The myth re-envisioned by Inner World Theatre
Η ΚΡΑυΓΗ ΤΗΣ ΜΗδΕΙΑΣ
Directed by: Sašo Jurcer
Performed by: Mojtina Jurcer
The myth of Medea’s revenge – the murder of Jason’ s children she gave birth to – is one of the most tragic stories emanating from early European civilisation. Out of love for Jason, Medea the Hecate betrays her father, sisters and homeland; she kills her brother, disgraces her family name and honour and lives in insecure exile to be ultimately abandoned and deceived by a man to whom she sacrificed and gave everything possible in the domain of human existence.
Sašo and Mojtina Jurcer take the horizon of Medea’s myth as the material for a journey into her mental landscape, and tell a story from the perspective of her demise. When, at her magic table, Medea looks back at the ruins of her life and – for the final time – or who knows how many times – embarks on an impossible journey; wondering about the blind necessity of her fate, she takes another walk through her life to the crossroads where in the geometry of tragedy the elementary force of faith in love ruptures into the force of destruction.
"inner world theatre"
becomes much more interesting than that which is
visible on the outside,« concludes the director Sašo
Jurcer, who, together with the actress Mojtina Jurcer,
established the Inner World Theatre in 2005.
Through a series of original theatre performances and by transposing the boundaries between performance, physical theatre, contemporary dance and modern opera, they reject the mimetic foundations of the western theatre tradition, and on stage ever more intensively pulls down the curtain of a material world by shifting away from the notion of the theatre as the mirror of the world to the theatre as a gesture to the world – from the actor’s body on stage to body as a world.
During research process of “inner world theatre” they developed a theatre system and acting method, which – on the basis of temporal decompression and spatial decomposition – liberates the actor’s body from the physical confines of the outer and – through the bodily calligraphy of inner mental states – connects it to the dramaturgy of manifestations of human inner motion.
sorceress jealous and murderous mother, silently enters
in a semi naked scene. A large table becomes the stage
on which the tale comes to life. A tale of inarticulate
sounds, rustles amplified by a microphone that makes
grave every breath.
On the table covered with a sand Medea shaken off inexorable slowly and with impassive face the small limbs of a doll. Movement dense and glance unperturbed accompany the abstraction of infanticide most tragic of theatrical literature.
The actress approaches the little body of the doll without the head to her face and the screen displays the foreground sinister of a sorrowing mother. The video amplifies the action that takes place on stage, selecting details, exaggerating the expressive face of Mojtina Jurcer, investigating in a more intimate look.
Detachment, anger and a strange stupor are alternated the soul of the character and the face of the actress. The slow movements become jerky at times. The cold strategy with which the actress moves three bloodied cups, drawing on the table trajectories that seem to evoke the dynamics of the protagonists of the tragedy, alternating with moments of despair.
The plastic doll limbs, torn with studied calmness, will be buried with violence, discovered with horror and reassembled with the same dreadful tranquility.
The word is banished from the scene. The barbarous Medea does not speak our language. Foreign, distant, different and yet so close with those glances and wheeze, to a reality deeply rooted in underground layers of consciousness.
The spectacle between performance, physical theater and contemporary dance proposes a new intimate reading of the myth, searching for a primordial essentiality that is impossible to put into words and that succeeds to exist on stage thanks to the live sincerity of the actress.
Pensieri di Cartapesta
Slovenian actress Mojtina Jurcer enters on scene with a
bag of jute from which throws a dismembered doll on the
table, and gives life to a performance without words
expressing the rage and madness, revenge and redemption
denied, in a paroxysm/oxymorons game in which the
maternal caresses followed obsessive-compulsive
disorders (movement of objects which clash on the
boards, filling glasses, drowning the doll's head). The
proof of an actress is in any case extraordinary:
Mojtina Jurcer captures with her eyes and through body
movements and ability to convey the agony of heroin
noir par excellence, who kills his brother for love and
kill her children in revenge for Jason and prevent him
from having offspring."
MESSAGGERO VENETO Italy
Today, the Inner World Theatre is a moving company, which builds and modifies its performances through intense exploration of the nature of theatrical contact in dialogues with audiences of various cultures, from St. Petersburg and Moscow, to Rome, Budapest and Yerevan, as well as from Alexandria, to Chicago and Shanghai. It primarily deals with the development of the universal language of theatre, and, through extensive international activities, gradually transforms into the theatre of the world.
With Medea’s Scream Sašo and Mojtina Jurcer turned from post-dramatic theatre to a pre-dramatic framework and restore it to nearly forgotten ritual pre-modern origin, when a man stands among fellow humans in order to share with them a mystery of his pain. In this act that goes beyond the playing or portraying the character and storytelling they returned once more to the acting of the vertical axes of human existence.
"What is the core of Mojtina Jurcer's acting virtuosity? It is the virtuoso technique of talent, i.e. the technique that per definition cannot be learned and cannot be distributed as it is absolute and self-sufficient – it is the individual result based on the 'internal wealth' of the artist and on the direct rendering of personal expressiveness."
"The church Santa Maria dei Battuti, packed as ever, welcomed and applauded the hard "Medea's Scream," a co-production Slovenian, Croatian and Montenegrin, with the sole protagonist, Mojtina Jurcer, who has explored the tragedy of Euripides, proposed with an acting full of verve and pathos, making the current figure of Medea while renouncing the word as a means of communication. Sašo Jurcer is a director attentive to detail, innovative and scratchy, full of ideas, a show well packaged that never expire in rhetoric and repetition."
"Especially impressive were symbols, physical objects and materialized tragic and agony … representation and only one actress, which articulated the whole tragic of this ancient drama with movements of the body and voices, vocals, screams that caused the hair on skin stand on end. In every voice, every movement there was painfulness, tragic and tragedy that expressed actress Mojtina Jurcer."
"Revenge, which was simultaneously a betrayal of her own being, vibrated through the actress's taut body filled with anger and despair trying to set off on a new self-search via the rituals on the witchcraft table. ... slow meditative movements suddenly turn into a succession of stormy modern-dance elements; the scream slams into the painful reality the distant voices of spiritual levitation; objects on the ritual table symbolise a transcendental journey ..."
RADIO STUDENT Slovenia
"Solo performer Mojtina Jurcer ... expressively conjures up the inner landscape of Medea’s world."