Monologo medea franca rame biography

1 “It often happened that Franca would suggest an idea to me, I would set out its ‘treatment’, we’d discuss it either more or less vivaciously and…

2 On this see, for instance, Farrell, 2001, Farrell and Scuderi, 2000.

3 As Marie Carrière points out : “L’ambiguïté même de la paternité littéraire des Récits de femmes semble accentuer l’incertitude du rapport de…

4 “It’s tough for a woman who’s not so young anymore to rebuild a life… and so you desperately hold on to what you have, and then you face the…

5 See, for example, Abbiamo tutte la stessa storia or Una donna sola.

6 On the “supposed” origin of the play, see Fo’s prologue to the monologue (Fo, 2003, pp.

The rebellion that Mary embodies on stage can be read as a first attempt to break out from the mold of submission that the patriarchy has designed and normalized for women. Die! Die! So that a new woman can be born!”

Medea’s notion of motherhood as a cage or a harness is reminiscent of Wittig’s attack on the mythical status attributed by the patriarchy to motherhood12.

Medea, you must sacrifice yourself out of the love you feel toward these children of yours. On the one hand, the women plead, accepting the new arrangement will secure a better future for Medea’s children, as they will be allowed to live with their father and have access to all the benefits of the royal court:

[…] Non a te, ma a li figlioli tòj hai da penzàre!

But for us to provoke you to laughter … you have to have a brain, you have to be alert … to laugh you throw open your mouth and also your brain and into your brain are hammered the nails of reason.” —Franca Rame

“Set at the point where reality and ideology rub up against each other, [these] monologues are vivid, concise and entertaining comments on the female condition … comic-but-angry, raw-but-precise.” —The Independent (London)

“… buoyant, angry and vitally funny monologues … the evening becomes a rich human comedy of the sexes.

Thanks to this new marriage, they will live in a better house, wear better clothes… and they will always have bread on their table, and their name will be honored more…and the new family will receive more respect because they will live in the king’s house. For a moment she returns to her role of doting wife and mother. First of all because we women have been crying for two thousand years.

Altre volte era Franca a propormi un canovaccio da leggere, io le opponevo le mie considerazioni e lei concludeva la stesura” (Fo, Rame, 1989, p. 34). 46, no. 1998, La Domination masculine, Paris, Le Seuil.

Carrière, M., 2012, Médée en scène: Deborah Porter, Franca Rame et Cherríe Moraga, in Carrière, M., ​​Médée protéiforme, Ottawa, University of Ottawa Press, pp.

The dominant’s act of trespassing on the magical frontier separating male and female roles raises the dominated’s awareness of the structural injustice of the system and reveals the arbitrary nature of the separation of roles.

Ohj, che m’han tradita. His most famous works are MISTERO BUFFO and ACCIDENTAL DEATH OF AN ANARCHIST. […] why didn’t you warn me?

Colvin also noted how “for konkret columns, Meinhof […] used her full name Ulrike Marie; the connotations of purity inherent in that middle name may well be what led biographers to reiterate it in accounts of her life”. Estelle Parsons is a member of the Actors Studio and was inducted into the Theater Hall of Fame in 2004.

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Medea Prologue is produced
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