How did you get involved with dancing?
Ever since I was a young boy I liked dancing and dreamed about becoming a dancer. Having attended various performances, I decided to get involved with dancing, because I realized that dancing appealed to me more than anything else.


What are the characteristics a teacher of dance must have?
I believe than more essential than choreographing or dancing, is to teach dance because it requires substantial knowledge of the subject, and the ability to convey knowledge to and communicate with students.
I believe that it goes beyond the technique of the body, it is about cultivation of the soul.


What do you believe is the situation of dance in Greece in terms of dance education and performances? Is there room for improvement?
It is my belief that there are people in our area that through their personal restlessness and efforts have managed to make of dance an art equal to other arts. Of course there is room for improvement, provided, however, that dance receives the motivation and support enjoyed by all other recognized arts.


Who are your role models?
I follow the developments of modern dance groups, and I have a particular liking in Messrs. Kiri Gillian and Pina Bausch.


Are there any foreign artists that you admire?
I like the work of Bob Wilson, and as far as cinema goes, I admire the work of Pedro Almodovar.


Based on which criteria do you select the projects you are proposed?
The people I work with are of top priority, and then I check as to what extent I can express myself through a “specific proposal” and contribute with my work to the final result.


What are the necessary requirements for a good collaboration?
I believe a collaboration to be perfect when there is a common language, good climate among all parties involved (scenographer, musician, dress designer, etc.), hence a perfect a result.


Do you believe that some of your projects are addressed to a limited public?
I believe that the work I do is addressed to the wide public, but at the same time with the modern dance group “DANCEMANIA” I try to experiment with new forms of expression, that may concern a more knowledgeable public.


What is your source of inspiration for a choreography?
If it is a play, I take account of the playwright’s text, and in general in all the work I do I try to see things from a more modern perspective.


What is most important to a dancer, the technique or the expression of their feelings - inspiration? How are these two elements related?
I believe that for the artistic aspect of a dancer both elements are equally important and interrelated.


Are you affected by criticism?
When criticism is documented, not only does it affect me, but it also helps me evolve further.


What does recognition mean to you?
To me recognition means looking back at my old work and getting the same satisfaction, but also when others see my choreographies and recognize in them the characteristics of my work.


When do you think that a choreography of yours has been successful? When the public responds to it or when the result satisfies you, although the acceptance of the public is not the one you would have wished for?
I definitely like the acceptance and applaud of the public, but I believe that sometimes an artist must go on without that if they are to realize their vision.


What is the difference between teaching at a dance school and at a drama school?
At a dance school one teaches people who deal exclusively with dancing, whereas in a drama school dancing is a complementary but necessary element, because it makes part of theatrical studies.


What is the difference in the communication between choreographer and dancers, actors and showbiz people?
Well, with dancers one speaks the same language, while with actors different codes of communication must be found that can be integrated in a choreography. However, in both cases body language is used.


What do you prefer, dancing or choreographing? Is it more difficult to choreograph yourself than choreographing other dancers?
I prefer choreographing to dancing, and I believe it is more creative to choreograph a group of people rather than oneself.


Have you noticed any changes in the way you select to choreograph since the dawn of your career?
In every job one ought to renew themselves, make big steps forward without repeating oneself.


Is there a play that you would like to choreograph?
I would very much like to choreograph a series of Euripides’ tragedies, penetrated by a common choreographic code, and this because I believe that there are many elements of today’s restless era in Euripides and many of his works.


Does art have a redeeming power for its creator and its public?
Had art not played such a part, it would have been self-eliminated over time. Especially the art of dancing which is one of the oldest ones, continues to have the same power even today, an era where due to intense movements, feelings are becoming idle inside people.


Do you feel the need to express yourself through another art, besides dancing?
Already in music stages I play the part of the director. At some point in time, I would like to direct a musical, where I would also have a say for other forms of art.


How does space affect choreography (indoor “Epidavros” theater, TV sets, night club floor)?
Definitely, Epidavros causes awe. It is the space where speech - dance - song were tried out for the first time. In TV sets choreographing is different, and the result depends on the direction, where the choreographer must always have a say.
Music stages - floors are not an easy job. It is a night ritual catering for the needs of a new and strange civilization. There must be respect for all spaces, regardless of which one was the first to be consecrated.


Would you like to work abroad? If yes, why?
Working abroad is not only proof of power or recognition. It is also a personal test that one is leaving the narrow confines of their country. Dancing is the only art that does not need a passport or subtitles. It is the most “globalized” art, that is intelligible without any intervention.