The first creation Inne Goris made for LOD, starts from Euripides’ Medeia. In Medeia Jason and Medeia get into a tussle. The children are gone; the arena is given back to the main protagonists. A man and a woman, at first in love, are now at each other’s throats. Medeia has killed both of her children. What follows is a long silence. From the moment this silence is interrupted, there is no way back. The balance is disrupted. The story must be told. They stick at nothing and they don’t spare each other at all.

On tour in Belgium and the Netherlands untill February 2010 

Have a look at the trailer!

The evil in Medea is an archetypal evil, an inhuman cruelty that still manifests itself everyday, both geopolitically and at the kitchen table. Not everyone is involved with a woman who has killed her four children, but it requires no great feat of imagination to realise that every day we are all involved in a horror that is both real and inhuman. Whether we are a civilian, or friend, a loved one, neighbour or farmer. In Nachtevening Jason and Medea are together. The evil deed has been done some time ago. The tragedy has taken place but they are still there. In the play Jason and Medea seek an inhumanity that equals the cruelty of Medea’s deed: the paradoxical impossibility of remembering and forgetting: forgiveness. But is there a form of forgiveness that does not betray memory? And if this is not possible, shouldn’t there be a moment like this if the future is not to be merely a blind repetition of the past?

Nachtevening, or the equinox, takes place twice a year and is the moment when day and night are equally long.
It is in this setting that this performance takes place.
 

A choir of young, skilled voices ensures the musical undercurrent in a composition of Eavesdropper. The singers drive the actors and the audience along, just like a classical Greek choir. Michiel Van Cauwelaert signed up for a stern set. A big cube dominates the theatre space as a threatening object. The audience enters the arena via the stairs on the outside. In that way it sinks into a place of oblivion where Jason and Medeia are located.

There is something better than love between us: complicity
Marguerite Yourcenar

Read an interview with Inne Goris and Pieter De Buysser by Daniëlle de Regt

(c) Koen Broos