| The project Caesarean Section |
 Caesarean Section – the research that falls under this name is an attempt to tackle the theme of suicide. The musical structure of the performance is built upon a base of traditional female songs, motifs from the musical traditions of Corsica, Spain, Bulgaria, Romania, Iceland and Chechnya. In its literary aspect, the project refers to the work of Aglaya Veteranyi. The first work-in-progress presentations, entitled Csaesarean Section. Rehearsals took place on 18th and 19th May, 2007 at the Fabbrica Europa festival in Florence. Simultaneously, Theatre ZAR began preparations for another project, entitled Anhelli. Chants.About the performance Caesarean Section. Essays on Suicide : 'Let Albert Camus speak: There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest whether or not the world has three dimensions, whether the mind has nine or twelve categories comes afterwards. These are games; one must first answer. (Albert Camus, The Myth of Sisyphus)  The title of the performance is essentially a metaphor for the compulsion towards and the condition of suicide, and the involuntary force that pulls one back from the brink. It is about the potential and necessary ability to prolong one’s breathing at the moment when one feels the pieces of glass, within the veins, that haven’t yet managed to reach the heart. It is an exploration of the liminal space between two impulses. Caesarian Section is the second performance from Theatre ZAR, which further develops the group’s work with polyphony and its aim to create theatre from the spirit of music. The musical structure of this performance was developed from a base of polyphonic Corsican songs, into which Bulgarian, Romanian, Icelandic and Chechen songs have been woven. Through its contact with and integration into this contemporary theatre piece, the traditional musical material has been transformed and has taken on a new form, becoming seamlessly interwoven with an intensive movement score. The subtle power and energy of the piece owes a debt to Erik Satie and his identification of the intensity that can be transmitted in each and every drop of sound. We are unable to express the debt that our performance owes to Aglaya Veteranyi’. |