The play tells the story of the revenge of a woman betrayed by her husband. All of the action of the play is at Corinth, where Jason has brought Medea after the adventures of the Golden Fleece. He has now left her in order to marry Glauce, the daughter of King Creon. (Glauce is also known in Latin works as Creusa — see Seneca the Younger's Medea and Propertius 2.16.30. This King Creon is not to be confused with King Creon of Thebes.) The play opens with Medea grieving over her loss and with her elderly nurse fearing what she might do to herself or her children.
Creon, also fearing what Medea...
The play tells the story of the revenge of a woman betrayed by her husband. All of the action of the play is at Corinth, where Jason has brought Medea after the adventures of the Golden Fleece. He has now left her in order to marry Glauce, the daughter of King Creon. (Glauce is also known in Latin works as Creusa — see Seneca the Younger's Medea and Propertius 2.16.30. This King Creon is not to be confused with King Creon of Thebes.) The play opens with Medea grieving over her loss and with her elderly nurse fearing what she might do to herself or her children.
Creon, also fearing what Medea might do, arrives determined to send Medea into exile. Medea pleads for one day's delay, and Creon begrudgingly acquiesces. In the next scene Jason arrives to confront her and explain himself. He believes he could not pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
Next Medea is visited by Aegeus, King of Athens; he is aggrieved by his lack of children, and does not understand the oracle that was supposed to give him guidance. Medea begs him to protect her, in return for her helping his wife conceive a child. Aegeus does not know what Medea is going to do in Corinth, but promises to give her refuge in any case, provided she can escape to Athens.
Medea then returns to her plotting how she may kill Creon and Glauce. She decides to poison some golden robes (a family heirloom and gift from the sun god), in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more, falsely apologizes to him, and sends the poisoned robes with her children as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
The request is granted and the gifts are accepted. Offstage, while Medea ponders her actions, Glauce is killed by the poisoned dress, and Creon is also killed by the poison while attempting to save her. These events are related by a messenger.
Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
Medea is pleased with her revenge thus far, but resolves to carry it further: to utterly destroy Jason's plans for a new family, she will kill her own sons. She rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason rushes to the scene to punish her for the murder of Glauce and learns that his children too have been killed. Medea then appears above the stage in the chariot of the sun god Helios; this was probably accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through!
这篇剧评可能有关键情节透露
版本:上海话剧艺术中心 德意志剧团 美狄亚人物的心理能量解读:旧时代的女权先锋还是希腊人厌女症的典型表现? 美狄亚作为希腊古典悲剧代表,在不同版本的重塑之后,已经成为了一个文化符号,虽然流传度也许不如俄狄浦斯、西塞罗、哈姆雷特等男流之辈广,但亦是众多文学、艺术...
(
展开
)
这篇剧评可能有关键情节透露
2019.12.04 上海话剧艺术中心 @德国柏林德意志剧院 德意志剧院的这版《美狄亚》,脱胎于德国女作家克里斯塔·沃尔夫的小说《美狄亚·声音》,其中文译名取作《美狄亚·声音》或许更为准确。 沃尔夫笔下的美狄亚,几乎颠覆了我们以往对于美狄亚的所有认知。她不再是那个为了躲避...
(
展开
)
“另一面”的美狄亚 柏林德意志剧院《美狄亚》观后 文/一田 (原文刊登于2020年第1期《上海戏剧》,请勿转载) 古希腊悲剧家欧里庇得斯在公元前431年根据神话故事创作了剧本《美狄亚》,为这个女性角色涂抹上了厚重的血色,让其在文学艺术史上成为了一个无法为人所忽视的惊悚异...
(
展开
)
【 不是剧评 】 (1) 导演:Simon Stone 美狄亚:Marieke Heebink 特别好的改编。 搞学术科研的男女主,专业能力更出众的女性为了丈夫放弃事业,投身家庭,两人渐行渐远,丈夫变前夫,同更年轻貌美而有家世的后来者的对比,嫉妒与落差,未经谋划的杀人,失去理智的杀人。 故事...
(
展开
)
这篇剧评可能有关键情节透露
美狄亚的美在于她疯狂而毫不保留的爱恨。 这是文明社会被阻止的第一步:人不能放肆地爱恨,一切都有体制,最好的美德是克制。 正因为如此,我特别想看现代人如何处理美狄亚的悲剧,如何处理她的爱恨,如何直面她的心狠和心碎,怎么样在现代文明允许的框架下还原出真实的癫狂的...
(
展开
)