Medea is one of world literature's greatest dramas and this stunning performance by the Actors of Dionysus brings alive Euripides' timeless tragedy. Deserted by Jason, whose life she saved at a great cost to herself and others, and forced into exile by the father of her rival in love, Medea plots a barbaric revenge. The consequences wrought by her destructive actions, and by those who underestimate her bewitching power, are barrowing. Using David Stuttard's new translation the Actors of Dionysus aim to present the essence of the dramas in a way that is accessible without sacrificing the poetry and the grandeur of the original Greek, revealing them as timeless parables for a modern age.
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"Taplin's eminently readable version of this harrowing tragedy justifies his reputation as one of our foremost experts in dramatic criticism, whose pioneering efforts in illuminating ancient stagecraft remain indispensable today." -Froma Zeitlin, Princeton University "Euripides's influential and provocative Medea continues to be read, performed, adapted, and reinterpreted in multiple contexts across the globe. Taplin's accessible and performable, yet vivid and poetic translation makes the play available to a modern audience while doing justice to both its complexities and its horrific power." -Helene P. Foley, Barnard College, Columbia University "Taplin translates Medea into clear and contemporary English while reflecting well the different registers and tones that create the subtle texture of Greek tragedy. His version is eminently speakable, but also highly faithful to the original Greek, making it ideal for instructors and readers who want to study closely the specific metaphors and terms that carry the classic themes of this influential drama." -Donald J. Mastronarde, University of California, BerkeleyAbout the Author:
Euripides was born near Athens between 485 and 480 BC and grew up during the years of Athenian recovery after the Persian Wars. His first play was presented in 455 BC and he wrote some hundred altogether. His later plays are marked by a sense of disillusion at the futility of human aspiration which amounts on occasion to a philosophy of absurdism. A year or two before his death he left Athens to live at the court of the king of Macedon, dying there in 406 BC. Nineteen of his plays survive, including Hippolytos, The Bacchae, Iphigeneia at Aulis, Hecuba, Medea, and The Trojan Women.
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