on speech, gives now the reason to the bodies to “talk” and to “discuss” by changing words with movements.

On stage, four dancers, each one on a specific role of the play, they borrow the style of the silent movies, which have also affected the Irish writer. The background of the stage (video) is a modern urban landscape, as undetermined wishes and Samuel Beckett himself.

The world of waiting for Godot is a world in which nothing happens, where time passes with one excruciatingly interminable wait. The heroes are waiting for “something” playing with words to pass the time. A play does not have to narrate a story to be a play, proposes Samuel Beckett. A dance performance is not required to narrate a story in order to talk with the audience. With basic tool of the work the four heroes, coining certain characters as rarely happens in modern dance, we represent perhaps the most famous play with given plot but no specific narrative.

Our times more beckett-like than ever, confronts us with nihilism and inaction. Waiting for an outside salvation seems to be the only hope, the only meaning of existence.

“And now what will become of us without the barbarians?

Those people were some kind of solution.”

says the Greek poet  Konstantinos P. Kavafis

Basically, “Waiting for Godot” seems to talk about how to write a play and how to fill a bit of time with dialog….or movement.



The challenge to simulate this play through a dance performance is great. So far in our choreographies the topics were purely conceptual and the narrative was extremely difficult. The narrative in dance is always a difficult problem. The purely physical approach to every topic complicated things even more, because it makes it more difficult for the audience to understand what the performance wants to say. The use of rhythm has been so far our tool to give birth to the narration, the story, the dramaturgy.

And voila, the play with time viscous, almost invisible, stationary. A play with no time, no place, no movement…

But by looking a little better, there is the place, the stable place: the characters. In fact their pre-existance. Until now we were obliged to reinvent ourselves again and again on stage. Now the characters are there and will be till the fall of the curtain.

The choreography is an attempt to approach each character’s dance separately and will be released only in Lucky’s monologue. Instructions as Estragon more down to earth and Vladimir more jumping around and Pozzo as a gentleman, an insecure knight, are clearly below the choreographic and movement research.

But clearly a greater role plays the use of space by these four characters. With the subconscious baptized by Buster Keaton and Charlie Chaplin, we choose to move into echoes of a waltz dance and to make a manipulation of space as if it was a chessboard and us its pawns.

Pauline Kremasta- Creo dance company-2011