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MEDEA (the foreign)

A Carlo Iniesta adaptation starting form texts by Euripides, Seneca, Heiner Müller and many other contemporary artists.

The play is a co-production with the Festival de Mérida and Art Carnuntum Vienna Festival.

The 21st century is giving lots of validity to the myth of this barbarian from Cólquide murder of her sons, and is symbol of the confrontation of two poles, that represents a constant in the Greek tragedies: Greeks and barbarian, men and women, citizens and strangers, free men and slaves…

In this play this polarization reaches its best expression, and gives us two confronted worlds: Medea is the archaic, mythic, magic, holy, ancestral world; a world with values that elevate the man, in front of Jason that represents a more current world, rational, materialist, pragmatic and dehumanized. Medea is the great mirror of this world in which we can reflect ourselves as strangers. We do want to subtitle the play “the stranger” with reference to the big drama that happens at the beginning of the 21st century dealing with all the people that are escaping from their countries looking for the Gold of the western world, and that in reality find only racism and xenophobia. Medea escaped from Cólquide, fascinated by Jason, who came there with the Argonauts looking for the Golden Fleece. The terrible history of Medea shows us two different worlds: the ritual, primitive, magic and rural of the far Cólquide –located in our current Georgia- against the urban, civilized and pragmatic world of Corinth.

Medea by Atalaya is composed by three worlds aesthetically and dramaturgically and three defined styles:  pulls up -for the first time in the theatre version realized in Spain- in the mythic Cólquide, where the colors, the songs and the dramatic movement follows ethnic, ancestral and telluric movements, starting from the text by Grillparzer, Pasolini and Apolonio de Rodas. In Corinth the elements will be more refined and aseptic, there lies the epicenter and the tragedy starting from the texts of the Medeas by Seneca, Euripides and the material Medea by Heiner Müller. Thirdly we find a more universal and contemporaneous world supported by texts of “Ribera despojada” and “Paisaje con Argonautas” that Müller wrote about Medea and that open and close the play in a more coral way. The other different element of Medea is the appearance of four Medea that embody the four elements of the Nature. Medea Earth, represents the ancestor and connection to Cólquide; Medea Fire in love with Jason facig in her first dilema that will be solved with her escape betraying her family; Medea Water that represents the stranger that lives in a foreign Country where she lost all her origins and is astonished; Medea Wind that will recuperate strength and ancestors of Cólquide and will decide the final dilemma. The play performed in more than 150 cities of Europe and America, upstanding its presentation for the season 2006-2007 in the Teatro Español of Madrid, which is the most prestigious among the Spanish theatres.

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