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Electra by Euripides a Psychological Drama

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Electra by Euripides a Psychological Drama ELECTRA BY EURIPIDES A PSYCHOLOGICAL DRAMA APPLICABLE TO THE MODERN AUDIENCE by LILLIAN GRAFF-SAGER A THESIS PROJECT Presented to the Ashland Center for Theatre Arts in partial fulfillment of the requirements for the degree of Master of Arts Ashland, Oregon Spring 2007 TABLE OF CONTENTS PAGE Approval Page iii Copyright Page iv Acknowledgements v ANALYSIS Statement of Dramatic Action 1 Statement of Plot 1 Inciting Incident 2 Crisis 2 Climax 3 How the Statement of Dramatic Action Applies 5 to the Play? Themes 5 Concept 7 Beat Analysis 9 Conclusion 13 COSTUME DESIGN STATEMENT 14 How Does the Director's Statement of Dramatic 15 Action Translate Into the Costumes? SET DESIGN STATEMENT Design Concept 18 ii LIGHTING PROSPECTUS What is the Lighting Style? 20 Approach to Lighting 20 How Will the Ideas of the Play Be Underscored 20 With Lighting? What is the General Appearance of the Scenes 21 (Color, Angles, Intensity)? What Kinds of Transitions Are Envisioned? 22 What is the Degree of Stylization or Realism? 23 SOUND PROSPECTUS What is the Musical Rhythm/Flow of the Scenes?... 24 What Will Be the Style/Mood of the Sound? 24 Approach to Sound: How Are the Ideas Underscored? 25 The General Tambour, Directionality, 26 Volume of the Scenes What Kinds of (Cued) Transitions Are 26 Envisioned? What is the Degree of Stylization or 26 Realism? What Are the Physical (Sound) Aspects of 2 6 of the Staging? Specific Scene Requirements 27 How Will it Sound Live, Recorded, 27 Distorted? FOOTNOTES 28 BIBLIOGRAPHY 2 9 Ill APPROVAL PAGE "Electra by Euripides: A Psychological Drama Applicable to the Modern Audience," a project prepared by Lillian Graff- Sager in partial fulfillment of the requirements for the Master of Arts in Theater Education. This project has been approved and accepted by: Dr. Eric Levii Date Chair of the Examining Committee o Ms. Deborah Rosenberg ate Committee Member / Advisor 7 Mr.Chris Sackett Date Committee Member © Copyright Lillian Graff-Sager, 2007 V ACKNOWLEDGEMENTS I wish to express my appreciation to the faculty of ACTS for their valuable time and experience, and for the conception and evolution of this program. As a member of the first graduating class of the SOU Theater Program, I want to thank Eric Levin, Deborah Rosenberg, Chris Sackett, Ezra Severin, and Sue Grossman for their insightful commentaries, hard work and encouragement. I also wish to express my gratitude to Mary Jo Stresky who contributed to this thesis project as editor. And above all, kudos to my significant other — Gene Sager - who, if not for his tireless energy, diligent enthusiasm and complete support, this project would have never been completed. Analysis/Lillian Graff-Sager 1 EURIPIDES' "ELECTRA" by Lillian Graff-Sager STATEMENT OF DRAMATIC ACTION Electra is a psychological Greek tragedy exploiting murder and revenge in the name of nobility and justice. STATEMENT OF PLOT Electra's ultimate objective is to avenge her father's (King Agamemnon) death, reunite with her long-lost brother Orestes, and strategize the murders of her mother, Queen Clytemnestra, and stepfather Aigisthos1 in order to recapture her rightful royal heritage. Seething, martyred rage mutating in Electra's subconscious drives her unwavering quest for vengeance and conciliation. Positioning Orestes as antagonist and Electra as protagonist, Euripides brilliantly weaves obstacles Electra must overcome before completing her mission: 1) Her anger over Orestes' absence as brother and confidant (albeit not of his choosing since he was exiled as a young boy); 2) using him as an excuse not to act on her desire for revenge; and 3) manipulating his hesitancy to commit the actual murders of Aigisthos and Clytemnestra. Analysis/Lillian Graff-Sager 2 INCITING INCIDENT The inciting incident occurs when Electra and Orestes realize they are brother and sister and are finally reunited: Electra: What do you mean, Old Man? I can't hope for such news. Old Man: Orestes, Agamemnon's son, stands before my eyes? Electra: Convince me. By what mark should I know him? Old Man: The scar over his eyebrow. He got it by tumbling — remember? When he chased with you after the fawn. Electra: With me? I do see the cut - long healed. Old Man: Then why hold back? The brother you love - embrace him! Electra: No more delay. Dear man, your evidence persuades my heart. At last, you - here, real! I'd lost all hope. Orestes: And I hold you at last. This dramatic moment is broadened when Electra encourages Orestes to help vindicate their father's death and end their grief and suffering. CRISIS The crisis occurs when Electra -- having proclaimed she will commit suicide if Orestes' plan to murder Aigisthos is foiled -- waits to hear the messenger's news of success or failure: Analysis/Lillian Graff-Sager 3 Electra: Did an enemy howl, or a