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The disintegrated world
The Pan.Optikum action theatre ensemble takes its “Medea.Voices” project to the big stage of the Freiburg Theatre
The stage is an unusual world for a theatre audience. People move across the black floorboards of the Freiburg stage with corresponding caution, edging around the high-ceilinged, sparsely lit area to secure a place at a wall, and keeping a safe distance away from the huge, white, angled objects. They wait. More and more people push onto the stage, whispering, pressing each other forward. Some of them are then forced to step further toward centre stage, passing through the gaps of the objects on rollers. A few of the more curious dare to move closer to the woman leaning against one of the smooth objects. A cluster of theatregoers gathers around her. The woman’s skin glitters with gold, she wears a top made of fur, her blond hair is teased. It is Medea – she too, like the onlookers, in a foreign, and hostile world.
Medea is one of the most fascinating and at the same time contradictory figures in mythology. She has been interpreted time and again: The daughter of the King of Colchis on the Black Sea was a healer, priestess and lover, plagued with jealousy, murderess of her own children and brother. Christa Wolf’s novel “Medea.Voices”, 1996, on the other hand, is a portrait of a smart, caring and healing woman who ultimately fails, forced to flee from her homeland in order to live in another, assumedly better world.
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