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• W3182188 abstract "While the verdict on Euripides’ ending may be subject to changing trends in its critical reception, it is clear that it has enjoyed, and will continue to enjoy, imaginative and provocative recreation in its modern productions and incarnations. Perhaps one of the most stunning and quintessentially modern of these is Heiner Muller’s sequence of Medea plays: the ‘Medeaplay’ of 1974 and the text ‘Despoiled Shore/ Medeamaterial/ Landscape with Argonauts’ of 1983 (hereinafter ‘The Medea sequence’). As they are thematically connected, they are published and often produced together. If Aristotle had issues with the liberties Euripides took with narrative form, then – if he were alive today - his aesthetic judgement of Muller’s Medea sequence would have been damning to the point of being comical: of course, as avant-garde theatre, Muller’s text deliberately refuses classical ideals of dramatic narrative form. Indeed, insofar as it is non-linear and fragmentary, the text also signals a departure from what some describe as the linear epic theatre of Bertolt Brecht, Muller’s illustrious mentor (see Ebrahimian 33). A refusal of Aristotelian and certain modern, Brechtian forms of narrative is precisely in the nature of Muller’s aesthetic for his Medea plays. Instead of narrative coherence and an even paced development, the Medea sequence is composed in terms of Muller’s particular dramaturgical vision, ‘the theatre of images,’ the ‘Medeaplay’ being Muller’s first experiment along these lines. While the ‘Medeaplay’ takes the form of a short, poetic vignette of the myth – it is merely one paragraph long - like his more famous work Hamletmachine, it enjoys a density of poetics that compensates for its apparent brevity. ‘Despoiled Shore/ Medeamaterial/ Landscape with Argonauts,’ in contrast, offers a more sustained meditation on episodes of the Medea myth, particularly as relayed so powerfully by Euripides’ play. Together with the ‘Medeaplay,’ ‘Despoiled Shore’ constructs a provocative, politicising vision of modernity, informed by a plethora of compacted allusions and parallels to the Medea narratives of antiquity. Muller’s Medea sequence is presented in the best – but possibly for some, the most bourgeois and decadent - tradition of twentieth century avant-garde theatre. But if the dea ex machinâ constitutes the climax of Euripides’ play, its counterpart in Muller’s Medea sequence is, structurally as well as thematically, the explosion of what seems to be an atomic bomb. And it is, curiously, also open to the same criticism of Euripides’ denouement; Muller’s climax might be thought of in terms of a formal dramatic weakness: an easy, predictable or even lazy way to end a play. This is a point that at least one - retired - theatre director has pointed out to me. But while it certainly may be open to the charge of seeming banal or cliched – and perhaps the antithesis of the avant-garde - Muller’s ending, like that of Euripides, is not necessarily or inevitably a formal narrative weakness. Indeed, in terms of the poetics and the narrative context of Muller’s play, the ending operates effectively as a summary of its primary concern: modern atrocity. If Euripides’ denouement amounts to a majestic yet disturbing vindication of Medea’s subjectivity, Muller’s ending amounts to an indictment of the advances of technology and the dehumanising effects of an advanced capitalist and industrialised world. Indeed, as we will see, the bomb explosion that ends Muller’s play is the logical climax of a narrative sequence that is thematically preoccupied with various political problems of modernity: alienation, practices of environmental degradation, consumer capitalism, mass production, technological over-development, the ironies of advanced capitalism and liberal democracy, and so on. Through an intricate web that links the figure of Medea to modernity in all its destructive glory," @default.
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• W3182188 date "2009-01-01" @default.
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• W3182188 title "The Atomic Bomb as Dea Ex Machinâ: Heiner Müller's Medea" @default.
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