Many people make the mistake of trying to decipher art, sometimes by overanalyzing it and other times by rationalizing it. In doing so, they miss the magic of what happens within us every time we encounter authentic artistic creation. Fortunately, I was guided by an instinct from an early age, and so exhibitions and performances “imprinted” themselves on me uncritically, like the marks that the passage of time inevitably leaves on us… From Abramović’s exhibition at MoMA PS1 in New York to Papaioannou’s *One Minute of Silence* at the Old PPC Factory —both examples from my much-loved ’90s. Somewhat like that, with the same mindset, I’ve carried on to this day. And in much the same way, with the innocence of a spectator facing something new, I found myself in the square in front of the Nicosia Municipal Theater to watch Mario Banousi’s *Goodbye Lindita*. A production that arrived in Cyprus having won the Silver Lion at the Venice Theater Biennale, and whose profound poetic quality lived up to expectations. A few days later, *The Event* by the Comédie Française—featuring two “big” names, with Annie Ernaux as the playwright and Françoise Gillard as both actress and director—served as a clear reminder that the truth of theater requires neither grand gestures nor unnecessary effects.
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