Wer ist Medea?/ Who is Medea?/ Quem é Medeia?

Wer ist Medea?/ Who is Medea?/ Quem é Medeia?

Artistic direction, dramaturgy, stage and light design: Ana Ribeiro e António Duarte

Performed by Ana Ribeiro e António Duarte

Original Music, sound design and video by António Duarte

Based in the mythological character Medea, through the literary universe of several authors, who wrote about her, reinvented her, imagined her, such as Euripides, Heiner Müller, Christa Wolf, Chico Buarque and Paulo Pontes, we created a new dramaturgy. Full of questions. A base for experimentation around the Myth of Medea. About the Myth of truth, of a precise description of events.

Spoke in german, portuguese and english, we experiment with each language musicality and it's relation with the dramaturgy. It's perception relating to the "value" of meaning. Where lies the most profound compreention of a text?


How to build a classic nowadays? Why performing a classic nowadays?

It's important to go back… To the beginning… And let's start with a despised woman.  

Who is Medea? The foreigner, the witch, the traitor, the cruel and cold woman, who murders her own children? The intense wife, the jealous lover, the mother, the victim, the powerful and independent woman in a world of men? The one that is blessed by the Gods and cursed by Man?

“(…)It seems that their physical characteristics became a convenience for men, who could use, exploit, and cherish someone who was at the same time servant, sex mate, companion, and bearer-teacher-warden of his children.

Societies based on private property and competition, in which monogamous families became practical units for work and socialization, found it especially useful to establish this special status of women, something akin to a house slave in the matter of intimacy and oppression, and yet requiring, because of that intimacy, and long-term connection with children, a special patronization, which on occasion, especially in the face of a show of strength, could slip over into treatment as an equal. An oppression so private would turn out hard to uproot. (…)”

A People's History of the United States by Howard Zinn

Enter TextA woman and a man alone on stage. Alone, with their memories. Only with their past, their voices.

The woman is confronted with the various testimonies about her, the mass propaganda. Her life in a media judgment. the televised phantoms who oppress, accuse tell her story. Where is the truth?

The eternal fascination of seeing the falling icons. The voyeuristic  tendencies of watching the fragility, the intimate side of who is exposed. The thing, the object, the commodity, not the person itself. When life becomes art, or takes the form of "art."

Nowadays our life is image. Image is everything. In an ever more visual society, and often empty of meaning, where everything is what it appears to be. The use of codes such as of the radio plays, the conference, the intimacy of a conversation eye to eye, allows each one of us to judge for ourselves.

The Biography (so recurrent language these days where everything is recorded and immortalized for memory).

It's always so easy to make an example of the other, the one who doesn't share our values, our culture, our gender…

And that way opening a door to control our own society.

“How can I convey my truth. The truth that I carry within myself, the memories, the people who I met, my story full of small every day, that always repeats itself.

What is this biography? What defines me? The country where I was born? The language I speak? People who cross for me? The story that others tell about me?

In this glorious western and civilized world my voice gives itself the exercise of criticism. My voice. The foreigner, the witch, the murderer of her own children…”