The EumenidesThe Eumenides

bent on genderbent on gender

focused on justicefocused on justice

international touchstoneinternational touchstone

Temple of Dionysius, birthplace of Temple of Dionysius, birthplace of Western dramaWestern drama

Aristotle, from Aristotle, from The PoeticsThe Poetics

““Tragedy, then, is an imitation of an action that is Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in serious, complete, and of a certain magnitude; in language embellished with each kind of artistic language embellished with each kind of artistic ornament, the several kinds being found in ornament, the several kinds being found in separate parts of the play; in the form of action, separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and not of narrative; with incidents arousing pity and fear, wherewith to accomplish its fear, wherewith to accomplish its katharsiskatharsis of of such emotions. . . . Every Tragedy, therefore, must such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, namely, Plot, Characters, Diction, Thought, Spectacle, Melody “Spectacle, Melody “

theater historytheater history

c. 625 choruses are produced, transferred to c. 625 choruses are produced, transferred to Dionysius 25 years laterDionysius 25 years later

540-527: festival of the Greater Dionysia (Athens)540-527: festival of the Greater Dionysia (Athens)

525 Aeschylus is born; his first dramatic competition 525 Aeschylus is born; his first dramatic competition is when he is 25 or 26; he does not win one until is when he is 25 or 26; he does not win one until 484 when he is almost 40.484 when he is almost 40.

The Oresteia: 458; he dies 2 years later, in 456 . To The Oresteia: 458; he dies 2 years later, in 456 . To get a sense of time here, Socrates dies in 399get a sense of time here, Socrates dies in 399

Theaters: note basic structureTheaters: note basic structure

Tragedies: basic structureTragedies: basic structure

ProloguePrologue: before chorus appears: before chorus appearsParadosParados: chorus sings as it enters orchestra, : chorus sings as it enters orchestra,

dancesdancesFirst First EpisodeEpisode…characters and chorus talk…characters and chorus talkFirst First StasimonStasimon…chorus dances & sings this, …chorus dances & sings this,

puts events in larger frameworkputs events in larger framework continues alternating these untilcontinues alternating these untilExodusExodus: chorus sings, words of wisdom: chorus sings, words of wisdom

Ruins of Temple of Apollo, DelphiRuins of Temple of Apollo, Delphi

Theatre and Temple at DelphiTheatre and Temple at Delphi

The stage set-upThe stage set-up• Actors performed on three levels: in the orchestra, on Actors performed on three levels: in the orchestra, on

the stage, and on the roof of the the stage, and on the roof of the skeneskene.  In the center .  In the center of the orchestra was the altar of Dionysus   The of the orchestra was the altar of Dionysus   The skeneskene (literally, “tent” or “hut”) served as the dressing room (literally, “tent” or “hut”) served as the dressing room of the actors.  of the actors. 

• The façade of the building, the The façade of the building, the prosceniumproscenium, carried , carried the scenery of the play which usually represented the the scenery of the play which usually represented the front of a palace or a temple with three doorways, front of a palace or a temple with three doorways, with columns, pediments, and statues.with columns, pediments, and statues.

• There was no stage curtain.  By mid-5th century B.C., There was no stage curtain.  By mid-5th century B.C., painted scenery, attributed to Sophocles, was fully painted scenery, attributed to Sophocles, was fully established: painted draperiesestablished: painted draperies or boards attached to the or boards attached to the wall of the skene. wall of the skene. 

Part 1 of Part 1 of EumenidesEumenides

Scenery: temple of Scenery: temple of Apollo at Delphi, with Apollo at Delphi, with central door of stage central door of stage as main entrance, as main entrance, surrounded by statues surrounded by statues of godsof gods

Time: Orestes has just Time: Orestes has just arrived from Argos, arrived from Argos, pursued by the Furies pursued by the Furies (Erinyes). Apollo (Erinyes). Apollo stands with himstands with him

Staging of Staging of EumenidesEumenides, 2, 2

• Part 2: Temple of Pallas Athene on thePart 2: Temple of Pallas Athene on the

Areopagus (Mars’ Hill; Areopagus (Mars’ Hill;

pre-classical: Councilpre-classical: Council

of elders; classical: chief of elders; classical: chief

homicide court; temple ofhomicide court; temple of

Furies: a sanctuary)Furies: a sanctuary)

Staging of Staging of AgamemnonAgamemnon• In the In the Agamemnon, Agamemnon, the the skeneskene is dressed to look like is dressed to look like

the Palace at Argos. Who enters the performance the Palace at Argos. Who enters the performance area through the double doors of the skene? area through the double doors of the skene? Clytemnestra. Who is in charge? Clytemnestra.Clytemnestra. Who is in charge? Clytemnestra.

