Euripides

Posted in Ancient World

Potions and Poisons: Classical Ancestors of the Wicked Witch, Part 2

Creusa Receiving the Burning Jewelry from Medea, detail of illuminated manuscript, ca 1415. J. Paul Getty Museum
Creusa Receiving the Burning Jewelry from Medea, detail of illuminated manuscript, ca 1415. J. Paul Getty Museum

Meet the formidable proto-witch, Medea. More»

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Posted in Ancient World, Antiquities, Getty Villa

A Guide to Euripides’ Medea

Mixing Vessel with Medea Departing in a Chariot
Mixing Vessel with Medea Departing in a Chariot (detail), about 400 B.C., attributed to the Policoro Painter. Terracotta, 19 7/8 x 19 5/8 in. The Cleveland Museum of Art, Cleveland, Ohio, Leonard C. Hanna Jr. Fund, 1991.1. Photo: Tim Evanson on Flickr, CC BY-SA 2.0

Unpacking the ancient, bloody myth of Medea. More»

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Posted in Getty Villa, Getty360

Getting to Know You

Group photo from the Mojada reading at the Getty Villa
Occidental College grad students with noted Chicano theater scholar Dr. Jorge Huerta at the Getty Villa stakeholder reading.

Playwright Luis Alfaro is remaking Euripides’ Medea for Los Angeles. More»

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Posted in Behind the Scenes, J. Paul Getty Museum

In Search of Euripides’ Helen

Euripides Helen at the Getty Villa

For over a year I’ve had the pleasure of working as a dramaturge with Nick Salamone, the playwright of this year’s Villa outdoor theater production of Euripides’ Helen. During rehearsals this summer I got together with Nick and director Jon… More»

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Posted in Getty Villa, J. Paul Getty Museum

An Interview with the Creative Team behind Euripides’ “Helen” at the Getty Villa

helen

“It’s a whole lot of fun to roll up to rehearse at the Getty Villa on a daily basis,” says Maxwell Caulfield, the actor headlining the Getty Villa’s outdoor theater production of Euripides’ Helen, presented by Playwrights’ Arena. In this… More»

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Posted in Behind the Scenes, Getty Villa, J. Paul Getty Museum

A Living Artifact: “Trojan Women (after Euripides)” Premieres Tonight

trojan_women

Tonight at 8:00 p.m., the Getty Villa becomes a stage for the premiere of Trojan Women (after Euripides). It’s the culmination of years of work and refinement, both for SITI Company (presenting the play) and for the team at the… More»

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Posted in Behind the Scenes, Getty Villa, J. Paul Getty Museum

Nothing Happens, Everything Happens: Perspectives on “Trojan Women (after Euripides)”

trojan_women_2

“People don’t understand why Trojan Women is such a great play, because they say nothing happens,” says director Anne Bogart, explaining why SITI Company chose to adapt the ancient drama for this year’s outdoor theater production at the Getty Villa. “In… More»

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SITI Company on “Trojan Women (after Euripides)” at the Getty Villa

siti_company

SITI company premieres a newly commissioned adaptation of Euripides’ Trojan Women at the Getty Villa on September 8. “We’ve been working for 20 years to do this play,” says Leon Ingulsrud, who helped found the New York-based ensemble in 1991. In… More»

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Reimagining Euripides: A 21st-Century “Trojan Women” at the Getty Villa

Playwright and dramaturg Jocelyn Clarke and SITI Company director Anne Bogart
Playwright and dramaturg Jocelyn Clarke and SITI Company director Anne Bogart

First performed over 2,400 years ago, Euripides’ Trojan Women is one of the most enduring and moving of classical dramas—and one of the greatest antiwar plays. Beginning September 8, renowned New York-based theater troupe SITI Company premieres a newly commissioned… More»

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      A Chat with Photographer Tomoko Sawada

      A conversation about Japanese matchmaking traditions, self-portraiture, clothes, and identity.

      When did you start photographing yourself?
      I began making self-portraits when I was 19. It was an assignment for a photography class. I can’t even explain in Japanese why I liked them so much. It was instinctual. It’s as if I knew that this was going to be my style, that this is what I wanted to do. And I’m still doing it because I love the self-portrait, but I don’t know why. 

      What themes are you exploring in your work?
      I’m interested in the relationship between inside and outside. If you wear a sexy dress or if you wear kids clothes or casual clothes, people treat you differently. Even though you are you no matter what you wear. It’s that relationship that makes me think. 

      My new work is from when I was living in New York. When I was in New York, people didn’t think I was Japanese. Sometimes they thought I was Korean or Chines or Mongolian. Even Singaporean. It was funny, when I would go to the Japanese market, they would speak to me in English. When I went to the Korean market, they would speak to me in English again. I don’t seem to look Japanese outside of Japan. I was surprised because I think I look totally Japanese. It’s funny that people’s points of view are totally different.

      Could you talk a little about OMIAI, the series that represents a traditional Japanese matchmaking technique.
      OMIAI is a tradition that is somehow still working today. Usually, there is a matchmaker and photographs are exchanged before meeting. If both sides are interested, they can meet for lunch or dinner accompanied by their parents and steps for marriage proceed from there. In the old days, some people chose their marriage partner just through photographs, without even meeting each other. 

      When OMIAI was exhibited in Japan I saw people making various comments in from of the work. People would say things like, “she looks like a good cook; surely she would prepare delicious meals every day,” or “ this girl could be a perfect bride for my son,” or “I can tell she would not be a good housewife,” or “she’s such a graceful girl; she must be the daughter of a decent family.” Comments like that. 

      What was the process of making that work?
      I gained 10 pounds before I started taking the pictures, and in six months I lost forty pounds, because I wanted to look different in each photo. I wanted to change the way my legs looked. 

      Every weekend I went to the hair salon and put on a kimono. Then I went to the photo studio on the street in Japan. I would take a picture and then change my clothes to western dress. Then I would go to the studio again the next weekend. 

      Did you tell the photographer how you wanted it done?
      I told him I was an artist and wanted to make photographs with him. I told him to think that each weekend new girls would show up to make the OMIAI. I didn’t want him to think of me as the same girl who came every weekend. He understood the concept. 

      We had fun. While he was taking pictures, his wife would tell me how to lose weight. She gave me many tips.


      Tomoko Sawada’s work is on view at the Getty until February 21, 2016 in “The Younger Generation: Contemporary Japanese Photography”

      02/11/16

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