...this is not the only time that I have stuck out my neck for a Greek film director. With Nikos Nikolaidis I introduced him to Mr Constantini as wel… - Angelique Rockas

Theatro Technis in North London, where the issues of prejudice against immigrants, the poor, the illiterate were dramatised , and more urgently the exploration of the war crime that constituted the illegal invasion by the Turkish military of CYPRUS, and for which the USA ( especially the diabolical Kissinger ) and the UK had little concern, as the president of Cyprus was the Orthodox Archbishop Makarios, who had the reputation of being a bit of a red.
This was a theatre company that practiced political theatre in its purest form! I found myself performing a Greek Cypriot peasant woman driven from her land in the North of Cyprus and expressing her grief at the loss of her home in front of an audience that included refugees who had suffered the same fate but had managed to escape to London. The tears just flowed naturally. It was also at this theatre that I tackled the Mount Everest of acting parts – Medea(play) by Euripides, and which I performed to great reviews and was the performance that put me on the London map as an actress. The whole play was interpreted politically.

I myself have experienced the volcanic existential depths of the Greek language. It was during a performance of Medea by Tzeni Karezi at the Herod Atticus theatre in Athens ,when she was pleading to the callous Jason to take pity on her and she used the word ' splachniasou'. 'Pity' is too weak a word to describe the emotional and psychological depths ' splachniasou' expresses. 'Splachna 'is the part of the body where a woman carries her unborn children, the very root of ontological existence. How deep can you get!

The thing I like about having a company is the academic side. Then you forget about the academic side once you`ve done the administration and you start creating.