I have memories of a day, when I met, both Ebrahim Alkazi and Satyadev Dubey. Alkazi lived on the top floor of a very slim and trim skyscraper. Please don't laugh at my description. At that time, ancient time, Bombay was still, good-old Bombay. Teen Batti cross Road had no flyover.
US Embassy was still at the corner of Bhulabhai Desai Road and Alkazi could watch comings and goings from his west side window in that (leased) mansion, with gardens, tall and short trees, some Coconut trees, others Bamboo thickets, Smartly attired, Afghani doormen, in attention, carefully scanning little (dark skinned Indians entering and leaving the Iron Gates never fully opened but had a small four feet opening for these, rascals, rogues and ruffians of Indian society asking for tourist and or student visas. On the right side of this gate, was a small bungalow with Mangalore tiles and another, small door. Always shut. As a matter of fact, locked. When that second Afghani sentry, most gallantly looked you over, up and down, frisked of hidden fire arms, Jumbia, Talwar, Sword or two hidden under your umbrella sized turban, perhaps under your "Bandh Gala," Parsi style long coat. Having knocked the door, an another Afghani doorman, not a sentry, would gingerly peek thru a n American made steel door and if and only if his first impression was good for the American Emperor, Oops, Foreign Policy, oops, Immigration Dictator, he would quickly open the door whisking the poor applicant by hes ear, oops, tail, Oops, neck and as quickly, slam the door shut.
Enough of Alkazi's views on American Imperialism.
The sole reason for my unannounced and most unwelcome visit to Alkazi's Boudoir atop a slim and trim skyscraper was to enjoy his play. Not his, as such. He ditected it. Satyadev Dubey, directed it.
"Medea." Not Media, you silly.
The obituary for my good buddy, Satyadev Dubey is getting more hair raising. Complicated with plots, sub-plots, intrigues, royalties, heroes, heroines, wait till I tell you as to who was the hero and who was his heroin, Oops, heroine.
Because the tall, slim and trim concrete needle in the western skies of the, then Bombay had only one, slim and trim elevator, for tennats only, I had to climb all them concrete steps to reach Alkazi flat. My last step and my last breath being taken, I dropped to my knees and without usual prayer mattress, I prayed.
"Bismi Allahi arrahmani arraheem Alhamdu lillahi rabbi alAAalameen Arrahmani arraheem Maliki yawmi addeen Iyyaka naAAbudu wa-iyyaka nastaAAeen Ihdina assirata almustaqeem Sirata allatheena anAAamta AAalayhim ghayri almaghdoobi AAalayhim wala addalleen"
To those who have not a good fortune to be a Muslim, as I have and never dared to enter a Mosque with Minarets, domes and grand halls with Arabic Koranic verses are inscribed and inlaid with or laminated with, gems, jewels and either pearls or the imitation, Japanese, cultured pearls, this may seem to be a very poorly executed, genuine Muslim prayer.
Muslims know the best. Five times a day, they congregate, communicate (with God, Oops, Allah, as if they are performing a well choreographed song and dance routine ina Broadway musical, perhaps Hollywood imitation of the original, Broadway musical. For instance, Jesus, the Super Star, Oops, wrong god, make it, Allah's preying Mantis, oops, Muslim morons.
Am I boring you? Thanks. I shall be crazy to cry over Satyadev Dubey's untimely last act.
He is dead. May Allah be praised, (PBUH).
Footnote: Dubey was the director, ot an understudy for that Medea performance and Alkazi's Not so slim and trim, wife was the heroine. It was a disaster. If Alkazi didn't read my pessimistic thoughts, in time, I would be, literally, flying off to the American Embassy, to apply for an asylum. I was tortured, would be my only, justifiable plea.
