ELECTRA Sophocles Translated by R
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An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia
An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee’s Iphigenia 2.0: A Director’s Approach Caroline Donica Table of Contents Chapter One: Charles Mee and the History Behind Iphigenia 2.0 4 Introduction 4 The Life and Works of Charles Mee 4 Just War 8 Production History and Reception 11 Survey of Literature 13 Conclusion 15 Chapter Two: Play Analysis 16 Introduction 16 Synopsis 16 Given Circumstances 24 Previous Action 26 Dialogue and Imagery 27 Character Analysis 29 Idea and Theme 34 Conclusion 36 Chapter Three: The Design Process 37 Introduction 37 Production Style 37 Director’s Approach 38 Choice of Stage 38 Collaboration with Designers 40 Set Design 44 Costumes 46 Makeup and Hair 50 Properties 52 Lighting 53 Sound 55 Conclusion 56 Chapter Four: The Rehearsal Process 57 Introduction 57 Auditions and Casting 57 Rehearsals and Acting Strategies 60 Technical and Dress Rehearsals 64 Performances 65 Conclusion 67 Chapter Five: Reflection 68 Introduction 68 Design 68 Staging and Timing 72 Acting 73 Self-Analysis 77 Conclusion 80 Appendices 82 A – Photos Featuring the Set Design 83 B – Photos Featuring the Costume Design 86 C – Photos Featuring the Lighting Design 92 D – Photos Featuring the Concept Images 98 Works Consulted 102 Donica 4 Chapter One Charles Mee and the History Behind Iphigenia 2.0 Introduction Charles Mee’s Iphigenia 2.0 is a significant work in recent theatre history. The play was widely recognized and repeatedly produced for its unique take on contemporary issues, popular culture, and current events set within a framework of ancient myths and historical literature. -
De Novis Libris Iudicia ∵
mnemosyne 70 (2017) 347-358 brill.com/mnem De Novis Libris Iudicia ∵ Carrara, L. L’indovino Poliido. Roma, Edizioni di Storia e Letteratura, 2014. xxiv, 497 pp. Pr. €48.00. ISBN 9788863726688. In this book Laura Carrara (C.) offers an edition with introduction and com- mentary (including two appendices, an extensive bibliography and indexes) of three fragmentary plays by Aeschylus, Sophocles and Euripides, which focus on the story of a mythical descendant of Melampus, the prophet and sorcerer Polyidus of Corinth, and his dealings with the son of Minos, Glaucus, whose life he saved. These plays are the Cressae, Manteis and Polyidus respectively. In the introduction C. gives an extensive survey of the sources on Polyidus in earlier periods and in literary genres other than tragedy. He plays a sec- ondary part in several stories (as in Pi. O. 13.74-84, where he is helping Bellerophon to control Pegasus) and only in the Cretan story about Glaucus he is the main character. C. observes that in archaic literature we find no traces of this story, but even so regards it as likely that the tragic poets did not invent it (perhaps finding it in an archaic Melampodia). Starting from Il. 13.636-672, where Polyidus predicts the death of his son Euchenor, C. first discusses the various archaic sources in detail and then goes on to various later kinds of prose and poetry, offering a full diachronic picture of the evidence on Polyidus. In the next chapter C. discusses a 5th century kylix, which is the only evidence in visual art of the Cretan story and more or less contemporary with the tragic plays. -
The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs
THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky. -
Seagate Crystal Reports
GREEK VERSUS MODERN TRAGEDY IN ' EUGENE O’NEILL Maria do Perpétuo Socorro Rego e Reis Cosme Universidade Federal de Santa Catarina Pós - Graduação em Inglês e Literatura Correspondente Greek Versus Modern Tragedy in Eugene O’Neill Maria do Pérpetuo Socorro Rego Reis Cosme Tese submetida à Universidade Federal de Santa Catarina para a obtenção do Grau de Doutora em Letras opção Inglês e Literatura Correspondente. Florianópolis Esta tese foi julgada adequada e qjrovada em sua. forma. finaL pelo Programa de Pós- Gràduação em Inglês para obtenção do grau de Doutora em Letras Opção Inglês e Literatura-Correspondente Dra. Bárbara O Baptista Coordenadora Dra. Bamadete Pasold Orientadora Banca Examinadora Dra Bemadete PasoId(OrientaíWora) Dr. Donaldo Schüler ( examinador) Dr. Joséy^oberto O' Shea (examinador) Dra Patrícia Vaüghan (examinadora) Florianópolis, 30 de março de 1998 Dedico essa Tese com muita saudade ao meu querido pai: José Reis (In Memoriam)que durante a sua vida sempre sonhou com a minha obtenção do Grau de Doutora. Esta pesquisa também é dedicada com muito amor a : minha mãe Lauríta Reis pelo estímulo perene no decorrer do doutorado; meu esposo Antonio Cosme Neto pela força e coragem para que eu não desistisse do doutorado; meus filhos Márcio Elysio , Lysianne e principalmente o querido “editor “Erick Elysio por toda a compreensão e confiança na capacidade da mãe para terminar o “sofrido” doutorado; meus irmãos e parentes pela amizade e solidariedade ; todos os meus amigos e colegas de profissão que sempre confiaram na minha capacidade e pelo estimulo constante para eu continuar apesar de tudo. Acknowledgements I would like to thank Professor Dra. -
