That’s why I’ve changed to mortal form — how do I look? Convincingly human?
“AMBITION, LOVE, BETRAYAL, REVENGE …
The timeless ancient story of one of the wildest and most passionate women in the history of theatre: Medea. The woman who lives her life on the edge, the lover who poisons her rival, the mother who kills her own children.”
“In Honor Thy Gods Jon Mikalson uses the tragedies of Aeschylus, Sophocles, and Euripides to explore popular religious beliefs and practices of Athenians in the fifth and fourth centuries B.C. and examines how these playwrights portrayed, manipulated, and otherwise represented popular religion in their plays. He discusses the central role of honor in ancient Athenian piety and shows that the values of popular piety are not only reflected but also reaffirmed in tragedies.
Mikalson begins by examining what tragic characters and choruses have to say about the nature of the gods and their intervention in human affairs. Then, by tracing the fortunes of diverse characters—among them Creon and Antigone, Ajax and Odysseus, Hippolytus, Pentheus, and even Athens and Troy—he shows that in tragedy those who violate or challenge contemporary popular religious beliefs suffer, while those who support these beliefs are rewarded. Mikalson concludes by describing the different relationships of the three tragedians to the religion of their audience, arguing that the tragedies of Euripides most consistently support the values of popular religion.” — back cover
“A National Theatre of Scotland production.
Alan Cumming gives an award-winning, tour-de-force central performance as Dionysus, the charismatic and dangerous god in this adaptation of Euripidese classic tragedy.
“I shall don the mask that sets me free
we are what we appear to be from within
the mask has an inside as well
how comforting it is
softer than the finest wool
stronger than the hardest shield”