...and I am Sid Harth@mysistermarilynmonroe.com
Sid Harth (USA)
46 mins ago (03:39 PM)
I have memories of a day, when I met, both Ebrahim Alkazi and Satyadev Dubey. Alkazi lived on the top floor of a very slim and trim skyscraper. Please don't laugh at my description. At that time, ancient time, Bombay was still, good-old Bombay. "Teen Batti" square had no flyover. US Embassy was still at the corner of Bhulabhai Desai Road and Alkazi could watch comings and goings from his west side window in that (leased) mansion, with gardens, tall and short trees, some Coconut trees, others Bamboo thickets, Smartly attired, Afghani doormen, in attention, carefully scanning little (dark skinned Indians entering and leaving the Iron Gates never fully opened but had a small four feet opening for these, rascals, rogues and ruffians of Indian society asking for tourist and or student visas. On the right side of this gate, was a small bungalow with Mangalore tiles and another, small door. Always shut. As a matter of fact, locked. When that second Afghani sentry, most gallantly looked you over, up and down, frisked of hidden fire arms, Jumbia, Talwar, Sword or two hidden under your umbrella sized turban, perhaps under your "Bandh Gala," Parsi style long coat. Having knocked the door, an another Afghani doorman, not a sentry, would gingerly peek thru a n American made steel door and if and only if his first impression was good for the American Emperor, Oops, Foreign Policy, oops, Immigration Dictator, he would quickly open the door whisking the poor applicant by hes ear, oops, tail, Oops, neck and as quickly, slam the door shut. Enough of Alkazi's views on American Imperialism. The sole reason for my unannounced and most unwelcome visit to Alkazi's Boudoir atop a slim and trim skyscraper was to enjoy his play. Not his, as such. He directed, Oops, directed it. "Medea." Not Media, you silly. The obituary for my good buddy, Satyadev Dubey is getting more hair raising. Complicated with plots, sub-plots, intrigues, royalties, heroes, heroines, wait till I tell you as to who was the hero and who was his heroin, Oops, heroine. Because the tall, slim and trim concrete needle in the western skies of the, then Bombay had only one, slim and trim elevator, for tenants only, I had to climb all them concrete steps to reach Alkazi flat. My last step and my last breath being taken, I dropped to my knees and without usual prayer mattress, I prayed. "Bismi Allahi arrahmani arraheem Alhamdu lillahi rabbi alAAalameen Arrahmani arraheem ..." To those who have not a good fortune to be a Muslim, as I have and never dared to enter a Mosque with Minarets, domes and grand halls with Arabic Koranic verses are inscribed and inlaid with or laminated with, gems, jewels and either pearls or the imitation, Japanese, cultured pearls, this may seem to be a very poorly executed, genuine Muslim prayer. Footnote: Dubey was the director, for that Medea performance and Alkazi's Not so slim and trim, wife was the heroine. It was a disaster. The play was a flop. The End. ...and I am Sid Harth
Medea by Evelyn De Morgan.Medea (Greek: Μήδεια, Mēdeia, Georgian: მედეა, Medea) is a woman in Greek mythology. She was the daughter of King Aeëtes of Colchis,[1] niece of Circe, granddaughter of the sun god Helios, and later wife to the hero Jason, with whom she had two children, Mermeros and Pheres. In Euripides's play Medea, Jason leaves Medea when Creon, king of Corinth, offers him his daughter, Glauce.[2] The play tells about how Medea avenges her husband's betrayal.
The myths involving Jason have been interpreted by specialists[3] as part of a class of myths that tell how the Hellenes of the distant heroic age, before the Trojan War, faced the challenges of the pre-Greek "Pelasgian" cultures of mainland Greece, the Aegean and Anatolia. Jason, Perseus, Theseus, and above all Heracles, are all "liminal" figures, poised on the threshold between the old world of shamans, chthonic earth deities, and the new Bronze Age Greek ways.[4]
Medea figures in the myth of Jason and the Argonauts, a myth known best from a late literary version worked up by Apollonius of Rhodes in the 3rd century BC and called the Argonautica. However, for all its self-consciousness and researched archaic vocabulary, the late epic was based on very old, scattered materials. Medea is known in most stories as an enchantress and is often depicted as being a priestess of the goddess Hecate or a witch. The myth of Jason and Medea is very old, originally written around the time Hesiod wrote the Theogony. It was known to the composer of the Little Iliad, part of the Epic Cycle.
Medea by Anthony Frederick Augustus Sandys (painted 1866-68); its rejection for exhibition at the Royal Academy in 1868 caused a storm of protestMedea's role began after Jason arrived from Iolcus to Colchis (The old kingdom of Georgia) to claim his inheritance and throne by retrieving the Golden Fleece. In the most complete surviving account, the Argonautica of Apollonius, Medea fell in love with him and promised to help him, but only on the condition that if he succeeded, he would take her with him and marry her. Jason agreed. In a familiar mythic motif, Aeëtes promised to give him the fleece, but only if he could perform certain tasks. First, Jason had to plough a field with fire-breathing oxen that he had to yoke himself. Medea gave him an unguent with which to anoint himself and his weapons, to protect him from the bulls' fiery breath. Then, Jason had to sow the teeth of a dragon in the ploughed field (compare the myth of Cadmus). The teeth sprouted into an army of warriors. Jason was forewarned by Medea, however, and knew to throw a rock into the crowd. Unable to determine where the rock had come from, the soldiers attacked and killed each other. Finally, Aeëtes made Jason fight and kill the sleepless dragon that guarded the fleece. Medea put the beast to sleep with her narcotic herbs. Jason then took the fleece and sailed away with Medea, as he had promised. Apollonius says that Medea only helped Jason in the first place because Hera had convinced Aphrodite or Eros to cause Medea to fall in love with him. Medea distracted her father as they fled by killing her brother Absyrtus. In some versions, Medea is said to have dismembered his body and scattered his parts on an island, knowing her father would stop to retrieve them for proper burial; in other versions, it is Absyrtus himself who pursued them, and was killed by Jason. During the fight, Atalanta was seriously wounded, but Medea healed her.
According to some versions, Medea and Jason stopped on her aunt Circe's island so that she could be cleansed after the murder of her brother, relieving her of blame for the deed.
Jason et Médée by Gustave Moreau (1865).On the way back to Thessaly, Medea prophesied that Euphemus, the Argo's helmsman, would one day rule over all Libya. This came true through Battus, a descendant of Euphemus.
The Argo then reached the island of Crete, guarded by the bronze man, Talos (Talus). Talos had one vein which went from his neck to his ankle, bound shut by a single bronze nail. According to Apollodorus, Talos was slain either when Medea drove him mad with drugs, deceived him that she would make him immortal by removing the nail, or was killed by Poeas's arrow (Apollodorus 1.140). In the Argonautica, Medea hypnotized him from the Argo, driving him mad so that he dislodged the nail, ichor flowed from the wound, and he bled to death (Argonautica 4.1638). After Talos died, the Argo landed.
