ЗОЛОТАЯ МАСКА - ФЕСТИВАЛЬ И ПРЕМИЯ
Lucius Annaeus Seneca, Jahn Anouih

MEDEA

TYuZ, Moscow
Award nominations 2011

Драма / спектакль большой формы
работа режиссера (Kama Ginkas)
работа художника ()
женская роль ()
мужская роль ()
photo by Elena Lapina




Music by: Theodosii Spassov

Director: Kama Ginkas
Set designer: Sergei Barkhin









Magma stream flew on the stage. After it cooled down a human habitation was built on it. Now it fell into decay and from the first glance it is clear that the mistress is left by her man: water flows from the tap, so there is a whole Stygian lake on the floor. The ‘Medea’ world, the way it was created by the artist Sergei Barkhin, is life built on a sleeping volcano. Together with the artist, the director Kama Ginkas makes the show out of the oppositely charged texts of Seneca’s tragedy who read his ‘Medea’ to the bloody emperor Nero and of the drama by Anouilh who retold the myth in terms of modern life.

Ginkas, the great master of accursed questions, brings the audience to a nonplus again. Today he suggests choosing what is more horrible: a destructive commonness or destructive spontaneous feeling; who deserves more compassion – the daughter of Caucasia with her hard-edged feeling or the downtrodden with his work Yappy with plastic bags from a supermarket? Medea clings to him, threatens him, begs him, squirms in a fit of desire, wails, cries, - he only beats off her attacks wearily, knowing in advance what will happen next: she’ll cut her babies’ throats and then fly away as a golden bird. She, he and the audience – everybody understands that the slaughter and flight are symbolic acts: her babies are no more than rubber Kewpie dolls and her flight is just a circus act. But due to these manipulations in Jason’s eyes one may see a man’s thousand-year fear of the woman he fell out of love with.

Elena Kovalskaya





The spectator can see Serguei Barkhin’s scenery as soon as he or she crosses the threshold of the auditorium. The set does not practically change during the two hours while the production is on. That is why you leave it with the feeling you got from ‘reading’ the set at the first moment. It is a world that survived a catastrophe. At one time there seemed to be a huge bathroom here, or a kitchen, or both. But the intense blue dalle is half-peeled off; all things are in wrong places; the water flows from the tap anyhow, so there is a whole pool of water on the floor. But it is not war that caused the devastation, it is a natural disaster, a volcanic eruption: melted rock once broke through the wall and then it cooled down as shapeless benches – the staircase to nowhere. This is the place where Medea lives.

Roman Dolzhansky,
Kommersant,
02.11.2009





TRAVELLING COMPANY
21



PERFORMANCE SPACE
18 12 m х 12 m


FOR AUDIENCE OF
390



FRIGHT
2300 kg, 54 m3



SET UP TIME
12 hours