Biography

Katerina Drakopoulou is a performance maker, performer and movement educator based in Athens. Her practice is rooted in durational, site-responsive works that investigate the relationship between body, space, time and visibility. She choreographs attention, framing the landscape through a distilled body and sustained presence. Through long-form actions and scored compositions, she creates encounters that retune perception and sharpen what is noticed.
Extensively trained in Japanese Butoh, she approaches it as a research methodology rather than an aesthetic, using slowness, stillness and physical listening to explore sensation, image and transformation. Her works are developed through experimentation, with scores that are rigorous and permeable, clear enough to carry intensity and open enough to welcome playfulness, nuance and the unexpected. With deepened attention, the unnoticed comes into view, and the landscape is felt anew.
Her work has been presented in Greece and internationally across Europe, Japan and the United States, including Larnaca Biennale. She is an UNFOLD Fellow and selected for Peru Bienal 2026. She holds an MA in Ensemble Physical Theatre (University of Huddersfield), an MA in Performance (Goldsmiths, University of London) and a BA in Drama and Theatre Studies (University of Kent). She teaches at the American College of Greece (Deree).

Artistic project

22 stops: Inhabiting the City is a participatory, site-responsive walking performance unfolding across twenty-two public sites in a host city. Developed as the next evolution of my long-term project 22 stops (2016–ongoing), it shifts from solo practice to collective presence. Twenty-two local participants, artists and non-artists, each activate a different site along the route. The number 22 provides the work’s structure and pace, guiding the walk through a constellation of encounters.
The route and sites are composed during the residency through walking-based research, conversations and workshops. At each stop, a participant inhabits the site through a concise, Butoh-informed micro-score shaped by stillness, slowness, micro-movement and sculptural imagery. These scores are not choreography to reproduce, but perceptual frames held according to each person’s pace and attention. Each site is marked with a chalk number, leaving a fragile cartography after the bodies withdraw.
Guided yet porous, passers-by may encounter the work by chance and join temporarily. Quiet, low-tech and attentive to care in public space, it lasts approximately 70-150 minutes and invites audiences to see the city, and themselves, with new eyes, revealing the poetics of the unseen and the beauty of the ordinary.

Format: guided walk, site-responsive public performance (score-based actions along a route).

Size of audience: flexible and fluid. Ideally 15–30 people follow the full walk. Passers-by may encounter the work by chance at any point along the route and join temporarily.

Specific location: to be determined with the host. The work unfolds along a walkable public route in the host city; the final path and 22 stopping points are composed during the residency through on-site research, local dialogue, and practical considerations of access and safety.

Timing/duration: daytime or early evening (flexible). Approximately 70–150 minutes, depending on the route, pace, and local conditions.