While Jason searched for the Golden Fleece, Hera, who was still angry at Pelias, conspired to make him fall in love with Medea, who she hoped would kill Pelias. When Jason and Medea returned to Iolcus, Pelias still refused to give up his throne. Medea conspired to have Pelias' own daughters kill him. She told them she could turn an old ram into a young ram by cutting up the old ram and boiling it. During the demonstration, a live, young ram jumped out of the pot. Excited, the girls cut their father into pieces and threw him into a pot. Having killed Pelias, Jason and Medea fled to Corinth. This is much like what she did with Aeson, Jason's father.
Medea (about to murder her children) by Eugène Ferdinand Victor Delacroix (1862).Before the fifth century BC, there seems to have been two variants of the myth's conclusion. According to the poet Eumelus to whom the fragmentary epic Korinthiaka is usually attributed, Medea killed her children by accident.[5] The poet Creophylus, however, blamed their murders on the citizens of Corinth.[6] Medea's deliberate murder of her children, then, appears to be Euripides' invention although some scholars believe Neophron created this alternate tradition.[7] Her filicide would go on to become the standard for later writers.[8] Pausanias, writing in the late 2nd century, records five different versions of what happened to Medea's children after reporting that he has seen a monument for them while traveling in Corinth.[9]
Fleeing from Jason, Medea made her way to Thebes where she healed Heracles (the former Argonaut) for the murder of Iphitus. In return, Heracles gave her a place to stay in Thebes until the Thebans drove her out in anger, despite Heracles' protests.
She then fled to Athens where she met and married Aegeus. They had one son, Medus, although Hesiod makes Medus the son of Jason.[10] Her domestic bliss was once again shattered by the arrival of Aegeus' long-lost son, Theseus. Determined to preserve her own son's inheritance, Medea convinced her husband that Theseus was a threat and that he should be disposed of. As Medea handed Theseus a cup of poison, Aegeus recognized the young man's sword as his own, which he had left behind many years previous for his newborn son, to be given to him when he came of age. Knocking the cup from Medea's hand, Aegeus embraced Theseus as his own.
Medea then returned to Colchis and, finding that Aeëtes had been deposed by his brother Perses, promptly killed her uncle, and restored the kingdom to her father. Herodotus reports another version, in which Medea and her son Medus fled from Athens to the Iranian plateau and lived among the Aryans, who then changed their name to the Medes.[11]
Confusion and frustration may arise if modern readers attempt to shoehorn the disparate mythic elements connected with the persona of Medea into a single, self-consistent historicized narrative, in order to produce a "biography" in the hagiographic manner familiar to modern Westerners. Though the early literary presentations of Medea are lost,[12] Apollonius of Rhodes, in a redefinition of epic formulas, and Euripides, in a dramatic version for a specifically Athenian audience, each employed the figure of Medea; Seneca offered yet another tragic Medea, of witchcraft and potions, and Ovid rendered her portrait three times for a sophisticated and sceptical audience in Imperial Rome. The far-from-static evolution undergone by the figure of Medea was the subject of a recent set of essays published in 1997.[13] Other, non-literary traditions guided the vase-painters,[14] and a localized, chthonic presence of Medea was propitiated with unrecorded emotional overtones at Corinth, at the sanctuary devoted to her slain children,[15] or locally venerated elsewhere as a foundress of cities.[16]
Jason and Medea by John William Waterhouse (1907)
Satyadev Dubey (1936-2011) was an Indian theatre director, actor, playwright, screenwriter, and film actor and director. He was awarded the Sangeet Natak Akademi Award in 1971.
He won the 1978 National Film Award for Best Screenplay for Shyam Benegal's Bhumika and 1980 Filmfare Best Dialogue Award for Junoon. In 2011, he was honoured with the Padma Bhushan by the Government of India.
He produced, Girish Karnad's first play 'Yayati', and also his noted play 'Hayavadana', Badal Sarkar's 'Ebang Indrajit' and 'Pagla Ghoda', Chandrashekhara Kambara’s “Aur Tota Bola” (“Jokumaraswamy” in original Kannada), Mohan Rakesh’s “Aadhe Adhure”, Vijay Tendulkar’s “Khamosh! Adalat Jaari Hai”, and 'A Raincoat For All Occasions' and Jean Anouilh's Antigone in 2007.
He is credited to the discovery of Dharmavir Bharati’s Andha Yug, a play that was written for radio, yet Dubey saw its potential, sent it across to Ebrahim Alkazi at National School of Drama, and the rest is history, in modern Indian theatre, 'when staged in 1962, Andha Yug' brought in a new paradigm in Indian theatre of the times.[2][3]
He has made two short films 'Aparichay ke Vindhachal' (1965) and 'Tongue In Cheek' (1968),[4] and directed a Marathi feature film, 'Shantata! Court Chalu Aahe' in 1971, based on Vijay Tendulkar's play, which in turn is based on Friedrich Dürrenmatt's story "Die Panne".
