Luigi Cherubini

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LUIGI CHERUBINI Tineke van Ingelgem Avi Klemberg MÉDÉE Frédéric Goncalves Magali Arnault Stanczak Dijon Bourgogne Orchestra Conducted by Nicolas Krüger Staged by Jean-Yves Ruf Dijon Opera Luigi Cherubini MÉDÉE French original version of 1797 Libretto by François-Benoît Hoffman Orchestra Dijon Bourgogne Orchestra Chorus Dijon Opera Choir Chorus Master Anita Henne Chorus La Maîtrise de Dijon Chorus Master Etienne Meyer Conductor Nicolas Krüger Stage Director Jean-Yves Ruf Médée Tineke van Ingelgem Jason Avi Klemberg Créon Frédéric Goncalves Dircé Magali Arnault Stanczak Néris Yete Queiroz Sons of Jason & Médée Isaac El Hadad Quentin Mura Video Director Frédéric Delesques Luigi Cherubini’s most famous opera Médée is based on the universal and timeless tragedy Medea by the Greek poet Euripides. With a Length: 137' mother who exacts revenge for her husband’s betrayal by killing their Cat. no. A 010 50051 own children, it is undoubtedly one of the most violent and frigid myths that Antic Greece has left us. HELIOX Films in co-production with Dijon Opera and Dijon Bourgogne Orchestra French stage director Jean-Yves Ruf chose the original French version In association with ClassicAll M_Media and UNITEL of Médée, instead of the more frequently performed Italian translation, with the support of CNC to be presented at Dijon Opera. Médée exemplifies a particularly effective way of blending music and theatre, using transitions between speech, melodrama and singing. Even for Johannes Brahms, a great admirer of Cherubini, Médée represents “the summit of dramatic music”. Jean-Yves Ruf highlights the libretto through a dark lightened stage set (created by architect and stage designer Laure Pichat), which perfectly fits the gloomy mood of the play. The Dijon Bourgogne Orchestra, under the baton of Nicolas Krüger, performs brilliantly with lyrical and beautiful playing. In the fatal, impressive last act, Médée “reaches perfection, without the slightest weakness”. The young belge soprano Tineke van Ingelgem, in the role of Médée, delivers “an extraordinary performance with all qualities being present: a powerful, agile voice in all registers” combined with a refined dramatic temperament. Avi Klemberg, with his “sain, seducing voice” excellently embodies an “equivocal Jason, of whom we can never be sure if he still loves Médée or not” (Le Bien Public). World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Heliox Films · Flyer: luebbeke.com Flyer: · Films contractual Heliox Different Photos: territories © · credits not rights · All reserved · Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de.

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My Mother Medea
MY MOTHER MEDEA TEACHER RESOURCE PACK MY MOTHER MEDEA FROM 31 JAN - 5 MAR 2017 FOR STUDENTS IN YEARS 9 - 13 By Holger Schober Translated by David Tushingham Directed by Justin Audibert WHY SHOULD WE HAVE TO ADAPT WHEN WE’RE NOT WANTED IN THE FIRST PLACE? Born to megastar parents, teenagers Eriopis and Polyxenos have a lot to live up to – and a lot to feel angry about. Their father Jason betrayed their mother, they’ve had to leave Europe, they’re displaced, they’re alienated and now they’re on their own. But they’re fed up of being ‘the foreign kids’. They’ve had enough. They sit at the front of the class in their new school and spit out the story of who they really are to anyone who’ll listen. This punchy, modern play by Austrian playwright Holger Schober offers a completely new angle on the age-old Greek myth of Jason and Medea, retelling their story through their children’s eyes. The audience sit at school desks as the new kids take centre stage and their story unravels. Contains strong language. Page 2 TEACHER RESOURCES CONTENTS INTRODUCTION p.4 MAKING THE PLAY: INTERVIEW WITH THE DIRECTOR p.5 THE CAST p.8 DRAMA ACTIVITIES p.9 • Sequence One: The Chorus - Exile p10 • Sequence Two: Children of Heroes p.13 • Sequence Three: Jason and Medea p.15 • Resources p.19 onwards Page 3 TEACHER RESOURCES INTRODUCTION Welcome to the teacher resources for My Mother Medea by Holger Schober (with translation by David Tushingham). This contemporary new play, written specifically for young audiences and directed by Justin Audibert, looks at the classic Greek story of Jason and Medea from the perspective of their children, Eriopis and Polyxenos.
