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 such a lot influential theatrical texts within the worldwide canon. In functionality, translation, variation, in addition to sung and danced interpretations, it's been prevalent within the Greek international and the Roman empire, and from the Renaissance to the modern level. it's been vital to the classy and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. individuals 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 learn reduction of a chronological appendix of performances.
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Additional resources for Agamemnon in performance 458 BC to AD 2004
Modern edition: Pich (1977), 154–220. For a useful overview of bibliography and reviews see DiOrio (1972). See also Edgard (1974), 612–21 and Bonne´ric (1986), 308–27. The aftershocks of the Franco-Prussian war were felt at least until the 1900s, to judge from the subsequent revivals of Les Erinnyes in the newly restored Roman theatre of Orange in Southern France in competition with the revivals of Wagner’s Ring in Bayreuth. 18 Pantelis Michelakis captured the public imagination; but also alternative, avant-garde performances rewriting the play from the cultural margins.
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. At 355–64 she has sketched some Aeschylean details that she will not elaborate; at 448–50 she makes a vivid forecast of the shameful treatment her corpse will receive (cf.
By candlelight’. 452–62. Shakespeare quotations in this paper are from the edition of Wells and Taylor (1988). Aeschylus in English translation is quoted from either Grene and Lattimore (1991), or Fagles (1987). 2 Preface to Greene’s Menaphon, in McKerrow (1958), 3. 315–16. 3 As late as 1985 Gordon Braden could open his book Renaissance Tragedy and the Senecan Tradition with the statement that ‘the generally insuYcient knowledge of or even interest in Greek tragedy on the part of Renaissance dramatists is hard to deny’ (p.