116th Annual Conference - Bellingham, Washington
Friday, November 9 - Sunday, November 11, 2018

Medea on the Contemporary Stage and Screen

Session Chair: 
Zina Giannopoulou, University of California, Irvine
Jesse Weiner, Hamilton College
Session 5: Saturday 1:25 pm – 2:55 pm
Miller Hall 112


  1. Nina Papathanasopoulou, Connecticut College
    In Cave of the Heart Martha Graham creates a Medea who is compelling in similar ways to that of Euripides. Euripides uses the filicide to bring together two powerful effects: he shows a pitiful victim driven by excessive emotion to become something other than human; and he shows her taking on great power by doing so. Though Graham does not include the children in her dance, she also creates a Medea that becomes powerful through her inhuman qualities –her sorcery and divine origin, but also her animalism and instinctive responses that lead her to murder.
  2. Anastasia Pantazopoulou, University of Florida
    Tragic Medea conceives and performs on-stage a deceptive plot which mirrors the illusionistic character of theater itself and transforms her into a within-the-play author, director, and actor.  This paper argues that Medea's poetic identity is reflected on a contemporary female cinematic character, Gone Girl’s Amy Dunne, who betrayed by her husband stages an on-screen fallacious trap to take revenge.
  3. Jaye Austin Williams, Bucknell University
    This paper centers two literary works: Rena Fraden’s 2001 book, Imagining Medea: Rhodessa Jones and Theatre for Incarcerated Women, and Kevin J. Wetmore’s 2013 anthology, Black Medea: Adaptations for Modern Plays. It parses the assignation of degradation and dishonor of a "black[ened]" Medea and asks whether such assignation can occur when her blackening casts her in excess of civil/social, ergo: human, cohesion.
Session Cancelled: