Brill's companion to the reception of Euripides by Rosanna Lauriola, Kyriakos N. Demetriou

By Rosanna Lauriola, Kyriakos N. Demetriou

Brill's spouse to the Reception of Euripides offers a entire account of the impression and appropriation of all extant Euripidean performs due to the fact their inception: from antiquity to modernity, throughout cultures and civilizations, from a number of views and inside a extensive variety of human event and cultural developments, particularly literature, highbrow historical past, visible arts, track, opera and dance, degree and cinematography. A concerted paintings through a global crew of experts within the box, the quantity is addressed to a large and multidisciplinary readership of classical reception reviews, from specialists to non-experts. participants interact in a vividly and energetic interactive discussion with the traditional and the fashionable which, whereas illuminating features of old drama and highlighting their ever-lasting relevance, deals a considerate and layered advisor of the human .

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Agamemnon, Menelaus, Achilles, and others refer to the offstage characters and the unseen army to justify the stances and actions they are taking. Under these circumstances the audience might well constantly ask whether those statements about what is happening just beyond the parameters of the stage are valid. Cacoyannis eliminates the uncertainties: he begins by lengthily depicting the very large army gathered at Aulis under a blazing sun—bored, restless, eager to get to war. ” and fight over inadequate food.

Or, as Clytemnestra says, is the story a lie designed to make her give up her rage at her husband? The many questions which spring from these plot and character reversals, combined with the textual uncertainties, have provoked a wealth of responses from critics, scholars, and later artists. 2 In Literature Both Aeschylus and Sophocles wrote plays called Iphigenia, but only fragments remain. Euripides’ play is very different from the sacrifice described by the Chorus in Aeschylus’ Agamemnon 198–250 (458 BC), in which Iphigenia is gagged so that she cannot curse her father.

65 For a thoughtful discussion see Kovacs (2010) 250–3 (with bibliography). , below, pp. 78–80; 225; 248; 418–20; 529–30. 32 Gamel suit, Clytemnestra a formal dress, hat and gloves, while Iphigenia was a playful teenager in pedal-pushers. A comic actor was cast as Achilles; as he gave his self-absorbed speech to Clytemnestra (Iphigenia at Aulis 919–74) he roamed through the audience and flirted with the women in the Chorus. Even as she flattered him Clytemnestra understood exactly how worthless was his offer of help.

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