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{{short description|Ancient Greek tragedy by Euripides}}
{{about|the play by Euripides|other plays of the same name|Medea (disambiguation)#Theatre}}
{{Use dmy dates|date=July 2020}}
{{Infobox play
| name       = Medea
| image      = Alfons Mucha - Medea.jpg
| caption    = Poster by [[Alfons Mucha]] for performance by [[Sarah Bernhardt]] in ''Medée'' at the [[Théâtre de la Renaissance]], Paris (1898)
| writer     = [[Euripides]]
| chorus     = Corinthian Women
| characters = [[Medea]]<br />Nurse<br />Tutor<br />[[Aegeus]]<br />[[Creon of Corinth|Creon]]<br />[[Jason]]<br />Messenger<br />Medea's two children
| setting    = Before Medea's house in Corinth
| premiere   = 431 BC
| place      = [[Classical Athens|Athens]]
| orig_lang  = [[Ancient Greek]]
| genre      = [[Tragedy]]
| series     =
| subject    =
| web        =
}}

'''''Medea''''' ({{langx|grc|Μήδεια}}, ''Mēdeia'') is a [[Greek tragedy|tragedy]] by the [[Ancient Greece|ancient Greek]] playwright [[Euripides]] based on a myth. It was first performed in 431 BC as part of a trilogy, the other plays of which have not survived. Its plot centers on the actions of [[Medea]], a former princess of the kingdom of [[Colchis]] and the wife of [[Jason]]; she finds her position in the world threatened as Jason leaves her for a princess of [[Ancient Corinth|Corinth]] and takes [[revenge|vengeance]] on him by murdering his new wife, father-in-law and her own two sons, before escaping to [[Athens]] to start a new life. 

Euripides's play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, [[psychoanalysis|psychoanalytical]], feminist, and many other original readings of Medea, Jason, and the core themes of the play.<ref>{{Cite book|url=https://books.apple.com/gb/book/medea-a-performance-history/id1085751260|title=Medea, a performance history|last1=Macintosh|first1=Fiona|last2=Kenward|first2=Claire|last3=Wrobel|first3=Tom|publisher=APGRD|year=2016|location=Oxford}}</ref>

''Medea'', along with three other plays,{{efn|''Philoctetes'', ''Dictys'', and ''Theristai'', all three of which are now lost}} earned Euripides third prize in the [[City Dionysia]]. Some believe that this indicates a poor reception,<ref>{{harvp |Gregory |2005 |p=3}}</ref><ref name="auto1">{{cite book |last=Euripides |others=David Kovacs (ed. & tr.) |date=2001 |title="Medea", in Euripides I |location=Cambridge, MA; London, England |publisher=Loeb Classical Library, Harvard University Press |page=277 |isbn=9780674995604}}</ref> but "the competition that year was extraordinarily keen";<ref name="auto1"/> [[Sophocles]], often winning first prize, came second.<ref name="auto1"/> The play was initially rediscovered with Rome's [[Augustan drama]], and then again in the 16th century. It has remained part of the tragedic repertoire, becoming a classic of the [[Western canon]] and the most frequently performed Greek tragedy in the 20th century.<ref name="auto">[[Helene P. Foley]]. ''Reimagining Greek Tragedy on the American Stage''. University of California Press, 1 Sep 2012, p. 190</ref> It experienced renewed interest in the [[feminist movement]] of the late 20th century,<ref name="feminist" /> being interpreted as a nuanced and sympathetic portrayal of Medea's struggle to take charge of her own life in a male-dominated world.<ref name="auto"/>

==History==

''Medea'' was first performed in 431 BC at the [[City Dionysia]] festival.<ref name=":0">{{Cite book |last=Allan |first=William |title=Euripides: Medea |publisher=[[Duckworth Books|Duckworth]] |year=2002 |isbn=9781472539779 |pages=11–12 |language=en}}</ref> Here every year, three tragedians competed against each other, each writing a [[tetralogy]] of three tragedies and a [[satyr play]] (alongside ''Medea'' were ''[[Philoctetes (Euripides play)|Philoctetes]]'', ''[[Dictys]]'' and the satyr play ''[[Theristai]]''). In 431 the competition was among [[Euphorion (playwright)|Euphorion]] (the son of famed playwright [[Aeschylus]]), [[Sophocles]] (Euripides's main rival) and Euripides. Euphorion won, and Euripides placed third (and last).<ref name=":0" /> ''Medea'' has survived the transplants of culture and time and continues to captivate audiences with its riveting power.<ref>Tessitore, Aristide. "Euripides’ ‘Medea’ and the Problem of Spiritedness." The Review of Politics, vol. 53, no. 4, 1991, pp. 587–601. JSTOR, {{JSTOR|1407307}}. Accessed 27 Apr. 2023.</ref> The play's influence can be seen in the works of later playwrights, such as William Shakespeare.{{citation needed|date=July 2024}}

While ''Medea'' is considered one of the great plays of the [[Western canon]], Euripides's place in the competition suggests that his first audience might not have responded so favorably. A [[scholium]] to line 264 of the play suggests that Medea's children were traditionally killed by the Corinthians after her escape;<ref>{{harvp |Ewans |2007 |p=55}}</ref> so Euripides's apparent invention of the [[filicide]] might have offended, as his [[Hippolytus (play)|first treatment of the Hippolytus myth]] did.<ref>This theory of Euripides' invention has gained wide acceptance. See (e.g.) {{harvp |McDermott |1989 |p=12}}; {{harvp |Powell |1990 |p=35}}; {{harvp |Sommerstein |2002 |p=16}}; {{harvp |Griffiths |2006 |p=81}}; {{harvp |Ewans |2007 |p=55}}.</ref> That Euripides and others took liberties with Medea's story may be inferred from the 1st-century-BC historian [[Diodorus Siculus]]: "Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out."<ref>Diodorus Siculus 4.56</ref> A common urban legend claimed that Euripides put the blame on Medea because the Corinthians had bribed him with a sum of five talents.<ref>{{cite web|url=https://sententiaeantiquae.com/2017/03/26/korinthian-women-and-the-plot-against-medea/|title=Korinthian Women and the Plot Against Medea|date=26 March 2017|website=Sententiaeantiquae.com|access-date=1 June 2018}}</ref>

In the 4th century BC, South-Italian vase painting offers a number of Medea representations that are connected to Euripides's play&nbsp;— the most famous is a [[krater]] in Munich. However, these representations always differ considerably from the plots of the play or are too general to support any direct link to Euripides's play.{{clarify |date=May 2020 |reason= contradictory?}} But the violent and powerful character of Medea, and her double nature&nbsp;— both loving and destructive&nbsp;— became a standard for later periods of antiquity. Medea has been adapted into numerous forms of media, including operas, films, and novels.

