Life goes in circles like history, which is essentially the recording of (life).
A claim accepted by almost everyone.
Circles are sewn from the thin threads of the three Fates, the Thread, the Lace, and the Atropos.
They seem to be easy to break, but it is very difficult for anyone to try.
And humanity does not seem to want to take such an action, to try, that is, to break them.
Just as the dark sky circles and brings with it the stars, to illuminate our path, the atrapos*.
After all, human history, at every opportunity, shows that even in the biggest mud, beautiful flowers grow, like art.
In essence, art shows us the way while highlighting the dark side of people.
This is exactly the art of drama. The tragedy itself, always relevant and present …
She is looking for an artistic soul that will find the right words to describe the dark side of human nature.
It took about 2,000 years for the Muses to meet the worthy pen of the ancient tragedians in the person of William Shakespeare.
The great British dramaturg praises in almost every work tragic forms of the human condition.
From Oedipus to … Macbeth
Today, the Daemonia Nymphe, through their creation, “dive” deep into history, retrieving musical treasures with a more modern glow.
As characteristically mentioned by Spyros Giasafakis, the inspirer (along with Evi Stergiou) of this ambitious plan …
“The initial goal in creating the band was the primary need to compose a piece of music which could to some extent be related to some elements of what we consider to be ancient Greek music.
At the same time, having in mind the relics of this music that have been found and transcribed in the modern notation”.
But through their “temporal emergence” they encountered another different king-killer from Oedipus, Macbeth.
Daemonia Nymphe decided to dress with notes the witches that surround the Shakespeare hero.
“Witches’ Lullaby” was originally written for the play Macbeth, which was staged at “State Theater of Northern Greece” under the direction of Anastasia Revi“, continues Spyros Giasafakis.
“In the play, this melody represented the Shakespearean witches.
These enigmatic and dangerous beings who manipulate Macbeth and who make us wonder if they are really the Fates “.
At the same time, it makes the connection with the myths of Ancient Greece, as archetypal motifs of western drama.
It is not uncommon for whispers to have a much louder voice than human screams, easily touching our souls and minds.
On the other hand, simple lullabies are gateways to new worlds, perhaps to a new life.
“The lullaby is a melody that symbolizes birth, new life.
Even in ancient Greek mythology, life was influenced by Mires, Klotho, Lachesi, and Atropos.
The first represented the present, the second the future, and the third the past, all that has happened and cannot be changed.
Lullaby has a silent power and its remembrance can follow a soul on its journey into this world.
At the same time, every lullaby changes its meaning when the one who sings it also changes, when the protective force it emits has a different starting point and carries different dreams. ”
Often the same words have different meanings depending on the person who utters them.
As when the recipients are different.
The notes like brushes give different interpretations depending on their operator, with the freedom of the performer to advise each “brushstroke”.
“So we started with the dark lullaby of Shakespeare’s witches to create four original and different lullabies.
All five artists involved in this project, had the freedom to create their own lullaby, giving it a different meaning each time.
The Japanese Hattis Noit, the Spanish Priscilla Hernandez, the Portuguese Victoria Couper of Portuguese origin in collaboration with the British British Reyhan Yusuf and the Greek Evi Stergiou, convey through their voices a memory of their own tenderness, strength, and hope “.
Finally, the inspirer of this whole project, who has already edited it.
Spyros Giasafakis revealed to us the musical journey of this project, proving the connection of the two eras of drama.
At the same time, it reveals to us that the interpretations of archetypal myths have not yet been exhausted, constantly teaching us about the human soul itself.
*The path of knowledge