BY AESCHYLUS The Barbara and Lawrence Fleischman Theater at the Getty Villa Thursdays–Saturdays, September 4–27, 2014 View of the Barbara and Lawrence Fleischman Theater and the entrance of the J. Paul Getty Museum at the Getty Villa. The performance is approximately ninety minutes long. There is no intermission. As a courtesy to our neighbors, we ask that you keep noise to a minimum while enjoying the production. Please refrain from unnecessarily loud or prolonged applause, shouting, whistling, or any other intrusive conduct during the performance. While exiting the theater and the Getty Villa following the performance, please do so quietly. This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association. Director Anne Bogart is a member of SDC, the Society of Stage Directors and Choreographers, an independent national labor union. This version of Persians, by Aeschylus, was translated, with an introduction and notes, by Aaron Poochigian from Persians, Seven against Thebes, and Suppliants, pp. 1–41. © 2011 Johns Hopkins University Press. This production was arranged with the permission of Johns Hopkins University Press. T The Designers at this Theatre S CENIC A S A IA D R T are Represented by E I E T S I I T N S • U L • United Scenic Artists• Local USA 829 O 9 C 82 AL USA of the International Alliance of Theatrical Stage Employes By Aeschylus Directed by Anne Bogart Created and Performed by SITI Company Translated by Aaron Poochigian THE ACTORS Akiko Aizawa* Leon Ingulsrud* J. Ed Araiza* Ellen Lauren* Eric Berryman* Emily Spalding* Will Bond* Stephen Duff Webber* Gian-Murray Gianino* THE CHARACTERS Chorus of Persian Persian Messenger elders Ghost of King Dareius, Queen of Persia, widow father of Xerxes of Dareius and mother King Xerxes of Xerxes THE COMPANY Nephelie Andonyadis** Costume Designer Claire Mannle Production Assistant Brian H Scott** Set and Lighting Sara Radamacher Assistant to Director Designer Cambria Chichi Assistant to Costume Darron L West** Sound Designer Designer Victor Zupanc Choral Consultant/ Bronwen Burton Draper Composer Lalena Hutton First Hand Ellen Mezzera* Production Stage Debbie Bradford Costume Craftsperson Manager Ellen L. Sandor Wardrobe Crew Matthew Johns Scenic and Lighting Assistant Michelle Preston Executive Director Sarah Krainin Props Assistance Megan Wanlass Special Projects Producer * Member of Actors Equity Association, the union of professional actors and stage managers in the United States. ** Member of the United Scenic Artists Union (USA). ABOUT THE When Persians won first place in 472 B.C. at the Athenian festival of Dionysos, PLAY Aeschylus was perhaps in his early fifties, a conservative master of plays integrating complex poetry, song, and dance. He was also an innovator; according to Aristotle, he introduced the second actor to tragic performance. In this opulent drama seen through the eyes of Persian courtiers, Aeschylus combined visual spectacle with powerful, lyrical storytelling. Persians is a challenge to translate and interpret because of its alien grandeur and despair. Yet it is well worth the effort to see the play through ancient eyes as well as our own. This tragedy was admired in antiquity and selected as a model to be copied and recopied, but two accidents of history also give it special significance. Firstly, as the earliest play to survive, Persians takes us as far back as we can now reach to the origins of Greek theater. Singing takes up almost half the story and echoes archaic performances in honor of Dionysus before the first actor stepped from the chorus. Secondly, Persians is the only historically based play (of the few known) to survive. Its focus is the Battle of Salamis, won by the Greeks against an overwhelming Persian naval force in 480 B.C., eight years before the play was produced. Aeschylus himself fought the Persians, and probably took part in this battle. While he glorified the victors, he also universalized the horrors and lessons of a specific war by presenting Persians alongside three mythological plays——each standing alone, or all perhaps linked thematically to a Persian threat. The larger theme, not historically accurate, is the utter devastation of Persian civilization by the Athenians. The sorrow of the Persian courtiers, as they first fear and then confirm that all is