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MEDEA 2

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Comments referred to Esperanza Roy

Directed by: Javier Aguirre. Screenplay: Javier Aguirre, upon the work by Lucio Anneo Seneca, Medea, a version by Jesús Luque Moreno. Photography: Isabel Ruiz. Editing: Isabel Revenga. Artistic Post-production: Antonio Peláez. Music: Antxon Larrauri, Eduardo Polonio, Jesús Villa Rojo, Emiliano del Cerro, Joaquin Turina. Choreography: Luis Pérez Dávila, "Luisillo". Production Manager: José Luis de Damas. Production: Actual films with the support of ICAA. Length: 86'. Text Performers: Esperanza Roy (Medea), Jose Pedro Carrion (Jason), Nati Mistral (nurse), Manuel de Blas (Creonte), Igor Larrauri (brother / voice-over), Fernando Fernan Gomez (messenger). Performers (ballet): Esperanza Roy (Medea), Lola Greco (Creusa), Saulo Garrido. (Jason), Daniel Doña (Creonte), María Vivó (nurse).

Comments referred to the movie

 

MANUEL VIDAL ESTÉVEZ

Among Javier Aguirre’s different personal best in his polymorphic work there is an outstanding relevant one: the adaptation of literary texts. Not every text but particularly intense ones… /… The cipher of Javier Aguirre’s operation that mostly breaks the rules: substituting the chorus original voices by some ballet scenes. The performance, as we are referring to a literal performance becomes more abstract and spectacular…/ … This impurity, to talk using Bazin’s words, is added some new ones. The performance of the classical text is shown in pure black and white while the ballet scenes are in full colour. Besides, the images employed at the beginning of the movie match with the ones of any news bulletin and compare to the pictures at the end of the movie which come from an industrious digitalization and from cinematographic archives that refer to German films shot during the Weimar Republic; some of these suggest the survival of the drama nowadays and the other uplift it to a conceptual category…/ … The plot of Medea shows us an abyss of horror and anguish by putting us in front of a mother who accomplish a matricide action to take revenge because of her husband’s (Jason) abandon. ../ … In due time, Seneca ignored Horatio’s principle, contained in his “Arte Poetica”, who advised not to show violence to the spectators; this rule was scrupulously respected. Javier Aguirre sides with Seneca and in this case, he rejects partially the “out of the ground” part although the performance of the crimes is free of realism and the violence is softened through the digital aesthetic retouch… /… All of this allows the viewer to enjoy the literary part of Medea2 along and at the same time it is necessary to decode the ballet scenes.

2009

 

RAFAEL UTRERA MACÍAS

Medea 2, the new title by Javier Aguirre follows “Dispersion de la Luz” (light diffusion), a most personal version and a much eloquent reading of Rafael Alberti’s poems “Sobre los Angeles” (on the angels). The moviemaker takes now a new literary pretext, Seneca’s tragedy, to solve a special playwriting which emanates from the conflict shown by the Cordovan author, using a particular aesthetic and a functional narrative always in accordance with his personal usual stylistics… /… After the initial credits, the film introduces us to its polyvalent speech preceded by an exordium; the author knows very well that the aim of this is to arouse the attention and to prepare the spirits of the listeners…/ … this TV-shaped preamble conducted by an emphasized voice-over, seems to put some distance between itself and the director’s usual anti-cinematographic language; the telling of the Seneca’s facts, structurally set by Aguirre, prove that the facts in the Classic Tragedy and its mythological literature can be repeated timelessly, in a very similar way and in similar human circumstances, although the contexts could seem diametrically opposed and so distant in time. Using Unamuno’s words, who translated into Spanish prose Seneca’s lines, “the tremendous passion which agitates the more typical tragedies in the Spanish history”, that’s what he said after the premiere of his “Medea” (Merida, 1933) performed by Margarita Xirgu…/ … The facts dramatized by the Basque moviemaker are settled in two different fields; on the one hand establishing the usual reading and re-creating the situations with the own style features of his expressive language and, on the other hand, getting into one of the many possibilities, as personal as creative, as creative as personal, as it happened in some precedent works signed by Dreyer (screenplay), Pasolini (Medea, according to Euripides), Ripstein (such is life, according to Lucio Anneo), I quote only an illustrious triad, but I can add Dassin, Chaffey or even Vons Trier…/ … A bright aspect of this film is the substitution of the chorus by some specific and designed dances whose heterogeneous composition, enunciating process, space availability and syncopated rhythm according to the different subject of the speech, build an original corpus in which the plastic solution is filled with dynamic images and varied resulting montages…/ … Medea2 is a talkie due to its verbalization and its music but it also integrates a structure linked to silent films not only because of the chromatic values used but mainly because of the composition of an internal montage that Aguirre has arranged for the characters’ dissertations or headings; Besides, the alternative Medea through rhythmic and melodic resources, goes beyond the musical areas y settles in a harmony made up of opposites where colour and colours, steps and movements flow in a figurative maelstrom which has been built in so many cases using already classical elements from Aguirre’s stylist. We cannot be surprised as, from the very beginning the own title is established, in a Pythagoras’ way, by using a numeral (or an ordinal, it depends on the reader) following the same informative resource of “Espectro Siete” (Spectrum Seven), “Uts Cero” (Uts Zero), “Multiples” (Multiple), “Numero Indeterminado” (Undetermined Number) or choosing other parameters “Temporalidad Interna” (Internal Temporality) “Objetivo 40º” (Objective 40º) or “Impulsos Opticos en Progresion Geometrica” (Optical Impulses in Geometrical Progression). To enter the musicalized Medea 2 means perceiving processes and resources (carried out nowadays by brand-new technologies) which emanate from the intellectual abyss and from the deep culture Aguirre hoards in his most eloquent filmography which is cinema-cinema/true cinema in a creative dimension (in the very good meaning of the word) and anti-cinema or non-cinema from a commercial point of view (taking into consideration the worst meaning of this word). The meta-language resources employed in the movie “Dispersion de la Luz” (Light Diffusion) show us a collage of expressionist elements (and somehow surrealistic) turned into symbols of the contemporary culture; that pays tribute to silent movies in both formal and iconographic aspects. Aguirre is true to himself also in Medea 2 and echoes the initiation idea (maybe also feeling and world view) which is supported by two essential elements: going on searching in the infinite fields of Art and achieving the task using the maximum simplification of expressive elements .

2009