©Orpheas Emirzas

O MEDEA — A five-person Chorus in the role of Medea re-reads the work’s ethical and political issues, revising them for a contemporary context. How would Medea speak, dance, and take her revenge in 2019?

Medea always returns. Euripides’s emblematic heroine has, in her way, haunted all modes of artistic creation. From the big screen, to modern dance, to opera, and even to the visual and plastic arts, no other figure has been so strongly influential through time. For apart from her undeniable “mythological” range, Medea also epitomizes the paradox of an internal schism: the Other within the Self.

Through timely meditation on philosophical and political questions, O Medea focuses both on historical aspects of Medea and on representations of the female psyche that surpass the limits of time. The heroine’s dilemmas and the ritual element of myth are transformed into the personal narrations of a five-member Chorus who activate the figure of Medea to express stories and issues of their own. In essence, these are “Medeas” — if one can make such a claim — since the heroine’s role is split between five different performers.

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CREDITS
Performed by: Trajal Harrell as Medea in tandem with the company of dancers: Titalayo Adebayo, Frances Chiaverini, Maria Silva, Vania Doutel Vaz.
Dramaturgy:
Debra Levine
Lighting Design:
Stéfane Perraud
Set Design:
Erik Flatmo and Trajal Harrell
Music – Costume Design:
Trajal Harrell
Produced by: Manchester International Festival

O Medea is commissioned by Onassis Stegi, Manchester International Festival and Kampnagel (Hamburg) in association with The Arts Center at NYU Abu Dhabi.