The Boogeyman

2017 - present

This is the more recent example of ‘harp monologues’ and it is a work in process. The Boogeyman explores ideas around fears and phobias, as these are illustrated in myths and archetypal representations. The Harp is haunted by an unwanted guest; the harpist performs in an unconventional and surprising role. And where is the Boogeyman?

 

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Memory A

2016

The project explores the idea of ‘performing the sound’ as in previous projects, based on a poem by George Seferis. Poetry and music blend together, act and interact, while the harp is transformed into a companion, being part of choreographic movements in space and becoming a symbol of the poem’s title: Memory. That which is now forgotten.

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Odyssee

2013

A solo harp piece inspired by Anestis Logothetis' work "Odyssee". It explores different ways of ‘performing the sound’ and it concentrates in sound as a narrative means, by deconstructing melodies, using extended techniques and trying to discover all the possibilities of the harp as an instrument, object and symbol. Following a personal journey until Ulysses return to Ithaca.

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Medea

2012

 Medea is developed in the same spirit as the past projects Reflections and Ariadne’s Dream. It’s a solo harp piece based on Jean Annuile’s synonym theatrical piece. It aims at exploring the archetypical hypostasis of the mythical Medea and to understand and present her psychological processes into a performance context, translating those processes into sound and movement. Here the harp becomes the lover, the companion, the enemy and, most importantly, the self.

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Ariadne's Dream

2010

Ariadne’s dream was a development of the previous harp performance project, Reflections. In the same sense of a holistic interdisciplinarity, Ariadne’s Dream is focused on ritualistic qualities and in developed relations between performance elements, taken from disciplines other than music, such as voice, movement, text and others.  Using lighting to cut the space into a series of individual  ‘sound/pictures’ enables the formal exploration of sound actions, through for  example the ‘translation’ of actions of playing the harp being transformed into  danced gesture and the spoken texts reframing as sound.

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Reflections

2009

Reflections was the first result of a Practice as Research project. The aim of the research was to create a holistic Harp Performance praxis where elements from different disciplines are not distinguished. The name “reflections” refers to the relationship between the performance elements during their processing, where each element was reflected to another.