Playing for Eurydice is the quintessence of a fascinating artistic encounter. The project’s point of departure was the desire shared by the Ensemble l’Autre mOnde, Helena Bittencourt and Goos Meeuwsen to search for a format in which baroque music and the art of the modern clown form the basis of a joint show. Where music – passionate, melancholy and rich in contrast – meets the theatrical expressive form of the Nouveau Cirque style, a new aesthetic is born.

Who would be more appropriate than Orpheus to embody the search for and the arrival at a new poetic pathway, in the fusion of two genres?

Orpheus, the first artist…
Orpheus, who descended into darkest Hades for love and enchanted the gods of the underworld with his singing…
Orpheus, the symbol of eternal inspiration…

It is a delicately balanced accord, in which music and gesture are transformed into a completely new language, while ideas take on the densest form imaginable. Thus, the viewer is transported into another dimension in which only perception, seeing and hearing, exist. Time and place assume a different meaning, the air around us takes on a different form, and poetry becomes palpable. On stage, following the myth, the musicians embody Orpheus’ emotions, with the greatest possible room for creativity and with absolute simplicity – convinced that the piece’s beauty and strength lie in the reduction of expressive means. Relying on the artists’ focus and the stage lighting, the two artistic genres intensify each other’s dramatic potential, generating pure emotion. It is a song which transcends the boundaries of the visible world – Playing for Eurydice.