The origin of the universe was the myth. The first explanations of the cause and the foundation of reality is based on narratives fantastic that tried to organize and give coherence to the phenomena that shaped the evolution of the world and humanity. In our days, the mythology still serves as an inspiration to a multitude of artistic and philosophical doctrines, and the pursuit of knowledge is still based on those earlier stories and magic were the germ of a multitude of cultures.

“Myths sound” proposes a reflection avant-garde that directly connects these mythological stories with a speech original musical. The show takes as a reference the japanese mythology, and his narratives about the origin of the universe, the role of the humanity or the introspection as a means of connection with a reality supraterrenal. Using representative elements of the writing, and music traditional japanese describe these phenomena and mythological in its purest essence, seeking to weave a connection between the mythical universe and understanding.

In this way, it aims to bring the myth to the ears of the here and the now, recall our past more remote and magical and travel the origins of humanity in creating universes hybrids between dreams and reality.

Kami. Es the story of some of the gods present in the indigenous religion of Japan, shintoism. Your oldest book, the Kojiki, arises this work. Tells the story as Izanami – the goddess of creation and death – begets Amaterasu (goddess of the sun), to Tsukuyomi (god of the moon), and Susanoo (the god of sea, storms, and battles). Throughout the piece plays a significant role in the sound of the sea that surrounds the island mythical Onogoro, where we develop the narrative and the present through a drum ocean. Fûjin (god of wind) also has a significant role throughout the work.

Yokai. It is inherent in the human being, the superstition of the unknown. In Japan there is a word to define all beings, feelings and experiences that are unexplained: the Yokai, demons and specters of japanese mythology. This is the name that encompasses many species with different characteristics: ancestral spirits that surround us in our day-to-day, demons that lurk in the night, spirits who return to seek revenge or demons who has the ability to change shape to coax the children, and then become who you really are. These demons appear represented during the work through the element multiphonicthat appears at the start (the Yokai in its natural state), and then its transformation over the work, to re-appear in its natural form in the climax.

Sawaru. In japanese, two verbs basic to designate the action of “touch” for what it is important not to get confused when they read / write: Sawa-ru (sawa–ri-masu) and Fu-reru(fu-remasu). These two verbs are not exactly synonyms, and there are small differences in use and meaning between the two (besides that belong to different models of conjugation). Generally, while SAWARU is more direct or rude (touch, toquetear, groping...), FURERU tends to be more subtle (rubbing, touching, a little bit, touching with a finger, feeling from a approximation for the more general...)

In this musical, the interesting thing is that constant dialectic between tension and resolution, but from the shape and structure. As well as in a work of visual artwe speak of the “visual weight”, here we'll talk about the reasons underlying a structure a transformation finite. What will be enough five minutes to recognize the elements in attentive listening? Of course yes. The time is also interpretable.