Medea (à la carte) is a performative proposal about the myth of Medea and the de-construction of its character, in which a space to share is unfolded between two worlds: the contemporaneity and the myth. It seeks to open an intimate space where the body becomes a tool for analyzing, communicating and debating the femininity.

The work Medea (à la carte) is both a reflection about the theatre and the representation of intimacy. It is structured in 4 different pieces of 15 minutes each. Each piece proposes different iconographies and archetypes that give us a gaze, an approach to Medea by opening various possibilities and issues that are a reflection on the female body and its socio-cultural environment.

The work is related to different texts (Medea Material by Heiner Müller and God-Dog by Toni Cots), films (Medea by Pier Paolo Pasolini and Medea by Lars Von Trier), and narrative elements (The marriage of Cadmus and Harmony by Roberto Calasso). These have provided a framework for researching how the body may disclose, open up or suggest different approaches to the theatrical language and its territories, with the gaze as a point of confluence with the audience.

The proposal is to generate an intimate space that can open new perspectives on the act of performing and to establish a relationship with the audience where we can present and share the various themes that a contemporary review of the myth challenges. Two of the pieces are presented, followed by a dialogue with the audience in order to share their impressions and thoughts.

The pieces


The first piece is an intimate look on women based on the character.


The second piece is a search of the female identity in contemporary terms throughout the body.


The third piece enters into the archaic woman coming from a matriarchal society which is in contrast with our actual society, a masculine construction and projection.


The construction of a fragmented body through multiple images and different views.



Material extracted from the project People that watch by the filmmaker Neus Ballús

Photo: Judith Vizcarra