POWER AND PASSION IN THE MEDEA TRAGEDY BY H. MЬLLER AND L. RAZUMOVSKAYA
Tragedies “Medea. Material” H. Mьller and L. Razumovskaya's “Medea” are written at the same time, in the early eighties of the XX century, and raise similar problems. The problem if the power at Mьller is interfaced to a problem of fault and historical memory. Future loss for heroes of the tragedy – a consequence of their crimes in front of Colchis, requital for shed blood. Understanding of the power by Razumovskaya's heroes are realized through opposition of social functions of the hero and the tsar in which the first is unconditionally disinterested, resolute, selfsacrificing while the second can be the strategist acting in interests of the city, or the liar. Medea's love, conducting it to crimes, also is treated differently. In questions of a ratio corporal and spiritual in love authors act as successors of various cultural traditions: German modernism and Russian of “ascetic materialism”. Also in article features of a genre of texts of Mьller and Razumovskaya under whose feather the tragedy receives modern sounding are considered.
Keywords: postdrama theatre, modern drama, tragedy, genre, mythological plot
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Issue: 11, 2014
Series of issue: Issue 11
Rubric: HISTORICAL POTENTIALS AND MANIFESTATIONS OF CONVENTIONALITY
Pages: 103 — 108
Downloads: 1368