{"id":4199,"date":"2024-10-20T15:09:30","date_gmt":"2024-10-20T15:09:30","guid":{"rendered":"https:\/\/greek-theatre.gr\/article\/amaranta\/"},"modified":"2024-10-22T11:26:47","modified_gmt":"2024-10-22T11:26:47","slug":"amaranta","status":"publish","type":"article","link":"https:\/\/greek-theatre.gr\/en\/article\/amaranta\/","title":{"rendered":"Amaranta"},"content":{"rendered":"<p>In <em>Amaranta<\/em> we follow a theatre company of dead and living entities in their last performance: Memos, Stamos, Meropi and Antona, the dead artist, before their fall.<\/p>\n<div>\n<p>Using all those fundamental components that compose the theatrical universe of Pavlos Matesis and Glikeria Basdeki, bijoux de kant attempts the creation of our national portrait: ridiculous, deeply mournful, dead and hungry impoverished-devils for years that try to reenact the wreckages of themselves.<\/p>\n<\/div>\n<p>Amaranta<\/p>\n<p>2 male &#8211; 2 female<\/p>\n","protected":false},"template":"","format":"standard","categories":[12],"class_list":["post-4199","article","type-article","status-publish","format-standard","hentry","category-general-essays"],"_links":{"self":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4199","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article"}],"about":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/types\/article"}],"version-history":[{"count":0,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/4199\/revisions"}],"wp:attachment":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/media?parent=4199"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/categories?post=4199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}