Ancient Greek tragedy by Euripides
Medea
(
Ancient Greek
:
Μ?δεια
,
M?deia
) is an
ancient
Greek tragedy
written by
Euripides
. It is based upon the myth of
Jason
and
Medea
and was first produced in 431 BC as part of a trilogy; the two other plays have not survived. The plot centers on the actions of Medea, a former princess of the kingdom of
Colchis
, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of
Corinth
. Medea takes vengeance on Jason by murdering his new wife and her own two sons, after which she escapes to
Athens
to start a new life.
Euripides' play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, psychoanalytical, feminist, among many other original readings of Medea, Jason and the core themes of the play.
[1]
Medea
, along with three other plays,
[a]
earned Euripides third prize in the
City Dionysia
. Some believe that this indicates a poor reception,
[2]
[3]
but "the competition that year was extraordinarily keen";
[3]
Sophocles
, often winning first prize, came second.
[3]
The play was rediscovered with Rome's
Augustan drama
; again in the 16th-century; then remained part of the tragedic repertoire, becoming a classic of the
Western canon
, and the most frequently performed Greek tragedy in the 20th century.
[4]
It experienced renewed interest in the
feminist movement
of the late 20th century,
[5]
being interpreted as a nuanced and sympathetic portrayal of Medea's struggle to take charge of her own life in a male-dominated world.
[4]
The play holds the American Theatre Wing's Tony Award record for most wins for the
same female lead character
, with
Judith Anderson
winning in 1948,
Zoe Caldwell
in 1982, and
Diana Rigg
in 1994.
History
[
edit
]
Medea
was first performed in 431 BC at the
City Dionysia
festival.
[6]
Here every year, three tragedians competed against each other, each writing a
tetralogy
of three tragedies and a
satyr play
(alongside
Medea
were
Philoctetes
,
Dictys
and the satyr play
Theristai
). In 431 the competition was among
Euphorion
(the son of famed playwright
Aeschylus
),
Sophocles
(Euripides' main rival) and Euripides. Euphorion won, and Euripides placed third (and last).
[6]
Medea has survived the transplants of culture and time and continues to captivate audiences with its riveting power (Tessitore). The play's influence can be seen in the works of later playwrights, such as William Shakespeare.
While
Medea
is considered one of the great plays of the
Western canon
, Euripides' place in the competition suggests that his first audience might not have responded so favorably. A
scholium
to line 264 of the play suggests that Medea's children were traditionally killed by the Corinthians after her escape;
[7]
so Euripides' apparent invention of the
filicide
might have offended, as his
first treatment of the Hippolytus myth
did.
[8]
That Euripides and others took liberties with Medea's story may be inferred from the 1st century BC historian
Diodorus Siculus
: "Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out."
[9]
A common urban legend claimed that Euripides put the blame on Medea because the Corinthians had bribed him with a sum of five talents.
[10]
In the 4th century BC, South-Italian vase painting offers a number of Medea-representations that are connected to Euripides' play ? the most famous is a
krater
in Munich. However, these representations always differ considerably from the plots of the play or are too general to support any direct link to Euripides' play.
[
clarification needed
]
But the violent and powerful character of Medea, and her double nature ? both loving and destructive ? became a standard for later periods of antiquity. Medea has been adapted into numerous forms of media, including operas, films, and novels.
With the text's rediscovery in
1st-century Rome
(the play was adapted by the tragedians
Ennius
,
Lucius Accius
,
Ovid
,
Seneca the Younger
and
Hosidius Geta
, among others); again in 16th-century Europe; and with the development of modern
literary criticism
:
Medea
has provoked multifarious reactions.
[
clarification needed
]
[
citation needed
]
Form and themes
[
edit
]
The form of the play differs from many other Greek tragedies by its simplicity. Most scenes involve only Medea and someone else. The Chorus, here representing the women of Corinth, is usually involved alongside them. The simple encounters highlight Medea's skill and determination in manipulating powerful male figures. The play is also the only Greek tragedy in which a kin-killer makes it unpunished to the end of the play, and the only one about child-killing in which the deed is performed in cold blood as opposed to in a state of temporary madness.
[11]
Medea's "rebellion" is that which shakes the very world everyone must inhabit. Her rebellion tells of her past history, the goddess-like figure denigrated and ultimately dethroned gives lead to why she would act the way she does.
[12]
Euripides displays Medea as an archetype. As a result, he reinforces the modern stereotype as a woman to be the devourer of men and children, instead of Medea, the great mother wronged.
[12]
Euripides' characterization of Medea exhibits the inner emotions of passion,
love
, and
vengeance
.
