{ "filters": { "type": "performance", "time": "all-events" }, "events": [ { "@context": "https://schema.org", "@type": "DanceEvent", "id": "marcos-ayala-tango-the-golden-years-2026-04-22", "title": "MARCOS AYALA TANGO - The Golden Years", "description": "22 Απριλιου MARCOS AYALA TANGO - The Golden Years Christmas Theater, Athens", "fullDescription": "The bandoneon exhales its first note and the room transforms. You're no longer in Athens — you're in Buenos Aires, 1940-something, the air thick with smoke and longing and the particular tension that precedes the embrace. Christmas Theater's stage holds dancers who've spent lifetimes learning this single conversation between bodies.\n\nMarcos Ayala brings \"The Golden Years\" to Athens — a tango production that traces the dance's evolution through its most celebrated era. The golden age of tango, roughly 1935-1955, produced the music and movement vocabulary that still defines the form. Tonight's performance honors that heritage while proving its vitality, the choreography speaking a language that translates across decades and continents.\n\nAyala's company performs tango as it was meant to be witnessed — intimate enough to see the communication between partners, theatrical enough to appreciate the artistry involved in making such precise movement appear spontaneous. The dancers carry training from Buenos Aires studios where tradition passes person to person, their bodies archives of accumulated knowledge.\n\nChristmas Theater provides the proper frame for this presentation. The venue's theatrical configuration creates the distance that allows appreciation while maintaining connection. The music — likely a mix of golden age recordings and live orchestration — fills the space with the arrangements that made D'Arienzo and Troilo masters of their craft.\n\nThe audience for tango in Athens crosses cultural boundaries. Greek milongueros who've made the dance their practice. Argentinean expats seeking connection to home. Dance enthusiasts curious about tango's particular magic. Couples for whom this evening might spark something. The conversations at intermission mix languages, the shared vocabulary the dance itself.\n\nIf you need contemporary choreographic innovation or dance that distances itself from tradition, \"The Golden Years\" operates in different territory. This is tango as preservation and celebration, honoring the forms that made the dance celebrated. But if you've been looking for an evening where movement tells stories words cannot — Christmas Theater holds this particular poetry.\n\n| Info | Details |\n|------|---------|\n| **Date** | Wednesday, April 22, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Company** | Marcos Ayala Tango |\n| **Style** | Golden Age tango |\n| **Price** | Check venue |\n| **Duration** | ~90 minutes |\n\nMarcos Ayala — tango's golden years, alive tonight.", "fullDescriptionEn": "The bandoneon exhales its first note and the room transforms. You're no longer in Athens — you're in Buenos Aires, 1940-something, the air thick with smoke and longing and the particular tension that precedes the embrace. Christmas Theater's stage holds dancers who've spent lifetimes learning this single conversation between bodies.\n\nMarcos Ayala brings \"The Golden Years\" to Athens — a tango production that traces the dance's evolution through its most celebrated era. The golden age of tango, roughly 1935-1955, produced the music and movement vocabulary that still defines the form. Tonight's performance honors that heritage while proving its vitality, the choreography speaking a language that translates across decades and continents.\n\nAyala's company performs tango as it was meant to be witnessed — intimate enough to see the communication between partners, theatrical enough to appreciate the artistry involved in making such precise movement appear spontaneous. The dancers carry training from Buenos Aires studios where tradition passes person to person, their bodies archives of accumulated knowledge.\n\nChristmas Theater provides the proper frame for this presentation. The venue's theatrical configuration creates the distance that allows appreciation while maintaining connection. The music — likely a mix of golden age recordings and live orchestration — fills the space with the arrangements that made D'Arienzo and Troilo masters of their craft.\n\nThe audience for tango in Athens crosses cultural boundaries. Greek milongueros who've made the dance their practice. Argentinean expats seeking connection to home. Dance enthusiasts curious about tango's particular magic. Couples for whom this evening might spark something. The conversations at intermission mix languages, the shared vocabulary the dance itself.\n\nIf you need contemporary choreographic innovation or dance that distances itself from tradition, \"The Golden Years\" operates in different territory. This is tango as preservation and celebration, honoring the forms that made the dance celebrated. But if you've been looking for an evening where movement tells stories words cannot — Christmas Theater holds this particular poetry.\n\n| Info | Details |\n|------|---------|\n| **Date** | Wednesday, April 22, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Company** | Marcos Ayala Tango |\n| **Style** | Golden Age tango |\n| **Price** | Check venue |\n| **Duration** | ~90 minutes |\n\nMarcos Ayala — tango's golden years, alive tonight.", "fullDescriptionGr": "The bandoneon exhales its first note and the room transforms. You're no longer in Athens — you're in Buenos Aires, 1940-something, the air thick with smoke and longing and the particular tension that precedes the embrace. Christmas Theater's stage holds dancers who've spent lifetimes learning this single conversation between bodies.\n\nMarcos Ayala brings \"The Golden Years\" to Athens — a tango production that traces the dance's evolution through its most celebrated era. The golden age of tango, roughly 1935-1955, produced the music and movement vocabulary that still defines the form. Tonight's performance honors that heritage while proving its vitality, the choreography speaking a language that translates across decades and continents.\n\nAyala's company performs tango as it was meant to be witnessed — intimate enough to see the communication between partners, theatrical enough to appreciate the artistry involved in making such precise movement appear spontaneous. The dancers carry training from Buenos Aires studios where tradition passes person to person, their bodies archives of accumulated knowledge.\n\nChristmas Theater provides the proper frame for this presentation. The venue's theatrical configuration creates the distance that allows appreciation while maintaining connection. The music — likely a mix of golden age recordings and live orchestration — fills the space with the arrangements that made D'Arienzo and Troilo masters of their craft.\n\nThe audience for tango in Athens crosses cultural boundaries. Greek milongueros who've made the dance their practice. Argentinean expats seeking connection to home. Dance enthusiasts curious about tango's particular magic. Couples for whom this evening might spark something. The conversations at intermission mix languages, the shared vocabulary the dance itself.\n\nIf you need contemporary choreographic innovation or dance that distances itself from tradition, \"The Golden Years\" operates in different territory. This is tango as preservation and celebration, honoring the forms that made the dance legendary. But if you've been looking for an evening where movement tells stories words cannot — Christmas Theater holds this particular poetry.\n\n| Info | Details |\n|------|---------|\n| **Date** | Wednesday, April 22, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Company** | Marcos Ayala Tango |\n| **Style** | Golden Age tango |\n| **Price** | Check venue |\n| **Duration** | ~90 minutes |\n\nMarcos Ayala — tango's golden years, alive tonight.", "hasNativeGreek": false, "startDate": "2026-04-22T20:00:00+03:00", "endDate": null, "type": "performance", "genres": [ "general" ], "tags": [], "venue": { "name": "Christmas Theater", "address": "Leof. Veikou 137, Galatsi Olympic Hall, Athens 111 46", "neighborhood": "Galatsi", "coordinates": { "lat": 38.0165, "lon": 23.7545 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "από €15" }, "url": "https://www.more.com/gr-el/tickets/dance/marcos-ayala-tango-the-golden-years/", "ticketUrl": "https://www.more.com/gr-el/tickets/dance/marcos-ayala-tango-the-golden-years/", "source": "more.com", "createdAt": "2025-10-31T12:22:35.864Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:00", "timeSource": "extracted_from_start_date", "imageUrl": "https://www.more.com/getattachment/ec7a06de-9984-46d7-b1d2-6e66f8009570/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/marcos-ayala-tango-the-golden-years-2026-04-22.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "DanceEvent", "id": "0573ab33c1544927", "title": "By Heart | Tiago Rodrigues", "description": "Θέατρο", "fullDescription": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "fullDescriptionEn": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "fullDescriptionGr": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "hasNativeGreek": false, "startDate": "2026-05-12", "endDate": null, "type": "performance", "genres": [ "visual-arts", "Art", "Contemporary" ], "tags": [ "Experimental", "Intimate", "Polished", "Seated", "Concert-format", "Metro-accessible", "Card-accepted", "Reservation-required", "Mixed-ages", "Mixed-international", "Solo-friendly", "English-language", "Neos-Kosmos" ], "venue": { "name": "Onassis Stegi", "address": "Λεωφ. Συγγρού 107, Αθήνα", "neighborhood": "Κουκάκι", "coordinates": { "lat": 37.954, "lon": 23.7404 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "€10-35" }, "url": "https://www.onassis.org/el/whats-on/heart", "ticketUrl": "https://www.onassis.org/el/whats-on/heart", "source": "onassis", "createdAt": "2026-02-11T11:28:26.206Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "11:00", "imageSource": "not_found", "openingHours": { "mon": "closed", "tue": "11:00-20:00", "wed": "11:00-20:00", "thu": "11:00-20:00", "fri": "11:00-20:00", "sat": "11:00-20:00", "sun": "11:00-20:00" }, "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "DanceEvent", "id": "8c1e1c44c935018e", "title": "Flamecore", "description": "Επιστρέφουν στην Αθήνα, με το ομώνυμο πρώτο άλμπουμ τους αλλά και με νέο υλικό, έτοιμοι να δοκιμάσουν το ηχοσύστημα του Temple με τον Melodic Death...", "fullDescription": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, powerful sound system |\n| **Vibe** | Technical, focused, absorbing, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "fullDescriptionEn": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, powerful sound system |\n| **Vibe** | Technical, focused, absorbing, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "fullDescriptionGr": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, exceptional sound system |\n| **Vibe** | Technical, focused, immersive, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "hasNativeGreek": false, "startDate": "2026-12-04T20:00:00+03:00", "endDate": null, "type": "performance", "genres": [ "various" ], "tags": [], "venue": { "name": "Temple", "address": "Iakchou 17, Athens 118 54", "neighborhood": "Gazi / Keramikos", "coordinates": { "lat": 37.979013, "lon": 23.713044 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "€12-20" }, "url": "https://www.athinorama.gr/music/gig/flamecore-10088306/", "ticketUrl": "https://www.more.com/gr-el/music/", "source": "athinorama.gr", "createdAt": "2026-01-19T23:07:36.452Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeSource": "not_found", "imageSource": "not_found", "permanentCollection": false, "locationStatus": "verified_athens" } ], "meta": { "total": 3, "lastUpdate": "2026-04-15T16:28:50.932Z", "url": "https://agentathens.com/performance" } }