M.carnedellamiacarne

Scene writing inspired by the classic of Euripides and by the poetry of Capossela and Alda Merini

choreography and direction: Loris Petrillo
texts: Massimiliano Burini
musical experimentation by Loris Petrillo / music aa.vv.
light design: Loris Petrillo
costumes: Pappalardo
with: Massimiliano Burini, Rosanna Cannito, Nicola Cisternino, Rosa Merlino, Giuseppe Muscarello
Duration: 60 min. ca.

ProductionMDA produzioni danza/Compagnia Petrillo Danza
In collaboration with Scenario Pubblico Performing Arts and Danzarte

After “Il cece nel secchio” on the topic of madness and normality and “La pelle del popolo nudo”, a re-evocation of Sicily after World War II, Loris Petrillo has directed and choreographed “M. carnedellamiacarne”. Drawing inspiration from the original texts by Massimiliano Burini, this new pièce is a journey through the female mind, not only for the purpose of understanding it but also to be ironic about it – and Medea is its undisputed protagonist.
Traditionally described as a sorceress endowed with powers that were even divine, Loris Petrillo’s Medea relies on these powers to meditate as the first revenge against Jason, and perhaps the very worst. Accused of not being able to understand her, Medea condemns him to literally put himself in her shoes.
At this point, paradoxically, M. abandons the gloomy tones of tragedy, and turns into a hilarious grotesquely comic scene. In an aseptic scene, Jason remembers the salient facts of the tragedy searching for a logical explanation for Medea’s foolish acts.

His memories come alive together with the characters which crowd them. Creon, Glauce, the children, Medea and Jason appear and disappear with the speed of thought.

In M., Medea is a man, but not a man playing the role of a woman, but rather Jason in Medea’s shoes. The underlying theme of the entire choreographic work is the dialogue-monologue of the two spouses, played by the same actor. Rich in symbolism and meaning without specifically claiming psychological knowledge, M. is a family tragedy narrated by the voice of a man travelling through the twisted mind of a woman.

In M., Medea is a man, but not a man playing the role of a woman, but rather Jason in Medea’s shoes. The underlying theme of the entire choreographic work is the dialogue-monologue of the two spouses, played by the same actor. Rich in symbolism and meaning without specifically claiming psychological knowledge, M. is a family tragedy narrated by the voice of a man travelling through the twisted mind of a woman.

In M., Medea is a man, but not a man playing the role of a woman, but rather Jason in Medea’s shoes. The underlying theme of the entire choreographic work is the dialogue-monologue of the two spouses, played by the same actor. Rich in symbolism and meaning without specifically claiming psychological knowledge, M. is a family tragedy narrated by the voice of a man travelling through the twisted mind of a woman.

Medea’s trip into horror is aimed at a crazy goal, yet the means she uses to achieve it respond to an extremely astute iron logic. In specific, Medea is a woman who suddenly finds herself in conflict with a world, a culture with different customs and habits that she doesn’t understand and cannot accept. Unfortunately, Medea’s psychological distress has never ceased, such that today, it is a real disease; and it isn’t just by chance that it has been defined by psychology and clinical criminology as “the Medea Complex”. Such complex is delineated by the syndrome in which the mother, placed in a situation of conflict with her spouse, goes so far as to kill her own son, making it an instrument of power and revenge.

As Prof. Gian Carlo Nivoli claims, there’s something ancestral and ineradicable about a woman who attempts to kill her own offspring and the psychoanalytical explanations go very deep. Nevertheless, one of the most common explanations is the killing of one’s own children in order to take revenge against a spouse to whom one doesn’t want to leave even the slightest tangible trace of the relationship that has taken place; there’s the more widespread suicide, anticipated by a form of acute depression of the mother who commits suicide with her children; and then there’s the aggressive mother with little parenting ability who vents her form of disaffection towards her children with aggression.