Photo by Johanna Weber

Born in the village of Makriyalos, N. Greece. He attended the
'K. Michailidis Drama School' during 1965-67 in Athens. During 1972-76 he studied at the Berliner Ensemble instructed by H. Muller, M. Wekwerth,
R. Berghaus and E. Schall. 1981-1983: Director of the State Theatre of Northern Greece Drama School. 1985-1987: Artistic director of the Greek Drama International Meetings organized in Delphi by the European Cultural Center of Delphi. He is a founding member, and then president, of the International Institute of Mediterranean Theatre comprising 22 countries. Since 1993 he is the Chairman of the International Committee of the Theatre Olympics. 1995: Artistic director of the 1st Theatre Olympics at Delphi featuring performances by significant artists, such as Y. Liubimov,
A. Vassiliev, A. Demidova,
R. Wilson, T. Suzuki and others. 1999: Chairman of the 2nd Theatre Olympics held in Shizuoka, Japan. He retains the position of Chairman of the Theatre Olympics to be held
in Moscow in 2001.




(320 pages, 24.5X17.5 cm.-English version)


Terzopoulos shook the Greek theatrical landscape in 1986 with his production of the Bacchae. His presentation was a radically groundbreaking initiative advocating the disengagement of tragedy from the scenic bonds of traditional interpretation and established prototypes. The concept of violence guides the viewer through the performances of the ATTIS theatre enabling him to decode Terzopoulos' scenic idiom: PHYSICAL VIOLENCE and RITUAL VIOLENCE.
This composite book is based on Terzopoulos' text about his methodological approach and his views on theatre enhanced by 160 pages of photographs from his productions. Additionally, famous artists and renowned personalities offer their comments on Theodoros Terzopoulos and the Attis Theatre: Bob Wilson, E. Sabato, W. Soyinka, Y. Liubimov, S. Paradjanov, A. Vassiliev, A. Demidova, H. Mu..ller, M. Wekwerth, Tadashi Suzuki, H. Monleaon.

In Terzopoulos' theatre myth is not fairytale, it is condensed experience; the process of rehearsal is not the performance of a dramatic concept, it is an adventure on a journey to the landscape of memory, a search for the lost keys of unity between body and speech, the word as natural entity, a topic which Holderlin has mentioned in his notes on the translations of Sophocles' works. I saw the performance twice and both times I saw something new.
Heiner Muller

His work expresses the essence of tragedy in an original and contemporary way. That's why I strongly believe that his work and its underlying ideas must be relayed to coming generations. At present his work is recognized in all five continents.
Tadashi Suzuki

Seeing is seeing a picture true. Many pictures. That is what I still remember clearly with a space to re-remember and think. That is for me what makes this work so special.
Bob Wilson