She follows her instinct Stefania Gouliotis for every yes or no she says in her career and judging by the results her instincts are probably unerring.

The actress spoke to Marie Claire and Sissy Streba on the occasion of her tour of Greece with the play “Hercules the Raging” and she had a lot to say.

-When will you say “yes” to a partnership?

“It’s a lot together. I will never say yes just because I like the project or the director. I will say yes because I feel there is something behind the complex. It is possible that a project is suggested by a director and I respond negatively and to another for the same project I respond positively.

In the same way, if a teammate doesn’t fit the project, with the director, I can see a black hole and say no.

I like to think that projects have a star behind them and depending on that star I say yes or no. Equally important is the timing of a work – when it is ‘ready’ to speak, as it was with the Doctor, which I felt was the right time for this text to be heard. Maybe if it went up a little earlier or a little later, it wouldn’t have the same momentum».

-Why are most of your roles gloomy and dark?

“I guess that’s what inspires me (laughs). We certainly all have our bright and dark spots. Everyone asks me why I don’t do comedy, but with what you’ve been introduced to, someone suggests you.
My greatest joy so far was when I played God of Carnage – it was really a real carnage, a party of emotions and not just what people knew me to be.

You cannot, however, play a role unless you find your own elements. And don’t look for them, they will come to you. You come face to face with aspects of yourself that you didn’t know and that makes you richer and that’s the beauty of our profession. Through this work you “move”, you make space.

I was thinking the other day why most of us actors are leftist and sensitive. We are moved more easily, the conditions we can imagine more easily affect us, we let the imaginary condition carry us away.

Which can make us unhappier, but at the same time richer. It is as if we have lived, in moments, 100 lives and of course I have accepted in my own life the unpredictable moments more happily».

-You also bonded a lot with Alexandra in Maestro.

“Sfor Alexandra the “slip” was more natural. Christoforos (s.s. Papakaliatis) steals from you information that he sees that you may have buried and brings it out, he is a magician.
So, quite naturally I got into it. My greedy self, so to speak, slipped into the role very easily and enjoyed it already».

-Her story had a big impact.

“Yes. In women and in female nature. In things that are not discussed, that is, women’s anxiety about having or not having children, their rage sometimes to have children and finally not being able to even hug them, the relationship of women with their children that we consider ideal, but you see that not everything is ideal and perfect. Society has moved you to do it, and when you do it, you rise to the esteem of the world, they say.

And all this is a huge ridiculousness – as Christoforos proved through this story – that having a child does not give you the happiness you think you will have.

It is quite right to hear and say this, at the same time, and with all the mental fluctuations that women (and much more men) do not accept and cannot admit. How they consider it a curse, even today, to go to a psychiatrist».

– Was the collaboration in Maestro In Blue as pleasant as we understood?

“Anywhere you don’t have a good time, it seems. Christoforos knows that you will perform much better when you are comfortable and is very supportive of his environment. He wants it to be right and pleasant.
The whole team was tight and that’s what a captain does. The general composition was also like this, but Christoforos wanted us to become a family, because that was evident even afterwards».