The character of Medea has variously been interpreted both as fulfilling her role of "mother and wife" and as acting as a "proto-feminist".
[13]
Feminist readings have interpreted the play as either a "sympathetic exploration" of the "disadvantages of being a woman in a
patriarchal
society",
[5]
or as an expression of misogynist attitudes.
[14]
In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's
barbarian
identity, which some argue could antagonize
[
need quotation to verify
]
a 5th-century BC Greek audience.
[15]
It can be argued that in the play Euripides portrays Medea out to be an enraged woman who kills her children to get revenge on her husband Jason because of his betrayal of their marriage. Medea is often cited as an example of the "madwoman in the attic" trope, in which women who defy societal norms are portrayed as mentally unstable.
[16]
Although, Medea is not the only character in the play to use deception; other characters, such as Jason and Creon, also use lies and manipulation. A competing interpretation is that Medea kills her children out of kindness because she cares and worries for them and their well-being. Once Medea commits to her plan to kill Creon and Jason's new bride, she knows her children are in danger of being murdered. Medea is not paranoid. In another version of the myth, the people of Corinth kill her children to avenge the deaths of Creon and his daughter Glauke. At this time in myth and history, helping one's friends and hurting one's enemies was considered a virtue. Thus, by this ethic, the Corinthians will do right by avenging their king and princess. Conversely, a focus on Medea's rage leads to the interpretation that "Medea becomes the personification of vengeance, with her humanity 'mortified' and 'sloughed off'" (Cowherd, 129).
[17]
Medea's heritage places her in a position more typically reserved for the male in her time. Hers is the power of the sun, appropriately symbolized by her great radiance, tremendous heat and boundless passion.
[12]
In this view Medea is inhuman and her suffering is self-inflicted just as Jason argues in his debate with her. And yet, if we see events through Medea's eyes, we view a wife intent on vengeance and a mother concerned about her children's safety and the life they can be expected to live. Thus, Medea as wife kills Creon and Glauke in the act of vengeance. Medea as a mother thinks that her children will be better off killed by her kind hand than left to suffer at the hands of an enemy, intent on vengeance. And so, Medea saves her children from this brutality and a worse fate by killing them herself, providing them with as peaceful an outcome as she can.
Euripides’ tragic character, Medea, is often described as having a “heroic temper,” (Lush, 2014). With this temper, the motive behind much of Medea’s behavior is to avoid the laughter of her enemies, “even at the cost of decisions that contradict self-interest, personal safety, or strongly held moral beliefs,” (Lush, 2014). Although some may say that her motive is jealousy over Jason’s new bride, Glauce, such reasoning does not fully explain the severity of Medea’s actions. Medea’s temperament suggests that she was more embarrassed than she was angry. She was unwilling to let her enemies, in this case Jason and his new wife, be happy or look down upon her. Medea denied that “her enemies [would] cause her pain and rejoice,” and stated that her priority was to “avoid her enemies’ derision,” (Lush, 2014). Although the murder of her children would cause her pain, Medea’s temperament caused her to prioritize Jason’s unhappiness over anything else.
[18]
Story
[
edit
]
Medea
is centered on Medea's calculated desire for revenge against her unfaithful husband. Medea is of divine descent and had the gift of prophecy. She married Jason and used her magic powers and advice to help him find and retrieve the golden fleece. The play is set in
Corinth
some time after Jason's quest for the
Golden Fleece
, where he met Medea. The play begins with Medea in a blind rage towards Jason for arranging to marry
Glauce
, the daughter of king
Creon
. The nurse, overhearing Medea's grief, fears what she might do to herself or her children.
Creon, in anticipation of Medea's wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day's delay and eventually Creon acquiesces. In order to be accepted Medea must become trickier and must totally conceal her position. Crouching at Creon's feet, she begs him in the name of her children to allow her only one day. At this Creon is moved and grants to her one more day in Corinth. Medea's unexpected power of persuasion or even of fascination lies in her change of attitude: instead of preaching to Creon about the unpopularity of the sophoi she plays the role of a desperate mother, needing one day to prepare for exile.
[19]
Medea is aware of the humiliating quality of this tactic, but she justifies it on the grounds of a gain and of her need to remain in Corinth: "Do you think that I would ever have flattered that man unless I had some gain to make or some device to execute? I wouldn't have even spoken or touched him with my hands".
[19]
In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he could not pass up the opportunity to marry a royal princess, as Medea is only a
barbarian
woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the
chorus
of Corinthian women, do not believe him. She reminds him that she left her own people for him (
"I rescued you [...] I betrayed both my father and my house [...] now where should I go?"