With the text's rediscovery in [[Augustan drama|1st-century Rome]] (the play was adapted by the tragedians [[Ennius]], [[Lucius Accius]], [[Ovid]], [[Seneca the Younger]] and [[Hosidius Geta]], among others), again in 16th-century Europe, and the development of modern [[literary criticism]], ''Medea'' has provoked multifarious reactions.{{clarify|date=July 2018}}{{Citation needed|date=May 2020|reason=this whole paragraph needs references}}

==Form and themes==

The form of the play differs from many other Greek tragedies by its simplicity; most scenes involve only Medea, one other character, and The Chorus, representing the women of Corinth. These simple encounters highlight Medea's skill and determination in manipulating powerful male figures. The play is also the only Greek tragedy in which a kin-killer makes it unpunished to the end of the play, and the only tragedy about child-killing in which the deed is performed in cold blood, as opposed to in a state of temporary madness.<ref>[[Edith Hall|Hall, Edith]]. 1997. "Introduction" in ''Medea: Hippolytus; Electra; Helen'' Oxford University Press. pp. ix–xxxv.</ref> Medea's rebellion shakes the world as she tells of her history, shedding light on the actions that ultimately lead to her denigration and dethronement.<ref name=":1">{{Cite journal |last=Lootens |first=Barbara J. |date=1986 |title=Images of Women in Greek Drama |url=https://www.jstor.org/stable/25680553 |journal=Feminist Teacher |volume=2 |issue=1 |pages=24–28 |jstor=25680553 |issn=0882-4843}}</ref> Euripides depicts Medea as a witch and a devourer of men and children, rather than as a wife and mother wronged.<ref name=":1" />

Euripides' characterization of Medea exhibits the inner emotions of passion, [[love]], and [[Revenge|vengeance]]. 
According to classics scholar Fiona Macintosh, "[Medea] has successfully negotiated her path through very diverse cultural and political contexts: either by being radically recast as 'exemplary' mother and wife, or by being seen as a proto-feminist wrongly abandoned by a treacherous husband."<ref name="Macintosh">{{cite book |last1=Macintosh |first1=Fiona |editor1=Brown, Sarah Annes |editor2=Silverstone, Catherine |title=Tragedy in Transition |date=2007 |publisher=Blackwell |location=Malden, Mass. |isbn=978-1-40-513546-7 |page=193 |chapter-url=https://books.google.com/books?id=4CMq2Cirr4AC&q=proto-feminist |chapter=Oedipus and Medea on the Modern Stage |quote=[Medea] has successfully negotiated her path through very diverse cultural and political contexts: either by being radically recast as 'exemplary' mother and wife, or by being seen as proto-feminist wrongly abandoned by a treacherous husband.}}</ref> 
Feminist readings have interpreted the play as either a sympathetic exploration of the disadvantages of being a woman in a [[patriarchal]] society,<ref name=feminist>See (e.g.) {{harvp |Rabinowitz |1993 |pp=125–54}}; {{harvp |McDonald |1997 |p=307}}; {{harvp |Mastronarde |2002 |pp=26–8}}; {{harvp |Griffiths |2006 |pp=74–5}}; {{harvp |Mitchell-Boyask |2008 |p=xx}}</ref> or as an expression of misogynist attitudes.<ref name="Williamson">{{cite book |last=Williamson |first=Margaret |editor-last=Powell |editor-first=Anton |title=Euripides, Women, and Sexuality |edition=1st |date=1990 |publisher=Routledge |location=London, UK |isbn=0-415-01025-X |pages=16–31 |chapter=A Woman's Place in Euripides' Medea}}</ref> 
In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's [[barbarian]] identity, which some argue might antagonize{{quote needed|date=July 2018}}<!--the audience was Athenian, not generically Greek, and we would need a specific quote better than "passim" for the claim that classical Athens would be "antagonized" by the depiction of "barbarians" in a play.--> a 5th-century BC Greek audience.<ref>{{harvp |DuBois |1991 |pp=115–24}}; {{harvp |Hall |1991 |loc=''passim''}}; {{harvp |Saïd |2002 |pp=62–100}}</ref>

It can be argued that in the play Euripides portrays Medea as an enraged woman who kills her children to get revenge on her husband Jason because of his betrayal of their marriage. Medea is often cited as an example of the "madwoman in the attic" trope, in which women who defy societal norms are portrayed as mentally unstable.<ref>Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100)</ref> A competing interpretation is that Medea kills her children because she cares for them and worries about their well-being; once she commits to her plan to kill Creon and Jason's new bride, she knows her children are in danger of being murdered. This is not a paranoid fantasy; at this time in myth and history, helping one's friends and hurting one's enemies was considered a virtue. Thus, by their code of ethics, the Corinthians would do right to avenge their king and princess. (In another version of the myth, the people of Corinth kill her children to avenge the deaths of Creon and his daughter Glauke.) Conversely, a focus on Medea's rage leads to the interpretation that "Medea becomes the personification of vengeance, with her humanity 'mortified' and 'sloughed off{{'"}} (Cowherd, 129).<ref>[Carrie E. Cowherd. "The Ending of the 'Medea.{{'"}} The Classical World, vol. 76, no. 3, 1983, pp. 129–35. JSTOR, https://doi.org/10.2307/4349445. Accessed 6 Dec. 2022.]</ref> Medea's heritage places her in a position more typically reserved for males. Hers is the power of the sun, appropriately symbolized by her great radiance, tremendous heat and boundless passion.<ref name=":1" />  In this view Medea is inhuman and her suffering is self-inflicted, just as Jason argues in his debate with her. And yet, if we see events through Medea's eyes, we view a wife intent on vengeance, and a mother concerned about her children's safety and quality of life. Thus, Medea as a wife kills Creon and Glauke in the act of vengeance, and Medea as a mother thinks her children will be better off killed by her hand than left to suffer at the hands of an enemy intent on vengeance. 

