By Karelisa Hartigan
During the prior century, the translation given by way of some of the administrators staging Greek drama has diversified, and the severe reception accorded the productions has additionally altered. whereas the texts of Aeschylus, Sophocles, and Euripides stay consistent, the meanings drawn from their performs don't. The director who comes to a decision to supply a Greek tragedy within the smooth American advertisement theater believes within the skill of the textual content to arrive the modern viewers, and the reviewers check the luck of the enterprise: their phrases develop into a list of either a specific functionality and the time during which it performed. Hartigan explores how drama and society engage and witnesses the ongoing energy of the Greek tragedy.
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Extra resources for Greek Tragedy on the American Stage: Ancient Drama in the Commercial Theater, 1882-1994
7 Nine years later, another theater company from Greece brought the ancient texts to New York. The Piraikon Theatron, again under the direction of Dimitrios Rondiris, staged Electra at the City Center for a two-week run, September 19–October 1, 1961. The show played in repertory with Greek Tragedy, 1915–1935 • 31 Choephoroi and Eumenides. The press photos indicate Rondiris still preferred the classic style; Time’s critic, parading his knowledge of Greece, said the brown costumes of the chorus resembled the Caryatids of the Acropolis’ Erechtheum.
The cast of African-American players featured Olivia Cole in the title role and Josephine Premice as Clytemnestra. Director Gerald Freedman chose costumes reflecting an Egyptian and African influence, heavy with beads and a head-covering hat for a crown. The production was among the first to suggest the non-Western appeal of the Greek texts: the universality of the plays’ appeal will become evident in the later pages of this study. Electra returned to the boards in the summer of 1984 in a production at the Old Globe Theatre in San Diego, where Sophocles’ text played in repertory with Shakespeare’s The Merry Wives of Windsor, Stage Struck (by Simon Gray), Steinbeck’s Of Mice and Men, and The Torch-Bearers (by George Kelly).
A “work-in-progress” production was presented to invited audiences by Joseph Chaikin in 1974, wherein he and playwright Robert Montgomery created a new version of the Electra story. According to Mel Gussow (New York Times, 24 May 1974) the work abounded with animal images, and most effective were such innovations as Electra encouraging Orestes to the matricide by playacting the deed. 11. ” 12. This dystopia, however, is intended to be the nation’s capital. Thus does Prewitt try to make the ancient tale “relevant”: both set and costumes make clear the wide gulf between those who have and those who do not, a situation very evident in Washington, DC.
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