MEDEA MADE MEDEA
Lead artist/researcher: Jacek Scarso
"I myself will grip the sword and prove me woman indeed!"
A Vocal Motions Elastic Theatre production in collaboration with Centre de Création de Recherche et des Cultures, Grenoble.
Adapted from Euripides’ text (in a translation by Arthur S. Way) MEDEA MADE MEDEA is the second in a trilogy of pieces by Vocal Motions Elastic Theatre, voicing the issues raised by female characters in classical theatre - the series started with Ophelia’s Song, presented both at Teatro Abarico in Rome and at The Facility’s 2006 Symposium "Happily Ever After…?"
MEDEA MADE MEDEA focuses on the (anti)heroine’s thought process immediately before revenging her betrayal by Jason. The placeless-ness of Medea, as exile and as semi-divine character, is reflected in a deliberate fusion of juxtaposed theatrical choices. A cross-cultural group of performers, also including recent graduates from London Metropolitan University and London Contemporary Dance School, re-tell Medea’s story in a choreographic, highly stylised staging.
The fundamental role of the Chorus is conveyed through a cappella vocal performance. In a unique live score that combines traditional Spirituals with vocal improvisation, the Chorus accompanies Medea’s story and is key in framing her actions and decisions in the play + Listen to an extract
Speech, song and choreography, like in the ancient Greek tradition, become the vessel for the text. All else is left to the imagination.
The project aims to address the following questions:
- What happens to the ideological implications of Medea’s text, if we take the liberty to leave the character’s narrative fate as a question mark?
- How blurred is the boundary between misogynistic assumptions and feminist potential in Euripides’ text? Is it possible, while being true to her speeches, to present an emotionally intelligent and politically intuitive Medea, as opposed to her more traditional depiction as psychologically bound by an unfortunate destiny?
- How does a cross-cultural staging (both in terms of casting and in the juxtaposition of the selected performance styles) affect the reading of the text? Does Medea appear more universal, or more culture-specific?
For more information:
» Summer 2007 Project Report (word doc)
» 'Theatre-ness of Greek Drama' Essay by Jacek Scarso (word doc)
Sandra Shirley (Medea)
Amir Sardari (Kreon / Aigeus / Chorus Actor)
Alexandre Achour (Jason - dancer)
Lola Maury (Glauce - dancer)
Ruth Black (Chorus)
Roz Samuel (Chorus)
Louise Taylor (Chorus)
Jon Thomson (Chorus)
William Helfrecht (Chorus)
Claire Fennel (Chorus)
Iris Musel (Stage Manager / Assistant Director)
Jacek Ludwig Scarso (Artistic Director)