Medea is considered to be Euripides’ most important tragedy, and together with Oedipus Rex, it is the most representative of the classical Greek theatre.
Euripides portrays to perfection the figure of a woman manipulated and separated from a cultural and social environment to be placed in a system totally different and foreign to her own. This new introduction into individualistic values comes into contrast to another type of minority groups where the individual is employed and is socialized within the framework of the community and in the core of the family.
In Medea, the author not only presents the consequences of jealousy before the heroine’s abandonment, but also the social problems of his time, in a tragedy in which the gods do not intervene in the decisions of the humans. Jason’s decision to return to his own people to ascend socially through his wedding with the daughter of the king of Corinth, and the fact that he is consciously responsible for the exile of his first wife and his children, are due to the personal ambition of the individual for finding a hollow in the group, or rather, ascending inside the social pyramid.
The nuances of social drama reflected in the play, point to Euripides’ clear intention of criticizing aspects of Greek society of the 5th century B.C. The author’s vague allusions to the situation of the foreigners, connects very well with the immigration problems faced worldwide today. Nowadays color, language, religious beliefs, or simply political ideologies form insurmountable limits that every individual tries to defend, excluding any possibility of dialogue.
Flamenco in its essence is linked to the tragic and we can say without fear of contradiction that tragedy is the source of flamenco music. This show has been born from the union of flamenco and classical Greek tragedy. Euripides’ words mix with the different styles of flamenco dancing, music and rhythm.
The audiences will feel the pain of Medea through the sounds of flamenco, while revenge and betrayal mix with the dancing and rhythm of flamenco.
September 2009. Around a table are Jose Manuel Sánchez “Andreu”, stage director who has in his curriculum vitae more than thirty theatre productions, many prizes and acknowledgments for his theatrical work and his constant dedication to this art after 25 years. On the other side of the table is Pilar Jiménez, actress and set designer, co-founder with Andreu of the companies “Amaranta Teatro” and “D’ accion Merx”, which for 15 years have been engaged in theatrical activities on a number of stages in Andalusia. And between both is Chico Garcia, actor and teacher of theatre art at the High School of Dramatic Art of Malaga. At this meeting INDUOTEATRO was born.
Since its foundation INDUOTEATRO has clearly consolidated its principal objective in theatrical activity, giving attention to the most important and essential aspect of performance: the actors’ interpretation of the dramatic text. In this respect Induoteatro aims at putting on stage plays with a focus on the actors’ interpretation and communication with the audience. INDUOTEATRO realizes that in the today’s society, which is bombarded by the mass and the audio-visual media, the theatre must go back to its foundations and try to develop again from there. The theatre should be a communicative vehicle but at the same time a restorer of the theatrical conventions, that have overtime been constantly neglected.
Dramatized version and direction: Jose Manuel Sánchez, Andreu
Music director and composer: Francisco Vinuesa
Setting and light design: Pilar Jiménez
Choreography: Mariché López
Voice on off: Mª del Mar Suárez
Lighting technician: Jorge López
Sound operator: David Ojeda
Assistant director: Andreas Venizelou
Medea: Pilar Jiménez
Jason: Chico Garcia
Nurse: Mativel Valladares
Creon: Jesús Luque
Tutor of Medea’s sons: Mª del Mar Suárez
Aegeus: Chico García
Glauce: Mª del Mar Suárez
Tatiana Saceda, Mª del Mar Suárez, Verónica Pinto, Amanda Vathke
With Original Live Music Performed by:
Guitar: Francisco Vinuesa
Singer: Rocio López
Percussion: Miguel “El Nene”