US Embassy was still at the corner of Bhulabhai Desai Road and Alkazi could watch comings and goings from his west side window in that (leased) mansion, with gardens, tall and short trees, some Coconut trees, others Bamboo thickets, Smartly attired, Afghani doormen, in attention, carefully scanning little (dark skinned Indians entering and leaving the Iron Gates never fully opened but had a small four feet opening for these, rascals, rogues and ruffians of Indian society asking for tourist and or student visas. On the right side of this gate, was a small bungalow with Mangalore tiles and another, small door. Always shut. As a matter of fact, locked. When that second Afghani sentry, most gallantly looked you over, up and down, frisked of hidden fire arms, Jumbia, Talwar, Sword or two hidden under your umbrella sized turban, perhaps under your "Bandh Gala," Parsi style long coat. Having knocked the door, an another Afghani doorman, not a sentry, would gingerly peek thru a n American made steel door and if and only if his first impression was good for the American Emperor, Oops, Foreign Policy, oops, Immigration Dictator, he would quickly open the door whisking the poor applicant by hes ear, oops, tail, Oops, neck and as quickly, slam the door shut.
Enough of Alkazi's views on American Imperialism.
The sole reason for my unannounced and most unwelcome visit to Alkazi's Boudoir atop a slim and trim skyscraper was to enjoy his play. Not his, as such. He ditected it. Satyadev Dubey, directed it.
"Medea." Not Media, you silly.
The obituary for my good buddy, Satyadev Dubey is getting more hair raising. Complicated with plots, sub-plots, intrigues, royalties, heroes, heroines, wait till I tell you as to who was the hero and who was his heroin, Oops, heroine.
Because the tall, slim and trim concrete needle in the western skies of the, then Bombay had only one, slim and trim elevator, for tennats only, I had to climb all them concrete steps to reach Alkazi flat. My last step and my last breath being taken, I dropped to my knees and without usual prayer mattress, I prayed.
"Bismi Allahi arrahmani arraheem Alhamdu lillahi rabbi alAAalameen Arrahmani arraheem Maliki yawmi addeen Iyyaka naAAbudu wa-iyyaka nastaAAeen Ihdina assirata almustaqeem Sirata allatheena anAAamta AAalayhim ghayri almaghdoobi AAalayhim wala addalleen"
To those who have not a good fortune to be a Muslim, as I have and never dared to enter a Mosque with Minarets, domes and grand halls with Arabic Koranic verses are inscribed and inlaid with or laminated with, gems, jewels and either pearls or the imitation, Japanese, cultured pearls, this may seem to be a very poorly executed, genuine Muslim prayer.
Muslims know the best. Five times a day, they congregate, communicate (with God, Oops, Allah, as if they are performing a well choreographed song and dance routine ina Broadway musical, perhaps Hollywood imitation of the original, Broadway musical. For instance, Jesus, the Super Star, Oops, wrong god, make it, Allah's preying Mantis, oops, Muslim morons.
Am I boring you? Thanks. I shall be crazy to cry over Satyadev Dubey's untimely last act.
He is dead. May Allah be praised, (PBUH).
Footnote: Dubey was the director, ot an understudy for that Medea performance and Alkazi's Not so slim and trim, wife was the heroine. It was a disaster. If Alkazi didn't read my pessimistic thoughts, in time, I would be, literally, flying off to the American Embassy, to apply for an asylum. I was tortured, would be my only, justifiable plea.
...and I am Sid Harth@mysistermarilynmonroe.com
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Satyadev Dubey, noted theatre personality, dies
TNN | Dec 25, 2011, 01.32PM IST
Read more:Satyadev Dubey|Padma Bhushan
3
MUMBAI: Noted playwright, actor and theatre personality Satyadev Dubey passed away on Sunday. He was 75.
Satyadev Dubey had been in coma since September 20 after he suffered a severe epilepsy attack.
He was awarded Padma Bhushan this year for his outstanding achievements.
Satyadev Dubey had been in coma since September 20 after he suffered a severe epilepsy attack.
He was awarded Padma Bhushan this year for his outstanding achievements.
