Shroud

In 2021, Andreas Constantinou embarked on a deeply personal and artistic journey following a series of losses. Over four years, he experienced the passing of the entire older generation of his family, including grandparents, aunts, uncles, and tragically, both his parents within the span of five weeks. His father died alone in a Covid-19 ward, while his mother succumbed to cancer in his care. This intense period of death, loss, and grief deeply influenced his life and art, ultimately leading to the creation of THE GRIEF WORKS 2021-2025 – a four-year artistic research project that delves into the themes of grief, death, and loss.

THE GRIEF WORKS: serve as an umbrella title for Constantinou’s four-year research project, which resulted in four distinct performance chapters. 

• CHAPTER ONE: MY UNDYING LOVE (2021)
• CHAPTER TWO: CARCASS (2023)
• CHAPTER THREE: SHROUD (2024)
• CHAPTER FOUR: DEATH IS NOT THE END (2025)

Each chapter delves into different aspects of grief, death, loss, and healing, reflecting the multifaceted nature of these experiences through varied artistic expressions. The four chapters are designed to engage audiences in diverse and meaningful ways, each addressing different aspects of death, grief and loss. 

Each chapter presents a unique artistic experience: My Undying Love is an immersive theatre performance that invites the audience to embody the sensations of loss; Carcass is a dynamic physical theatre work on six dancers that challenges viewers to reflect on their values regarding life and death; Shroud offers a poetic, visual exploration of grief’s subconscious symbolism; and Death Is Not the End is a site-specific performance that collaborates with local communities to share collective stories of grief and healing.

This varied approach provides audiences with different entry points, allowing them to connect with the themes in ways that are both deeply personal and profoundly impactful.”

In today’s world, where conversations around grief are often stifled and avoided, this project is crucial. We live in a society where collective mourning is frequently pushed to the margins, and grief is often processed in isolation. Constantinou’s work creates essential communal spaces for open expression and shared healing. In a time marked by global loss—from the pandemic to ongoing social and political upheavals—the project offers a platform for confronting grief, fostering resilience, and reigniting the bonds of empathy and connection. 

In relation to the “CARCASS” (in Danish):

”Jeg vil koreografere død, ikke det at dø” – Andreas Constantinou om himherandit’s trilogi om sorg og død (Iscene)

På fem år mistede Andreas en hel generation i familien: Nu vil han vise os, at livet er ”fucking fantastisk” med ny forestilling
(Århus Stiftstidende)

In relation to “MY UNDYING LOVE” (in English):

Audience reactions (in English) to the first part of the trilogy “MY UNDYING LOVE”:

Audience reactions (in Danish) to the second part of the trilogy “CARCASS”:

Reviewers on the first part of the trilogy “MY UNDYING LOVE””:

★★★★★★
‘There is a very intimate and strong atmosphere throughout the performance. The work itself is beautiful in its design, different in its approach, aesthetic in its sensitivity and heartfelt in its humanity. The installation as a whole is both heartfelt and believable and I give the performance my warmest recommendations.”
– Kulturnyt (read the full review in Danish)

Reviewers on “CARCASS”:

”I sit with a pounding heart in the audience rows and let myself be absorbed by a different and brave dance drama. (…) The performance ‘Carcass’ is a poetic gem of small subtle moments that connect to the last breath.”
– Kulturnyt (read the full review in Danish)

”I was spellbound from start to finish. (…) Life and death belong together, and this very realization the dancers embody in a fascinating way in a poetic, humorous and absurd dance with death.”
– Delfinen, Aarhus Universitet (read the full review in Danish)

”They dance our fear of death and remind us to live life while we have it. They break with death and master the art of throwing limp bodies and 100 ways to move them. They also speak directly to the audience and have a hilarious competition for the best death. The atmosphere becomes so good that you come to care for it – death.”
– Lokalavisen Aarhus★★★

“Choreographer Andreas Constantinous captures many of these moments in life with an open-minded sincerity that, like life, both appeals and repels us. But it’s a performance that wants something from us, and with its vital team of international dancers, it makes an impression. (…) Aris Papdopoulos, Theo Marion, Elise Ludinard, Paola Drera, Heli Pippingskold and last but not least William Cardoso demand our attention and get it. And we take the message home with us: Remember to live your life. We may end up as carcasses soon enough.”
– CPHculture