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Getty Villa Outdoor Theater Production: (Getty Museum Programs)
Click on a word to bring up parses, dictionary entries, and frequency statistics. Euripidis Fabulae, vol. Gilbert Murray. Clarendon Press, Oxford. An XML version of this text is available for download, with the additional restriction that you offer Perseus any modifications you make. Read preview. Synopsis In this new translation of Euripides' celebrated Greek tragedy, W.
Merwin and George E. Dimock, Jr.
A stern critique of Greek culture, Iphigeneia at Aulis condemns the Trojan War by depicting the power of political ambition and the ensuing repercussions of thoughtlessly falling to the will of constituency. The translation impressively re-creates the broad array of moral and emotional tones conveyed by Euripides, with a comprehensive introduction, notes on the text, and a glossary of mythical and geographical terms.
Excerpt The Greek Tragedy in New Translations is based on the conviction that poets like Aeschylus, Sophocles, and Euripides can only be properly rendered by translators who are themselves poets.
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Common types of primary sources include works of literature, historical documents, original philosophical writings, and religious texts. The production did not explore or resolve these questions. As Agamemnon sends the Servant to deliver a revised message to Klytemnestra and prevent her from coming to Aulis, the chorus of women from Chalkis appears.
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Dressed in a variety of solid-color tunics that ranged in tint from pistachio to dusty rose, from peach to beige, the chorus added color to the stage picture. Here the youthfulness of the student actors served the text perfectly. As the women of the chorus talked about the heroes gathered at Aulis, they recalled the young people of many periods preoccupied with the search for celebrities. The chorus moved elegantly, spoke clearly and beautifully, and in spite of the small space they had for movement, fit meaningfully in the action of the play.
The fact that the chorus did not seem out of place in this late Euripidean play compels one to reexamine the conventional opinion that the chorus had become an embarrassment in late tragedy. Kovacs succeeded in creating many memorable stage pictures. The taller, thinner Agamemnon, clad in a beige tunic and red cape, scowled at his shorter, stouter brother, who wore a red tunic and a beige sash and pouted as his brother castigated him for wanting Helen back at any cost.
The arrival of Messenger I Nick Zawadzki interrupted their debate with the announcement of the imminent arrival of Klytemnestra, Iphigenia, and Orestes, and a new stage picture emerged: the Messenger beaming with pride at bearing what he thought was good news and the Atreidae visibly disturbed by his message.
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After his speech, the picture changed again. In the ensuing scene, Jocelyn Ruano as Klytemnestra captured in an excellent manner the chatty excitement of a Greek matron preparing her daughter for marriage, while Anastasia Kashenko deftly played a young girl not quite sure what to expect. For the crisis to develop in IA , a discernible age difference needs to be apparent between Iphigenia and her parents and, to a lesser degree, between the Old Servant and Klytemnestra. How can this mature man send this young girl to her death? However, in spite of the high quality of the acting overall, it was difficult to suspend disbelief in regard to age distinctions in a production where the realistic mode predominated.
Costumes, stage properties, and the set evoked antiquity. Nevertheless, in spite of this, the young actors did well in performing challenging roles. Jocelyn Ruano, in particular, deserves praise for finding the right tone and projecting the dignity, experience, pain, and general complexity of the Klytemnestra character. Indeed, her scene with Achilles Gabriel Hudson showcased her talent. In the scene in which she confronts Agamemnon regarding his true intentions, Ms. Ruano captured the stunned outrage of a betrayed wife, just as Mr.
Price played well the defensive reaction of an Agamemnon who can only glare and make a high-sounding speech about his duty to the army and the force of divine will. At this juncture, Iphigenia has a difficult task to perform: to break an apparent stalemate and sacrifice herself, moving from dreading death to embracing it.
ISBN 13: 9780195017366
The character transformation has bothered critics since Aristotle. Kaschenko pulled it off. Indeed, as she progressed in her long speech — , she gained power and credibility, the otherworldliness of the character accentuated on stage by a bright white spotlight that engulfed her.
Earlier, I mentioned the textual problems in IA and how Kovacs dealt with those at the very beginning and about one-third into the play. The end of the manuscript is also in bad shape. Agamemnon reappears to tell his wife that she can rejoice now that their daughter is with the gods; he instructs her to go home, while he himself sails for Troy.
Kovacs kept all of this material in the CDG production, a sound decision on two counts. First, in keeping the controversial ending, Kovacs let viewers decide whether the ending seems organic. His decision resembles the choices an editor of the Greek text or a modern translator needs to make.