25/11/2024

#EndViolenceAgainstWomen Interviews: Director Roussa Markaki

November 25th calls us to confront violence against women and reflect on the importance of equality and safety in every person’s life. On this day, Winart gives a voice to two talented directors from Chania, Roussa Markaki and Maria Lekaki. Through their performances, the two creators highlight aspects of gender-based violence, provoking thought and sparking reflection in the audience.

On the occasion of the “International Day for the Elimination of Violence against Women,” what is your perspective on the importance and relevance of the issue?

International observance days are not my favorite. They offer us an excuse for inaction on the remaining days of the year. We do something on that specific day and soothe our conscience, while victims turn in their graves, lie in hospitals, hide behind closed shutters, loose clothing, and dark glasses.

But there are no excuses. Responsibility belongs to every woman and man, reflected in our daily behavior toward children, colleagues, friends, and partners—not just our own—at every point in life, work, and leisure. Our tolerance feeds the monster as we easily utter, “It’s not my business” or “Mind your own business.” But this is our business. Our job is to stop closing our mouths, eyes, and ears.

Our role is not only to protect and support victims of violence but, more importantly, to strengthen and equip ourselves to reject and resist abusive behaviors, whether we are the victims or they occur around us. We must build awareness that lays the foundation for a world free from the violence of discrimination.

What role does gender-based violence play as a theme in your artistic work?

The artistic performance group Between Light and Shadow, which I am part of, debuted with the performance “The Good and the Reversed are the Same”, a street performance dedicated to the victims of gender-based violence. Based on Raoul Vaneigem’s text, the performance framed gender-based violence as a social and political issue rather than a personal one. It’s not about a “bad person” tormenting his wife but about a system of inequalities and exclusions that fosters violence. Violence against women and the most vulnerable members of society—those least protected by the state—emerges because it is simply easier to target them.

Theatre demands discipline, dedication, and commitment, and I love it as much as I love humanity. While my work cannot eliminate the barbarity of today’s world, it can contribute to tipping the scales away from abuse, exploitation, and dehumanization. I am committed to addressing topics that may not soothe ears but awaken the senses, gently turning attention toward what we prefer to ignore. I approach this with softness, grace, and poetic expression because these qualities are fading from our lives, taking much else along with them.

Which aspects of gender-based violence do you highlight in this particular performance, and how do you approach it artistically?

Our theatrical group’s tribute to French intellectualism includes works by Bernard-Marie Koltès (Tabataba and Coco) and Jean-Paul Sartre (No Exit). Koltès’ plays, recently performed, shed light on vital societal issues: family oppression toward a young boy forced to conform to socially accepted norms; societal condemnation of a sister shouldering parental responsibilities amidst judgmental scrutiny; sexual isolation due to nonconforming preferences; workplace exploitation by those in positions of power; and the abuse of the physically disabled by their caregivers.

All of these are roots of gender-based violence—reasons why individuals are abused, marginalized, or even executed, both literally and metaphorically, with perpetrators often claiming ignorance or misguided love as excuses that only further insult the victims.

Our artistic approach tackled Koltès’ dense themes by mirroring how such issues are often addressed by the media, which prioritizes image over substance. This was portrayed as a kind of “fashion show,” where models replaced one another without addressing the underlying problems. To involve the audience, we placed them on stage, while the harshness of the topics was emphasized through lighting. The quality of the costumes symbolized the resilience and dignity of those who suffer, persevere, and continue walking on red lines.