),
[20]
and that she saved him and slew the dragon. Jason promises to support her after his new marriage (
"If you wish me to give you or the children extra money for your trip into exile, tell me; I'm ready to give it with a lavish hand"
),
[21]
but Medea spurns him:
"Go on, play the bridegroom! Perhaps [...] you've made a match you'll one day have cause to lament."
[22]
In the following scene Medea encounters
Aegeus
,
king of Athens
. He reveals to her that despite his marriage he is still without children. He visited the
oracle
who merely told him that he was instructed "not to unstop the wineskin's neck". Medea relays her current situation to him and begs for Aegeus to let her stay in
Athens
if she gives him drugs to end his infertility. Aegeus, unaware of Medea's plans for revenge, agrees.
Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god
Helios
, her grandfather) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of the exile. She convinces Jason to allow their two sons to give gifts to Glauce in hopes that Creon to lift the exile against the children. Eventually Jason agrees.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
In the next scene a messenger recounts Glauce and Creon's deaths. When the children arrived with the robes and coronet, Glauce gleefully put them on and went to find her father. The poison overtook her and she fell to the floor, dying horribly and painfully. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, was poisoned and died as well.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
While Medea is pleased with her current success she decides to take it one step further. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children's deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. Determined to stop Medea, the chorus runs after her only to hear the children scream. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce, and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in a chariot given to her by the sun god Helios. When this play was put on, this scene was accomplished using the
mechane
device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
I do not leave my children's bodies with thee; I take them with me that I may bury them in
Hera
's precinct. And for thee, who didst me all that evil, I prophesy an evil doom.
Although Jason calls Medea most hateful to gods and men, the fact that the chariot is given to her by Helios indicates that she still has the gods on her side. As
Bernard Knox
points out, Medea's last scene with concluding appearances parallels that of a number of indisputably divine beings in other plays by Euripides. Just like these gods, Medea "interrupts and puts a stop to the violent action of the human being on the lower level, … justifies her savage revenge on the grounds that she has been treated with disrespect and mockery, … takes measures and gives orders for the burial of the dead, prophesies the future," and "announces the foundation of a cult."
[23]
She then escapes to Athens in the divine chariot. The chorus is left contemplating the will of
Zeus
in Medea's actions:
Manifold are thy shapings,
Providence
! / Many a hopeless matter gods arrange / What we expected never came to pass / What we did not expect the gods brought to bear / So have things gone, this whole experience through!
This deliberate murder of her children by Medea appears to be Euripides' invention, although some scholars believe
Neophron
created this alternate tradition.
[24]
Her
filicide
would go on to become the standard for later writers.
[25]
Pausanias
, writing in the late 2nd century AD, records five different versions of what happened to Medea's children after reporting that he has seen a monument for them while traveling in Corinth.
[26]
The play's popularity in ancient Greece may have been due in part to its portrayal of a strong, independent woman who defies patriarchal norms.
Modern productions and adaptations
[
edit
]
Theatre
[
edit
]
- Catulle Mendes
adapted
Medea
into his play
Medee
in 1898, in three acts and in verse.
Alfons Mucha
drew a poster for a performance of this play starring
Sarah Bernhardt
.
- Jean Anouilh
adapted the Medea story in his French drama
Medee
in 1946
- Robinson Jeffers
adapted Medea into a hit Broadway play in 1947, in a famous production starring
Judith Anderson
, the first of three actresses to win a
Tony Award
for the role. It was directed by
John Gielgud
, who co-starred as Jason,
Medea
opened on
Broadway
at the
National Theatre
on October 20, 1947, transferred to the
Royale Theatre
on December 15, and closed on May 15, 1948, after 214 performances. At the
2nd Tony Awards
on March 28, 1948, Judith Anderson shared (with
Katharine Cornell
and
Jessica Tandy
) the
Award for Best Actress in a Play
. Another staging, produced and directed by
Guthrie McClintic
at the
City Center
, premiered on May 2, 1949, and closed, after 16 performances, on May 21. A staging in 1982, at the
Cort Theatre
, brought a Tony win for
Zoe Caldwell
, who played Medea, and a
Best Featured Actress in a Play
nomination for Judith Anderson as Nurse.
- Ben Bagley
's Shoestring Revue performed a musical parody
off-Broadway
in the 1950s which was later issued on an
LP
and a
CD
, and was revived in 1995. The same plot points take place, but
Medea in Disneyland
is a parody, in that it takes place in a
Walt Disney
animated cartoon
- Canada's
Stratford Festival
staged an adaptation of
Medea
by
Larry Fineberg
in 1978, which starred
Patricia Idlette
in the title role.