1 IPHIGENIA in TAURIS by Euripides Adapted, Edited, and Rendered Into
IPHIGENIA IN TAURIS by Euripides Adapted, edited, and rendered into modern English for the express purpose of dramatic performance by Louis Markos, Professor in English and Honors Scholar-in-Residence/Robert H. Ray Chair in Humanities Houston Baptist University (Houston, TX) Dramatis Personae IPHIGENIA, daughter of Agamemnon ORESTES, brother of Iphigenia PYLADES, friend of Orestes THOAS, King of the Taurians HERDSMAN MESSENGER ATHENA CHORUS of captive Greek women who serve Iphigenia SCENE Before the temple of Artemis in Tauris. (Iphigenia, dressed as a priestess, enters and stands before the altar.) IPHIGENIA From Asia Pelops came to the shores of Greece; His son was Atreus and from him came Two greater sons, skilled in the arts of war. The eldest, Agamemnon, rules Mycenae While Menelaus holds the throne of Sparta. For Helen’s sake they raised a mighty fleet And set their sails for Troy. But Artemis, Beloved sister of the god Apollo, Sent vexing winds to wrestle with their sails And strand them on the rocky shore of Aulis. Eager to conquer Troy and so avenge His brother’s bed, my father, Agamemnon, Ordered Calchas, prophet of the host, To seek the will of Zeus and to proclaim The cause of their misfortune–and the cure. “O King,” he spoke, “You must fulfill the vow You made to Artemis: to offer up The dearest treasure that the year would bring. 1 The daughter born to you and Clytemnestra— She is the treasure you must sacrifice.” I was and am that daughter—oh the pain, That I should give my life to still the winds! The treacherous Odysseus devised The plot that brought me, innocent, to Aulis. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
ELECTRA by Sophocles Translated by R. C. Jebb CHARACTERS in THE
ELECTRA by Sophocles translated by R. C. Jebb CHARACTERS IN THE PLAY ORESTES, son of Agamemnon and CLYTEMNESTRA ELECTRA } sister of ORESTES CHRYSOTHEMIS} " " " AN OLD MAN, formerly the PAEDAGOGUS or Attendant Of ORESTES CLYTEMNESTRA AEGISTHUS CHORUS OF WOMEN OF MYCENAE Mute Persons PYLADES, son of Strophius, King of Crisa, the friend Of ORESTES. A handmaid of CLYTEMNESTRA. Two attendants of ORESTES ELECTRA ELECTRA (SCENE:- At Mycenae, before the palace of the Pelopidae. It is morning and the new-risen sun is bright. The PAEDAGOGUS enters on the left of the spectators, accompanied by the two youths, ORESTES and PYLADES.) PAEDAGOGUS SON of him who led our hosts at Troy of old, son of Agamemnon!- now thou mayest behold with thine eyes all that thy soul hath desired so long. There is the ancient Argos of thy yearning,- that hallowed scene whence the gadfly drove the daughter of Inachus; and there, Orestes, is the Lycean Agora, named from the wolf-slaying god; there, on the left, Hera's famous temple; and in this place to which we have come, deem that thou seest Mycenae rich in gold, with the house of the Pelopidae there, so often stained with bloodshed; whence I carried thee of yore, from the slaying of thy father, as thy kinswoman, thy sister, charged me; and saved thee, and reared thee up to manhood, to be the avenger of thy murdered sire. Now, therefore, Orestes, and thou, best of friends, Pylades, our plans must be laid quickly; for lo, already the sun's bright ray is waking the songs of the birds into clearness, and the dark night of stars is spent. -
The Record of the Class
The 1943 EAX C O R D P6)**t\ "OHJ0WNNY,H0WY0U "ALL ^THINGS YOU ARE" can LovrU "TONlQHT,MY "AMAPOLA,MY PRETTY LITTLE POP PY" "BLUFS IN THFNIQHT" "I KNOW WHY AMD SO 00 YOU REMEMBER, "THEYC/UL ITTHf JFR5EY BOUNCE OMEBODY EISF STAKING MY PLACE ilNQLF Digitized by the Internet Archive in 2009 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/recordofclass1943have THE 1943 RECORD / voatch the waves and quiet walls Of willows in the setting sun And know as night in silence falls My day is done. I see the scarlet fading where The shadows sink to stir the breeze And greet the dark which waits me there With memories. Two ^~* FOREWORD The Class o! 1943 stands ai the doors <>l life, unique in the history of Haver- ford College. It is a sadly depleted group. Ol the 87 original members, almost one-quarter now serve their nation all over the world. Because ol the acceleration and the war. the RECORD has frozen llie (lass as it stood last April 25. Some of the men who appear in these pages are now in Libya, China, or even India. Others are in Tennessee and New Hampshire. Perhaps/more are with the A. E. F. in Britain and Iceland. Many members of '43 will never receive their diplomas. Some may never see their classmates again. The Class of '43 is disintegrated and disintegrating. We are a (lass united through memories alone. As far back as the fall ol 1911. the war began to pull us apart. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
Aristotle and Sophocles' Electra
