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 so much influential theatrical texts within the international canon. In functionality, translation, version, in addition to sung and danced interpretations, it's been generic within the Greek global and the Roman empire, and from the Renaissance to the modern level. it's been primary to the classy and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. individuals to this interdisciplinary selection of eighteen essays on its functionality background contain 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 necessary examine relief of a chronological appendix of performances.
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Extra resources for Agamemnon in performance 458 BC to AD 2004
It clearly did not fall into the category of popular student’s texts like Prometheus, Seven against Thebes, or Persians, and this made its transmission more vulnerable in the later period,5 but the very fact of survival implies some degree of multifunctionality: along with the rest of its trilogy, Agamemnon was clearly used. What sort of uses was it put to? We can tell from the fact that there are surviving marginal scholia6 that the play was read and studied enough to be the object of ancient commentary, and its richness in unusual vocabulary evidently interested lexicographers, but there were other Aeschylean texts to choose from, after all, and the claim of Agamemnon can’t have rested on scholarly grounds alone.
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’ (IíÆªŒBò æåýªìÆôÆ, IA 443), and the more ‘modern’ phrasing underlines the diVerently problematic nature of necessity for these people in this play.
This is not only to say that the listing is inevitably provisional and incomplete, with unavoidable oversights and mistakes. Like the other contributions to this volume, it privileges certain ways for thinking about its subject to the exclusion of others: it adopts a strictly chronological order, conWnes itself to a relatively limited period of time, and favours, say, directors and actors over spectators, national and linguistic categories over ethnic or cultural ones, theatre over other performing arts, and so on.