[27]
- Yukio Ninagawa
staged a production called
Ohjo Media
(王女メディア) in 1978, followed by a second version in 2005
[28]
- In 1982,
George Eugeniou
at
Theatro Technis
London, directed Medea
[29]
as a barefooted unwanted refugee played with "fierce agility "
[30]
and "dangerous passions" by
Angelique Rockas
[31]
- In 1983,
kabuki
Master
Shozo Sato
created
Kabuki Medea
uniting Euripides play and classical Kabuki storytelling and presentation.
[32]
It debuted at Wisdom Bridge Theater in Chicago.
[33]
[34]
- The 1990 play
Pecong
, by
Steve Carter
, is a retelling of
Medea
set on a fictional Caribbean island around the turn of the 20th century
- The play was staged at the
Wyndham's Theatre
in London's
West End
, in a translation by
Alistair Elliot
.
[35]
The production opened on 19 October 1993.
[35]
- Chrysanthos Mentis Bostantzoglou
makes a parody of this tragedy in his comedy
Medea
(1993).
[36]
[37]
- A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance Theatre, directed by avant-garde stage director and choreographer
Dimitris Papaioannou
.
- John Fisher wrote a
camp
musical version of
Medea
entitled
Medea the Musical
that re-interpreted the play in light of
gay culture
. The production was first staged in 1994 in
Berkeley, California
.
[38]
- Christopher Durang
and
Wendy Wasserstein
co-wrote a sketch version for the
Juilliard School
's Drama division 25th Anniversary. It premiered 25 April 1994, at the
Juilliard Theater
, New York City.
- In November 1997
National Theatre of Greece
launched a worldwide tour of
Medea
, a critically acclaimed production directed by Nikaiti Kontouri, starring
Karyofyllia Karambeti
as Medea,
Kostas Triantafyllopoulos
as
Creon
and Lazaros Georgakopoulos as
Jason
. The tour included performances in France, Australia, Israel, Portugal, United States, Canada, Turkey, Bulgaria, China and Japan and lasted almost two years, until July 1999.
[39]
[40]
The play opened in the United States at
Shubert Theatre
in
Boston
(18 and 19 September 1998) and then continued at
City Center Theatre
in
Manhattan
,
New York City
(23 to 27 September 1998), receiving a very positive review from
The New York Times
.
[41]
- Neil Labute
wrote
Medea Redux
, a modern retelling, first performed in 1999 starring
Calista Flockhart
as part of his one act
trilogy
entitled
Bash: Latter-Day Plays
. In this version, the main character is seduced by her middle school teacher. He abandons her, and she kills their child out of revenge.
- Michael John LaChiusa
created a Broadway musical adaptation work for
Audra McDonald
entitled
Marie Christine
in 1999. McDonald portrayed the title role, and the show was set in 1890s New Orleans and Chicago respectively.
- Liz Lochhead
's
Medea
previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's
[42]
Greeks
in 2000 before the Edinburgh Fringe and national tour. 'What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every woman, and most of the men, in the theatre.'
The Scotsman
- In 2000,
Wesley Enoch
wrote and directed a modern adaptation titled
Black Medea
, which was first produced by Sydney Theatre Company's Blueprint at the Wharf 2 Theatre, Sydney, on 19 August 2000. Nathan Ramsay played the part of Jason, Tessa Rose played Medea, and
Justine Saunders
played the Chorus. Medea is re-characterised as an indigenous woman transported from her homeland to the city and about to be abandoned by her abusive social-climbing husband.
[43]
- Tom Lanoye
(2001) used the story of Medea to bring up modern problems (such as migration and man vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, and the "final hour" of the love between Jason and Medea
- Kristina Leach adapted the story for her play
The Medea Project
, which had its world premiere at the
Hunger Artists Theatre Company
in 2004 and placed the story in a modern-day setting.
[44]
- Peter Stein
directed
Medea
in Epidaurus 2005
- Irish playwright
Marina Carr
's
By the Bog of Cats
is a modern re-telling of Euripides'
Medea.
- In November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged
Medea
at the Bibliotheca Alexandrina (
University of Alexandria
, Egypt). The production was noted (by Nehad Selaiha of the weekly
Al-Ahram
) not only for its unexpected change of plot at the very end but also for its chorus of one hundred who alternated their speech between Arabic and English. The translation used was that of George Theodoridis.
- US Latina playwright
Caridad Svich
's 2009 play
Wreckage
, which premiered at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlife.
- Paperstrangers Performance Group
[45]
toured a critically acclaimed production of
Medea
directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010.
- Bart Lee's interpretation of Medea, renamed 'Medea, My Dear', was performed in Surrey and later toured the south of England from 2010 to 2011.
