Glauce (Margareth Clementi) – the girl of the girls, virgin of virgins, innocence among innocents, hope broken into hopelessness, destiny shattered, has to die because of Jason’s careerism and yearning for success

Here we see what Medea’s witchcraft has done to Glauce’s face (more exactly, with reflection of her face in the mirror). Pretty girls (and many women) don’t differentiate between the mirror reflection of the face and the factual appearance of their faces) – they, as if carry the mirror on their face. In other words they allow others to decide the worth of their face. The mirror is their eyes. They’re prone to imitate the cliché of common gaze. In this sense they’re like men absentmindedly gazing at women’s faces.

Glauce, as though feels the irradiation of Medea’s hate – the power of jealousy. She feels herself under attack. She is afraid.

Glauce’s despair is intensifying – it’s mixed with her tears. She, as if, is losing her right to be as she is. She cannot understand, that if her “deformed” face will disappear forever it means that her life, her body will also disappear. But in this moment, when we see her – her life, her body, her future children are her face. Mirror becomes the judgment.

Glauce’s despair, not she – that is making, that has made the fatal decision. And Glauce is ready to disappear, to end it all, so as to forget about her “failure” as a beautiful, youthful, attractive, lovely and with promising future young woman, with her strong gracious body. It is, as if, Medea was flaying her alive, starting with her face.

Glauce is jumping to her death, and her father King Creon will follow her very soon. The both are, as if, transformed into insects by the despotic will of Medea which is grown on the same despair as Glauce’s self-sacrificial paroxysm.

Posted on Jan 26, 2014 – Pier Paolo Pasolini’s “Medea” (1969) – Medea As An Apocalyptic Muse by Acting-Out Politics

Posted on Mar 2 2015 – “Medea” (1969) by Pier Paolo Pasolini by Acting-Out Politics