Medea is often described as having a "heroic temper" and a strong motivation to avoid the laughter of her enemies, "even at the cost of decisions that contradict self-interest, personal safety, or strongly held moral beliefs".<ref name="Lush">Lush, B. (2014). Combat Trauma and Psychological Injury in Euripides’ Medea. ''Helios'', ''41''(1), 25–57.</ref> Although some may say that her motive was jealousy over Jason’s new bride, her pride also made her unwilling to let her enemies, in this case Jason and his new wife, look down on her. Medea stated that "her enemies [would] cause her pain and rejoice," and that her priority was to "avoid her enemies’ derision."<ref name="Lush" /> Although the murder of her children would cause her pain, Medea’s temperament caused her to prioritize Jason’s unhappiness over anything else.<ref name="Lush" />

==Story==

''Medea'' is centered on Medea's calculated desire for revenge against her unfaithful husband. Medea is of divine descent and had the gift of prophecy. She married Jason and used her magic powers and advice to help him find and retrieve the golden fleece. The play is set in [[Corinth, Greece|Corinth]] some time after Jason's quest for the [[Golden Fleece]], where he met Medea. The play begins with Medea in a blind rage towards Jason for arranging to marry [[Creusa_(daughter_of_Creon)|Glauce]], the daughter of king [[Creon of Corinth|Creon]]. The nurse, overhearing Medea's grief, fears what she might do to herself or her children.

Creon, in anticipation of Medea's wrath, arrives and reveals his plans to send her into exile. Crouching at Creon's feet, Medea begs him in the name of her children to allow her one day's delay. At this Creon is moved and grants to her one more day in Corinth. Medea's unexpected power of persuasion or even of fascination lies in her change of attitude: instead of preaching to Creon about the unpopularity of the ''sophoi'' she plays the role of a desperate mother, needing one day to prepare for exile.<ref name=":2">{{Cite book |last=Pucci |first=Pietro |url=https://www.jstor.org/stable/10.7591/j.cttq44w0 |title=The Violence of Pity In Euripides' "Medea" |date=1980 |publisher=Cornell University Press |isbn=978-0-8014-1190-8 |volume=41 |jstor=10.7591/j.cttq44w0 }}</ref> Medea is aware of the humiliating quality of this tactic, but she justifies it on the grounds of a gain and of her need to remain in Corinth: "Do you think that I would ever have flattered that man unless I had some gain to make or some device to execute? I wouldn't have even spoken or touched him with my hands".<ref name=":2" /> In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he could not pass up the opportunity to marry a royal princess, as Medea is only a [[barbarian]] woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the [[Greek chorus|chorus]] of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I rescued you [...] I betrayed both my father and my house [...] now where should I go?"),<ref>''Medea.'' 476, 483, 502, trans. Esposito, S. 2004</ref> and that she saved him and slew the dragon. Jason promises to support her after his new marriage ("If you wish me to give you or the children extra money for your trip into exile, tell me; I'm ready to give it with a lavish hand"),<ref>''Med.'' 610-12</ref> but Medea spurns him: "Go on, play the bridegroom! Perhaps [...] you've made a match you'll one day have cause to lament."<ref>''Med.'' 624-26</ref>

In the following scene Medea encounters [[Aegeus]], [[List of kings of Athens|king of Athens]]. He reveals to her that despite his marriage he is still without children. He visited the [[oracle]] who merely told him that he was instructed "not to unstop the wineskin's neck". Medea relays her current situation to him and begs for Aegeus to let her stay in [[Athens]]  if she gives him drugs to end his infertility. Aegeus, unaware of Medea's plans for revenge, agrees. 

Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god [[Helios]], her grandfather) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of the exile. She convinces Jason to allow their two sons to give gifts to Glauce in hopes that Creon will lift the exile against the children. Eventually Jason agrees.

{{blockquote|Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.}}

[[File:Medeia child Louvre K300.jpg|thumb|right|200px|Medea kills her son, [[Campania]]n red-figure [[amphora]], c. 330 BC, [[Louvre]] (K 300).]]

In the next scene a messenger recounts Glauce and Creon's deaths. When the children arrived with the robes and coronet, Glauce gleefully put them on and went to find her father. The poison overtook her and she fell to the floor, dying horribly and painfully. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, was poisoned and died as well.

{{blockquote|Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.}}

While Medea is pleased with her current success she decides to take it one step further. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children's deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. Determined to stop Medea, the chorus runs after her only to hear the children scream. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce, and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in a chariot given to her by the sun god Helios. When this play was put on, this scene was accomplished using the ''[[mechane]]'' device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:

{{blockquote|I do not leave my children's bodies with thee; I take them with me that I may bury them in [[Hera]]'s precinct. And for thee, who didst me all that evil, I prophesy an evil doom.}}

Although Jason calls Medea most hateful to gods and men, the fact that the chariot is given to her by Helios indicates that she still has the gods on her side. As [[Bernard Knox]] points out, Medea's last scene with concluding appearances parallels that of a number of indisputably divine beings in other plays by Euripides.  Just like these gods, Medea "interrupts and puts a stop to the violent action of the human being on the lower level, … justifies her savage revenge on the grounds that she has been treated with disrespect and mockery, … takes measures and gives orders for the burial of the dead, prophesies the future," and "announces the foundation of a cult."<ref>B.M.W. Knox. ''Word and Action: Essays on the Ancient Theatre.'' Baltimore: The Johns Hopkins University Press, 1979, p. 303.</ref>

She then escapes to Athens in the divine chariot. The chorus is left contemplating the will of [[Zeus]] in Medea's actions:

{{blockquote|Manifold are thy shapings, [[Divine Providence|Providence]]! / Many a hopeless matter gods arrange / What we expected never came to pass / What we did not expect the gods brought to bear / So have things gone, this whole experience through!}}