- Luis Alfaro
's re-imagining of Medea,
Mojada,
world premiered at
Victory Gardens Theater
in 2013.
- Theatre Lab's production, by Greek director Anastasia Revi, opened at The
Riverside Studios
, London, on 5 March 2014.
- The Hungry Woman: A Mexican Medea
by
Cherrie Moraga
takes elements of
Medea
and of other works
[46]
- 14 July ? 4 September 2014 London
Royal National Theatre
staging of Euripides in a new version by
Ben Power
, starring
Helen McCrory
as Medea, directed by
Carrie Cracknell
, music by
Will Gregory
and
Alison Goldfrapp
.
- 25 September ? 14 November 2015 London
Almeida Theatre
a new adaptation by
Rachel Cusk
, starring
Kate Fleetwood
as Medea, directed by
Rupert Goold
.
- 17 February ? 6 March 2016 in Austin at the
Long Center for the Performing Arts
starring Franchelle Stewart Dorn as Medea and directed by Ann Ciccolella.
- May 2016 ? MacMillan Films released a full staging of the original Medea which was staged for camera. The DVD release shows the entire play. complete with the Aegis scenes, choral odes and triumphant ending. Directed by James Thomas and starring Olivia Sutherland, the staging features Peter Arnott's critically acclaimed translation.
- Chico Buarque and Paulo Pontes, Gota d'Agua (musical play set in 1970s Rio de Janeiro, based on Euripides, 1975). Several times revived, including a 2016/2017 production starring Laila Garin (celebrated for her title role in the highly regarded musical biography of Elis Regina, staged in Brasil in 2015).
- February 2017: the play was staged in South Korea, directed by Hungarian theatre director
Robert Alfoldi
, with
Lee Hye-young
in the titular role.
[47]
- In some editions of the theatrical play, Medea would be played as a man instead of a woman to show a unique and perhaps more culturally accepted point of view.
- In some play adaptations, Jason is played as a sympathetic figure who is manipulated by Medea, rather than a conniving opportunist.
Film
[
edit
]
Television
[
edit
]
English translations
[
edit
]
- Michael Wodhull
, 1782 ? verse
[54]
- Edward P. Coleridge, 1891 ? prose: full text
[55]
- Theodore Alois Buckley
, 1892 ? prose: full text
[56]
- Gilbert Murray
, 1912 ? verse: full text
[57]
- Arthur S. Way
, 1912 ? verse
- F. L. Lucas
, 1924 ? verse
[58]
- Augustus T. Murray, 1931 ? prose
- Countee Cullen
, 1935
- Moses Hadas
and John McLean, 1936 - prose
- R. C. Trevelyan
, 1939 ? verse
- Rex Warner
, 1944 ? verse
- Robinson Jeffers
, 1946 ? verse
- Ray Mathew
, 1953?
verse
- Peter D. Arnott, 1961 ? verse
- Philip Vellacott
, 1963
[59]
- John Davie, 1996
- James Morwood
, 1997 ? prose
- Paul Roche
, 1998 ? verse
- Ruby Blondell
, 1999 ? verse
- George Theodoridis, 2004 ? prose: full text
[60]
- Stephen Esposito, 2004 ? verse
[61]
- Joseph Goodrich, 2005 ? verse: full text
[62]
- Graham Kirby, 2006 ? verse (The Bloomsbury Theatre)
- Diane Arnson Svarlien, 2008 ? verse
- Robin Robertson
, 2008 ? verse
- J. Michael Walton, 2008 ? prose
- Ian C. Johnston
, 2008 ? verse: full text
[63]
- Tom Paulin
, 2010 - full text
- Judith Mossman (classicist)
, 2011 ? prose
- Brian Vinero, 2012 ? rhymed verse: full text
[64]
- Mike Bartlett
, 2012 ? play
[65]
- Diane Rayor, 2013
- David Stuttard
, 2014 ? prose
[66]
- Alan Chriztopher R. Aranza, 2015 ? prose
- Rachel Kitzinger, 2016 - verse
- Charles Martin, 2019
- Richard Swanson, 2020 - prose
- Michael Ewans, 2022 - verse
[67]
References
[
edit
]
- ^
Macintosh, Fiona; Kenward, Claire; Wrobel, Tom (2016).
Medea, a performance history
. Oxford: APGRD.
- ^
Gregory (2005)
, p. 3
- ^
a
b
c
Euripides (2001).
"Medea", in Euripides I
. David Kovacs (ed. & tr.). Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 277.
ISBN
9780674995604
.
