Goran Trajkoski

The following text is taken from  http://www.myspace.com/cirkuseuropia

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Ladies and Gentlemen, In this, the 21st Century I find myself in a theater (in every sense of the word). The theater has been my working and artistic environment for quite some time now. I created music for fifteen theater performances throughout Macedonia - during this time, my fellow performers and I conceived a social and (geo)political farce where my country was involved. Involved against her will. Involved against the will of other unwilling participants from other peoples and countries. Absurdities. Lies. Intrigues. Conspiracies. Murder and war. These scenes change in the same manner as on a movie screen. Some of these wretched scenes were written by the great maestros of the theater, such as Moliere, Brecht, Ionesco, Buchner; some were written by the kitsch demiurges of "The Grand Chessboard" and their puppets. Europia classic, indeed. Whether as a reflection of this general ambience or as a result of a intuition, the music that was created in this period was obsessed by the circus music and aesthetics of the Black Cabaret from the first half of the 20th century. Further, the absurdity of Ionesco's "UN HOMME EN QUESTION" and Brecht's social cynicism and irony have been imposed as a common feature of our modern curse. The Circus Europia is still among us. The acrobats fall from their trapezes, the jugglers are burned by the fire which they unsuccessfully maneuver. Clowns (who are not funny) curse, insult, spread blasphemies; trendy ties are hanged around their necks as in the manner of grotesque kitsch-gallows. The Circus of the Absurd and Black Cabaret of the 21st century is our undesirable and tragicomic reality. One might wish to close his eyes and all this to disappear, but this is impossible. Goran Trajkoski