This deliberate murder of her children by Medea appears to be Euripides' invention, although some scholars believe [[Neophron]] created this alternate tradition.<ref>See McDermott 1985, 10-15.</ref> Her [[filicide]] would go on to become the standard for later writers.<ref>[[Gaius Julius Hyginus|Hyginus]] ''Fabulae'' 25; [[Ovid]] ''Met''. 7.391ff.; [[Seneca the Younger|Seneca]] ''Medea''; ''[[Bibliotheca (Pseudo-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.</ref> [[Pausanias (geographer)|Pausanias]], writing in the late 2nd century AD, 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.<ref>Pausanias 2.3.6-11</ref>

==Modern productions and adaptations==
===Theatre===
[[File:Medea Staging MacMillan Films Staring Olivia Sutherland.jpg|thumb|Olivia Sutherland stars in MacMillan Films' ''Medea'']]
* [[Catulle Mendès]] adapted ''Medea'' into his play ''Medée'' in 1898, in three acts and in verse. [[Alfons Mucha]] drew a poster for a performance of this play starring [[Sarah Bernhardt]].
* [[Jean Anouilh]] adapted the Medea story in his French drama ''[[Médée (Anouilh)|Médée]]'' in 1946.
* [[Robinson Jeffers]] adapted Medea into a hit [[Broadway theatre|Broadway]] play in 1947, in a famous production starring [[Judith Anderson]], the first of three actresses to win a [[Tony Award for Best Actress in a Play|Tony Award]] for the role.  It was directed by [[John Gielgud]], who co-starred as Jason. ''Medea'' opened on Broadway at the [[National Theatre (New York)|National Theatre]] on 20 October 1947, transferred to the [[Royale Theatre]] on 15 December, and closed on 15 May 1948, after 214 performances. At the [[2nd Tony Awards]] on 28 March 1948,  Judith Anderson shared (with [[Katharine Cornell]] and [[Jessica Tandy]]) the [[Tony Award for Best Actress in a Play|Award for Best Actress in a Play]]. Another staging, produced and directed by [[Guthrie McClintic]] at the [[New York City Center|City Center]], premiered on 2 May 1949, and closed, after 16 performances, on 21 May. A staging in 1982, at the [[James Earl Jones Theatre|Cort Theatre]], brought a Tony win for [[Zoe Caldwell]], who played Medea, and a [[Tony Award for Best Featured Actress in a Play|Best Featured Actress in a Play]] nomination for Judith Anderson as Nurse. With a subsequent Tony win for [[Diana Rigg]] in 1994, the play holds the American Theatre Wing's Tony Award record for most wins for the [[Tony Award for Best Actress in a Play#Character win total|same female lead character]] in a play.
* [[Ben Bagley]]'s Shoestring Revue performed a musical parody [[off-Broadway]] in the 1950s which was later issued on an [[Long play|LP]] and a [[Compact disc|CD]], and was revived in 1995. The same plot points take place, but ''Medea in Disneyland'' is a parody, in that it takes place in a [[Walt Disney]] animated cartoon.
* Canada's [[Stratford Festival]] staged an adaptation of ''Medea'' by [[Larry Fineberg]] in 1978, which starred [[Patricia Idlette]] in the title role.<ref>"Electric Medea holds the stage". ''[[The Globe and Mail]]'', 3 July 1978.</ref>
[[File:Angelique Rockas - Headshot Medea.jpg|thumb|[[Angelique Rockas]] as Medea, [[Theatro Technis]] directed by [[George Eugeniou]]]]
* [[Yukio Ninagawa]] staged a production called ''Ohjo Media'' (王女メディア) in 1978, followed by a second version in 2005.<ref>{{cite news|url=https://www.nytimes.com/1986/08/31/theater/kabuki-and-noh-flavor-a-medea-in-central-park.html?partner=rssnyt&emc=rss|title=KABUKI AND NOH FLAVOR A 'MEDEA' IN CENTRAL PARK|first=Jennifer|last=Dunning|website=The New York Times|date=31 August 1986|access-date=1 June 2018}}</ref>
*In 1982, [[George Eugeniou]] at [[Theatro Technis]] London directed Medea<ref>{{Cite web|url=http://www.apgrd.ox.ac.uk/productions/production/3038|title=Medea (1982) &#124; APGRD|publisher=University of Oxford}}</ref> as a barefooted unwanted refugee played with "fierce agility"<ref>https://archive.org/details/CamdenScanner</ref> and "dangerous passions" by [[Angelique Rockas]].<ref>https://archive.org/details/ScreengrabNedChailletMedeaTheTimesReview21Jan1982Pg13
|date=21 January 1982|last=Chaillet|first=Ned}}</ref><ref> https://archive.org/details/angelique-rockas-medea-in-performance-1500-2000-page-258-edit-edith-hall-fiona-mc-kintosh `Medea In Performance 1500 2000 ``Page 258 Edit Edith Hall , Fiona Mc Kintosh</ref>
* In 1983, ''[[kabuki]]'' Master [[Shozo Sato]] created ''Kabuki Medea'' uniting Euripides' play and classical Kabuki storytelling and presentation.<ref>{{cite web|url=https://theatre.illinois.edu/portfolio/shozo-sato/|title=Shozo Sato|website=theatre.illinois.edu|access-date=1 June 2018}}</ref> It debuted at Wisdom Bridge Theater in Chicago.<ref>{{cite web|url=http://archives.chicagotribune.com/1983/12/10/page/15/article/comic-2-no-title|title=Chicago Tribune - Historical Newspapers|website=Chicago Tribune|access-date=1 June 2018}}</ref><ref>{{cite news|url=https://www.washingtonpost.com/archive/lifestyle/1985/07/19/kabuki-medea-furious-fusion/19c6a3bd-d4a8-478a-b0d2-287860c2bd1d/|title='Kabuki Medea': Furious Fusion|first=Joe|last=Brown|date=19 July 1985|access-date=1 June 2018|newspaper=The Washington Post}}</ref>
* The 1990 play ''[[Pecong (play)|Pecong]]'', by [[Steve Carter (playwright)|Steve Carter]], is a retelling of ''Medea'' set on a fictional Caribbean island around the turn of the 20th century
* The play was staged at the [[Wyndham's Theatre]] in London's [[West End theatre|West End]], in a translation by [[Alistair Elliot]].<ref name=rigg>From the programme and publicity materials for this production.</ref> The production opened on 19 October 1993.<ref name=rigg/>
* [[Chrysanthos Mentis Bostantzoglou]] makes a parody of this tragedy in his comedy ''Medea'' (1993).<ref>{{cite journal|author=Kaggelaris, N.|year=2016|title=Sophocles' Oedipus in Mentis Bostantzoglou's|quotation=''Medea''" [in Greek] in Mastrapas, A. N. - Stergioulis, M. M. (eds.) ''Seminar 42: Sophocles the great classic of tragedy'', Athens: Koralli|pages=74–81|url=https://www.academia.edu/30141685|journal=Κοράλλι|access-date=1 June 2018}}</ref><ref>{{cite journal|author=Kaggelaris, N.|year=2017|title="Euripides in Mentis Bostantzoglou's Medea", [in Greek] ''Carpe Diem'' 2 |pages=379–417|url=https://www.academia.edu/35477991|journal=Carpe Diem 2|access-date=1 June 2018}}</ref>
* A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance Theatre, directed by avant-garde stage director and choreographer [[Dimitris Papaioannou]].
* John Fisher wrote a [[Camp (style)|camp]] musical version of ''Medea'' entitled ''Medea the Musical'' that re-interpreted the play in light of [[LGBT subculture|gay culture]]. The production was first staged in 1994 in [[Berkeley, California]].<ref>{{cite news|work=The Wall Street Journal|title=John Fisher: The Drama of Gender|author=David Littlejohn|date=26 December 1996|url=https://www.wsj.com/articles/SB85033928188787500?mod=googlewsj}}</ref>
*[[Christopher Durang]] and [[Wendy Wasserstein]] co-wrote a sketch version for the [[Juilliard School]]'s Drama division 25th Anniversary. It premiered 25 April 1994, at the [[Juilliard Theater]], New York City.
