We show Medea outside of time, outside of myth, exploring a problem that is both universal and urgently contemporary – emigration. We speak of the impossibility of crossing the border of ourselves, created with the line of our bodies moving between earth and sea, between continents and between people. Medea is a great figure of exile. She stands at the gates of Europe, up to her knees in death. It is not her that is rejected, it is her own death and the possibility of burying her children: young women raped on the way to Europe, mutilated young men, robbed old people … Others. Medeas is not political theatre. It is an intimate exploration of the inner border of the experience of being rejected. This is a requiem for all those whose names we will never know and who die on the way to our continent. Seduced by Europe, it’s image and myth, they stand at its gates, unable to cross the border, cross the lines of their lives.
The musical dramaturgy is built around Arabic, Persian and Kurdish songs sung by guest singers from Cairo, Tehran and Istanbul. Their voices are surrounded and contrasted with a sea of Latin confraternities.