Medeamaterial – a “synthetic fragment”

Medea – woman, sorceress, daughter, sister, mother, accomplice, betrayer and betrayed, murderess, child-slayer, mad, barbarian.

Müller refers to the Argonautic Expedition as the earliest myth of colonization in the Greek legend and in his remaking he is placing us in a puzzled dialogue with the material of the Medea myth.  Through the lack of simple analogies and linear narrative he creates complex theatrical landscapes that are difficult to interpret.

So, Medea: victim or victimizer? Müller depicts a world filled with violence and lack of communication. A postcolonial world where the colonial reverberations doubt whether a multicultural, pluralistic society is even possible, a society where the fringe parts of it are the very products of colonization. But he offers a solution. He gives the stage to the marginal character of Medea – the colonized, the conquered, the barbarian, the aftereffect of the colonization of the civilized West over the barbaric East and of the violent prevalence of the first over the latter – and through the destruction she brings, he proposes that a new history can only begin when the old has been destroyed. Medea stops the creation of new humans, especially those who come from the corrupt blood of the colonizer Jason. The monstrosity of her act is an attempt to shake the world and force it to find new means for communication beyond the limiting language and structures that has depended upon.  So, in order to start a new world, the very end of the current one must purify the wounds of the past.