Tragedy 2.0 | Athens 2018

Medea Electronique Note

To kill the death: Have we succeeded

to convert the longevity supplement

in a lifetime supplement?

Franck Damour, Heureux les mortels, car ils sont vivants

Continuing our research into myth, we aim to explore the boundaries of technology and the poetics of the Digital Era. Can technology be poetic? The gods have died.  Prometheus is now free and wandering. Having given the fire-technology to humans, he stands to observe: with the fire they try to live well, to move beyond. Ιn the performance, music, poetry, dancer’s body, digital interactive technology  act as versions of Promethean fire-technology. Humans feel omnipotent. They are players and play-things, the game of the world continues. 

A performance-score, driven by musical compositions, sounds and improvisations of the musicians, the lyric singer and the dancers on stage. Using the human body as thread, the French dance group Cie Sébastien Perrault choreographs and animates with an already existing experience in contemporary representations of myth. We are happy with this collaboration.  And then, the Logos, is always present: The poetic text flows during the performance, composed of extracts from Prometheus Bound by Aeschylus and lyrics that Medea Electronique especially composed for the show. At the same time, lyrics  by the poets Nikos Karouzos and Yiannis Stigas, excerpts from Pedro Paramo by Juan Rulfo and Devant La Parole by Valère Novarina are included in the text. At the end, video mapping, live visuals, live electronics and audio-video-body interaction as a rhapsode, weave the story.

We would like to thank Michael Cacoyannis Foundation for this charming invitation and cooperation.

From Athens with love,

Medea Electronique