• Agamemnon, the King, arrives home after the war, Agamemnon, the King, arrives home after the war, but enters directly into the but enters directly into the orchestraorchestra (via the (via the parodos) in his chariot and joins the multitude parodos) in his chariot and joins the multitude outside the royal house, like any other citizen of the outside the royal house, like any other citizen of the city (represented by the chorus, already in that city (represented by the chorus, already in that space) - a clear signal that he doesn’t hold the upper space) - a clear signal that he doesn’t hold the upper hand in his own house.hand in his own house.

AgamemnonAgamemnon, 2, 2

• Agamemnon eventually does pass through the doors Agamemnon eventually does pass through the doors of the of the skeneskene - and the next time we see him, he is - and the next time we see him, he is being wheeled out through those doors again as a being wheeled out through those doors again as a corpse. After the murders of Cassandra & corpse. After the murders of Cassandra & Agamemnon, Clytemnestra and Aegisthus make a Agamemnon, Clytemnestra and Aegisthus make a final appearance, passing through the double doors of final appearance, passing through the double doors of the the skeneskene one more time to appear before the people one more time to appear before the people of Argos as their King and Queen. This scene is of Argos as their King and Queen. This scene is replayed in reverse in replayed in reverse in The Libation BearersThe Libation Bearers

• people.hsc.edu/drjclassics/lectures/theater/people.hsc.edu/drjclassics/lectures/theater/ancient_ancient_greekgreek_theater.shtm_theater.shtm

In costumeIn costume

Political goals of Political goals of EumenidesEumenides

• Assumed by most classical scholars of 19Assumed by most classical scholars of 19 thth and early 20and early 20thth century to be an exaltation of century to be an exaltation of Athens and the Athenian Athens and the Athenian demosdemos (see i.e. (see i.e. http://www.stoa.org/projects/demos/homehttp://www.stoa.org/projects/demos/home))

• The play gives sanctuary to the Furies, who The play gives sanctuary to the Furies, who become the Eumenides: older, vengeful become the Eumenides: older, vengeful justice is tempered by mercy, which is now justice is tempered by mercy, which is now built into the Athenian system of justicebuilt into the Athenian system of justice

Political and moral choicesPolitical and moral choices• One moral theme of the trilogy is seen in the One moral theme of the trilogy is seen in the

opening chorus with their omen, the two eagles opening chorus with their omen, the two eagles who kill the pregnant hare: they echo the who kill the pregnant hare: they echo the sacrifice of innocent youth by powersacrifice of innocent youth by power

• Tracing the imagery of the play shows the rise Tracing the imagery of the play shows the rise and the fall of light, from the watchtowers in A and the fall of light, from the watchtowers in A to the cloaks in Eto the cloaks in E

• Gender becomes a major issue in death and Gender becomes a major issue in death and choiceschoices

Hubris Hubris – actions– actionsthat shame victim that shame victim and perpetratorand perpetratorthrough pride andthrough pride andarrogancearrogance

HamartiaHamartia – the – the tragic flawtragic flaw

Modern interpretationsModern interpretations

““for contemporary artists…[classical] texts for contemporary artists…[classical] texts are certainly neither dead nor viewed as the are certainly neither dead nor viewed as the property of dead white males….Despite property of dead white males….Despite debate over the Western canon in US debate over the Western canon in US universities, Rita Dove…. poet laureate” universities, Rita Dove…. poet laureate” published an adaptation of Oedipus Rex set published an adaptation of Oedipus Rex set in pre-civil-war South. An Alaskan play in pre-civil-war South. An Alaskan play included the included the shamanshaman Tiresias [Foley 1999] Tiresias [Foley 1999]

Foley: TransAmPhilAssn 129:1-12Foley: TransAmPhilAssn 129:1-12

• Eastern theater traditions, with mask, dance, Eastern theater traditions, with mask, dance, ritual and poetry, “bring to life those aspects ritual and poetry, “bring to life those aspects of ancient drama that are alien to the tradition of ancient drama that are alien to the tradition of Western 19of Western 19thth c realism” ( c realism” (Foley 2) --Foley 2) --because because Greek tragedy has imaginary past, amenable Greek tragedy has imaginary past, amenable to change of venue, multiracial casting, to change of venue, multiracial casting, political without being topical: often used to political without being topical: often used to stage political proteststage political protest

