By Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin
Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is without doubt one of the so much influential theatrical texts within the worldwide canon. In functionality, translation, model, in addition to sung and danced interpretations, it's been established within the Greek international and the Roman empire, and from the Renaissance to the modern level. it's been crucial to the classy and highbrow avant-garde in addition to to radical politics of all complexions and to feminist considering. members to this interdisciplinary number of eighteen essays on its functionality heritage contain classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the booklet is generously illustrated, and supplemented with the priceless learn relief of a chronological appendix of performances.
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Extra info for Agamemnon in performance 458 BC to AD 2004
29 Under the inXuence of ritual, feminist, or Marxist critical readings, it turned into a primitive, barbaric tool, an emblem of the prepatriarchal world associated with the mother principle (see Fig. g. Fig. 3; cf. 2). 33 It is not accidental that recent productions of the Oresteia such as that by Ariane Mnouchkine have sought to strip Clytemnestra’s weapon of its symbolic associations. By reverting to the neoclassical dagger, they have tried to bring Clytemnestra back from the world of male fantasy to the reality of gender politics.
In Sophocles’ Electra the scene surrounding Clytemnestra’s oV-stage death is clearly meant to evoke her own killing of Agamemnon in Aeschylus, but when at 1415 she quotes Agamemnon’s ‘Ah, I am struck’ (þìïØ ðÝðºçªìÆØ Ag. ’, (ðÆEóïí, åN óŁÝíåØò, äØðºBí). Clytemnestra’s despairing ‘Ah! Again’ (1416 þìïØ ìÜº ÆsŁØò ¼ Ag. 1345) is once more capped by Electra, wishing the same fate on Aegisthus. g. ) to Ag. 218 at IA 511–12. Agamemnon for the Ancients 31 ‘stage-managing’ the killing, and pointedly cutting Clytemnestra’s lines in half.
We can tell from the fact that there are surviving marginal scholia6 that the play was read and studied enough to be the object of ancient commentary, and its richness in unusual vocabulary evidently interested lexicographers, but there were other Aeschylean texts to choose from, after all, and the claim of Agamemnon can’t have rested on scholarly grounds alone. There must have been a continuing awareness of the play’s importance in theatrical terms, and I want to use a passage in the surviving hypothesis to the play as a starting point.
Agamemnon in performance 458 BC to AD 2004 by Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin