Contemporary dance, voguing, Japanese butoh, ancient Greek theatre, performance art – the American choreographer Trajal Harrell conjures up his elegant, subtle vocabulary from the influence of a wide range of genres. He bases his major new trilogy Porca Miseria on the stories and battles of three very different, but equally strong women: Maggie from Tennessee Williams’ Cat on a Hot Tin Roof, the African-American choreographer and activist Katherine Dunham, and the Greek mythological Medea. Through them he explores issues of identity, gender, sexuality and power in a compelling way, breaking the boundaries between dance, theatre and the visual arts. The first and last parts can be seen in a theatre setting, while the middle part is as much art installation as performance piece.
part 3: O Medea
Part three of Porca Miseria is based on Medea from Greek mythology. Harrell: ‘I see Medea as a woman who is ‘crazy in love’, to quote Beyoncé. Medea, who kills her own children, is a metaphor: murdering the male-defined ideal of motherhood and femininity to free herself.’ An emotional homage to a tragic heroine in an extraordinary exploration of grief.
- Debra Levine
- Trajal Harrell, Titilayo Adebayo, Frances Chiaverini, Maria Ferreira Silva, Vânia Doutel Vaz a.k.a. Odete Odd
- direction, choreography, costumes, co-set design, sound
- Trajal Harrell
- co-set design
- Erik Flatmo
- Stéfane Perraud
- Manchester International Festival
- commissioned by
- Manchester International Festival, Schauspielhaus Zürich, ONASSIS STEGI, Kampnagel, Holland Festival, the Barbican and Dance Umbrella, NYU Skirball, Berliner Festspiele and The Arts Centre at NYU Abu Dhabi