From Ancient Tragedy to Modern Drama: The Reconstruction of Medea’s Character in Paata Tsikolia’s Play

Abstract

Paata Tsikolia is a director known for numerous experimental productions. In his work, Tsikolia adopts a radical approach toward the character of Medea, distancing the narrative from traditional concerns of national identity and mythical archetypes. Instead, the author focuses on pressing issues within contem­porary European literature, such as the plight of immigrants in foreign lands and gender inequality.

The play is set in the mountains of Colchis, forty years after the original events of the Medea myth. King Aeetes is deceased, yet Medea’s legacy remains vivid in the collective memory, haunted by her echoing cry: "It is I, Medea!"

The central narrative innovation of the play lies in Medea being brought to trial by her own family members. Humiliated and shamed before all of Colchis, she conceives a plan for global vengeance. In this in­terpretation, Medea is not a woman driven by love for Jason, nor is the Golden Fleece stolen by him. On the contrary, Medea—having defied her father and brother—flees Colchis, taking the Fleece herself as a means of punishment. Her ultimate goal is the destruction of her family and the downfall of Colchis, stripping the kingdom of its ancient glory. The author’s portrayal of Medea is ruthless, characterized by cynicism and sarcasm; she is depicted as a remorseless perpetrator, declaring: "It is I, Medea, the cruel killer."