ABSTRACT
This chapter considers Franca Rame's Medea and Maricla Boggio's Medea, which were meant to express an explicitly subversive message against patriarchal society and in support of the new ideas expressed by the feminist movement of the 1970s. Rame's Medea stands out among the other plays for several reasons: its author — or co-author — is the only one who enjoys an international reputation. Rame's Medea has sparked the interest of many critics over the years for its special role in the actress's repertoire. Marga Cottino-Jones, in one of the first critical essays to consider Rame as a writer, defined this monologue as the 'highest point' in Rame's quest to stage women's issues. Boggio's Medea, in fact, has already killed some of her children — her unborn children. Moreover, Boggio shows that the essential moments in Medea's 'conscientization' are connected to her relationship with other women.