* In November 1997 [[National Theatre of Greece]] launched a worldwide tour of ''Medea'', a critically acclaimed production directed by Nikaiti Kontouri, starring [[:el:Καρυοφυλλιά Καραμπέτη|Karyofyllia Karambeti]] as Medea, [[Kostas Triantafyllopoulos]] as [[Creon (king of Corinth)|Creon]] and Lazaros Georgakopoulos as [[Jason]]. The tour included performances in France, Australia, Israel, Portugal, United States, Canada, Turkey, Bulgaria, China and Japan and lasted almost two years, until July 1999.<ref>Archive of the [[National Theatre of Greece]], [http://www.nt-archive.gr/playDetails.aspx?playID=621 Euripides' ''Medea'' – Worldwide tour dates and venues] (in Greek).</ref><ref>Archive of the [[National Theatre of Greece]], [http://www.nt-archive.gr/viewfiles1.aspx?playID=621&photoID=11661 Photo of Kostas Triantafyllopoulos as Creon in Euripides' ''Medea''] at the [[State Theatre (Sydney)|State Theatre of Sydney]], [[Australia]] on 22 – 24 May 1998"].</ref> The play opened in the United States at [[Shubert Theatre (Boston)|Shubert Theatre]] in [[Boston]] (18 and 19 September 1998) and then continued at [[New York City Center|City Center Theatre]] in [[Manhattan]], [[New York City]] (23 to 27 September 1998), receiving a very positive review from ''[[The New York Times]]''.<ref>[https://web.archive.org/web/20180317233759/http://partners.nytimes.com/library/theater/092598medea-theater-review.html ''Medea: Anguish, Freeze-Dried and Served With Precision''] – New York Times review on Medea accompanied with a picture of [[:el:Καρυοφυλλιά Καραμπέτη|Karyofyllia Karambeti]] (Medea) with [[Kostas Triantafyllopoulos]] (Creon) from the opening night at [[New York City Center|City Center Theatre]], [[Manhattan]], [[New York City|New York]] on 23 September 1998. Peter Marks (picture by Michael Quan), ''[[The New York Times]]'', 25 September 1998. Retrieved 10 December 2010.</ref>
* [[Neil LaBute]] wrote ''Medea Redux'', a modern retelling, first performed in 1999 starring [[Calista Flockhart]], as part of his one-act [[trilogy]] entitled ''[[Bash: Latter-Day Plays]]''. In this version, the main character is seduced by her middle-school teacher. He abandons her, and she kills their child out of revenge.
* [[Michael John LaChiusa]] created a Broadway musical adaptation work for [[Audra McDonald]] entitled ''[[Marie Christine]]'' in 1999. McDonald portrayed the title role, and the show was set in 1890s New Orleans and Chicago.
* [[Liz Lochhead]]'s ''Medea'' previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's<ref>{{cite web|url=http://www.theatrebabel.co.uk/|title=Theatre Loans - Logbook Loans Provider|website=Theatrebabel.co.uk|access-date=1 June 2018}}</ref> ''Greeks'' in 2000 before the Edinburgh Fringe and national tour. "What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every woman, and most of the men, in the theatre", wrote ''[[The Scotsman]]''.
*In 2000, [[Wesley Enoch]] wrote and directed a modern adaptation titled ''Black Medea'', which was first produced by Sydney Theatre Company's Blueprint at the Wharf 2 Theatre, Sydney, on 19 August 2000. Nathan Ramsay played the part of Jason, Tessa Rose played Medea, and [[Justine Saunders]] played the Chorus. Medea is re-characterised as an indigenous woman transported from her homeland to the city and about to be abandoned by her abusive social-climbing husband.<ref>Lahrissa Behrendt, ''Contemporary Indigenous Plays'' Currency Press (2007)</ref>
* [[Tom Lanoye]] (2001) used the story of Medea to bring up modern problems (such as migration and man vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, and the "final hour" of the love between Jason and Medea.
* Kristina Leach adapted the story for her play ''The Medea Project'', which had its world premiere at the [[Hunger Artists Theatre Company]] in 2004 and placed the story in a modern-day setting.<ref>{{cite news|url=https://www.ocregister.com/2016/08/03/medea-project-in-santa-ana-brings-greek-tragedy-to-today/|title='Medea Project' in Santa Ana Brings Greek Tragedy to Today|publisher=Orange County Register|date=3 August 2016}}</ref>
* [[Peter Stein (director)|Peter Stein]] directed ''Medea'' in Epidaurus 2005.
* Irish playwright [[Marina Carr]]'s ''[[By the Bog of Cats]]'' is a modern re-telling of Euripides' ''Medea''.
* In November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged ''Medea'' at the Bibliotheca Alexandrina ([[University of Alexandria]], Egypt). The production was noted (by Nehad Selaiha of the weekly ''Al-Ahram'') not only for its unexpected change of plot at the very end but also for its chorus of one hundred who alternated their speech between Arabic and English. The translation used was that of George Theodoridis.
* US Latina playwright [[Caridad Svich]]'s 2009 play ''Wreckage'', which premiered at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlife.
* Paperstrangers Performance Group<ref>{{cite web|url=http://www.paperstrangers.org/|archive-url=https://web.archive.org/web/20120822034042/http://www.paperstrangers.org/|url-status=dead|archive-date=22 August 2012|title=paperStrangers Performance Group|date=22 August 2012|access-date=1 June 2018}}</ref> toured a critically acclaimed production of ''Medea'' directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010.
*Bart Lee's interpretation of Medea, renamed ''Medea, My Dear'', was performed in Surrey and later toured the south of England from 2010 to 2011.
*[[Luis Alfaro]]'s re-imagining of Medea, ''Mojada'', world premiered at [[Victory Gardens Theater]] in 2013.
* Theatre Lab's production, by Greek director Anastasia Revi, opened at The [[Riverside Studios]], London, on 5 March 2014.
*''[[The Hungry Woman|The Hungry Woman: A Mexican Medea]]'' by [[Cherríe Moraga]] takes elements of ''Medea'' and of other works.<ref name=Eschenp103>Eschen, Nicole ([[University of California, Los Angeles]]). "[http://muse.jhu.edu/journals/tj/summary/v058/58.1eschen.html The Hungry Woman: A Mexican Medea (review)]." ''[[Theatre Journal]]''. Volume 58, Number 1, March 2006 pp. 103–106 | 10.1353/tj.2006.0070&nbsp;– At: [[Project MUSE]], p. 103</ref>
* 14 July&nbsp;– 4 September 2014 London [[Royal National Theatre]] staging of Euripides in a new version by [[Ben Power]], starring [[Helen McCrory]] as Medea, directed by [[Carrie Cracknell]], music by [[Will Gregory]] and [[Alison Goldfrapp]].
* 25 September&nbsp;– 14 November 2015 London [[Almeida Theatre]] a new adaptation by [[Rachel Cusk]], starring [[Kate Fleetwood]] as Medea, directed by [[Rupert Goold]].
* 17 February&nbsp;– 6 March 2016 in Austin at the [[Long Center for the Performing Arts]] starring Franchelle Stewart Dorn as Medea and directed by Ann Ciccolella.
* May 2016&nbsp;– MacMillan Films released a full staging of the original ''Medea'' which was staged for camera. The DVD release shows the entire play. complete with the Aegis scenes, choral odes and triumphant ending. Directed by James Thomas and starring Olivia Sutherland, the staging features Peter Arnott's critically acclaimed translation.
* Chico Buarque and Paulo Pontes, Gota d'Água (musical play set in 1970s Rio de Janeiro, based on Euripides, 1975). Several times revived, including a 2016/2017 production starring Laila Garin (celebrated for her title role in the highly regarded musical biography of Elis Regina, staged in Brasil in 2015).
* February 2017: the play was staged in South Korea, directed by Hungarian theatre director [[Róbert Alföldi]], with [[Lee Hye-young (actress, born 1962)|Lee Hye-young]] in the titular role.<ref>{{cite web|url=http://www.asiae.co.kr/news/view.htm?idxno=2017021314245887054|title=이혜영 "'메디아'는 일생일대의 도전…신화 아닌 오늘날 이야기"|publisher=Asiae|access-date=2017-02-26|language=ko|date=2017-02-13}}</ref>
* In some editions of the theatrical play, Medea would be played as a man instead of a woman to show a unique and perhaps more culturally accepted point of view. 
* In some play adaptations, Jason is played as a sympathetic figure who is manipulated by Medea, rather than a conniving opportunist.