- ^
a
b
Helene P. Foley. Reimagining Greek Tragedy on the American Stage. University of California Press, 1 Sep 2012, p. 190
- ^
a
b
See (e.g.)
Rabinowitz (1993)
, pp. 125?54;
McDonald (1997)
, p. 307;
Mastronarde (2002)
, pp. 26?8;
Griffiths (2006)
, pp. 74?5;
Mitchell-Boyask (2008)
, p. xx
- ^
a
b
Allan, William (2002).
Euripides: Medea
.
Duckworth
. pp. 11?12.
ISBN
9781472539779
.
- ^
Ewans (2007)
, p. 55
- ^
This theory of Euripides' invention has gained wide acceptance. See (e.g.)
McDermott (1989)
, p. 12;
Powell (1990)
, p. 35;
Sommerstein (2002)
, p. 16;
Griffiths (2006)
, p. 81;
Ewans (2007)
, p. 55.
- ^
Diodorus Siculus 4.56
- ^
"Korinthian Women and the Plot Against Medea"
.
Sententiaeantiquae.com
. 26 March 2017
. Retrieved
1 June
2018
.
- ^
Hall, Edith. 1997. "Introduction" in
Medea: Hippolytus; Electra; Helen
Oxford University Press. pp. ix?xxxv.
- ^
a
b
c
Lootens, Barbara J. (1986).
"Images of Women in Greek Drama"
.
Feminist Teacher
.
2
(1): 24?28.
ISSN
0882-4843
.
JSTOR
25680553
.
- ^
Macintosh, Fiona (2007).
"Oedipus and Medea on the Modern Stage"
. In Brown, Sarah Annes; Silverstone, Catherine (eds.).
Tragedy in Transition
. Malden, Mass.: Blackwell. p. 193.
ISBN
978-1-40-513546-7
.
[Medea] has successfully negotiated her path through very diverse cultural and political contexts: either by being radically recast as 'exemplary' mother and wife, or by being seen as proto-feminist wrongly abandoned by a treacherous husband.
- ^
Williamson, Margaret (1990). "A Woman's Place in Euripides' Medea". In Powell, Anton (ed.).
Euripides, Women, and Sexuality
(1st ed.). London, UK: Routledge. pp. 16?31.
ISBN
0-415-01025-X
.
- ^
DuBois (1991)
, pp. 115?24;
Hall (1991)
,
passim
;
Said (2002)
, pp. 62?100
- ^
Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100)
- ^
[Carrie E. Cowherd. "The Ending of the 'Medea.'" The Classical World, vol. 76, no. 3, 1983, pp. 129?35. JSTOR,
https://doi.org/10.2307/4349445
. Accessed 6 Dec. 2022.]
- ^
Lush, B. (2014). Combat Trauma and Psychological Injury in Euripides’ Medea.
Helios
,
41
(1), 25?57.
- ^
a
b
Pucci, Pietro (1980).
The Violence of Pity In Euripides' "Medea"
. Vol. 41. Cornell University Press.
ISBN
978-0-8014-1190-8
.
JSTOR
10.7591/j.cttq44w0
.
- ^
Medea.
476, 483, 502, trans. Esposito, S. 2004
- ^
Med.
610-12
- ^
Med.
624-26
- ^
B.M.W. Knox.
Word and Action: Essays on the Ancient Theatre.
Baltimore: The Johns Hopkins University Press, 1979, p. 303.
- ^
See McDermott 1985, 10-15.
- ^
Hyginus
Fabulae
25;
Ovid
Met
. 7.391ff.;
Seneca
Medea
;
Bibliotheca
1.9.28 favors Euripides' version of events, but also records the variant that the Corinthians killed Medea's children in retaliation for her crimes.
- ^
Pausanias 2.3.6-11
- ^
"Electric Medea holds the stage".
The Globe and Mail
, 3 July 1978.
- ^
Dunning, Jennifer (31 August 1986).
"KABUKI AND NOH FLAVOR A 'MEDEA' IN CENTRAL PARK"
.
The New York Times
. Retrieved
1 June
2018
.
- ^
"Medea (1982) | APGRD"
. University of Oxford.
- ^
"Press File:Medea Theatro Technis 1982 reviews"
.
- ^
Chaillet, Ned (21 January 1982).
"Medea"
.
The Times
.
- ^
"Shozo Sato"
.
theatre.illinois.edu
. Retrieved
1 June
2018
.
- ^
"Chicago Tribune - Historical Newspapers"
.
Chicago Tribune
. Retrieved
1 June
2018
.
- ^
Brown, Joe (19 July 1985).
"
'Kabuki Medea': Furious Fusion"
.