friend? Chorus leader: I don't know. Such a muddle of cries! Electra: No. We are beaten. Otherwise, wouldn't there be some news? Chorus leader: News will come. It's no small matter to kill a king. Messenger: Now let winning light up your faces. I bring you word that Orestes has won. Agamemnon's murderer Aigisthos sprawls on the ground. Give thanks to the gods. The action rises when Electra sends a message to Clytemnestra that she has given birth, using the naming ritual as a ploy to see her new grandson. When Clytemnestra arrives, Electra confronts her mother's past indiscretions, and with malicious intent invites her into the farmhouse where Orestes is waiting to murder her. CLIMAX The climax occurs when Orestes and Electra murder Clytemnestra. In keeping with traditional Greek theater, the matricide is concealed within the farmhouse structure [onstage]. Burdened by the conflict of love for their mother and her own justification for Agamemnon's assassination, Electra convinces Orestes to overcome the barrier of guilt and apprehension. Although the audience hears Clytemnestra's death wails... Analysis/Lillian Graff-Sager 4 Clytemnestra: Children! Dear god, I'm your mother! Don't kill me. Chorusleader: Do you Hear - "My god, don't kill me"? Clytemnestra: NO! NOT ME! NO-0-0-0! Chorus leader: No! Not her! No! Killed by her own children. ...it is not until Electra and Orestes carry Aigisthos' and Clytemnestra's bodies onto the stage that the audience becomes fully aware of the heinous crimes committed in the farmhouse. The denouement occurs when the Dioskouri appear above the "crime scene," and Castor announces that, "Her fate was just; but your act is not justified." However, he and Polydeukes state unequivocally that matricide is nonetheless regarded as despicable and offer an option of punishment/atonement so Electra and Orestes may exonerate their guilt: Electra shall marry Pylades, Orestes will assume his rightful place on the throne, and brother and sister will never see each other again. At this point, all loose ends come together: That although the incident was decreed by Apollo's Delphic oracle, Orestes' and Electra's sorrowful repentance is caused by their own actions; thus, there is nothing that can repair it or undo what has been done. The tides cannot be turned, and their destiny is sealed with the blood of their family. Analysis/Lillian Graff-Sager 5 HOW DOES THE STATEMENT OF DRAMATIC ACTION APPLY TO THE PLAY? The entire house of Atreus is embroiled in "recycled" murder in the name of divine [poetic] justice. As Electra is a psychological Greek tragedy, this dramatic action is the core motivating factor behind the pursuit to break the tradition of violence. Carrying Electra to the modern audience, Euripides speaks against skewed behavior passing from generation to generation. Using the corrupted, obsessed, damaged royal family from Argos, he succinctly illustrates that the tools used for retribution need to be replaced with more affirmative ways to break misguided patterns of justified/unjustified violence and vengeance. THEMES: 1. Murder and revenge are at the heart of Electra: • Agamemnon has sacrificed his daughter, Iphigenia, so his army will have safe passage to the Trojan War. • After his ten-year absence, he brings Cassandra home as a concubine. • Clytemnestra in the meantime has taken a lover, Aigisthos; together they murder Agamemnon and take over the throne, which justifiably angers Electra. " Orestes and Electra are exiled from the kingdom (Orestes to live with King Strophius in Phocis, and Electra into a loveless, unconsummated marriage), and lose their royal heritage. • Brother and sister reap revenge by murdering their mother and stepfather. Analysis/Lillian Graff-Sager 6 2. The theme of atonement occurs at the end of the play. Realizing the grotesqueness of Clytemnestra's murder (evident in their conflicted sorrow), Electra and Orestes repent to rectify their heinous actions. 3. The supernatural theme refers to the Delphic oracle of Apollo who said Orestes should kill his mother: Orestes: Now I come from Apollo's oracle at Delphi. He ordered me home, where no one suspects my presence, to exchange murder for my father's tomb, wept, offered a fresh- clipped lock of hair... 4. The theme of poverty and riches refers to Electra living in abject deprivation. Originally the Princess of Argos, she is now married to a peasant farmer and regards her luxuriate life in a palace as only a memory. In contrast, her mother Clytemnestra lives in pampered comfort with servants, and dresses in elegant finery to flaunt her aristocratic station. 5. Celibacy refers to Electra's non-sexual cohabitation with her farmer husband who feels unworthy of her, and that consummation would be an act of irreverence toward her ancestors and her father. Although Electra feels her husband is a virtuous, kind man, she regrets being a virgin and is despondent that she faces a life of celibacy.
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