Gender identity and political ideology in Seneca’s MEDEA: ‘The ART of Conversation’ with University Women of Europe

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On Saturday the 2nd of MAY, in occasion of  the 51st Season of the Greek Tragedies performed in the Greek Theatre at Syracuse (ITALY), the event “The ART of Conversation” will take place at the INDA (the Italian National Ancient Drama Institute) organised by FILDIS Siracusa and the University of Catania (Prof. Katerina Papatheu), in collaboration with University Women of Europe (UWE) along with Paolo Magelli, the director of the play Medea performed in the Greek Theater at Syracuse.

The event is considered by far the most important ancient theatre happening worldwide first planned in the 1914 by the INDA. This year will be staged three tragedies: ‘The Suppliants’ by Aeschylus, ‘Iphigenia at Aulis’ by Euripides and ‘Medea’ by Seneca.

“Coversazioni a Regola d’ARTE” has chosen to discuss around the drama of MEDEA by Paolo Magelli adapted from Seneca and to do so invited the Director Paolo Magelli and some his cast: Luca Cortina (vice-producer), Ezio Toffolutti (scenographer), the leading actress Valentina Benci (in scene as Medea)  and Simonetta Cartia (coryphaeus).

 By exploring themes and issues of gender identity and political ideology in the play ‘MEDEA’ by Seneca this event, conceived as a conversation with leading experts and actress, will focus on  gender and politics in Greek Tragedy also compared with nowadays. The Medea tells the story of the jealousy and revenge of a woman betrayed by her husband Jason. This drama is a masterly presentment of passion in its secret folds and recesses. As underlined by Paolo Magelli “Medea believes that any form of power is unjust and that there are no happy lands… She carries within herself her faults, all her faults but especially the killing of the beloved brother Apsirto, dominated by the obsession that she did it for Jason, for that immense love, for the discovery of new cultures. Her real sin seems to be the fact of having joined two worlds with her trip, she has traced the furrow in the sea that will allow people to move freely, the sin of bringing knowledge and of violating the tranquillity of the isolation of peoples. The ability of Medea is not witchcraft, the thing that is fascinating in Medea, besides her “disease of love”, is her heroism, the fact that she saved Greece bringing to safety the ship Argo.”

The Vice-President of UWE  Elena Flavia Castagnino Berlinghieri contributes in vital new ways to the continuing debates over the status of women in Greek culture and its theatre  as a basis for a wider global argument on culture and gender issues in the contemporary world.

She addresses theatre performances  from a wider historical point of view and offers the audience an opportunity to reflect on the importance they attach to culture from a new, integrated and comprehensive perspective.

Western Greek theatre history and the role of woman in antiquity will be enhanced by original consideration of cultural politics and their gender implications, couched in Katerina Papatheu’s acute, elegant critical style.

INDA ‘ Superintendent Tomasi Lanza and FILDIS’ President of Syracuse section Maria Vittoria Fagotto Berlinghieri will be keynote speakers.

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One thought on “Gender identity and political ideology in Seneca’s MEDEA: ‘The ART of Conversation’ with University Women of Europe

    Gerda Leushuis said:
    April 30, 2015 at 12:21 pm

    Medea, a fascinating story and to be able to watch it in the Greek theatre in Syracuse must be a great treat. I wish all a nice time and am sending to Elena Flavia Castignino Berlingieri my very best wishes. I could feel homesick for Syracuse and Sicily….

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