The Washington Post
. Retrieved
1 June
2018
.
- ^
a
b
From the programme and publicity materials for this production.
- ^
Kaggelaris, N. (2016).
"Sophocles' Oedipus in Mentis Bostantzoglou's"
.
Κορ?λλι
: 74?81
. Retrieved
1 June
2018
.
Medea
" [in Greek] in Mastrapas, A. N. - Stergioulis, M. M. (eds.)
Seminar 42: Sophocles the great classic of tragedy
, Athens: Koralli
- ^
Kaggelaris, N. (2017).
"
"Euripides in Mentis Bostantzoglou's Medea", [in Greek]
Carpe Diem
2"
.
Carpe Diem 2
: 379?417
. Retrieved
1 June
2018
.
- ^
David Littlejohn (26 December 1996).
"John Fisher: The Drama of Gender"
.
The Wall Street Journal
.
- ^
Archive of the
National Theatre of Greece
,
Euripides'
Medea
? Worldwide tour dates and venues
(in Greek).
- ^
Archive of the
National Theatre of Greece
,
Photo of Kostas Triantafyllopoulos as Creon in Euripides'
Medea
at the
State Theatre of Sydney
,
Australia
on 22 ? 24 May 1998"].
- ^
Medea: Anguish, Freeze-Dried and Served With Precision
? New York Times review on Medea accompanied with a picture of
Karyofyllia Karambeti
(Medea) with
Kostas Triantafyllopoulos
(Creon) from the opening night at
City Center Theatre
,
Manhattan
,
New York
on 23 September 1998. Peter Marks (picture by Michael Quan),
The New York Times
, 25 September 1998. Retrieved 10 December 2010.
- ^
"Theatre Loans - Logbook Loans Provider"
.
Theatrebabel.co.uk
. Retrieved
1 June
2018
.
- ^
Lahrissa Behrendt,
Contemporary Indigenous Plays
Currency Press (2007)
- ^
"
'Medea Project' in Santa Ana Brings Greek Tragedy to Today"
. Orange County Register. 3 August 2016.
- ^
"paperStrangers Performance Group"
. 22 August 2012. Archived from
the original
on 22 August 2012
. Retrieved
1 June
2018
.
- ^
Eschen, Nicole (
University of California, Los Angeles
). "
The Hungry Woman: A Mexican Medea (review)
."
Theatre Journal
. Volume 58, Number 1, March 2006 pp. 103?106 | 10.1353/tj.2006.0070 ? At:
Project MUSE
, p. 103
- ^
"이혜영 "'메디아'는 一生一大의 挑戰…神話 아닌 오늘날 이야기"
"
(in Korean). Asiae. 13 February 2017
. Retrieved
26 February
2017
.
- ^
"Medea"
. IMDb
. Retrieved
1 June
2018
.
- ^
Christian Science Monitor
Zoe Caldwell's 'Medea,' a theatrical mountaintop; Medea Tragedy by Euripides, freely adapted by Robinson Jeffers. Directed by Robert Whitehead
- ^
Medea: Freely adapted from the Medea of Euripides
(1948) Robinson Jeffers (translator)
- ^
"Medea"
. IMDb
. Retrieved
1 June
2018
.
- ^
"OedipusEnders - BBC Radio 4"
. BBC
. Retrieved
1 June
2018
.
- ^
"The plot of Doctor Foster is actually 2,500 years old, reveals writer Mike Bartlett"
.
Radio Times
. Retrieved
4 November
2019
.
- ^
de Chantilly, Marc Vaulbert. "Wodhull, Michael".
Oxford Dictionary of National Biography
(online ed.). Oxford University Press.
doi
:
10.1093/ref:odnb/29818
.
(Subscription or
UK public library membership
required.)
- ^
"The Internet Classics Archive - Medea by Euripides"
.
classics.mit.edu
. Retrieved
1 June
2018
.
- ^
Euripides, 480? BCE-406 BCE (16 February 2005).
The Tragedies of Euripides, Volume I.
Project Gutenberg
. Retrieved
1 June
2018
.
{{
cite book
}}
: CS1 maint: numeric names: authors list (
link
)
- ^
Euripides; Murray, Gilbert (1 June 2018).
"The Medea. Translated into English rhyming verse with explanatory notes by Gilbert Murray"
. New York Oxford University Press – via Internet Archive.
- ^
Lucas, F. L.,
Euripides: Medea; verse translation, with introduction and notes
(Oxford University Press, 1924)
- ^
"Medea and Other Plays"
. Penguin Classics. 30 August 1963
. Retrieved
1 June
2018
.
- ^
"Medea Μ?δεια"
.
