By Aeschylus, Sophocles, Euripides
In An Oresteia, the classicist Anne Carson combines 3 varied models of the tragedy of the home of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the homicide of her daughter Iphigeneia by means of her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's activities, Apollo calls on her son, Orestes, to avenge his father's demise with assistance from his sister Elektra. in any case, Orestes is pushed mad by way of the Furies for his bloody betrayal of kin. Condemned to loss of life via the folks of Argos, he and Elektra needs to justify their activities ― or flout society, justice and the gods.
Carson's translation combines modern language with the normal constructions and rhetoric of Greek tragedy, commencing up this old story of vengeance to a contemporary viewers and revealing the fundamental wit and morbidity of the unique performs.
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Extra info for An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides
Bryden, Mary. Samuel Beckett and the Idea of God. London: Macmillan,1998. Butler, Lance St John. Samuel Beckett and the Meaning of Being: a Study in Ontological Parable. London: Macmillan, 1984. Cohn, Ruby. ’ In Contemporary English Drama, edited by C. W. E. Bigsby, 109–120. New York: Holmes & Meier, 1981. 28 palgrave advances in samuel beckett studies Cook, Albert. ‘Minimalism, Silence, and the Representation of Passion and Power: Beckett in Context,’ Centennial Review, 38:3 (1994): 579–88. Davies, Paul.
The play should really be called: ‘. . . . . . . . . . . . . . . . ’ And what might then be the unspoken ‘intertext’ for that? In 1977, several months after the McWhinnie production was taped at the BBC Shepherd’s Bush studios in London, Beckett served as his own director for a second ‘go’ at . . but the clouds . . , this one in German for Suddeutscher Rundfunk. Entitled Nur noch Gewölk, this telecast uses the final fourteen lines of ‘The Tower’ and makes another departure from the BBC script in that Yeats’s translated verse is not read against the transparent face of a woman, but rather against the figure of the actor bent over at his writing desk.
10. , 129, 205. In Malone Dies (New York: Grove, 1956), Beckett’s mid-trilogy protagonist has his own spirited but heavily qualified way with ‘Sailing to Byzantium,’ 2. 11. ), En Attendant Godot, by Samuel Beckett (London: Harrap, 1966), xiv. 12. Samuel Beckett, Waiting for Godot (New York: Grove, 1954), 13a. Yeats’s 1899 collection of poems was entitled The Wind Among the Reeds. 13. See Knowlson, 181. 14. Samuel Beckett, ‘Krapp’s Last Tape’ and Other Dramatic Pieces (New York: Grove, 1960), 17, 27.