medea werden

ensemble leitundlause
music theatre after 'je deviendrai médee'
composition for eine solo voice by jaques demièrre
mezzo-soprano: uta buchheister
actresses: franziska dietrich, bärbel schwarz, mariel supka

concept and direction: matthias rebstock
sound and video: cathy van eck, daniel plewe
space and costumes: sabine hilscher
dramaturgical advice: henning fülle
fri. 31. march 2006 and sat. 01. april 2006 -- 8:30 pm -- kubus

the figure of medea in classical greek myth stands for the outsider, the sorceress who follows her feelings and in doing so, is so carried away that out of revenge on her unfaithful lover, kills their mutual children [as well as her rival] in the most gruesome way. jacques demierre, the swiss composer [born 1954] brings the myth into a timeless and placeless present. his lament in six movements for solo mezzo-soprano [from 1986, first performed by magalia schwartz] has a woman express what it is to be on the verge of being the perpetrator of the most gruesome revenge out of the deepest injury as the victim of betrayal and humiliation: je deviendrai médée - i will become medea.

the veneer of western christian civilisation is thin, the protective range of its taboos limited and endangered -- we know that -- or at least think we know; we stand, however, before the return by force of the embattled cultural difference, the fundamental religious terrorism. the vengeance, for which after the 11th september is especially inexplicable, the actions against the innocent visitors of the musical and a rock concert in moscow, the children and their teachers in beslan and the many uncounted victims of suicide bombers in the crisis areas of the near, middle and far east stand for.

in these the three thousand year old myth of the release of the need to revenge bought about by betrayal and humiliation appears again, that through excessive suffering, be it the stranger's 'innocent' life, be it one's 'own flesh and blood', finds its highest expression - satisfaction? matthias rebstock and the ensemble leitundlause place demierre's vocal composition of 1986 in this context: the women's voices perform the original composition, in which french and italian text delineate the leap from pain into gruesome revenge. the location of the performance is a stage populated by loudspeakers, from which pour the reverberation of decomposition and decay of civil order: the sounds of cracking, breaking, crushing, as well as texts that report those events in which people kill people. the three actresses work with this material - the 'hardware' as well as the sound waves that they emit - lending real artistic presence to the actuality of the mythical figure.

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