Junkyard

24th Feb 2017 - 30th Apr 2017

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Pygmalion

4th Feb 2017 - 13th May 2017

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Common

29th May 2017 - 30th Sep 2017

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The House They Grew Up In

14th Jul 2017 - 5th Aug 2017

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  • Medea: Everywoman, Many Women

    Margherita Laera | Oct. 19, 2012

    Maria Callas as Medea in Pasolini's Medea (1969).

     

    Who is Medea? This is not an easy question to answer. She is at once a sorceress, a lustful concubine, a foreigner, a serial killer, an intellectual, and an unrequited lover. She is a mother, a madwoman, and an oppressed wife too. Is she a victim or the perpetrator? Who is to blame – Medea, the murderer of her children, or Jason the serial womaniser? Euripides subtly but surely sides with the heroine, casting Jason as a coward. Medea is of course all of these women and more, which is what makes her so captivating: her multiplicity has seduced and disoriented theatre-makers, writers and audiences for centuries. Nevertheless, in Euripides’ tragedy she remains a ‘barbarian’, an exotic object of desire whose instinctive violence escapes comprehension. Her final escape to Athens by divine chariot seals the riddle of her identity with a coup de théâtre

  • The Story of Medea

    Retold by Sarah Grochala | Oct. 17, 2012

    Jason (Adam Levy) and Medea (Rachael Stirling) in MedeaPhoto: Manuel Harlan.

     

    Medea is one of the most fascinating and complex characters in the whole of Greek mythology. She is the ultimate heroine, villain and victim, all rolled into one.

  • Recasting Medea

    Oliver Taplin | Oct. 15, 2012

    A vase by Ixion Painter showing Medea killing one of her sons, approx. 330 BC (Louvre, Paris).

     

    The tragedies that survive from ancient Greece prove to be inexhaustibly renewable sources of creative energy.  And Euripides’ Medea is quite possibly the most high-voltage, the most influential of all. From Seneca to Pasolini and Lars von Trier, Corneille to Heiner Mueller and Cherubini (and Callas) to Yukio Ninagawa, Grillparzer to Martha Graham …. Mike Bartlett’s new comi-tragic setting on a small-town housing estate crackles with the tension and blood-chilling shocks that jump across two-and-a-half millennia from Euripides’ still-live wires.

  • Tragedy Now?

    Sarah Grochala | Oct. 2, 2012

    Tragedy is dead. At least, that was George Steiner’s verdict in his 1961 book, The Death of Tragedy. Steiner argues that tragedy no longer has any power in modern society, because modern society bases its understanding of itself in rational thinking. Tragedy can have no resonance in a society that believes in a just and reasonable god, nor in one that believes that man alone determines his destiny through the power of his own reason.