World War II and Sartre’s World War II and Sartre’s The FliesThe Flies

• The French Existentialist philosopher put on this The French Existentialist philosopher put on this play in 1943; since many feel the play was in play in 1943; since many feel the play was in reference to the French Occupation, it is often so reference to the French Occupation, it is often so staged. In this interpretation, Orestes must create staged. In this interpretation, Orestes must create the meaning of his own the meaning of his own existence and repudiates the existence and repudiates the

injustice of Zeus; he takes on injustice of Zeus; he takes on thethe

guilt of his people, and leaves guilt of his people, and leaves

Molora: adapting Greek tragedy for Molora: adapting Greek tragedy for South African stageSouth African stage by Jael Farber, 2004: uses by Jael Farber, 2004: uses

the Oresteia as a the Oresteia as a metaphor for the brutal metaphor for the brutal horrors of Apartheid, to horrors of Apartheid, to break the cycle of break the cycle of violence violence

http://http://www.youtube.com/watch?www.youtube.com/watch?vv==OaLnLckySioOaLnLckySio

Wole Soyinka’s chorus of village Wole Soyinka’s chorus of village womenwomen

• From From Death and Death and the King’s the King’s horsemanhorseman

• Nobel Prize Nobel Prize winner, play winner, play wins plaudits: wins plaudits: “antique tragedy “antique tragedy with the cultic with the cultic sacrificial death sacrificial death as theme”as theme”

Other recent versionsOther recent versionsJapanese Orestes: has been played 3 times in the last decade Japanese Orestes: has been played 3 times in the last decade

by Tatsuya Fujiwaru, who expands the relationship of O by Tatsuya Fujiwaru, who expands the relationship of O with Electrawith Electra

http://www.youtube.com/watch?v=bIPN132VfVwhttp://www.youtube.com/watch?v=bIPN132VfVwAn all-male version, British: An all-male version, British: http://http://

www.youtube.com/watch?vwww.youtube.com/watch?v=vqFgCGuBn4A&feature==vqFgCGuBn4A&feature=PlayList&pPlayList&p=718F4214E345891D&index=8=718F4214E345891D&index=8

Chinese opera, experimental: Chinese opera, experimental: http://http://hidvl.nyu.eduhidvl.nyu.edu/video//video/NYUb13611625NYUb13611625..htmlhtml

SIMS trilogy: SIMS trilogy: http://http://www.youtube.com/watch?vwww.youtube.com/watch?v=2oMF7QRehKE=2oMF7QRehKE

The force that is ElectraThe force that is Electra

Eugene O’Neill’s play cycle premiered in 1931; Eugene O’Neill’s play cycle premiered in 1931; currently playing off-Broadway. It is reset as a currently playing off-Broadway. It is reset as a family of a Northern General in the American family of a Northern General in the American Civil War. It includes murder, Civil War. It includes murder, adultery, incest, revenge and the NY adultery, incest, revenge and the NY Times hates this revival.Times hates this revival.

O’Neill’s cycle has also been a movie, O’Neill’s cycle has also been a movie, a miniseries and an operaa miniseries and an opera. .

Jill Scott’s Jill Scott’s Electra after FreudElectra after Freud

Electra’s choices re-evaluatedElectra’s choices re-evaluated

Chooses anger, revenge over sorrowChooses anger, revenge over sorrowOrchestrates matricide: violent, aggressiveOrchestrates matricide: violent, aggressiveCauses us to re-evaluate Freud and the focus Causes us to re-evaluate Freud and the focus

on the Oedipal modelon the Oedipal modelGives rise to multiple new references and Gives rise to multiple new references and

metaphors: i.e. Plath about “Daddy”metaphors: i.e. Plath about “Daddy”http://http://www.youtube.com/watch?vwww.youtube.com/watch?v

=6hHjctqSBwM=6hHjctqSBwM

Changing roles of men and womenChanging roles of men and women

• Rise of powerful female protagonists in late Rise of powerful female protagonists in late 1919thth and early 20 and early 20thth C plays, books – see C plays, books – see Ibsen and others.Ibsen and others.

• New debates on gender and subjectivityNew debates on gender and subjectivity• Just as with the whole Just as with the whole Oresteia,Oresteia, just as with just as with

the focus on Orestes, Electra has been the focus on Orestes, Electra has been appropriated as metaphor for making sense appropriated as metaphor for making sense of traumaof trauma

Toni Morrison’s Toni Morrison’s JazzJazz

Even more than Even more than BelovedBeloved, , Jazz Jazz may be the may be the work in which Morrison most draws on the work in which Morrison most draws on the Greeks to reintepret barbarism, love, death Greeks to reintepret barbarism, love, death and sacrifice. Carolyn Jones (1997; 31) says and sacrifice. Carolyn Jones (1997; 31) says Morrison asks in Morrison asks in Jazz Jazz the questions of the questions of Aeschylus: how to break the cycle, how to Aeschylus: how to break the cycle, how to escape retribution, victimhood, how to escape retribution, victimhood, how to claim a recovered, rememoried selfclaim a recovered, rememoried self

changeschangesA myth becomes aA myth becomes aPlayPlayBecomes a metaphorBecomes a metaphorBecomes another workBecomes another workOf artOf artBecomes aBecomes aMyth Myth becomes abecomes a