for violin and real-time interactive graphics
created by Maja Cerar + Liubo Borissov

Tragodia Trilogia (The Tragedy Trilogy) is set as a classical tragedy narrated by movement, sound and light. The first part, Autopoiesis, deals with questions of beginnings and creation. The second part, Mimesis, confronts the schism between reality and representation highlighted by Plato and Aristotle's disagreement on the role and importance of art. The final part, Catharsis, attempts to resolve the conflicts and answer the original questions.

Autopoiesis is a work that imagines realities and is, in part, also a humorous document of the discussions between the two authors about the beginning of the universe. It tackles the idea of existing in more than one place at a single time and coping with a duplicate of oneself. It is also an exploration of degrees in and limits to comprehending relations between cause and effect, between mass and vacuum, and is played out in a dialogue between a physical figure and its virtual (projected) manifestation, in which both of them constantly move and change without evolving. One could see the lines projected on the screen as the reality created by matter and force acting on stage, which is an illusion orchestrated by the two authors-performers. In Autopoiesis, all these realities meet in play.

In Mimesis, two-dimensional representation is challenged in a quest both rational and irrational to tap into the essence of the eternal. A puppet is animated by real-time analysis of the movement and sound created by the performer, yet the performance moves along a trajectory that is conducted by none other than the puppet.

Catharsis is an expression of the inner world of the artist projected outwardly through movement, sound and image. It is presented as a structured improvisation in which the performer stands in front of a screen illuminated by the projection. For most of the performance the projection is focused onto the performer's body. It serves simultaneously as costume, decor and contra-punctual visual form driving the narrative arc of the piece. The piece builds up to a
cathartic point, the form spilling out of the body and filling the surrounding space with sound and image. The form comes to life through real-time analysis and interpretation of the sound and movement of the
performer. In turn, it serves a real-time score and conductor guiding the performer through the construct of the piece.

Autopoiesis premiered at the ThreeTwo Festival in 2003.
Mimesis premiered at SIGGRAPH'07. The recording here is from the SPARK'08 Festival.
Catharsis premiered at the SPARK'09 Festival.


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