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Readers' opinions (3)
46 mins ago (03:39 PM)
I have memories of a day, when I met, both Ebrahim Alkazi and Satyadev Dubey. Alkazi lived on the top floor of a very slim and trim skyscraper. Please don't laugh at my description. At that time, ancient time, Bombay was still, good-old Bombay. "Teen Batti" square had no flyover. US Embassy was still at the corner of Bhulabhai Desai Road and Alkazi could watch comings and goings from his west side window in that (leased) mansion, with gardens, tall and short trees, some Coconut trees, others Bamboo thickets, Smartly attired, Afghani doormen, in attention, carefully scanning little (dark skinned Indians entering and leaving the Iron Gates never fully opened but had a small four feet opening for these, rascals, rogues and ruffians of Indian society asking for tourist and or student visas. On the right side of this gate, was a small bungalow with Mangalore tiles and another, small door. Always shut. As a matter of fact, locked. When that second Afghani sentry, most gallantly looked you over, up and down, frisked of hidden fire arms, Jumbia, Talwar, Sword or two hidden under your umbrella sized turban, perhaps under your "Bandh Gala," Parsi style long coat. Having knocked the door, an another Afghani doorman, not a sentry, would gingerly peek thru a n American made steel door and if and only if his first impression was good for the American Emperor, Oops, Foreign Policy, oops, Immigration Dictator, he would quickly open the door whisking the poor applicant by hes ear, oops, tail, Oops, neck and as quickly, slam the door shut. Enough of Alkazi's views on American Imperialism. The sole reason for my unannounced and most unwelcome visit to Alkazi's Boudoir atop a slim and trim skyscraper was to enjoy his play. Not his, as such. He directed, Oops, directed it. "Medea." Not Media, you silly. The obituary for my good buddy, Satyadev Dubey is getting more hair raising. Complicated with plots, sub-plots, intrigues, royalties, heroes, heroines, wait till I tell you as to who was the hero and who was his heroin, Oops, heroine. Because the tall, slim and trim concrete needle in the western skies of the, then Bombay had only one, slim and trim elevator, for tenants only, I had to climb all them concrete steps to reach Alkazi flat. My last step and my last breath being taken, I dropped to my knees and without usual prayer mattress, I prayed. "Bismi Allahi arrahmani arraheem Alhamdu lillahi rabbi alAAalameen Arrahmani arraheem ..." To those who have not a good fortune to be a Muslim, as I have and never dared to enter a Mosque with Minarets, domes and grand halls with Arabic Koranic verses are inscribed and inlaid with or laminated with, gems, jewels and either pearls or the imitation, Japanese, cultured pearls, this may seem to be a very poorly executed, genuine Muslim prayer. Footnote: Dubey was the director, for that Medea performance and Alkazi's Not so slim and trim, wife was the heroine. It was a disaster. The play was a flop. The End. ...and I am Sid Harth
swati (mumbai) replies to Hopefull
51 mins ago (03:34 PM)
he will die only after killing morons like u...donkey...
51 mins ago (03:34 PM)
he will die only after killing morons like u...donkey...
Medea
From Wikipedia, the free encyclopedia
This article is about the Greek mythological figure. For other meanings, see Medea (disambiguation).
The myths involving Jason have been interpreted by specialists[3] as part of a class of myths that tell how the Hellenes of the distant heroic age, before the Trojan War, faced the challenges of the pre-Greek "Pelasgian" cultures of mainland Greece, the Aegean and Anatolia. Jason, Perseus, Theseus, and above all Heracles, are all "liminal" figures, poised on the threshold between the old world of shamans, chthonic earth deities, and the new Bronze Age Greek ways.[4]
Medea figures in the myth of Jason and the Argonauts, a myth known best from a late literary version worked up by Apollonius of Rhodes in the 3rd century BC and called the Argonautica. However, for all its self-consciousness and researched archaic vocabulary, the late epic was based on very old, scattered materials. Medea is known in most stories as an enchantress and is often depicted as being a priestess of the goddess Hecate or a witch. The myth of Jason and Medea is very old, originally written around the time Hesiod wrote the Theogony. It was known to the composer of the Little Iliad, part of the Epic Cycle.
Contents[hide] |
[edit] Jason and Medea
According to some versions, Medea and Jason stopped on her aunt Circe's island so that she could be cleansed after the murder of her brother, relieving her of blame for the deed.
The Argo then reached the island of Crete, guarded by the bronze man, Talos (Talus). Talos had one vein which went from his neck to his ankle, bound shut by a single bronze nail. According to Apollodorus, Talos was slain either when Medea drove him mad with drugs, deceived him that she would make him immortal by removing the nail, or was killed by Poeas's arrow (Apollodorus 1.140). In the Argonautica, Medea hypnotized him from the Argo, driving him mad so that he dislodged the nail, ichor flowed from the wound, and he bled to death (Argonautica 4.1638). After Talos died, the Argo landed.
While Jason searched for the Golden Fleece, Hera, who was still angry at Pelias, conspired to make him fall in love with Medea, who she hoped would kill Pelias. When Jason and Medea returned to Iolcus, Pelias still refused to give up his throne. Medea conspired to have Pelias' own daughters kill him. She told them she could turn an old ram into a young ram by cutting up the old ram and boiling it. During the demonstration, a live, young ram jumped out of the pot. Excited, the girls cut their father into pieces and threw him into a pot. Having killed Pelias, Jason and Medea fled to Corinth. This is much like what she did with Aeson, Jason's father.
[edit] Many endings
In Corinth, Jason abandoned Medea for the king's daughter, Glauce. Medea took her revenge by sending Glauce a dress and golden coronet, covered in poison. This resulted in the deaths of both the princess and the king, Creon, when he went to save her. According to the tragic poet Euripides, Medea continued her revenge, murdering her two children by Jason. Afterward, she left Corinth and flew to Athens in a golden chariot driven by dragons sent by her grandfather Helios, god of the sun.
Fleeing from Jason, Medea made her way to Thebes where she healed Heracles (the former Argonaut) for the murder of Iphitus. In return, Heracles gave her a place to stay in Thebes until the Thebans drove her out in anger, despite Heracles' protests.
