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, version, besides sung and danced interpretations, it's been common within the Greek international and the Roman empire, and from the Renaissance to the modern level. it's been valuable to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. individuals to this interdisciplinary choice 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 booklet is generously illustrated, and supplemented with the important examine reduction of a chronological appendix of performances.
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Additional resources for Agamemnon in performance 458 BC to AD 2004
The more the musical resources of the solo tragic performer were admired, the more scope there was for artistic development to meet changing needs, giving audiences the sense of being in touch with something valuable and recognizable as ‘tragic’ without needing to be an antiquarian reconstruction of an old masterpiece. One could imagine a singer drawing on his personal repertoire to create Cassandra in musical terms that would suit this dramatic situation. 37 V I S UA L EV I D E N C E Artistic evidence in relation to the reception of a particular play is notoriously hard to evaluate, even when there is plenty that looks as though it might be relevant.
Throwing oV the garlands’ is one clue, and ‘rushes in’ (sc. ‘to the palace’) looks like another (ÞßłÆóÆ ôa óôÝììÆôÆ; åNóðçäﬁ A). Then there is ekple¯xis: can we put this more precisely into a theatrical context? A passage from the scholia on Eumenides and a couple more from the scholia on Sophocles’ Ajax may be relevant here. The Wrst scholion (1a/b) on Eumenides sets the scene at the opening of the play, the oracular shrine with the Pythian prophetess coming forward to make prayers: ‘But unexpectedly seeing the Furies sleeping in a circle around Orestes, she reports everything to the spectators, not because she is describing things inside the stagebuilding (ôa ðe ôcí óŒçíÞí) [sc.
46; R. Hunter (2002), 515–16. g. 13–14, Cassandra ‘Ah! Ah! ’ Deiphobus: ‘Greater than a riddle to me are the words you uttered’ (cf. Ag. 1112–13); and the puzzlement may come from the fact that while Deiphobus has just emerged from the palace, Cassandra has ‘seen’ him on the battleWeld (this may also be implied by the fragmentary ll. 226–99, where Athena disguises herself as Deiphobus in order to beguile Hector). This tantalizing passage illustrates very well the importance of the great soloist (backed by musicians, and other speakers), and it reminds us that we should not automatically think whole tragedy when we Wnd fragments like this.