Wednesday 4 July 2018, 7.30pm

Metapraxis VI: Sisyphus Distressing

Sisyphus Distressing is a dynamic sonic theatre project, built around the myth of Sisyphus, as it was seen through the eyes of Albert Camus. Composed by Gregory Emfietzis and devised by the Metapraxis Ensemble, it consists of 7 sounding and muted acts, combining video, text, acting/movement and construction/design. This second part of Emfietzis’s work on Sisyphus (watch Sisyphus Victimised performed by the LSO), explores endless repetition and meaninglessness, struggle and failure, as well as (some sort of controversial) hope for what might come next: the realisation that life is absurd cannot be an end, but only a beginning.

Metapraxis Ensemble:
Gregory Emfietzis / curator, electronics
Neil Georgeson / piano, narration
Angela Hui / percussion
Ilze Ikse / flutes
Myrto Loulaki / voice
Rebecca Raimondi / violin

Collaborators:
Kyveli Anastasiadi / Videographer
Alma Daskalaki / co-Producer
Mayra Stergiou / Director

“what begins as a difficult, perhaps even daunting task for the audience, gradually becomes compelling, and towards the end even joyful” – The Spy in the Stalls on Sisyphus Distressing

The Metapraxis Ensemble

The Metapraxis Ensemble is a London-based, flexible group of musicians and collaborators, first established in early 2009. Their productions focus on presenting contemporary music (often in conjunction with compositions from older eras), structured around a rendering of a tale, and reinforced by extra-musical elements. They adopt a theatrical approach for their projects: presented as single units, they often feature video / film projection, movement, text reading and staging / lighting effects. Metapraxis events have taken place in venues around London, such as IKLECTIK, Cafe Oto, LSO St Lukes, The Space, TripSpace, Iris and Chelsea Theatres, as well as in educational institutions (Brunel, Goldsmiths, Guildhall, Huddersfield, Leeds, Roehampton).

Gregory Emfietzis

Gregory Emfietzis is a composer based in London. He grew up in Greece, playing the violin and singing in choirs, while developing an interest in music and theatre making. His music tends to be structured around narratives: timelines of acoustic landscapes, often superimposed by musical gestures and added dramatic elements that reinforce the plot. Some of his works seem written as much for actors as musicians. Others, tend towards a more instrumental or sonic theatre. He has engaged with numerous soloists and ensembles (such as the London Symphony Orchestra, Ensemble WIENBERLIN, London Sinfonietta, Greek National Opera, and Philip Thomas, Olly Coates) for performances in contrasting environments, often in collaboration with other artists. He has also (co-)devised a number of self-initiated multi-disciplinary projects (such as shadow theatre, puppetry, dance, video/film, design installations) for/with the Metapraxis Ensemble.