Contemporary take on deconstructed Medea : a review

THEATRE: The New Dead: Medea Material. By Heiner Muller. Stella Electrika in association with La Boite Theatre Company, Brisbane, November 19. THERE has been a lot of intensity in independent theatre in Brisbane during the past year, as companies, production houses and producers have begun building new programs and platforms to support an expansion of pathways within the local theatre ecology. Audiences have been exposed to works signalling the diversity of what Brisbane theatre makers want to see on stage, from productions of new local and international pieces to new devised works, and the results of residencies and development programs. La Boite Theatre Company closes its inaugural indie season with a work that places it at the contemporary, experimental end of the spectrum. The New Dead: Medea Material is emerging director Kat Henry's interpretation of Heiner Muller's 1981 text Despoiled Shore Medea Material Landscape with Argonauts. Start of sidebar. Skip to end of sidebar. End of sidebar. Return to start of sidebar. Muller is known for his radical adaptations of historical dramas, from the Greeks to Shakespeare, and for deconstructed texts in which the characters - in this case, Medea - violently reject the familial, cultural and political roles society has laid out for them. Muller's combination of deconstructed characters, disconnected poetic language and constant references to aspects of popular culture and the Cold War politics he sought to abjure make his texts challenging to realise. The poetry entices but the density, together with the increasing distance of the Cold War politics in the texts, leaves contemporary directors with clear decisions to make about how to adapt these open texts. In The New Dead: Medea Material, Henry works with some interesting imagery and conceptual territory. Lucinda Shaw as Medea, Guy Webster as Jason and Kimie Tsukakoshi as King Creon's daughter Glauce, the woman for whom Jason forsakes his wife Medea, each reference different aspects of contemporary culture. Medea is a bitter, drunken, satin-gowned diva with bite; Jason - first seen lounging in front of the television with a beer in an image reminiscent of Sarah Kane's in-yer-face characterisation of Hippolytus in Phaedra's Love - has something of the rock star about him; and Glauce is a roller-skating, karaoke-singing, pole-dancing young temptress. The production is given a contemporary tone, dominated by Medea's twisted love and loss, rather than by any commentary on her circumstances. Its strength is the aesthetic Henry creates, supported by live electro-pop music, a band stage that stands as a metaphor for Jason's sea voyage, and multimedia that inserts images of the story unfolding beyond these characters' speeches as sorts of subconscious flashes. While Tsukakoshi is engaging throughout, there are moments when Shaw and Webster's performances - particularly in the songs - are diminished by a lack of clarity. The result is a piece that, while slightly lacking in its realisation at times, undoubtedly flags Henry's facility as an emerging director and what she wants to bring to the Brisbane theatre scene.

Ambient music with orchestral percussion (I dream of Jean-Michele)

I Dream of Jean-Michele is a non-lyrical instrumental piece that harks back to the 1980s ambient scene. A good piece for digital projects that are ambient, or require the space in synthesizer styled music from the 1980s.

(Electronic music) through the past (moody)

(Short 02) An eighties styled ambient piece that uses synth strings modelled on the late seventies-early eighties synths. Evoking the aural objects of that era. Instruments used in this composition are synths only.

(Positive electronic music) mighty boom (full length)

An uplifting, energetic dance styled composition with dirty synth, booming drums, piano and arpeggios.

Amazing

Amazing is an electronic instrumental featuring electronic drums, synth and warped vocals.

Antagonist CHILL OUT LOOP

A relaxed chill out loop.

Attitude electronic short

A short electronic composition styled for energy, attitude and adrenalin.

(Joyful pop-rock) heaven (mandolin rock)

A short and uplifting composition that is joyful in tone. Heaven is a track that is predominantly played on a real electro-acoustic mandolin - a versatile and sweet sounding instrument that punches above its weight to create a modern pop rock sound. The other sounds are a sampled bass, drums and a synth pad.

(Joyful pop-rock) heaven (mandolin rock) LOOP

A short and uplifting composition (looped) that is joyful in tone. Heaven is a track that is predominantly played on a real electro-acoustic mandolin - a versatile and sweet sounding instrument that punches above its weight to create a modern pop rock sound. The other sounds are a sampled bass, drums and a synth pad.

(Joyful pop-rock) heaven (mandolin rock) no intro hits

A short and uplifting composition that is joyful in tone. Heaven is a track that is predominantly played on a real electro-acoustic mandolin - a versatile and sweet sounding instrument that punches above its weight to create a modern pop rock sound. The other sounds are a sampled bass, drums and a synth pad.

The retro of Oz electro

With reference to Walter Benjamin's concept of the phantasmagoria, the author asks why the sounds of the 1980s define Australian music. 

Motor conflict in Stroop tasks : direct evidence from single-trial electro-myography and electro-encephalography

Several brain imaging studies have assumed that response conflict is present in Stroop tasks. However, this has not been demonstrated directly. We examined the time-course of stimulus and response conflict resolution in a numerical Stroop task by combining single-trial electro-myography (EMG) and event-related brain potentials (ERP). EMG enabled the direct tracking of response conflict and the peak latency of the P300 ERP wave was used to index stimulus conflict. In correctly responded trials of the incongruent condition EMG detected robust incorrect response hand activation which appeared consistently in single trials. In 50–80% of the trials correct and incorrect response hand activation coincided temporally, while in 20–50% of the trials incorrect hand activation preceded correct hand activation. EMG data provides robust direct evidence for response conflict. However, congruency effects also appeared in the peak latency of the P300 wave which suggests that stimulus conflict also played a role in the Stroop paradigm. Findings are explained by the continuous flow model of information processing: Partially processed task-irrelevant stimulus information can result in stimulus conflict and can prepare incorrect response activity. A robust congruency effect appeared in the amplitude of incongruent vs. congruent ERPs between 330–400 ms, this effect may be related to the activity of the anterior cingulate cortex.