She then fled to Athens where she met and married Aegeus. They had one son, Medus, although Hesiod makes Medus the son of Jason.[10] Her domestic bliss was once again shattered by the arrival of Aegeus' long-lost son, Theseus. Determined to preserve her own son's inheritance, Medea convinced her husband that Theseus was a threat and that he should be disposed of. As Medea handed Theseus a cup of poison, Aegeus recognized the young man's sword as his own, which he had left behind many years previous for his newborn son, to be given to him when he came of age. Knocking the cup from Medea's hand, Aegeus embraced Theseus as his own.
Medea then returned to Colchis and, finding that Aeëtes had been deposed by his brother Perses, promptly killed her uncle, and restored the kingdom to her father. Herodotus reports another version, in which Medea and her son Medus fled from Athens to the Iranian plateau and lived among the Aryans, who then changed their name to the Medes.[11]
[edit] Personae of Medea
[edit] Music
- Francesco Cavalli Giasone (opera, 1649)
- Jean-Baptiste Lully Thésée (opera, 1674)
- Antonio Caldara "Medea in Corinto" (cantata for alto, 2 violins and basso continuo, 1711)
- Marc-Antoine Charpentier Médée (tragédie en musique,1693)
- Georg Anton Benda composed the melodrama Medea in 1775 on a text by Friedrich Wilhelm Gotter.
- Luigi Cherubini composed the opera Médée in 1797 and it is Cherubini's best-known work, but better known by its Italian title, Medea.
- Simon Mayr composed his opera Medea in Corinto to a libretto of Giuseppe Felice Romano. It premiered in Naples in 1813.
- Saverio Mercadante composed his opera Medea in 1851 to a libretto by Salvadore Cammarano.
- Darius Milhaud composed the opera Médée in 1939 to a text by Madeleine Milhaud (his wife and cousin).
- American composer Samuel Barber wrote his Medea ballet (later re-named The Cave of the Heart) in 1947 for Martha Graham and derived from that Medea's Meditation & Dance of Vengeance Op. 23a in 1955. The musical Blast! uses an arrangement of Barber's Medea as their end to Act I.
- Ray E. Luke's "Medea" won the 1979 Rockefeller Foundation/New England Conservatory Competition for Best New American Opera.
- Jacob Druckman's 1980 orchestral work, Prism, is based on three different renderings of the Medea myth by Charpentier, Cavalli, and Cherubini. Each movement incorporates material and quotations from the music of Druckman's three predecessors. At the time of his death, Druckman was writing a large-scale grand opera on the Medea myth commissioned by the Metropolitan Opera.
- Star of Indiana—the drum and bugle corps that Blast! formed out of—used Parados, Kantikos Agonias, and Dance of Vengeance in their 1993 production (with Bartók's Allegro from Music for Strings, Percussion and Celeste), between Kantikos and Vengeance.
- In 1993 Chamber Made produced an opera Medea composed by Gordon Kerry, with text by Justin Macdonnell after Seneca.
- Michael John LaChiusa scored "Marie Christine", a Broadway musical with heavy opera influence based on the story of Medea. The production premiered at the Vivian Beaumont Theater in December 1999 for a limited run under Lincoln Center Theatre. LaChuisa's score and book were nominated for a Tony Award in 2000, as was a tour-de-force performance by three-time Tony winner Audra McDonald.
- In 1991, the world premiere was held in the Teatro Arriaga, Bilbao of the opera Medea by Mikis Theodorakis. This was the first in Theodorakis' trilogy of lyrical tragedies, the others being Electra and Antigone.
- Oscar Strasnoy's opera "Midea (2)", based on Irina Possamai's libretto, premiered in 2000 at Teatro Caio Melisso, Spoleto, Italy. Orpheus Opera Award.
- Rockettothesky medea 2008
- instrumental chamber music piece Medea by Dietmar Bonnen 2008
- Dutch progressive rock band Kayak (band), with the song Medea, on their 2008 release Coming Up For Air
- Vienna Teng, with the song My Medea in her 2004 album Warm Strangers.
- The Finnish melodic death metal band Insomnium has a song about her called Medeia on their album In the Halls of Awaiting, which was released in 2002.
- Mauro Lanza composed the music to Le Songe De Médée, a ballet choreographed by Angelin Prelijocaj for the Ballet de l'Opéra national de Paris and featured in the film La Danse.
- Alina Novikova (composer) and Daria Zholnerova, produced an opera Medea, based on Innokentiy Annenskiy, Evripid's translation. First performed in 2011, St. Petersburg, Russia
[edit] Cinema and television
 | Wikimedia Commons has media related to: Medea |
- In the 1963 film Jason and the Argonauts, Medea was portrayed by Nancy Kovack.
- In the 2000 Hallmark presentation Jason and the Argonauts, Medea was portrayed by Jolene Blalock.
- In 1969, the Italian director Pier Paolo Pasolini directed a film adaptation of Medea featuring the opera singer Maria Callas in the title role.
- In 1978, the film A Dream of Passion in which Melina Mercouri as an actress portraying Medea seeks out Ellen Burstyn a mother who recently murdered her children.
- In 1988, director Lars von Trier filmed his Medea for Danish television, using a preexisting script by filmmaker Carl Theodor Dreyer. Cast included Udo Kier, Kirsten Olesen, Henning Jensen, Mette Munk Plum.
- In the 1992 film Highway to Hell, Medea was portrayed by Anne Meara.
