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ISSN 1409-6900 | UDK 82+7     Blesok no. 57 | volume X | November-December, 2007



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                     Peer-reviewed journal
Blesok no. 57November-December, 2007
Sound Reviews

Retro-cabaret “Circo Europia”

reflection of the intuition


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p. 1
Toni Dimkov

Musical-stage performance with a creative dimension that surpasses the frames of a simple concert presentation of Goran Trajkoski’s theatre music

Initially envisaged as a theatre presentation of the music composed by Goran Trajkoski for several theatre pieces, “Circo Europia” has transformed into a musical-stage performance with a new creative dimension which surpasses the frames of an all-evening concert. The main focus is put on the live music performance, although the idea will be complemented with a music CD-document (also accessible on internet). The material is based on a theatre music written in the period 2001-2006 for theatre plays staged in several theatres in Macedonia: “Darkness” by Kole Čašule, “Tartuffe” by Moliere, “WTF Started all this” by Dejan Dukovski, “The King Dies” and “Delirium for two” by Eugène Ionesco, “Čomak Iron“ by Trajče Kacarov and others. “The new, 21st century, has copped me in a theatre, in every possible sense. In the theatre, as a working and an artistic environment, producing music for about 15 plays in Macedonia and in the theatre as an social and (geo)politic parody in which my people and my country were involved, against their will”, says Goran Trajkoski, author of the music and the creative concept of the performance. Within the project he uses sampler, has made the selection of textures and appears as a narrator and a vocal soloist. The genre of the music is defined as cabaret-circus retro-style. Following the example of the Brecht-Waill and Morricone-Rotta tandems, it is about a modern style named as Dark Cabaret / Cabaret Noir which was cultivated by several famous groups and authors like Dresden Dolls, Nicky Jane, Katzenjammer Kabarett, Tracy Jill, Revue Noir at the very beginning. “The Circus of Absurd and the Black cabaret of the 21st century is our non-favorable tragicomic reality. Absurd, lies, intrigues, conspiracies, murders and wars are changing as in a movie. Part of them are written by the great maestros of the theatre like Moliere, Brecht, Ionesco, Bihner, and the others by the ‘newly-composed demiurges’ of the ‘big chess table’ and their puppets. Europia's classic. Either as a reflection to this general atmosphere or as result of the intuition, the music created in this period was obsessed with the circus musical esthetics and the Black cabaret of the first half of the 20th century. The nonsense of the Ionesco's “The question mark man” and the Brecht's social cynicism and irony have






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