ARISTOTLE AND SOPHOCLES' ELECTRA ]. C. Kamerbeek viro de Soplwcle optinu merito 1. The key element of Aristotle's Poetics is the idea that each product of 1roi710-Ls is the imitation1 of an action. This action is defined as an ordered arrangement (<TVv0€0-LS or o-vo,ao-ts) of actions/events. The requirements to be met by the course of action, in this sense, provide the primary criteria for determining the quality of the individual pieces. A good <TUO-TaO"LS (alias: µ.v0os, for lack of a better term usually translated as 'plot') is a whole, consisting of a beginning, a middle and an end. The internal structure of the action is described with the aid of the central concepts €lKos and avayKa'iov: the events which, together, constitute the plot have to show close coherence in the sense that each subsequent event necessarily, or at least with a large degree of pro bability, follows from the preceding events. The ideal action is an action in which coincidence does not play a major part: everything is as it is because, in the light of preceding events, 2 it could not or could hardly have been otherwise. Judged by these fundamental criteria, Sophocles' Electra is far from satisfactory. The action in the restricted sense is summarized by Orestes (verse 38 ff.) as follows: Orestes, Pylades and the Pedagogue have come to Argos to take revenge on Clytaemnestra and Aegisthus for the murder of Agamemnon - an act which Apollo advised them to undertake 'by stratagem'. For this purpose, th<;_ Pedagogue will enter the palace to reconnoitre the situation and to bring the news of Orestes' death. -
The Oresteia of Aeschylus
The Oresteia of Aeschylus The Libation Bearers Translated in verse by Robin Bond (2014) University of Canterbury, Christchurch, New Zealand The Oresteia of Aeschylus : The Libation Bearers by Robin Bond (Trans) is licensed under a Creative Commons Attribution 4.0 International License. Available at: http://hdl.handle.net/10092/10503 The Libation Bearers Dramatis Personae Orestes, son of Agamemnon and Clytemnestra Pylades, his friend Electra, his sister Chorus of foreign serving women A servant (doorkeeper) Clytemnestra, now wife of Aegisthus Cilissa the Nurse Aegisthus A follower of Aegisthus Various attendants (all silent) The Oresteia of Aeschylus : The Libation Bearers Page 2 Orestes Lord Hermes, guide to the dead and guardian of my father's realm be now my safeguard and companion in answer to my prayers. For I have come back home, returned to this land of mine Here at the mound of my father's tomb I speak aloud to him, that he may hear and mark my words... one lock of hair I dedicate to Inachus who reared me, and here a second lock to mark my grief... I was not here to grieve your fate in person, father, nor did I stretch out my hand to carry out your corpse. But what is this I see? What is this group of women 10 that hurries along all dressed in robes of black? What chance event should I imagine to have taken place? Or does some fresh disaster tyrannize the house? Perhaps these women bring my father gifts and offerings to pour for him as please the dead? That is the truth and nothing else; for there I do believe I see Electra. -
Electra and Electra 60
Electra and Electra 60 These diagrams show you how to make the modular sculptures Electra, Electra 60, and, purely for the sake of completeness, the equivalent 24 and 12 module designs. Electra, or Electra 30, is probably my best known modular design. It dates from 1989 and was somewhat revolutionary at the time because of its use of a mixture of folding geometries. The name Electra is, of course, drawn from Greek mythology, but also references the similarity of the design to one of those, now somewhat outdated, pictures of electrons surrounding a nucleus in their shells. My first Electra was assembled from 30 modules which were folded using standard folding geometry. I soon discovered, however, that the angles of the design, and the strength of the assembly, could be improved by using mock platinum folding geometry to create the angle at which the pockets were set ( see pictures 10 and 12 ) . This change of angle not only improved the geometry but also allowed the tab of one module to extend very slightly around the corner inside the pocket of another ( see picture 22 ) , thus allowing them to hold together much more firmly, especially during the assembly phase. The original module now only survives in the 24-piece design, which cannot be made from the hybrid version, and also, unfortunately, in many unauthorised instructional videos on the internet. David Mitchell / Electra and Electra 60 1 In its original form, the Electra module will only make modular sculptures based on polyhedra which have four edges meeting at a vertex. However, it is a simple matter to hide one of the arms away inside the module to produce a three-armed version, or rather, two three-armed versions, one with two tabs and one pocket and the other with one tab and two pockets, which will go together to create sculptures based on polyhedra which have three edges meeting at a vertex.