Introduction to Drama directing instructions The performance will begin with the chorus scattered within the audience

in different seats. This physically integrates them within the audience, thus representing the Greek tragic convention of the chorus often reflecting the views of the audience or explaining events to them. As the chorus speak their lines from the audience they should leave their seats and move towards the stage, standing at the back of the stage, spaced out in a line. Chorus member one begins with the line I heard a cry, spoken in a soft, pained tone to indicate sympathy. This line should be spoken and immediately after they should proceed to the stage, as chorus member 2 says the line It was a woman's cry, fierce, piercing and demented in the grip of some unbearable pain.; their voice should build in pitch and pace to show intensity, and on the phrase unbearable pain chorus member 1 should join in as well, with a pained tone of voice as this shows the conflicting emotions of the two members of the chorus. Chorus member 3 is a character displaying a relatively neutral stance compared to other members of the chorus, trying to be a voice of reason. This character will read the next section of the chorus' speech, up to the line ..when the hound's teeth sink into its neck.; this should be spoken to the audience to inform them of Medea's position, with emphasis placed on the repeated word cry as a symbol of her brokenness. Member 2, with the same tone of intensity as before, speaks the next line up until the phrase that very house into a cry, and the passion in their voice should increase on the cluster of three deeper, purer, wilder to indicate emphasis of Medea's superior anguish. The final section of this Chorus section should be a sequence of all chorus members, and flow with considerable speed to show the different contributions of each member. For instance, member 2 says It turned that very house into a cry and on the word cry member 3, the voice of reason, says That house is dear to my heart; similarly member 1 starts speaking on the word heart and says the line My heart echoes with Medea's cry in a mournful tone, literally echoing the pain of Medea. Chorus member 4 then cuts in with the sarcastic, blas line of She has my pity now, she always will before member 1 re-affirms their soft and pained loyalty with I am loyal to her still. contrasting to member 4's scorn. By the end of the sequence, the chorus should be scattered around the stage, with member 1 central and alone. After this sequence, the Nurse delivers her lines from the front of the stage, speaking to the audience with a mournful yet angry tone as she informs the audience of the situation as it stands. At the pause as indicated on the script, the nurse should turn to the chorus with a sign of disdain, as if to inform them that they cannot help Medea now, she is unreachable. The alliteration of million moon-miles spoken by the Nurse should be emphasised and almost sound irritable as spoken towards the chorus; warning them away. Medea's line is then spoken from the balcony, completely separate from the stage and should be said in a low, emotionless voice; almost as if she is possessed by some unknown demon of despair as she stands in the darkness. The two questions central to this section are key to expressing her desperation. The first one, Tell me, o tell what is good? should be spoken to the audience as Medea leans over the balcony, whereas the second, Tell me, truly, what is the good of living? should be spoken to the chorus as Medea looks for somewhere to turn for an end to her suffering. A slight pause should occur before the line A lie is a kind of death, to appear as if Medea has had a dark realisation, and as she finishes her line, Medea should walk out of sight, completely hidden on the balcony. Chorus member 1 then speaks the line Medea, you are going mad with sadness, your body is shrivelling at the thought of another woman in your man's bed looking up to the balcony, as if pleading with Medea. Member 4 then questions Medea scornfully with But why bother to lust for that particular bed? Or are you so sick of living that you cherish the thought of dying? before member 1 softly butts in, pleading I pray you, do not pray for that. Chorus member 3 then speaks the next section, trying to reason with Medea, up until the line This city is full of lovers, Medea which member 4 delivers in a scornful, mocking tone; spoken down to by member 2 It is also full of strangers; trying to maximise her plight and intensify her passionate emotions. These two lines should be delivered with the two actors facing one another, as

in an argument. Then, once again member 3 breaks in with the voice of reason, ending with the emphasised interrogatives Find one. Love him.