Lasts app. 80’; no intermission.
Dutch with Turkish surtitles.
Medea, Oedipus and Alice are presented under the common denominator: ‘Dutch Focus’ and is supported by Dutch Performing Arts, a programme of the Performing Arts Fund NL.
INTERNATIONAAL THEATER AMSTERDAM (ITA)
- Written by: Euripides
- Adapted and Directed by: Simon Stone
- Translated into Dutch: Vera Hoogstad, Peter van Kraaij
- Dramaturgy: Peter van Kraaij
- Scenography: Bob Cousins
- Light Design: Bernie van Velzen
- Sound Design: Stefan Gregory
- Costume Design: An D’Huys
- Private Producer: Joost & Marcelle Kuiper
- Performers: Joy Delima (Marie-Louise), Alexander Elmecky (Herbert), Aus Greidanus jr. (Lucas), Marieke Heebink (Anna), Eva Heijnen (Clara), Bart Slegers (Christopher), Titus Theunissen (Gijs), Sonny van Utteren (Edgar)
Praised by The Guardian as ‘a raw masterpiece created by a flawless ensemble’, the pioneering theatre organisation Internationaal Theater Amsterdam’s (ITA) award-winning adaptation of Medea by the successful young writer and director Simon Stone, is now in İstanbul!
Stone, whose new plays are always eagerly anticipated, rewrites ancient tragedy playwright Euripides’ Medea in today’s language and combines it with a real event. The tragedy Medea, which has been staged almost throughout history, derives its subject matter from an overwhelming, burning sense of revenge. Medea, possibly the darkest character of the theatre stage since 5th century BC, suggests that this time we take a look inside the life of an ordinary family.
An American physician who goes through a difficult divorce in 1995 and sets her house on fire with two of her children inside... The play has won the Theo d’Or for the leading character played by the highly praised Marieke Heebink and was selected for the programme of the Dutch Theatre Festival in 2015.
Featuring a refined yet mad Medea, who might just as well be your neighbour, in a plain and simple stage design that deeply affects the audience, the play tells the story of an incident that has never lost its aspect of shock or frequency of occurrence throughout centuries. The play awaits its audience, maybe not as an acceptance of the end result, but as a way of understanding. Is it possible to understand Medea? Let’s re-examine this case, this incident and the violence it entails…
Medea is supported by Fonds 21.