Medeae da Euripide in poi...

MEDEA… so that there is NEVER a distance between the audience and the "scenic event,"

which instead envelops them, making them intimately involved.

We all breathe together, we exchange the deepest truths

of being... we touch each other's eyes! The audience is the protagonist of the

stage, which knows no distance. It wouldn't make much sense for me to create

a different kind of theater, right now! The audience doesn't want lies, only

truth. Theater needs to awaken vibrations, emotions... Actors

must put themselves intimately at stake (we don't want performances, but

INTERpretations). The characters want to be real. I believe that if

people don't vibrate, don't shiver, don't get excited, don't get moved

recognizing themselves on stage, they don't find the reason to join us at the theater, to

buy a ticket... In short, it has to be worth it! Being an ACTOR

is a social and civil mission, which distances itself profoundly from other

forms of entertainment. HUMANITY needs humanity... especially

in this era of "SOLITARY AND INTENTIONALLY

SILENT VIRTUALITY"! I won't be the one Save MAN, but culture, yes!

In the title of the show, the Latin genitive of the name (Medea, ae), meaning "of

Medea": an intense and delicate succession, linked by a thread of blood, of

how much literature of all time has dedicated to Medea. It is the journey of

Medea, the "global" vision of the role this character has had over

the centuries. Euripides certainly played a decisive role. In fact,

he marks a watershed between two different ways of interpreting this figure.

The central element of the legend of Medea, or rather what had

become central after Euripides, infanticide, was an innovation by the

Athenian tragedian compared to the previous tradition. After 431

BC, Euripides' representation exerted its influence on

subsequent literature. Euripides, Seneca, Grillparzer, Alvaro, Pasolini,

even Christa Wolf, are companions on this theatrical journey to Medea,

to convey everything we have learned about Medea over the centuries.

I'm fascinated by the attempt to delve, as far as possible, into the foundations of all these traditions, not with a scientific approach, but as an actress and director, with imagination and fantasy nourished by a broad knowledge of this figure's living conditions.

Medea has lived the eternal tragedy of having to stage her story, from all eternity, that is, from the time her name was first written, now famous among the gods and men of all time. Every time there is an audience, as in a Dantean circle, she will be forced to relive her tragedy, her betrayal, her pain, and the ultimate act of lucid and conscious infanticide. The beginning of the show is generated by the end of one who, just before, ended.

At the sight of a new audience, the character prepares to relive everything, to tell her story to new women and new men. "It is a pain that does not want to pass, a duty given by her very nature."

All the authors of Medea supported the adaptation of the text (curated by Sarah Falanga herself),

which is staged with a light, linear, and modern approach in both its essence and staging.

The stage is a ring within which the audience is enthralled. Having lost its usual dimension, breaking the "fourth wall," the spectator is at the center of the story, just as happens in the soul of those who find themselves forced to relive their drama every time the theater demands it, or rather, every time the "duty of catharsis" evokes the essence of a theatrical character. On stage, seven Medea relive the torment of murder as a last resort, until they reach the epilogue that closes the circle, presaging a new beginning... the uninterrupted rhythm of an experience that the character has been destined to offer the audience for centuries and from which she cannot escape (a destiny she cannot ignore). And in this cycle lies eternal torment, from which, by its very nature, she cannot escape, despite the extreme suffering of each performance.

Production: TEATRINEDITO AMG & ACCADEMIA MAGNA GRAECIA