===Film===
*[[Pier Paolo Pasolini]] adapted the legend into a [[Medea (1969 film)|movie of the same name]] in 1969 starring [[Maria Callas]] as Medea
*In the 1983 film ''[[Storia di Piera]]'' by [[Marco Ferreri]], [[Isabelle Huppert]] as the protagonist learns the part of Medea at school and plays it when she is an adult actress.
*Asian-American filmmaker [[Michael Justin Lee]] reinterpreted the story into a [[Film noir|noir]] short film set in modern-day America starring [[Amy Gordon (actress)|Amy Gordon]] as Medea. (2018)<ref>{{cite web|url=https://www.imdb.com/title/tt7602840/|title=Medea|access-date=1 June 2018|publisher=IMDb}}</ref>

===Television===
* Australian actress [[Zoe Caldwell]]'s performance in the 1982 Broadway adaptation<ref>[https://www.csmonitor.com/1982/0506/050601.html Christian Science Monitor] ''Zoe Caldwell's 'Medea,' a theatrical mountaintop; Medea Tragedy by Euripides, freely adapted by Robinson Jeffers. Directed by Robert Whitehead''</ref> of the Jeffers' script<ref>[https://www.amazon.com/Medea-Freely-adapted-Euripides/dp/B0007EBK1C Medea: Freely adapted from the Medea of Euripides ] (1948) Robinson Jeffers (translator)</ref> was [https://www.youtube.com/watch?v=OdtDeZZ4RPk recorded for broadcast] on the [[PBS]] series ''Kennedy Center Tonight''.
* [[Medea (1988 film)|Lars von Trier]] made a [[Medea (1988 film)|version for television in 1988]], based on the script adaptation by [[Carl Theodor Dreyer]].
* [[Theo van Gogh (film director)|Theo van Gogh]] directed [[Medea (TV serial)|a miniseries version]] that aired 2005, the year following his murder.<ref>{{cite web|url=https://www.imdb.com/title/tt0441581/|title=Medea|access-date=1 June 2018|publisher=IMDb}}</ref>
* ''OedipusEnders'', a documentary broadcast on [[BBC Radio 4]] on 13 April 2010, discussed similarities between [[soap opera]] and Greek theatre. One interviewee revealed that the writers for the [[ITV (TV network)|ITV]] police drama series ''[[The Bill]]'' had consciously and directly drawn on ''Medea'' in writing an episode for the series.<ref>{{cite web|url=https://www.bbc.co.uk/programmes/b00ryf1g|title=OedipusEnders - BBC Radio 4|publisher=BBC|access-date=1 June 2018}}</ref>
* Playwright [[Mike Bartlett (playwright)|Mike Bartlett]] was inspired to create a modern-day suburban ''Medea'' after adapting the Euripides play for a theatre production in 2012. Bartlett's 2015–2017 BBC1 miniseries ''[[Doctor Foster (TV series)|Doctor Foster]]'' follows the structure of the Greek tragedy.<ref>{{cite web|url=https://www.radiotimes.com/news/2018-03-14/the-plot-of-doctor-foster-is-actually-2500-years-old-reveals-writer-mike-bartlett/|title=The plot of Doctor Foster is actually 2,500 years old, reveals writer Mike Bartlett|website=[[Radio Times]]|access-date=4 November 2019}}</ref> A Korean remake of the series, ''[[The World of the Married]]'', became the highest-rated cable drama in Korean history, with its final episode reaching a nationwide rating of 28.371%.{{fact|date=October 2024}}

