Introduction: Euripides’ Medea is an emotional play that follows the tragic tale of Medea, a sorcerous and a princess from Colchis, who used her powers and influence to help Jason, her new husband, to procure the Golden Fleece. Now living with Jason in Corinth, they have two children together. Not before long things start to go bad when Jason abandons Medea and his two children for the daughter of King Creon, Glauce, leaving Medea to fend for herself with their two children. The Australian Zen Zen Zo Contemporary take on this classic piece of theatre explores ancient Greek culture with the use of dramatic languages, like elements of drama and skills of drama, and Greek Theatre techniques to challenge the audience.
Dramatic Languages: Throughout …show more content…
The baby crying and laughing in the background of the scenes where the children are supposed to be a part of, along with the use of the projected images of children and babies on the screen in the background tells the audience that the children are in the scene. These projected images are used again when Medea and Glauce are talking. There are images of blood projected on the screen to symbolise the hatred and blood lust felt by Medea towards Glauce. Medea’s dress has the appearance of being burnt and torn, which conveys to the audience the deteriorating emotional state of Medea and the breaking and falling apart of the relationship between Medea and Jason. These symbols challenge the audience to think about other possible meanings behind different symbols that are evident in the adaptation of the …show more content…
Butoh is particularly prominent in the scene where Glauce has received the poisoned gifts from Medea and is succumbing to the effects of the poisoned garments. During the part of the scene after she has put on the garments in sync with the Chorus, Glauce begins to convulse and scream, the Chorus still copying her movements. Her sharp, rigid and grotesque Butoh like style movements convey to the audience the effects in which the poison is having on Glauce. These movements make the audience feel disturbed and shocked, and challenge them to feel more emotion for Glauce’s character and to feel a little disturbed by the actions of Medea’s
Dramatic Languages: Throughout …show more content…
The baby crying and laughing in the background of the scenes where the children are supposed to be a part of, along with the use of the projected images of children and babies on the screen in the background tells the audience that the children are in the scene. These projected images are used again when Medea and Glauce are talking. There are images of blood projected on the screen to symbolise the hatred and blood lust felt by Medea towards Glauce. Medea’s dress has the appearance of being burnt and torn, which conveys to the audience the deteriorating emotional state of Medea and the breaking and falling apart of the relationship between Medea and Jason. These symbols challenge the audience to think about other possible meanings behind different symbols that are evident in the adaptation of the …show more content…
Butoh is particularly prominent in the scene where Glauce has received the poisoned gifts from Medea and is succumbing to the effects of the poisoned garments. During the part of the scene after she has put on the garments in sync with the Chorus, Glauce begins to convulse and scream, the Chorus still copying her movements. Her sharp, rigid and grotesque Butoh like style movements convey to the audience the effects in which the poison is having on Glauce. These movements make the audience feel disturbed and shocked, and challenge them to feel more emotion for Glauce’s character and to feel a little disturbed by the actions of Medea’s