By Aeschylus, Sophocles, Euripides
In An Oresteia, the classicist Anne Carson combines 3 varied models of the tragedy of the home of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the homicide of her daughter Iphigeneia by means of her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's activities, Apollo calls on her son, Orestes, to avenge his father's dying with the aid of his sister Elektra. after all, Orestes is pushed mad via the Furies for his bloody betrayal of kinfolk. Condemned to dying through the folks of Argos, he and Elektra needs to justify their activities ― or flout society, justice and the gods.
Carson's translation combines modern language with the normal buildings and rhetoric of Greek tragedy, beginning up this historic story of vengeance to a contemporary viewers and revealing the fundamental wit and morbidity of the unique performs.
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Additional resources for An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides
IV. On the Balinese Theater The spectacle of the Balinese theater, which draws upon dance, song, pantomime-and a little of the theater as we understand it in the Occident-restores the. theater, by means of ceremonies of indubitable age and well-tried efficacity, to its original destiny which it presents as a combination of all these elements fused together in a perspective of hallucination and fear. It is very remarkable that the first of the little plays which compose this spectacle, in which we are shown a father's remonstrances to his tradition-flouting daughter, begins with an entrance of phantoms; the male and female characters who will develop a dramatic but familiar subject appear to us first in their spectral aspect and are seen in that hallucinatory perspective appropriate to every theatrical character, before the situations in this kind of symbolic sketch are allowed to develop.
Stage, the suspended rhythm is completed, the measure made clear. Everything is thus regulated and impersonal; not. a movement of the muscles, not the rolling of an eye but seem to belong to a kind of reflective mathematics which controls everything and by means of which everything happens. And the strange thing is that in this systematic depersonalization, in these purely muscular facial expressions, applied to the features like masks, everything produces a significance, everything affords the maximum effect.
Anew physical. language, based upon signs and no longer upon words, is liberated. These actors with their geometric robes seem to be animated hieroglyphs. It is not just the shape of their robes which, displacing the axis of the human figure, create beside the dress of these warriors in a state 'of trance 'and perpetual war a kind of second, symbolic dress and thus inspire an intellectual idea, or which merely. connect, by all the intersections of their lines, with all the intersections of perspective in space.
An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides by Aeschylus, Sophocles, Euripides