Bacchicstage.wordpress.com
. 25 February 2011
. Retrieved
1 June
2018
.
- ^
Esposito, S.
Euripides: Medea, Hippolytus, Heracles, Bacchae
(2004)
ISBN
9781585100484
, Focus Publishing
- ^
"Medea by Joseph Goodrich - Playscripts Inc"
.
Playscripts.com
. Retrieved
1 June
2018
.
- ^
"Euripides, Medea (English Text)"
.
johnstoniatexts.x10host.com
.
- ^
"Medea, adapted from Euripides | Playwrights' Center"
. 18 January 2015.
- ^
Fisher, Mark (3 October 2012).
"Medea ? review"
.
The Guardian
. Retrieved
1 June
2018
.
- ^
Stuttard, David,
Looking at Medea: Essays and a translation of Euripides' tragedy
(Bloomsbury Academic 2014)
- ^
Ewans, Michael 'Euripides' Medea; translation and theatrical commentary' (Routledge 2022)
- ^
Philoctetes
,
Dictys
, and
Theristai
, all three of which are now lost
Further reading
[
edit
]
- DuBois, Page (1991).
Centaurs and Amazons: Women and the Pre-History of the Great Chain of Being
. University of Michigan Press.
ISBN
0-472-08153-5
.
- Ewans, Michael (2007).
Opera from the Greek: Studies in the Poetics of Appropriation
. Ashgate Publishing, Ltd.
ISBN
978-0-7546-6099-6
.
ISBN
978-0-7546-6099-6
- Gregory, Justina (2005).
A Companion to Greek Tragedy
. Wiley-Blackwell.
ISBN
1-4051-0770-7
.
- Griffiths, Emma (2006).
Medea
. Taylor & Francis.
ISBN
0-415-30070-3
.
ISBN
978-0-415-30070-4
- Hall, Edith (1991).
Inventing the Barbarian: Greek Self-definition through Tragedy
. Oxford University Press.
ISBN
0-19-814780-5
.
- Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100)
- Lootens, Barbara J. “Images of Women in Greek Drama.”
Feminist Teacher
, vol. 2, no. 1, 1986, pp. 24?28.
JSTOR
,
JSTOR
25680553
. Accessed 27 Mar. 2023.
- Mastronarde, Donald (2002).
Euripides: Medea
. Cambridge University Press.
ISBN
0-521-64386-4
.
- McDermott, Emily (1989).
Euripides' Medea: the Incarnation of Disorder
. Penn State Press.
ISBN
0-271-00647-1
.
ISBN
978-0-271-00647-5
- McDonald, Marianne (1997). "Medea as Politician and Diva: Riding the Dragon into the Future". In Ckauss, James; Johnston, Sarah Iles (eds.).
Medea: Essays on Medea in Myth, Literature, Philosophy, and Art
. Princeton University Press.
ISBN
0-691-04376-0
.
- Mitchell-Boyask, Robin (2008).
Euripides: Medea
. Translated by Diane Arnson Svarlien. Hackett Publishing.
ISBN
978-0-87220-923-7
.
- Powell, Anton (1990).
Euripides, Women and Sexuality
. Routledge Press.
ISBN
0-415-01025-X
.
- Pucci, Pietro. “Survival in the Holy Garden.”
The Violence of Pity In Euripides’ “Medea,”
vol. 41, Cornell University Press, 1980, pp. 91?130.
JSTOR
, http://www.jstor.org/stable/10.7591/j.cttq44w0.6. Accessed 27 Mar. 2023.
- Rabinowitz, Nancy S. (1993).
Anxiety Veiled: Euripides and the Traffic in Women
. Cornell University Press.
ISBN
0-8014-8091-4
.
- Said, Suzanne (2002). "Greeks and Barbarians in Euripides' Tragedies: The End of Differences?". In Harrison, Thomas (ed.).
Greeks and Barbarians
. Translated by Antonia Nevill. Taylor & Francis.
ISBN
0-415-93959-3
.
- Sommerstein, Alan (2002).
Greek Drama and Dramatists
. Routledge Press.
ISBN
0-203-42498-0
.
ISBN
978-0-203-42498-8
- Tessitore, Aristide. “Euripides’ ‘Medea’ and the Problem of Spiritedness.” The Review of Politics, vol. 53, no. 4, 1991, pp. 587?601. JSTOR,
JSTOR
1407307
. Accessed 27 Apr. 2023.
- Tigani, Francesco (2010),
Rappresentare Medea. Dal mito al nichilismo
, Aracne.
ISBN
978-88-548-3256-5
External links
[
edit
]
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has original text related to this article:
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