Roberta Cricelli on Medea Material, “Sound36”, October 14 2025

Medea: a theater in metamorphosis, firm in its intensity
Roberta Cricelli, “Sound36”, October 14th 2025
https://www.sound36.com/medea-un-teatro-in-metamorfosi-saldo-nella-sua-intensita/

“[…] In the almost complete darkness, the body becomes words.

There, amid sparse lighting and tense silence, the figure of Agata Tomšič slowly emerges—creator, director, and performer for ErosAntEros company. Her Medea captivates the gaze: sorceress, lover, mother, a carnal presence that crosses desire and guilt. A silhouette of living flesh that questions, shakes and forces us to confront a primal, rough, true femininity.

Heiner Müller’s language becomes sound and visual substance.

Harsh, sharp, lyrical, and political, it pours onto the stage like magma that ignites and transforms. It is a word that is heard but also seen, imagined, and experienced. In this sensory rarefaction, the audience is led elsewhere, where listening becomes image and image demands answers from the present.

Medea, a thousand faces and no peace.

There is Euripides’ Medea, divine avenger, weapon against male arrogance. Pasolini’s torn woman, who kills for love and is betrayed to the point of atrocious revenge. There is Corrado Alvaro’s isolated and divided Medea. And then there is Müller’s Medea, who becomes a mirror of broken humanity, soaked in conflict and submission.

Three movements for a Medea who escapes the prison of time.

“Abandoned Shore” is the final glimpse of war in Strausberg, a land in ruins from which everything begins again. “Medea Material”, the heart of the show, is a vortex of sound and words, where voices multiply—including the artificial voice of a metallic alter ego—and intertwine the names of Seneca, Euripides, and Hans Henny Jahnn. Finally, “Landscape with Argonauts”, inspired by Wasteland and Ezra Pound, foretells the misfortunes of humanity with disturbing lucidity.

A fluid Medea, without boundaries.

Ready to explode or implode at any time and place. She is an archetypal figure who does not ask to be understood, but felt. Her voice – or rather, her voices – echo between the walls of MARCA like an echo of today’s world.

Vision, sound, matter. Everything merges.

Gianni Gamberini’s lighting creates a hypnotic alternation between deep darkness and golden flashes, a direct reference to the myth of the Golden Fleece. The costumes by Bàste Sartoria become a symbol of ciclicity – life, death, ambition. The music by Matevž Kolenc, composer and producer nominated for the 2024 Ubu Awards, together with the ritual sounds of the props, create a vibrant tension, a true multisensorial experience.

A project that combines rigor and vision. […]”