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, version, in addition to sung and danced interpretations, it's been frequent within the Greek international and the Roman empire, and from the Renaissance to the modern degree. it's been vital to the cultured 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 historical past comprise classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the publication is generously illustrated, and supplemented with the priceless examine reduction of a chronological appendix of performances.

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Additional resources for Agamemnon in performance 458 BC to AD 2004

Sample text

At the Romaia, Magnesia on the Maeander) ) Klutaimestra; adesp. ) Kassandra. The lost text that it would be particularly interesting to recover is Ion of Chios’ Agamemnon, on which see Tarrant (1976) 10–11. See further Hall, this volume, p. 57. 31 Ewans (1999), 230–3 has an interesting discussion of the theatrical aspects of the scene and its comparability with the Cassandra scene in Agamemnon. 32 Pat Easterling like and not like those of Aeschylus’ Cassandra: the setting at Troy, and her interaction with Hecuba and Talthybius, create a diVerent context for the mismatch between her interlocutors’ and the audience’s understanding of her prophecies, but the essential logic of the scene owes much to Aeschylus.

It sets the parameters of a Weld of research that opens up the disciplinary boundaries of the Classical Tradition, creating a whole new range of interpretative possibilities and contributing to the ongoing re-formation of the classical canon. Its chronological and geographical spread, and its emphasis on the commercial stage as well as on education and on avant-garde theatre provide fascinating insights into the diverse contexts in which Graeco-Roman antiquity, and especially tragedy, has acquired its meanings.

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. 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.

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