Agamemnon in performance 458 BC to AD 2004 by Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page,

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 likely one of the such a lot influential theatrical texts within the international canon. In functionality, translation, variation, in addition to sung and danced interpretations, it's been prevalent within the Greek global and the Roman empire, and from the Renaissance to the modern degree. it's been primary to the classy and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. 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 e-book is generously illustrated, and supplemented with the worthwhile study relief of a chronological appendix of performances.

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Additional info for Agamemnon in performance 458 BC to AD 2004

Sample text

Soph. Ant. 246–7, 429); Helen as sacker of cities (heleptolis 690, cf. Eur. IA 1476, 1511); the mattock of Zeus (cf. Soph. fr. *727R, from the lost play Chryses, evidently parodied by Aristophanes at Birds 1240); ‘a bitter end of marriage rites’ (745, cf. Eur. Med. 1388). But echoes like these may be fairly free-Xoating; it is more interesting to see how in the linguistic texture of Euripidean ‘remakes’ of Aeschylus, IA for example, reformulations of famous phrases will point up crucially ironic diVerence—as when Agamemnon’s ‘yoke-strap (ºÝðÆäíïí) of necessity’ (218) becomes the more prosaic ‘bonds of necessity’ (IíƪŒBò æåýªìÆôÆ, IA 443), and the more ‘modern’ phrasing underlines the diVerently problematic nature of necessity for these people in this play.

3. John Collier’s ‘Clytemnestra’ (1882). 34 Although no director today would be prepared to stage Clytemnestra standing empty-handed above the corpses of Agamemnon and Cassandra, we have to entertain the possibility that for Aeschylus’ audience the impact of the tableau might have been powerful enough even without the weapon. Translation for the stage often involves engagement not only with the theatrical script but also with what we perceive as its silences and gaps. Translation can become an issue to Wght and even to die for.

This is the tip of an iceberg, of course, a tiny survivor from what must have been a much more extensive history of discussion of the play, but it is largely because Agamemnon has survived in a continuing manuscript tradition that we have even this: Agamemnon on his departure for Troy made a compact with Clytemnestra that if he sacked Troy he would send a beacon signal that very day. So Clytemnestra hired a watchman to keep a lookout. And he saw it and reported it, and she herself sends for a group of elders to give them the news of the beacon; these constitute the chorus.

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