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Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War.
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A Riveting Retelling of Euripides' MEDEA on Stage at the Sean O
A riveting retelling of Euripides’ MEDEA on stage at the Sean O’Sullivan Theatre This production of Medea by the ancient Greek tragedian Euripides draws on the clichés of trash-talk TV in a dramatic blend of video, live music and performance, on stage at the Sean O’Sullivan Theatre, Nov. 13, 14, 15, 2008 at 7:30 p.m. Director Natalie Alvarez presents a disquieting critique of popular media culture and its representations of the tragic. This main stage production situates the play in a multi- media television studio recording of a daytime talk show. Designed by David Vivian, Medea features compelling performances by the students of the Department of Dramatic Arts. The private-as-public culture of ancient Athens - where personal conflicts and crimes become public in the Assembly and ancient amphitheatres - finds its modern counterpart in the voyeuristic scrutiny of current media culture. The domestic dispute at the core of the play becomes sensational fodder for television cameras, the modern lenses that replace the omnipresent gaze of the ancient gods; the Chorus Leader becomes talk-show host, while the chorus retains its ancient function as an extension of the audience, passive and complicit witnesses of this tragic story of betrayal and revenge. A surprise musical guest transforms the Chorus' words into chart-topping contemporary rock, bringing us the signature of Niagara's vibrant music scene. Medea will leave audiences with a greater understanding of how revenge, pain and anger can compel one to seek justice on individual terms. For a media presentation visit: www.brocku.ca/dramatic_arts/events0809.html Runs Nov.
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VG Interview: Cherrie Moraga
VG Interview: Cherrie Moraga Maria-Antónia Oliver-Rotger (M-A O-R): What have been your major dramatic influences? Cherrie Moraga (CM): My major influence has been the bilingual- ism and working-class theater of the Chicano Teatro movements, especially El Teatro Campesino. Also the poetic sensuality of Fed- erico García Lorca. The teachings of María Irene Fornes allowed me to enter playwriting as a poet, to find the story through image and character, i.e. an organic place of the heart, rather than through the progressive plot-line (action-driven) structure. I have been inspired by the technique of other playwrights: the language and structural inventiveness of African-American Suzan Lori Parks, the courage of the female characterization of the Puerto Rican playwright Migdalia Cruz. The storytelling en voz alta de mis tías y mi mamá around the kitchen table introduced me (especially my mother) to the dramatic art of story-telling. M-A O-R: What caused you to start writing drama after having written poetry and prose? CM: After publishing Loving in the War Years (1983) which was very autobiographical, my own story had finally been told on the page. This allowed space within me for character (some one other than myself to enter) my unconscious. The character started speaking out loud. This was Corky from Giving Up the Ghost. It was oral. Thus, the beginnings of dramatic writing. Interview by: Maria-Antónia Oliver-Rotger Date: January 2000 1 © 2009 Regents of the University of Minnesota. All rights reserved. The University of Minnesota is an equal opportunity educator and employer.
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ON the ORACLE GIVEN to AEGEUS (Eur
ON THE ORACLE GIVEN TO AEGEUS (Eur. Med. 679, 681) Aegeus, according to Euripides the childless king of Athens, consulted the oracle at Delphi on the matter of his childlessness, and was given a puzzling answer. He decided, therefore, to seek an explanation from Pittheus/ king of Troezen, who had the reputation of being a prophetic expert and a wise interpreter. On his way from Delphi to Troezen Aegeus passes through Corinth,1 meets with Medea, and repeats to her the Pythia’s advice: ἀσκοΰ με τὸν προυχοντα μὴ λῦσαι πόδα ... (679) πρὶν ἄν πατρῷαν αΰθις ἐστίαν μόλω. (681) Ί am not to loosen the hanging foot of the wineskin ... until I return again to the hearth of my fathers.’ Medea does not attempt to interpret the oracle, but offers instead to cure Aegeus’ childlessness with drugs when she arrives at his court, and the Athenian king having promised to grant her asylum proceeds to Troezen and to the begetting of Theseus. Ἀ hexametric version of the oracle, which somewhat differs from that of Euripides, appears in Apollod. Bibl. 3, 15, 6 (and in Plut. Thes. 3, 5): ἀσκοΰ τὸν προυχοντα πόδα, μεγα, φερτατε λαῶν, μὴ λυσῃς πρὶν ἐς ἄκρον Ά·θηναίων ἀφίκηνοα. ‘The bulging mouth of the wineskin, Ο best of men, loose not until thou hast reached the height of Athens.’2 1 Cf. T.B.L. Webster, The Tragedies of Euripides (London 1967) 54: ‘It is reasonable that he should pass through Corinth on his way from Delphi to Troezen,’ but cf. Α. Rivier, Essai sur le tragique dEuripide (Lausanne 1944) 55, and the literature cited by him.
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Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world.
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An Analysis of the Modern Medea Figure on the American Stage
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2013 Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage Melinda M. Marks San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Marks, Melinda M., "Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage" (2013). Master's Theses. 4352. DOI: https://doi.org/10.31979/etd.d5au-kyx2 https://scholarworks.sjsu.edu/etd_theses/4352 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE A Thesis Presented to The Faculty of the Department of Television, Radio, Film and Theatre San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Melinda Marks August 2013 i © 2013 Melinda Marks ALL RIGHTS RESERVED ii The Designated Thesis Committee Approves the Thesis Titled THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE by Melinda Marks APPROVED FOR THE DEPARTMENT OF TELEVISION, RADIO, FILM AND THEATRE SAN JOSÉ STATE UNIVERSITY August 2013 Dr. Matthew Spangler Department of Communication Studies Dr. David Kahn Department of Television, Radio, Film and Theatre Dr. Alison McKee Department of Television, Radio, Film and Theatre iii ABSTRACT THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE By Melinda Marks This thesis examines the ways in which three structural factors contained within three modern American adaptations of Euripides’ Medea serve to enhance the dominant personality traits of the main character.
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Medea |Sample Answer
Medea | Sample answer 2006 Higher Level Exam Question What insights does Euripides’ play “Medea” give us into the different ways women and men viewed marriage at the time? There is no denying that men and women had different views of marriage. Euripides provides excellent insights in the play Medea. This difference am be seen when Medea makes her first speech to the chorus after finding out Jason is interested in marrying another. Medea speaks of marriage almost like a trap. They are bought and sold like objects, taken from their homes and forced to lead a new life. Medea explains that women must always “Look to one man only.” She must stay at home and she is never allowed to be too intelligent. What is even worse is that men can wander and look for pleasure elsewhere if they get bored. “If a man grows tired of the company at home, he can go out, and find a cure for tediousness.” There is a double standard for men with regards to remaining loyal at this time. Men are allowed to be unfaithful but “for women, divorce is not respectable; to repel the man, not possible.” This clearly displays how women had to be faithful and constantly loyal in marriage whereas men could be as unfaithful as they liked and the marriage would still continue. It is clear that women viewed marriage as sacred and central to their identity. By Jason leaving Medea, he has taken everything away from her. As a result of her loss of status and power, the chorus and the nurse are completely on her side.
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Pasolini's Medea
Faventia 37, 2015 91-122 Pasolini’s Medea: using μῦθος καὶ σῆμα to denounce the catastrophe of contemporary life* Pau Gilabert Barberà Universitat de Barcelona. Departament de Filologia Clàssica, Romànica i Semítica [email protected] Reception: 01/02/2012 Abstract From Pasolini’s point of view, Medea’s tragedy is likewise the tragedy of the contemporary Western world and cinema is the semiology of reality. His Medea thus becomes an ancient myth pregnant with signs to be interpreted by attentive viewers. The aim of this article is to put forward reasoned interpretations based on a close analysis of the images and verbal discourses (lógoi) of Pasolini’s script, ever mindful of the explanations given by the director himself that have been published in interviews, articles and other texts. Keywords: Pier Paolo Pasolini; Medea; Greek tragedy; classical tradition; cinema; semiology Resumen. La Medea de Pasolini: utilizar μῦθος καὶ σῆμα para denunciar la catástrofe del mundo contemporáneo Desde el punto de vista de Pasolini, la tragedia de Medea equivale a la tragedia del mundo con- temporáneo y el cine es la semiología de la realidad. Su Medea deviene así un mito antiguo repleto de signos que requieren la interpretación de espectadores atentos. El objetivo de este artículo es proponer interpretaciones razonadas basadas en el análisis minucioso de las imágenes y de los dis- cursos verbales (lógoi) del guion de Pasolini, siempre desde el conocimiento de las explicaciones dadas por el mismo director publicadas en entrevistas, artículos y otros textos. Palabras clave: Pier Paolo Pasolini; Medea; tragedia griega; tradición clásica; cine; semiología * This article is one of the results of a research project endowed by the Ministerio de Educación y Ciencia “Usos y construcción de la tragedia griega y de lo clásico” –reference: FFI2009-10286 (subprograma FILO); main researcher: Prof.
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'I Know What Has to Happen': Lars Von Trier's Tragic Politics1
‘I know what has to happen’: Lars von Trier’s Tragic Politics1 Abstract Many of Lars von Trier’s films are distinguished not merely by their haunting female protagonists but also by their tragic emplotments. This paper looks as von Trier’s Medea – a television adaption based on a film script by Carl Theodor Dreyer. It asks how von Trier’s version of Euripides’ play engages with a modern politics of tragedy. In particular, it argues that von Trier uses the tragic script to explore questions of agency and sovereignty. By bringing von Trier into dialogue with Freud, Schmitt and Kierkegaard, the paper explores the dialectic between melancholia and responsibility which gives voice to his distinctive tragic politics. Asked in an interview whether he chose to film Carl Theodor Dreyer’s script of the Medea because “the subject fascinated” him, Lars von Trier replied: “the subject doesn’t fascinate me at all! I have never been interested in classical drama.”2 What does it mean for von Trier “not [to be] interested in the subject at all”? And how does this lack of interest in “the subject” relate to his indifference to “classical drama”? If von Trier rejects the “subject” of classical drama, does he also reject its form? In his formal innovation, von Trier clearly reacts to and against a number of established genres. Item 8 of the “Dogme 95 Manifesto” declares “genre movies are not acceptable.” Medea predates the manifesto and von Trier’s films routinely violate these self-imposed interdictions; nevertheless, in its formal conservatism, one might well imagine tragedy to be considered beyond the pale.
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Medea by Euripides Comprehensive Summary Euripedes' Medea Opens in a State of Conflict. Jason Has Abandoned His Wife, Medea
Medea by Euripides Comprehensive Summary Euripedes' Medea opens in a state of conflict. Jason has abandoned his wife, Medea, along with their two children. He hopes to advance his station by remarrying with Glauce, the daughter of Creon, king of Corinth, the Greek city where the play is set. All the events of play proceed out of this initial dilemma, and the involved parties become its central characters. Outside the royal palace, a nurse laments the events that have lead to the present crisis. After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability. Jason's recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. Appearing by chance in Corinth, Aegeus, King of Athens, offers Medea sanctuary in his home city in exchange for her knowledge of certain drugs that can cure his sterility.
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Lachiusa, Michael John (B
LaChiusa, Michael John (b. 1962) by Greg Varner Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2005, glbtq, inc. Reprinted from http://www.glbtq.com In 2004, Michael John LaChiusa was described in an article in The Washington Post as "the most prolific composer in New York during the past 10 or so years." He does not object to the characterization. "I do write a lot," he says. "I enjoy it." Along with Ricky Ian Gordon and a handful of other composers, LaChiusa has been identified as an heir to Stephen Sondheim's brilliant legacy in the American musical theater. LaChiusa frequently creates works that demand intellectual involvement on the part of the auidence; and, like Sondheim's, his works for the musical theater are often described as "operatic." LaChiusa was born July 24, 1962, in Stockwell, New York, where he first began writing songs at the urging of his fourth-grade teacher. While still in his teens, LaChiusa made his way to New York City with the ambition to compose for the theater. He came to early notice in 1993 with First Lady Suite, a look at the hidden lives of presidential wives Jackie Kennedy, Mamie Eisenhower, and Eleanor Roosevelt, whose lesbian lover, Lorena Hickock, figures prominently in the piece. (A revival production of 2002 was recorded for a CD released in 2003.) In 1994, LaChiusa solidified his reputation as a brilliant young composer with Hello Again, a musical suggested by Arthur Schnitzler's La Ronde and produced at Lincoln Center with a first-rate cast including John Cameron Mitchell, Donna Murphy, Judy Blazer, and Michele Pawk.
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