==English translations==
* [[Robert Potter (translator)|Robert Potter]], 1781 - verse: [[iarchive:tragediestransla01euriuoft/page/169/|full text]]
* [[Michael Wodhull]], 1782 – verse<ref>{{cite ODNB|id=29818|first=Marc Vaulbert|last=de Chantilly|title=Wodhull, Michael}}</ref>
* Edward P. Coleridge, 1891 – prose: full text<ref>{{cite web|url=http://classics.mit.edu/Euripides/medea.html|title=The Internet Classics Archive - Medea by Euripides|website=classics.mit.edu|access-date=1 June 2018}}</ref>
* [[Theodore Alois Buckley]], 1892 – prose: full text<ref>{{cite book|url=https://www.gutenberg.org/ebooks/15081|title=The Tragedies of Euripides, Volume I.|first=480? BCE-406 BCE|last=Euripides|date=16 February 2005|access-date=1 June 2018|publisher=Project Gutenberg}}</ref>
* [[Gilbert Murray]], 1912 – verse: full text<ref>{{cite web|url=https://archive.org/details/medeatranslatedi00euriuoft|title=The Medea. Translated into English rhyming verse with explanatory notes by Gilbert Murray|last1=Euripides|first2=Gilbert|last2=Murray|date=1 June 2018|publisher=New York Oxford University Press|via=Internet Archive}}</ref>
* [[Arthur S. Way]], 1912 – verse
* [[F. L. Lucas]], 1924 – verse<ref>Lucas, F. L., ''Euripides: Medea; verse translation, with introduction and notes'' (Oxford University Press, 1924)</ref>
* Augustus T. Murray, 1931 – prose
* [[Countee Cullen]], 1935
* [[Moses Hadas]] and John McLean, 1936 – prose
* [[R. C. Trevelyan]], 1939 – verse
* [[Rex Warner]], 1944 – verse
* [[Robinson Jeffers]], 1946 – verse 
*[[Ray Mathew]], 1953 – [[The Medea of Euripides (radio play)|verse]]
* Peter D. Arnott, 1961 – verse
* [[Philip Vellacott]], 1963<ref>{{cite web|url=https://www.amazon.com/dp/B000NY6NTU|title=Medea and Other Plays|date=30 August 1963|publisher=Penguin Classics|access-date=1 June 2018}}</ref>
* Rush Rehm, 1973 - prose<ref>{{cite web|url=https://www.bloomsbury.com/uk/euripides-electra-9781350191617/|title=Euripides: Electra|date= 1973|publisher= Bloomsbury Academic|access-date= 10 December 2024}}</ref>
* John Davie, 1996
* [[James Morwood]], 1997 – prose
* [[Paul Roche]], 1998 – verse
* [[Ruby Blondell]], 1999 – verse
* George Theodoridis, 2004 – prose: full text<ref>{{cite web|url=http://bacchicstage.wordpress.com/euripides/medea/|title=Medea Μήδεια|date=25 February 2011|website=Bacchicstage.wordpress.com|access-date=1 June 2018}}</ref>
* Stephen Esposito, 2004 – verse<ref>Esposito, S. ''Euripides: Medea, Hippolytus, Heracles, Bacchae'' (2004) {{ISBN|9781585100484}}, Focus Publishing</ref>
* Joseph Goodrich, 2005 – verse: full text<ref>{{cite web|url=http://www.playscripts.com/playview.php3?playid=488|title=Medea by Joseph Goodrich - Playscripts Inc.|website=Playscripts.com|access-date=1 June 2018}}</ref>
* Graham Kirby, 2006 – verse (The Bloomsbury Theatre)
* Diane Arnson Svarlien, 2008 – verse
* [[Robin Robertson]], 2008 – verse
* J. Michael Walton, 2008 – prose
* [[Ian C. Johnston]], 2008 – verse: full text<ref>{{Cite web|url=http://johnstoniatexts.x10host.com/euripides/medeahtml.html|title=Euripides, Medea (English Text)|website=johnstoniatexts.x10host.com}}</ref>
* [[Tom Paulin]], 2010 - full text
* [[Judith Mossman (classicist)]], 2011 – prose
* Brian Vinero, 2012 – rhymed verse: full text<ref>{{cite web | url=https://pwcenter.org/plays/medea-adapted-from-euripides/ | title=Medea, adapted from Euripides &#124; Playwrights' Center | date=18 January 2015 }}</ref>
*[[Mike Bartlett (playwright)|Mike Bartlett]], 2012 – play<ref>{{cite web|url=https://www.theguardian.com/stage/2012/oct/03/medea-review|title=Medea – review|first=Mark|last=Fisher|date=3 October 2012|website=The Guardian|access-date=1 June 2018}}</ref>
* Diane Rayor, 2013
* [[David Stuttard]], 2014 – prose<ref>Stuttard, David, ''Looking at Medea: Essays and a translation of Euripides' tragedy'' (Bloomsbury Academic 2014)</ref>
* Alan Chriztopher R. Aranza, 2015 – prose
*Rachel Kitzinger, 2016 – verse
*Charles Martin, 2019
*Richard Swanson, 2020 – prose
*Michael Ewans, 2022 – verse<ref>Ewans, Michael 'Euripides' Medea; translation and theatrical commentary' (Routledge 2022)</ref>

