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Purchased earlier: 258
Москва, Арбат ул., 26
01 h 35 min


The premiere took place on November 29, 2011.

The artistic director of the theater R. Tuminas addressed the staff on the eve of the jubilee season: "I want to awaken in you the need for independent search for plays, direction, the need to try, experiment, dare, make mistakes, create, win." This call was heard and supported by the troupe. So there appeared the "Farewell Tours" by Y.Edlis and the rehearsals of "Medea" by Anuy (director - M. Tsitrinjak, in the main role - Yu. Rutberg) began.

What prompted you to turn to the tragedy of Anouil? - Time, our days with globally approaching non-communication, destroying personality, society, culture, politics - on the one hand, and on the other - an attempt to overlook this problem, hence the irresistible craving for entertainment, show, thoughtless fun. It is alarming that the modern world does not record the history of its illness - xenophobia, racism, aggression raise their heads. Against the backdrop of the catastrophic fall of morality, cynicism, the pursuit of well-being, the power of money, there is a destruction of man. To be different, to defend independence, not to adhere to the philosophy of "success", to reject the seductive postulate "I like everyone else", to overcome the philosophy of philistinism and realize that impersonal equality is disastrous is the lot of the strong.

"Medea" Anuya descended from Euripides' coeture, she is closer, more understandable to us, her vocabulary is modern. The dialogue of the heroes of the tragedy seems to be moving in a spiral, in circles - from past to present and again to the past. The creators of the play tried to isolate the meaning from the stream of words and events.

Medea Julia Rutberg does not live today, but yesterday, she does not have tomorrow. Her memory goes back to the roots inexorably, when she, the daughter of the king of Colchis, kidnapped a golden fleece for her beloved. For Medea, Jason's betrayal is not only the trampling of love, it is the destruction of her living space, the harmony of the soul.

In their fight there can not be a winner. In different sports, different worlds collided, where debt, honor and "common sense" are antagonists. Death is the borderline of their enmity and its choice is the ultimate manifestation of individual freedom.

Medea goes into oblivion with the children, because he can not leave them to such a Jason, who prosperes in the world of philistine indifference he created. She will not allow them to become hostages to the vulgar philosophy of full equality. Death is not Medea's defeat, but her moral victory.

In the tragedy of Anuya two worlds collided - Medea and Jason, freedom and the philistine standard of life.

The final mise-en-scene is a metaphor. Medea's figure rhymes with the mythical Nika - the symbol of Victory.

The length of the performance is 1 hour 35 minutes without intermission.

The performance is recommended for viewers over 16 years old (16+).

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Too strong, too passionate, too loving was Medea for Jason.

She deceived the golden fleece for him, she - once a princess - refused for him from wealth and honors ... Could she not rely on his faithfulness, gratitude? ..

But he could not love her as hard and selflessly as she was his.

And now he was tired of her. He marries the daughter of the king, naive and simple. Medeju asked to get out.

Well, then she will cease to be submissive, and her love, turning with terrible hatred, will be disastrous: she once gave life to her children, now she wants to kill them - this is her revenge on their father, who betrayed her to Jason.

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