By Euripides | Directed by Trinidad González | Company Teatro Anónimo | Adapted by Víctor Carrasco | Audiovisual director Vicente Sabatini

  • Spanish

This version of the Greek tragedy shows us that we have forgotten that children have feelings.

This radical version of the Greek tragedy by Teatro Anónimo involves an empty stage stripped of any kind of prop, with music, acting and ideas playing a key role. It tells the story of Medea, who kills her children to avenge her husband Jason after he leaves her, and turns the fact we have forgotten that children have feelings and how they can feel abandoned into its main themes.

The concept of feminine ideals such as ‘how things should be’ and sacrifice, together with the imposition of the patriarchy, are some of the other issues this production deals with. This version opts for relatable, intimate and natural performances like those in the movies and avoids over-the-top gestures or speeches, making a script written 2,600 years ago and whose ideas are still completely relevant today relatable to the audience. As director Trinidad González says, the story of Medea could still happen today in the twenty-first century, even though her actions are ‘indefensible’.

Written by: Euripides | Adapted by: Víctor Carrasco | Company: Teatro Anónimo and guests | Directed by: Trinidad González | Audiovisual director: Vicente Sabatini | Assistant 1director: Matteo Citarella | Cast: Nina De La Maza (Medea), Moisés Angulo (Jason), Juan Pablo Larenas (Nodriza, Aegeus), Matteo Citarella (Teacher, Messenger), Tomás González (Teseo), Nathalia Galgani (Chorus), Trinidad Piriz (Chorus), Trinidad González (Chorus Director) | Original score: Tomás González | Musicians: Tomás González, Matteo Citarella, Juan Pablo Larenas | Set, costume and lighting designer: Nicole Needham | Set, costume and lighting assistant: Kota Sides | Stage producer: Katy Cabezas | Director of photography: David Bravo | Technical coordinator: Cristián Reyes | Producer: Vicente Gana | Assistant director: Josefina Troncoso | Sound: Miguel Gálvez | Sound assistant: Angello Rojas | Cameras: Eduardo Peña, Claudio Contreras, Raúl Leal | Head electrician: Willie Leiva | Assistant: Benjamín Cortés | Stage assistant: Marco Mella | Audiovisual technical producer: Fin Comunicaciones | General producer: Pablo Herrera Aguirre | Producer: Álvaro González Ortiz | Technical coordinator: Mauricio Hartard | Assistant technician: Jorge Reyes | Trailer camera: Hernán Pereira | Trailer editor: Juan Pablo Cofré | Teatro Lo Prado head technician: Waldo Arévalo | Teatro Lo Prado sound engineer: Julio Quiroz | Photography: Magdalena Chacón | Fundación Teatro A Mil Foundation production director: Evelyn Campbell Derderián | Teatro A Mil Foundation producers: Pamela Ruiz Munizaga, Claudia Fres, Fernando Oviedo | In collaboration with the Lo Prado Cultural Center.

Trinidad González Jansana


Three dimensional theater

As one of the founders of the now-defunct Teatro en el Blanco, she worked there from 2006 to 2012, acting in the plays Neva and Diciembre by Guillermo Calderón and in La reunión, which she wrote, directed and acted in. She has been writing, directing and acting in her own pieces since 2012; Pájaro and Carnaval are some of the results of this stage of her career, which she consolidated by founding Teatro Anónimo (2018). She has also had several roles in movies and television series.

Vicente Sabatini

Audiovisual director

A key name in Chilean television

The name of this Chilean television director, producer and executive (1953) is irrevocably linked to the golden age of Chilean drama in the eighties, nineties and noughties. In 1991, he took over as general director of drama at the TVN television channel, spearheading the creation of some of the most successful soap operas in the history of Chilean television, such as Sucupira, Iorana, La Fiera, Pampa Ilusión and El circo de las Montini. He has also directed the Viña and Huaso de Olmué Festivals and the Teletón charity event.

Víctor Carrasco

Screenplay adaptor

Fusing styles

This Chilean actor, television scriptwriter and theater director has written some of Chile’s most successful television series, such as La fiera, Pampa Ilusión and El Circo de las Montini. He was in charge of Teatro de la Palabra, an independent venue, for seven years. As a theater director, he has been behind classics such as Hedda Gabler by Henrik Ibsen and Las tres hermanas by Anton Chekhov and has also directed other award-winning productions, such as La amante fascista (2010) and Los arrepentidos (2018).

Teatro Anónimo

The company

Against money and capital markets

Founded in 2018, this company creates plays that deal with the dehumanization of the contemporary subject. Using humor, music and surprising twists and turns, their productions take the audience on an emotional rollercoaster that makes them ‘feel’ the play as opposed to just being a spectator. Their aim is to achieve a sophisticated result on a low budget, taking a political stand against consumerism in today’s society. Medea is their third play after Carnaval and Espíritu.

Teatro Anónimo places special emphasis on the world of children in this production, which is based on society today. The children in the original version are replaced by music and, when adults need to talk to them, they do so to an empty space. “It becomes clear that children have no voice. Nobody cares what they go through and feel and they are walked all over”, says Trinidad González.

Music is a very important part of all of Teatro Anónimo’s productions and plays a key role in this piece. Composer and actor Tomás González says that the aim of the musical clues he created is to move the audience, giving the performance a layer of sentiment and taking them to a physical and mental space they recognize. In this case, the idea was to transport them into Greek culture without making it sound cold or outdated. “The aim was to create tension and an expressivity that perhaps old-fashioned music wouldn’t be able to achieve. When composing the music, I was inspired by a recording of Medea’s first monologue by the nursemaid, spoken in Ancient Greek. That’s where I got the sounds from, from the original Greek meter created in situ, creating a certain atmosphere using a saxophone, guitars and flutes”, says González. The parts sung by the chorus, adds Trinidad González, have a very recognizable Latin American sound, “like a Chilean cantata. Without saying ‘We’re in Chile’, it’s a way of bringing the play closer to our reality”.

The company works hard to bridge the gap to a text written in the fifth century a.C. but whose ideas are still relevant. Medea is a classic and this version - both in its performances and in its costumes and staging - aims to convey its very essence to the audience. “The ideas are presented as they would be today”, says Mateo Cittarella, actor, musician and assistant director. In the lead roles are two guest artists: Nina de la Maza from La Re-Sentida and Moisés Angulo from Teatro La María.

Euripides (480 a.C. - 406 a.C.): Together with Sophocles and Aeschylus, he is considered one of Ancient Greece’s three great poets. His work, however, reflects the everyday life of citizens, as opposed to the heroics and spiritual concepts favored by the first tragedies. His writing reveals his characters’ psychology; they are distressed by dark feelings and secrets that they cannot let go of. Euripides left a legacy of more than 92 plays, of which 18 have been recovered, including Electra, Medea, Helen, Cyclops, Orestes, The Trojan Women and Phoenician Women.

Greek tragedy: This dramatic genre reached its apogee in the fifth century a.C. in Athens, Greece and is based on the sacred myths and portrayals of this civilization. Its heroes inevitably face a tragic end. Its name comes from the Greek word tragoedia, which means ‘ode to the male goat’, referring to the song that the Greeks sang in honor of the god Dionysius.

-Check out Trinidad González’s interview on Teatroamil.tv, in which she talks about Carnaval, Teatro Anónimo’s acclaimed first production.


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