== References ==
{{Reflist}}
{{reflist|group=lower-alpha}}

== Further reading ==
* {{cite book |last=DuBois |first=Page |date=1991 |title=Centaurs and Amazons: Women and the Pre-History of the Great Chain of Being |publisher=University of Michigan Press |isbn=0-472-08153-5}}
* {{cite book |last=Ewans |first=Michael |date=2007 |title=Opera from the Greek: Studies in the Poetics of Appropriation |publisher=Ashgate Publishing, Ltd |isbn=978-0-7546-6099-6}} {{ISBN|978-0-7546-6099-6}}
* {{cite book |last=Gregory |first=Justina |date=2005 |title=A Companion to Greek Tragedy |publisher=Wiley-Blackwell |isbn=1-4051-0770-7}}
* {{cite book |last=Griffiths |first=Emma |date=2006 |title=Medea |publisher=Taylor & Francis |isbn=0-415-30070-3}} {{ISBN|978-0-415-30070-4}}
* {{cite book |last=Hall |first=Edith |date=1991 |title=Inventing the Barbarian: Greek Self-definition through Tragedy |publisher=Oxford University Press |isbn=0-19-814780-5}}
* Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100)
* Lootens, Barbara J. "Images of Women in Greek Drama." ''Feminist Teacher'', vol. 2, no. 1, 1986, pp. 24–28. ''JSTOR'', {{JSTOR|25680553}}. Accessed 27 Mar. 2023.
* {{cite book |last=Mastronarde |first=Donald |date=2002 |title=Euripides: Medea |publisher=Cambridge University Press |isbn=0-521-64386-4 |url-access=registration |url=https://archive.org/details/medea0000euri }}
* {{cite book |last=McDermott |first=Emily |date=1989 |title=Euripides' Medea: the Incarnation of Disorder |publisher=Penn State Press |isbn=0-271-00647-1}} {{ISBN|978-0-271-00647-5}}
* {{cite book |last=McDonald |first=Marianne |date=1997 |chapter=Medea as Politician and Diva: Riding the Dragon into the Future |title=Medea: Essays on Medea in Myth, Literature, Philosophy, and Art |editor1=Ckauss, James |editor2=Johnston, Sarah Iles |publisher=Princeton University Press |isbn=0-691-04376-0}}
* {{cite book |last=Mitchell-Boyask |first=Robin |date=2008 |title=Euripides: Medea |translator=Diane Arnson Svarlien |publisher=Hackett Publishing |isbn=978-0-87220-923-7}}
* {{cite book |last=Powell |first=Anton |date=1990 |title=Euripides, Women and Sexuality |publisher=Routledge Press |isbn=0-415-01025-X}}
* Pucci, Pietro. "Survival in the Holy Garden." ''The Violence of Pity In Euripides’ “Medea,”'' vol. 41, Cornell University Press, 1980, pp. 91–130. ''JSTOR'', <nowiki>http://www.jstor.org/stable/10.7591/j.cttq44w0.6</nowiki>. Accessed 27 Mar. 2023.
* {{cite book |last=Rabinowitz |first=Nancy S. |date=1993 |title=Anxiety Veiled: Euripides and the Traffic in Women |publisher=Cornell University Press |isbn=0-8014-8091-4 |url-access=registration |url=https://archive.org/details/anxietyveiledeur00rabi }}
* {{cite book |last=Saïd |first=Suzanne |date=2002 |chapter=Greeks and Barbarians in Euripides' Tragedies: The End of Differences? |translator=Antonia Nevill |title=Greeks and Barbarians |editor=Harrison, Thomas |publisher=Taylor & Francis |isbn=0-415-93959-3}}
* {{cite book |last=Sommerstein |first=Alan |date=2002 |title=Greek Drama and Dramatists |publisher=Routledge Press |isbn=0-203-42498-0}} {{ISBN|978-0-203-42498-8}}
* Tessitore, Aristide. "Euripides’ ‘Medea’ and the Problem of Spiritedness." The Review of Politics, vol. 53, no. 4, 1991, pp. 587–601. JSTOR, {{JSTOR|1407307}}. Accessed 27 Apr. 2023.
* Tigani, Francesco (2010), ''Rappresentare Medea. Dal mito al nichilismo'', Aracne. {{ISBN|978-88-548-3256-5}}

* {{cite book |author-link=Judith Mossman (classicist) |last=Mossman |first=Judith |title=Medea: Introduction, Translation and Commentary  |publisher=Aris & Phillips |location=Warminster |date=2011 |isbn=978-0-856-68788-4}}

==External links==
{{commons category|Medea (Euripides)}}
{{wikisourcelang|el|Μήδεια}}
* {{wikisource-inline|Medea (Euripides)|''Medea''|single=true}} (multiple English translations)
*[http://ablemedia.com/ctcweb/netshots/medea.htm Structure of the tragedy.]
*[http://www.gradesaver.com/ClassicNotes/Titles/medea/ ClassicNotes about "Medea"]
*[http://www.giorgioclementi.it/medea.htm The Medea of the modern times]
*[http://www.theatrearcadia.com Cultural Organization "Theatre Arcadia"]
*[https://www.flickr.com/photos/angelique_rockas/sets/72157628126758242/   link to photographs and reviews of Medea directed by George Eugeniou at Theatro Technis and Angelique Rockas in the title role]
* {{librivox book | title=Medea | author=EURIPIDES}}
*[https://www.youtube.com/watch?v=_6crSyNOIHg see the famous 3rd Choral ode of Medea from the Olivia Sutherland Medea]

{{Euripides Plays}}
{{Medea}}
{{Argonautica}}
{{OlivierAward OutstandingAchievement}}

{{Authority control}}

[[Category:Corinthian mythology]]
[[Category:Feminism and the arts]]
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[[Category:Women and death]]
[[Category:Works about Medea]]
[[Category:Cultural depictions of Jason]]
[[Category:Helios]]
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