Drama created in Ancient Greece can be considered the origins of theatre.

Plays
written by Euripides, Sophocles and Aeschylus have been analysed till today, and even
adapted for today’s modern audience. This essay will analyse a modern rendition of Medea
performed by Actors of Dionysus against the backdrop of ancient Greek theatre
performances.
The staging of Medea in this production incorporates aerial choreography into the
performance, suggesting an even greater pressure on actors to not only perform the dramatic
text with the necessary vigour, but they would also have to have sufficient stamina to be able
to execute the choreography. This contrasts with Greek theatre conventions where a complex
fly system with harnesses, hooks and ropes would not have been possible. Yet, the aerial
choreography seemingly assimilates the deus ex machina convention in the past in which an
actor playing the god “would be physically lowered by a machine (the mechane) into the
stage area” (Chondros et al. 189). For instance, since the original dramatic text of Medea
written by Euripides includes a scene where Medea flies off in a chariot into the sun, it will
thus be expected that back then in ancient Greece when Medea was performed, they would
utilise the mechane (Figure 1) to lift Medea’s chariot physically off the ground to signify her
power as a sorceress.

Figure 1: Deus ex machina in ancient Greece (Hughes)

However, this modern production choreographs not just the actress playing Medea,
but all the actors to be occasionally airborne, which I believe was an effective attempt to
amplify the relationships Medea had with fellow characters using a new level of proxemics.
For instance, after Jason finds out Medea has killed their children, Medea is being hoisted by
stagehands to “fly” away from Jason signifying her gaining the upper hand, as she is seen
physically above Jason (Figure 2), and to talk to Jason, she literally and metaphorically looks
down on him, visually enhancing relationship dynamics for the audience to understand even
clearer. Plus, it also adds to Medea’s image as a powerful sorceress who can physically “fly”,
unlike mortal beings. Hence, with the use of unorthodox aerial choreography, the staging of
Medea in this production is a drastic difference from what the Greek audiences would have
witnessed back in 6th Century BCE.

Figure 2: Medea “flying” above Jason

Besides that, this modern production of media had actors not donning masks which is
different from the Greek convention of the time where actors wear masks. “In a large open-
air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to bring the
characters’ face closer to the audience, especially since they had intensely over-exaggerated
facial features and expressions” (“Costume & Masks”). But in an indoor space like Rose
Theatre, Kingston where this production is being staged, the need to extend the actors’ facial
features and expressions to the vast audience far from the stage was not necessary anymore.
The ancient mask also “creates consonance and amplifies further the natural head resonator
of the actor” (Vovolis 2), suggesting that the mask acts as a resonance chamber for the actor
which would have been useful to project one’s voice in the open-air theatre. However, since
this production of Medea was held indoors, the acoustics of the enclosed theatre would allow
the actor to project without the need for masks.
The performance still has elements that stay true to the performance of the ancient
Greek times, such as the use of song as performed by the chorus. In ancient Greek drama, the
chorus functions as an interjection to the narrative, commenting on the action or even
interacting with the characters in the story. They often use song and dance to enhance their
telling of the narrative. In this production, the chorus not only sing during episodes, but each
member also plays individual characters in the story which is a deviation from the usual
tradition where choruses stay within their roles and perform as a chorus. For instance, Ewan
Downie play both Jason and a member of the chorus as well as Bethan Clark who play both
Glauce and a member of the chorus. This may possibly create confusion as to the characters
the actors are playing, but the performance by the actors makes it comprehensible to
audiences that the individual characters are distinguishable from the chorus members. For
example, after singing together as part of a chorus, the characters of Jason and Nurse
immediately change their physicality to convey a different character. Hence, the production
does not adhere to the tradition of Greek choruses entirely but uses it in an innovative way.
 Additionally, Medea as performed by the Actors of Dionysus censors the violence
which is a semblance of the Greek tradition of censoring violence. Traditionally, violence
was executed behind closed doors in Greek theatre, as showing violence on stage was
disrespectful to their gods. By hiding the violence behind the backdrop, where all the
audience hears are the cries of Glauce as she is being poisoned, the performance retains the
element of censorship from ancient Greece, possibly implying respect for the Greek tradition,
albeit a new interpretation of the script.
In addition, the way the actors portray themselves on stage is similar to how actors
would present characters back in ancient Greece. In ancient Greece, actors would need to
perform outwards towards the audience and take every opportunity to project their energy
and voice to the audience, since the theatre back then was a vast, outdoor space. Throughout
the play, Tamsin Shasha (Medea) retains the energy and vocal projection that echoes the
acting of the ancient Greek actors. She demonstrates Aristotelian performance techniques by
utilising her body to project vocally towards the audience during the episode where she
announces her plan to murder Glauce and her children. Her confident stance as well as her
loud, resonant voice liken the performers in the Theatre of Dionysus where they make full
use of their breath and body to direct their voice and energy to the massive audience. Her
powerful stance is also essential for the character of Medea, as she is hard hearted and
powerful. Thus, Tamsin Shasha’s portrayal of Medea was accurate, portraying her key traits
explicitly for audiences to comprehend her as a strong character.

Figure 3: Tamsin Shasha as Medea

Overall, mankind has moved a long way since the Greek civilisations and new
inventions help enhance performances, adapting it for modern audiences. The Actors of
Dionysus rendition of Medea brought a unique touch to the old, classical tale of Medea whilst
keeping some elements that echo the Greek theatre tradition of the time.
References
Chondros, Thomas G., et al. “‘Deus-Ex-Machina’ Reconstruction in the Athens Theater of

Dionysus.” Mechanism and Machine Theory, vol. 67, 2013, pp. 172–91. Crossref,

doi:10.1016/j.mechmachtheory.2013.04.010.

“Costume & Masks.” Greek Theatre, greektheatre.wordpress.com/home. Accessed 8 Apr.

2021.

Hughes, Simon Peter. “Deus Ex Machina | Literawiki | Fandom.” Literawiki,

literature.fandom.com/wiki/Deus_ex_machina?file=DeusExMachina.jpg. Accessed 7

Apr. 2021.

“Medea | Actors of Dionysus | Digital Theatre.” Digital Theatre Plus, 2014,

www.digitaltheatreplus.com/education/collections/actors-of-

dionysus/medea#production-gallery.

Vovolis, Thanos. The Acoustical Mask of Greek Tragedy. Didaskalia, 2007.