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Euripides' play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, psychoanalytical, feminist, and many other original readings of Medea, Jason and the core themes of the play. [1] Medea, along with three other plays, [a] earned Euripides third prize in the City Dionysia.
Euripides has been hailed as a great lyric poet. [66] In Medea, for example, he composed for his city, Athens, "the noblest of her songs of praise". [67] His lyrical skills are not just confined to individual poems: "A play of Euripides is a musical whole...one song echoes motifs from the preceding song, while introducing new ones."
Medea About to Murder Her Children by Eugène Ferdinand Victor Delacroix (1862) In Euripides's play Medea, she is a woman scorned, rejected by her husband Jason and revenge seeking. Deborah Boedeker writes about different images and symbolism Euripides used in his play to evoke responses from his original Athenian audience. [36]
The libretto by François-Benoît Hoffman (Nicolas Étienne Framéry) was based on Euripides' tragedy of Medea and Pierre Corneille's play Médée. [1] It is set in the ancient city of Corinth. [2] The opera was premiered on 13 March 1797 at the Théâtre Feydeau, Paris. [3] It met with a lukewarm reception and was not immediately revived.
The heroine of the play is the sorceress Médée. After Médée gives Jason twin boys, Jason leaves her for Creusa. Médée exacts her revenge on her husband by burning his new spouse and slitting the throats of her two children. The final act of the play ends with Médée's escape in a chariot pulled by two dragons, and Jason's suicide. [3]
While Euripides' Medea shares similarities with Seneca’s version, they are also different in significant ways. Seneca's Medea was written after Euripides', and arguably his heroine shows a dramatic awareness of having to grow into her (traditional) role. [7] Seneca opens his play with Medea herself expressing her hatred of Jason and Creon.
Bash: Latterday Plays is a collection of three dark one-act plays written by Neil LaBute.Each play is an exploration of the complexities of evil in everyday life. Two of the works, "iphigenia in orem" and "medea redux" have direct Greek influence, specifically Iphigenia in Aulis and Medea by Euripides.
His book is a lot more accessible, and less technical, but also less comprehensive in its approach. . . . The many qualities of this volume will enable numerous readers to enjoy the discovery of this magnificent play which, as James Morwood reminds us, has too long been considered as a minor work by Euripides, a play of political propaganda.