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Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is likely one of the so much influential theatrical texts within the international canon. In functionality, translation, model, besides sung and danced interpretations, it's been typical within the Greek international and the Roman empire, and from the Renaissance to the modern level. it's been relevant to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. members to this interdisciplinary selection of eighteen essays on its functionality background comprise classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the ebook is generously illustrated, and supplemented with the precious study reduction of a chronological appendix of performances.
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Additional info for Agamemnon in performance 458 BC to AD 2004
1. 28 Pat Easterling What this deadpan hypothesis, composed long after the time of Aeschylus and his Wfth-century successors, seems to point to is the play’s classic status as a theatrical model. N. J. 17 This is a helpful reminder that straight full-scale revival is very far from being the crucial criterion of a play’s inXuence, particularly when it is one of three units in a trilogy, and trilogies have gone out of fashion. But the plays of the Oresteia, along with Seven against Thebes in particular, must have contributed decisively to the continuing prestige of their author long after he was felt to be old-fashioned.
The emphasis is all on her past ecstasies of devotion, on her virgin body, the contact of the garlands with her Xesh, their Xoating back to her beloved lord. The scene has been carefully prepared for back at 256–8 when Talthybius has told Hecuba that Agamemnon loves ‘Phoebus’ virgin’ and Hecuba has cried out, evoking Agamemnon, ‘Child! ’ What new sort of emphasis is this? 1267 contrasts the Aeschylean Cassandra’s ‘coarse turn of phrase’ (Yô’ Kò öŁüæïí, ‘go to hell’, as she Xings oV the Wllets), with Euripides’ version at 453 (Yô Ið KìïF ÷æøôüò), which ‘softens down the original .
On the one hand, the elusiveness and disparateness of theatre performance call for the development of analytical methods for the collection and documentation of ‘sources’. On the other hand, the word ‘sources’ with its ‘false premise of authentic origin’ raises 39 See, for instance, Chioles (1998), 73–7. 40 On the use of Cartoucherie for Mnouchkine’s Les Atrides see Lallias (1992) and on the use of Schaubu¨hne for Stein’s Oresteia see Fischer-Lichte (2004), 344–5. 41 This volume concludes with a listing of productions that can be seen as both a body of raw material awaiting analysis and a tool for interpretation, a map to be read in conjunction with other attempts in this volume to make sense of ‘Agamemnon in performance’.