- Medea (under the name of Caster) is one of the antagonists in the visual novel and anime Fate/Stay Night.
- In the 2005 film L'enfer (Hell) a student Anne (Marie Gillain) takes a formal oral exam on the subject of Medea. Her words are spoken over images of her sister Sophie (Emmanuelle Beart) playing with her two children implying an analogy.[17]
- In 2007, director Tonino De Bernardi filmed a modern version of the myth, set in Paris and starring Isabelle Huppert as Medea, called Médée Miracle. The character of Medea lives in Paris with Jason, who leaves her.
- In 2009, Medea was shot by director Natalia Kuznetsova. Film was created by the tragedy of Seneca in a new for cinema genre of Rhythmodrama, in which the main basis of acting and atmosphere is music written before shooting.
[edit] Medea in popular culture
Main article: Greek mythology in popular culture#Medea
The dramatic episodes in which Medea plays a role have ensured that she remains vividly represented in popular culture.[edit] Primary sources
Cicero In the court case Pro Caelio, the name Medea is referenced at least five times, as a way to make fun of Clodia, sister of P. Clodius Pulcher, the man who exiled Cicero.-
- Heroides XII
- Metamorphoses VII, 1-450
- Tristia iii.9
- Euripides, Medea
- Hyginus, Fabulae 21-26
- Pindar, Pythian Odes, IIII
- Seneca: Medea (tragedy)
- Apollodorus, Bibliotheke I, 23-28
- Apollonius Rhodius, Argonautica
- Gaius Valerius Flaccus Argonautica (epic)
- Herodotus, Histories VII.62i
- Hesiod, Theogony 1000-2
[edit] Secondary material
- Jean Anouilh, Medea
- John Gardner (novelist), Jason and Medeia
- Robinson Jeffers, Medea
- Hans Henny Jahnn, Medea
- Percival Everett, For Her Dark Skin
- Maxwell Anderson, The Wingless Victory
- Geoffrey Chaucer The Legend of Good Women (1386)
- Michael Wood, In Search of Myths & Heroes: Jason and the Golden Fleece
- Chrysanthos Mentis Bostantzoglou (Bost), Medea (parody of Medea of Euripides)
- Rick Riordan, The Sea of Monsters, the second Percy Jackson & the Olympians novel- She is mentioned as making a very strong SPF 50,000 sunscreen that was helpful in fighting the Colchis Bulls.
- Rick Riordan, The Lost Hero, the first Heroes of Olympus novel she owns a department store filled with potions and enchanted items telling three demigods about herself with Jason.
[edit] Related Literature
- Medea (Ovid's lost tragedy - two lines are extant)[19]
- Marina Carr, By the Bog of Cats
- A. R. Gurney, The Golden Fleece
- Pierre Corneille Médée (tragedy, 1635)
- Heiner Müller, Medeamaterial and Medeaplay
- William Morris Life and Death of Jason (epic poem, 1867)
- Franz Grillparzer, Das goldene Vliess (The Golden Fleece) (play, 1822)
- Pervical Everett, For Her Dark Skin (novel, 1990)
- H. M. Hoover, The Dawn Palace: The Story of Medea (novel, 1988)
- Christa Wolf, Medea (a novel) (published in German 1993, translated to English 1998)
- Cherríe Moraga, The Hungry Woman: A Mexican Medea (combines classical Greek myth Medea with Mexicana/o legend of La Llorona and Aztec myth of lunar deity Coyolxauhqui)
- Cicero, Pro Caelio (political speech) Cicero refers to Clodia as hanc Palatinam Medeam, "this Medea of the Palatine"
- Stuart Hill, Blade Of Fire (Character portrayed as based on Medea in this Young adult novel)
[edit] See also
[edit] Notes
- ^ Colchis was on the site of modern Georgia in the Caucasus.
- ^ Glauce is known as Creusa in Seneca's Medea and in Propertius 2.16.30.
- ^ See, for example, Nita Krevans, "Medea as foundation-heroine", in James Joseph Clauss, Sarah Iles Johnston, eds. Medea: essays on Medea in myth, literature, philosophy, and art (Princeton University Press) 1997:71-82.
- ^ For this general aspect, see especially Carl A.P. Ruck and Danny Staples, The World of Classical Myth: Gods and Goddesses, Heroines and Heroes University of North Carolina 1994, part III: The Liminal Hero.
- ^ As noted in a scholium to Pindar's Olympian Ode 13.74; cf. Pausanias 2.3.10-11.
- ^ As noted in the scholium to Medea 264.
- ^ See McDermott 1985, 10-15.
- ^ Hyginus Fabulae 25; Ovid Met. 7.391ff.; Seneca Medea; Apollodorus Bibliotheca 1.9.28 favors Euripides' version of events, but also records the variant that the Corinthians killed Medea's children in retaliation for her crimes.
- ^ Pausanias 2.3.6-11
- ^ Hesiod Theogony 1000-2
- ^ Herodotus Histories VII.62i
- ^ The lost Corinthiaca of Naupactos and the Building of the Argo, by Epimenides of Crete, for instances.
- ^ Medea: Essays on Medea in Myth, Literature, Philosophy, and Art, James Joseph Clauss and Sarah Iles Johnston, eds., (Princeton University Press) 1997. Includes a bibliography of works focused on Medea.
- ^ As on the bell krater at the Cleveland Museum of Art (91.1) discussed in detail by Christiane Sourvinou-Inwood, "Medea at a Shifting Distance: Images and Euripidean tragedy", in Clauss and Johnston 1997, pp 253-96.
- ^ Edouard Will, Corinth 1955. "By identifying Medea, Ino and Melikertes, Bellerophon, and Hellotis as pre-Olympianprecursors of Hera, Poseidon, and Athena, he could give to Corinth a religious antiquity it did not otherwise possess", wrote Nancy Bookidis, "The Sanctuaries of Corinth", Corinth 20 (2003)
- ^ "Pindar shows her prophesying the foundation of Cyrene; Herodotus makes her the legendary eponymous founder of the Medes; Callimachus and Apollonius describe colonies founded by Colchians originally sent out in pursuit of her" observes Nita Krevans, "Medea as foundation heroine", in Clauss and Johnston 1997 pp 71-82 (p. 71).
- ^ http://filmref.com/journal/archives/2006/02/lenfer_2005.html
- ^ Ovid also wrote a full play called Medea from which only a few lines are preserved.
- ^ Fragments are printed and discussed by Theodor Heinze, Der XII. Heroidenbrief: Medea an Jason Mit einer Beilage: Die Fragmente der Tragödie Medea P. Ovidius Naso. (in series Mnemosyne, Supplements, 170. 1997
[edit] References
- McDermott, Emily, Euripides' Medea (University Park, PA, Penn State University Press, 1985).
- Clauss, J. J. and S. I. Johnston (eds), Medea: Essays on Medea in Myth, Literature, Philosophy and Art (Princeton, Princeton University Press, 1997).
- Wygant, Amy, Medea, Magic, and Modernity in France: Stages and Histories, 1553-1797 (Aldershot, Ashgate, 2007).
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Satyadev Dubey
From Wikipedia, the free encyclopedia
| Satyadev Dubey | |
|---|---|
| Born | 1936 Bilaspur, Madhya Pradesh |
| Died | 25-12-2011[1] |
| Other names | Pt. Satyadev Dubey |
| Awards | 1971 Sangeet Natak Akademi Award 1978 National Film Award for Best Screenplay: Bhumika |
He won the 1978 National Film Award for Best Screenplay for Shyam Benegal's Bhumika and 1980 Filmfare Best Dialogue Award for Junoon. In 2011, he was honoured with the Padma Bhushan by the Government of India.
Contents[hide] |
[edit] Biography
Satyadev Dubey was born in Bilaspur, Chhattisgarh in 1936. He moved Mumbai with an aim to become a cricketer, but ended up joining the 'Theatre Unit', a theatre group run by Ebrahim Alkazi, which also ran a school for many budding artists. Later when Alkazi left for Delhi to head National School of Drama, he took over the 'Theatre Unit', and went on to produce many important plays in Indian theatre.He produced, Girish Karnad's first play 'Yayati', and also his noted play 'Hayavadana', Badal Sarkar's 'Ebang Indrajit' and 'Pagla Ghoda', Chandrashekhara Kambara’s “Aur Tota Bola” (“Jokumaraswamy” in original Kannada), Mohan Rakesh’s “Aadhe Adhure”, Vijay Tendulkar’s “Khamosh! Adalat Jaari Hai”, and 'A Raincoat For All Occasions' and Jean Anouilh's Antigone in 2007.
He is credited to the discovery of Dharmavir Bharati’s Andha Yug, a play that was written for radio, yet Dubey saw its potential, sent it across to Ebrahim Alkazi at National School of Drama, and the rest is history, in modern Indian theatre, 'when staged in 1962, Andha Yug' brought in a new paradigm in Indian theatre of the times.[2][3]
He has made two short films 'Aparichay ke Vindhachal' (1965) and 'Tongue In Cheek' (1968),[4] and directed a Marathi feature film, 'Shantata! Court Chalu Aahe' in 1971, based on Vijay Tendulkar's play, which in turn is based on Friedrich Dürrenmatt's story "Die Panne".
[edit] Filmography
- Ankur - 1974 - Dialogue, Screenplay
- Nishant - 1975 - Dialogue
- Bhumika 1977 - Dialogue, Screenplay
- Junoon - 1978 - Dialogue
- Kalyug - 1980 - Dialogue
- Aakrosh - 1980 - Dialogue
- Vijeta - 1982 - Dialogue, Screenplay
- Mandi - 1983 - Screenplay
[edit] References
- ^ http://timesofindia.indiatimes.com/city/mumbai/Satyadev-Dubey-noted-theatre-personality-passes-away/articleshow/11241593.cms
- ^ Drama with a distinct vision by Girish Karnad, The Hindu, 25 November 2007.
- ^ "‘Reaction matters to me’". The Hindu. Nov 16, 2008.
- ^ One stage to another The Telegraph (Kolkata), 7 November 2005.
[edit] External links
- Satyadev Dubey at the Internet Movie Database
- "The Fury And The Ecstacy". Tehelka. Vol 5, Issue 45, Dated Nov 15, 2008.
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Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. - ...and I am Sid Harth@mysistermarilynmonroe.com
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