By Aeschylus, Sophocles, Euripides
In An Oresteia, the classicist Anne Carson combines 3 diverse types of the tragedy of the home of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the homicide of her daughter Iphigeneia by way 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 loss of life with the aid of his sister Elektra. after all, Orestes is pushed mad via the Furies for his bloody betrayal of kin. Condemned to dying via 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 constructions and rhetoric of Greek tragedy, establishing up this historical 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
It’s got any number. A two-dimensional object has only one view. But a three-dimensional object—there’s no end. Q: But there wasn’t an end. Everybody’s in everybody’s dream and the final removal of the clothes shows that they are real people. You have the same actor playing Oberon and Theseus and the same actress playing Titania and Hippolyta. What was your point? Are you interweaving the world of the fairies and the nobles as if they were all part of the same dream? PB: Well, yes. Theseus and Hippolyta, the nobles, are trying to forge a complete and true relationship.
His revolutionary Marat/Sade and King Lear, his airborne A Midsummer Night’s Dream and untraditional La Tragédie de Carmen, his The Man Who and The Tragedy of Hamlet, and his masterwork, the nine-hour production of the Indian myth, The Mahabharata, place him in the forefront of those artists who can reach various audiences regardless of cultural boundaries. In an age when interest in theater arts has shifted from the stage to the screen, when the latest work of currently famous film directors, rather than plays, seem to offer vitality, Peter Brook continues to find his forum of expression primarily in the theater, through the interaction of actors and audience in live performances.
PB: You can look at preparation in many ways. Preparation in terms of literary theater means that one man has spent two years behind locked doors preparing his text. Preparation for nonliterary theater means that a group of actors working together for two years might reach a point of spontaneous creativity. In fact, working together for months and years continually results in a partnership of a telepathic sort, like Elaine May and Mike Nichols. Several years of preparation go into preparing for the point when they can actually work in public.