MEDIATHEK

Man against woman, Greek against barbarian. Is it possible to put love above any other value? To the point of justifying any sort of sacrifice? What happens when passion collides with order in a community, or erotic desire with maternal love? When is it possible for an outsider to truly stop to be one? Is marriage marketable? With a property? We have no answers, neither written nor spoken. Usually are men who, being excluded from generating life, find death to be a more powerful place because it takes life away. Not in this case. For Medea not even maternity can be an inescapable fate and for this reason she eludes common logic; she can only be a part of a narrative or of the theatre or of languages related to poetry, which comes into play right when and where other languages fail to mean anything or don’t mean enough. In our free inspiration by the myth of Medea, we have mainly followed the path set out in the “Argonautiche” by Apollonio Rodio (3rd and 4th book) for the first scene, the enchantment (Thessalian tradition, focused on the exploits of the Argonauts). For the second and third scenes ' the disenchantment and the children - we have followed Euripide’s tragedy (Corinthian tradition, centered on the tragic fate of Medea’s own children). We show these three parts distinguished by the falling of a drawbridge, a black mouth that pits out and sucks in the characters, and by Eros’ shooting of three arrows in Medea’s heart. (Quelle: http://www.abbondanzabertoni.it) / jst