Doll

The collaboration between liminal and the National Theatre of Greece for this season is drawing to a close. On May 8 and 9 liminal designs and implements accessibility services for people with sensory disabilities for “Doll”, with the support of Alpha Bank in the framework of its “Culture for All” programme.

“Doll”, a production based on Henrik Ibsen’s “A Doll’s House”, directed by Maria Panourgia, is presented at the Nikos Kourkoulos New Stage of the Ziller Building.

A woman in a blue dress lies stretched out on a round wooden table, her hand resting on her chest. Her gaze is frozen, fixed upward. Around her, seven people dressed in clothing reminiscent of the 1950s stare at her, their faces twisted into exaggerated, mocking grimaces.

An almost otherworldly visit inside one of the most significant homes in world drama.

About the Performance

It is Christmas. Through windows and half-open doors, the interior of a house is glimpsed as if from the outside. Behind its walls, the fabric of realism is torn open, revealing or hiding – with acerbic humour – the dark aspects and cruel actions of the characters, their awkward pauses, and the words they dare to articulate.

At the heart of this dark and insidiously violent work is a married couple bound by an unequal sexual relationship and a pervasive sense of financial insecurity — and between them, a secret. When it is revealed, the ensuing conflict brings to the surface deep existential questions that can be answered neither through reason nor instinct.

A woman in a blue dress with lace detailing on the upper part bites greedily into a large, round chocolate cake covered in sprinkles. From the decorations in the living room around her, it’s clear that it is Christmas.
On a single bed, a woman in a blue dress holds a Christmas tree tightly between her legs. From her open mouth and expression, it appears as though she is pleasuring herself. Childlike drawings have stained the floral wallpaper on the walls around her.
From the window of a wooden house, the interior of a small bedroom with floral wallpaper on the walls is revealed. On the bed, a woman in a blue dress sits, her face tilted in a desperate expression, resting against the apron of another young woman in a beige shirt and skirt who stands in front of her, looking at her coldly.

Christmas – and life in the house in general – are stripped of anything spiritual. Money rules supreme and determines people’s fate and their relationships. Everyone is praying for salvation to the one true god, mammon.

Confrontation is as constant as the need to escape and the absurdity of human nature.

Nora does not fall apart merely to piece herself back together again, but to claim the right to dream of a better world. To answer the question: “What makes life worth living?”

She transforms from a doll into a demon not because she is the embodiment of evil, but because she claims the choice and responsibility that freedom demands. The final rupture is not merely a departure from the house. It is an explosion!

Undeniably relevant even today, the great Norwegian dramatist’s work highlights how women in male-dominated societies all over the world are looked down on and manipulated.

The play takes on a near-mythic, supernatural dimension, because these are issues that remain unresolved to this day. It is striking how little conditions for women have changed since 1879, when the play – groundbreaking for its time – was written.

Accessibility Services

In the framework of of the “Culture for All” programme with the support of Alpha Bank, liminal designs and implements accessibility services for people with sensory disabilities for “Doll”.

Specifically, the following is provided:

  • Interpretation in Greek Sign Language and
  • SDH Surtitles for D/deaf and Hard of Hearing people

and also

  • Guided Touch Tour and
  • Audio Description for people with visual disabilities.

Credits

Translation:Giorgos P. Depastas
Adaptation, direction: Maria Panourgia
Dramaturgical advisor: Antonis Antonopoulos
Set design: Poulcheria Tzova – Maria Panourgia
Costume design: Ioanna Tsami
Music: Georgos Mizithras
Movement: Zoe Hadjiantoniou
Lighting design: Dimitris Kasimatis
Dramaturg: Erie Kyrgia
Directing assistant: Georgia Kanellopoulou
Set design assistant: Maria Stathopoulou

Cast: Aris Armaganidis, Stella Vogiatzaki, Babis Galiatsatos, Eleana Georgouli, Despina Karagianni, Marina Malliou, Christiana Matelska Toka, Katerina Papadaki, Fidel Talampoukas

Video: Nikos Pastoras

Accessibility Credits

Surtitling for the D/deaf and Hard of Hearing: Grigoris Stathopoulos
Audio Description Script: Anna Dimkou, Maria Thrasyvoulidi
Audio Description Narration and Guided Touch Tour: Maria Thrasyvoulidi
Interpretation in Greek Sign Language: Androniki Xanthopoulou, Tonia Papantonaki
Quality Check: Andreas Plemmenos, Eva Gkritzali
Surtitling software: supertitles.gr
Accessibility Services Design: liminal
Co-ordination: Christos Papamichael

Useful information

Days and times of accessible performances: Friday 8 and Saturday 9 of May 2026 at 20:30
Guided Touch Tour: 19:30
Location: Nikos Kourkoulos New Stage – Ziller Building, Ag. Konstantinou 22-24 10437, Athens (Map) Duration: 1 hour and 50 minutes
Tickets for disabled people – Companion: 5 euros

How to book tickets

Via email: [email protected]
Telephone reservations at the Group Sales Office: 2107001468 (Monday to Friday: 09.00-15.00)
Ziller Building Box Office: Ag. Konstantinou 22-24 (Wednesday – Sunday: 09.00-21.00)

* For the convenience of the audience, complimentary parking is available at the National Theatre car park (entrance from Koumoundourou Street). If you wish to use this service, please provide the vehicle’s license plate number and the driver’s full name when making your reservation.

For assistance with the reservation process, please contact us by email at [email protected].

The National Theatre logo. On a white background, a black square and a circle of the same color sit side by side, cut diagonally through the middle by a white line, evoking the letters E and T, the initials of the National Theatre. At the bottom, the words “National Theatre” are written in capital letters in the same black color.

The performances are implemented with the support of Alpha Bank, in the framework of its “Culture for All” programme.

The Alpha Bank logo: On a dark blue background appears the white imprint of the reverse side of the Aegina silver stater, one of the first coins of ancient Greece, featuring thick straight lines that intersect.