Its subtle power and energy pays tribute to composer Erik Satie and his method of using the intensity of each and every drop of sound. Through its contact with contemporary theatre and its integration into the play’s structure, the transformed traditional music takes on a new form, as it is seamlessly interwoven with the performers’ movements. Theatre ZAR also acknowledges the great literary influence of Aglaya Veteranyi on this work, which forms part of Gospels of Childhood. Triptych. The resultant performance is “cruel, beautiful, sometimes slyly funny and altogether inimitable.” (Jim O’Quinn, A Search for the Oldest Songs in the World, American Theatre). During the research process, members of Theatre ZAR made several trips to Corsica, in search of new material for the emerging musical score. As such, the climax of the performance is characterized by the liturgical music of Corsican confraternities. Although rooted in Corsican music, the musical score is enhanced with Bulgarian cries, calls and chants.