the same rise again changed – liturgy for 14 spectators greek version
… though I walk in the valley of the shadow and of death…
I fear no evil, even in the darkest moments of life …
(salm 23, the Bible)
For the western culture Medea is the mother infanticide brought to the stage by Euripides in 431:, in the collective imagination has established the character of a repudiated and banned woman, assailed by painful memories, on his last day in Corinth. One day ripped to Creon and spent in the throes of obsession to hit Jason, her husband, with the fiercest of revenge, with an absolute pain. “I will kill my children.” This infanticide Medea revived in dark and uniforms colors from a prestigious genre which was the tragedy in antiquity, it is not always shared out and in the theater. For us, Medea is his odyssey, an odyssey that leads to extreme crime; kill their children, is to deny himself as the mother of children who belong only symbolically to the father , to resonate with the voice of desire, of thr affections. Medea can not think of his tribe out of the sensual and emotional reciprocity, out of its affectivity. Lives on the scene this conflict between erotic desire and maternal affection as a laceration conscious and painful, verbalized and somatized in his face and in his body, eventually resolved with the infanticide. A progressive dissociation that runs and mature under the whole plot and is not limited to the final explosive and emphatic. Maga and foreign contradictory and conscious, fought and responsible, Medea is defined above all by its diversity and autonomy, and his scandal binds to its individual deviance.
She is the expression of an isolated self, that do not belong to any story and seems to belong to our own, contemporary, for particular affinity; moves in us from the scenes on which back, I rise again myself changed in many shades of interpretation. To suggest images more incisive and effective of religious vetos, destined to be overcome by science and social dynamics, to be finally reprocessed by the authorities to come, as unfortunately happens. It evokes situations that moral thinking finds it hard to represent: the killing of children is a sacrifice secret, a apòrrhetos thysia. A simple metaphor shown in depictions vascular where Medea kills her children at an altar. A ritual, it seems, perhaps celebrated in the temple of Hera Akraia, which is based on the corinthian myth of Medea: seven boys and seven girls were cooped up for a year in the sanctuary of Hera, where showed them the graves of the children of Medea. Culmination and conclusion of their period of service was a sacrifice on the occasion of the feast of Akraia: the sacrifice of a black goat. It was a holocaust, a enaghìzein, tied to a special form, cited above, of “comedy of innocence“: the same goat must unearth the sword, or knife, with which it was killed. The sword was then buried again until the following year, according to what was said. Once a year, the instrument of destruction emerged from the darkness of the earth, and then remain buried and almost forgotten for the time remaining. It obvious that the goat died in substitution of the boys: after they were released from their commitment. The myth says that the children of the Corinthians had to perform this duty to expiate the killing of the children of Medea, deaths in the enclosure of Era Akraia and buried there. And the strange sword, disinterred and buried again year after year would have been just the one with which Medea had killed the children.To what extent the ritual, in relation to the myth, it can be understood as an initiation ceremony? To what extent, the metaphor of thyma in the culminating point of the drama of Medea refers to a sacrificial rite in which it takes the form of the mystery of death?
alfredo de venuto
all children who die…