The director, actor and writer Nikos Perelis, founder of the National Theater experimental scene, died at the age of 85. Informing the loss of Nikos Perelis, Minister of Culture Lina Mendoni made the following statement:

“We say goodbye today, with particular sadness, Nikos Perelis, a staunch theatrical man, in which he broke for decades. With a solid studies in Greece and Canada, a student of prominent actors and directors, Nikos Perelis, Contemporary repertoire, while also honored as a playwright.

He has worked, for decades, with the most prominent scenes in Athens, Athens and Thessaloniki, but also in the region, and with a large number of his peers. Characteristic representative of his long course is his unmistakable passion for constant experimentation, which was channeled into the formation and direction of new theatrical figures. Celebrating, of course, the founding of the National Theater Experimental Stage, the idea of ​​the one who received flesh and bones in 1996, and which he was creatively directed for five years.

With the loss of Nikos Perelis, our theater mourns a complete and dedicated worker, who combined innovative look and constant searching with hard work and indefinable inspiration. With his career, Nikos Perelis shaped the Greek theater and shaped it, in an uninterrupted and fruitful dialectical relationship.

To his relatives, many of his associates, friends and students I sincerely address condolences. “

Nikos Perelis began as a co -founder of the Nea Ionia theater in 1965 and during the dictatorship, within the permitted margins, attempted to create a theatrical antagonism, which despite the acceptance of criticism and the public, was silenced.

The creation of “Theater Populaire de l ‘Ave. Du Park »in Montreal, with the collaboration of Greek students and French artists, was a powerful cultural antagonist against dictatorship, which did not leave it indifferent. His performances gave the mark of oppression and brutality in our country. He also collaborated with Radio Centreville, where he broadcasts modern Greek texts, poetry and theater (Ritsos, Varnalis, Solomos, Kechaidis, Calvos, etc.)

In 1977 he returned to Greece and collaborated with the State Theater of Northern Greece, where he directed Brecht’s “Circle with Chalk”, Arden’s “Dance of the Captain Masgrave”, the Karras wrestlers, Gogol’s “Pantology”, “One Month”.

He then directed Peter Weiss’s “interrogation” at the National Theater, Euripides’ “Ekavis”, in the “ties” of ASP. Papathanasiou, at Herodion (Athens Festival) “Iphigenia in Taurida” with Elsa Vergi, at the Epidaurus Festival “Hippolytus” with the National Theater, Skarpeta’s “Tarantella” at the Kaisarian Theater and others.

He directed ancient drama (mainly Euripides’s works) in Epidaurus, Herodion, Lycabettus, in Quebec, in the Ancient Agora, in the Experimental of the National Theater, at the Philippine-Thassos Festival (Trojans-Ekavi-Ipigenia, Apigenia)

In 1983 he created the “Theater 3NS September” in downtown Athens (Strindberg, Ipsen, Moliere, Weskeri, Pereli, etc.) and in 1984 he was also undertaken by the Municipal Theater of Patras and in 1987-1990 the Municipal Theater of Ioannina and Ioannina Municipal Theater Creative goals. (Details in his book “The Code of Mask” Publications Brick 2010). In municipal theaters he directed Shakespeare, Euripides, Anagnostaki and more.

He taught theater at the Quebec’s Conservatoir, Katseli School, KATBE School, Ethnikos Workshop and Veaki School.

Despite the phenomena, as an actor he played sporadically and exceptionally: Borgman (Ipsen) in the Experimental of the National Theater, Krogstadt (Nora-Ipsen) at the September 3NS Theater, Ham (end of the game) Seasons-Gukeser) at the 3NS Theater September.

In 1995 he proposed to the National Theater the creation of the experimental scene, which with the “PERSONAL SPACE” and the “Actors Workshop” was (for the first time in the history of the National Theater) a three -dimensional infrastructure, research and creation, critics, etc.). In his initiative and his management, for five years, he supported and highlighted the venture at the institutional level, until 2001, when the well -known gangrene sent it, replacing it with a “show troupe”, maintaining its structure and goals as a spice. (More information in the book “Underground Space” Publications Prostitimo).