A primeira, baseada em Medéia, de Eurípedes, a segunda, fruto de experimentalismo e da mesma autora que depois escreveu outra peça também baseada em Medéia. Os excertos expostos abaixo evocam um sentimento quase conformado da existência. Digo 'quase' porque existe ao menos reflexão e a mera existência dessa revela uma consciência, o príncipio desencadeador de uma mudança. Ainda assim, creio que ambas se constroem tragicamente, pois, mesmo dotadas de consciência, caminham com a mesma placidez ignóbil de sempre.
(1) RUPSA: […] (Dreamily, absent-minded) All of us are changing so! In the sun, in the rain, and burning up in the heat from this endless walking, this wandering about… something is happening to all of us…
(2) CURTAINS: They fell deeply even. The man put it down to the accident of birth, the boredom of the path and the finality of death.
The men nod.
The woman put it down to the perfume, the lipstick and the finality of the tit.
The woman nod.
CURTAINS: They agreed to be silent. They were ashamed, for the man and the woman had become like two people anywhere, walking low in the dark through a dead universe. There seemed no reason to go on. There seemed no reason to stop.
CURTAINS: [...] One day the man looked out of his window. 'It's time,' he said. So he got up on his bicycle and he rode all over the earth and he cycled all over the sea. One evening as he was flying over the highways he saw the woman in his path. 'Get out of my road,' the man said, 'I can knock her down or I can stop.' He did both. 'You,' she said, 'if you have courage, get off you bicycle and come with me.' (2)
(1) Nabaneeta Dev Sen, ‘Medea’ in Tutun Mukherjee (ed.) Staging Resistance: Plays by Women in Translation (New Dehli, India: Oxford, 2005: 92-93).
(2) Marina Carr, 'Low in the Dark' in Plays One (London: Faber & Faber, 2005: 57, 59, 99).