lost, slowly escalates into an ancient ritual dirge. The dramatic gestures and cries of the chorus and Xerxes may seem excessive today, but to the play’s first audience, public lament was a familiar expression of profound communal sorrow. Aeschylus effectively shows the stricken enemies’ point of view, and thereby permits viewers to share in a collective grief that bridges time, culture, and place. — Shelby Brown, dramaturge and education specialist DIRECTOR’S Aeschylus’s Persians dates from 472 B.C. and is considered to be the first NOTE extant play of western civilization. As a company, we are attracted to the play not only for its historical significance and remarkable embodiment of a Greek society imagining the grief and sorrow of their recently defeated enemy, the Persians, but also to the fact that the protagonist of the play may, in fact, be the chorus. According to Aristotle, tragedy, as we know it today, evolved from a popular performance tradition, a form of sacred choral singing and dancing called dithyramb. In approaching Persians, we are attempting to chart nothing less than the birth of drama, the proverbial big bang of the theater, from procession and ritual celebration to acts of fictional embodiment of events and relationships. — Anne Bogart TRANSLATOR’S In this translation, I strove to preserve the musicality and rhythmic virtuosity of NOTE Aeschylus’ original. In order to make clear their distinct qualities, I translated the spoken passages into blank verse and the sung passages into rhymed or off-rhymed verse. The most common dialogue meter is called iambic trimeter in Greek prosody. Aristotle describes its rhythm as very close to everyday speech, so the iambic pentameter of Shakespeare was the natural choice to bring it across into English. The formal elements which comprise a choral ode are stanzas called strophe, antistrophe, and epode (or, in Theodore Roethke’s phrase, “the Turn, and Counter-turn and Stand”). The metrical pattern for each antistrophe is identical or nearly identical to its strophe. I resolved to preserve this metrical responsion by using the same scheme of meter and rhyme for each set and by distinguishing each set with a different scheme. Rhyme, it seemed, was necessary to indicate that the choral odes are not conversational speech but song. The resulting translation is a musical experience that modulates, as the original does, between spoken and sung lines of verse. — Aaron Poochigian SITI COMPANY SITI Company was built on the bedrock of ensemble. Founded in 1992 by Tadashi Suzuki, Anne Bogart, and a group of like-minded artists, the company began as an agreement to redefine and revitalize contemporary theater in the United States through an emphasis on training and international cultural exchange. SITI Company believes that a group of artists working together over time can have a significant impact upon both contemporary theater and the world at large. Through performances, educational programs, and collaborations with other artists and thinkers, SITI Company will continue to challenge the status quo, train to achieve artistic excellence in every aspect of their work, and strive to foster an interaction of art, artists, audiences, and ideas to inspire the possibility for change, optimism, and hope. In addition to Co-Artistic Directors Anne Bogart, Leon Ingulsrud, and Ellen Lauren, SITI Company is comprised of eight actors, four designers, and one playwright. Members: Akiko Aizawa, J. Ed Araiza, Will Bond, Gian-Murray Gianino, Kelly Maurer, Charles L. Mee, Jr., Tom Nelis, Barney O’Hanlon, Neil Patel, James Schuette, Brian H Scott, Megan Wanlass, Stephen Duff Webber, and Darron L West SITI Company Board of Directors: Anne Bogart, Gigi Bolt, Barbara Cummings, Rena Chelouche Fogel, Christopher L. Healy (Treasurer), Kim Ima (Secretary), Leon Ingulsrud, Kevin Kuhlke, Ellen Lauren, Thomas Mallon, Kelly Maurer, Charles L. Mee, Jr., Ruth Nightengale (Chair), Annie Pell, and Leonard Perfido Emeritus Board: Nicole Borrelli Hearn, Matthew Bregman, Lynn and Ronald Cohen, Martha Coigney, Jim Cummings, Judy Guido, Daniel C. Smith, and Jaan Whitehead SITI Company Staff & Interns: Michelle Preston, Executive Director; Vanessa Sparling, General Manager; Megan Hanley, Administrative Associate; Megan Wanlass, Special Projects Producer; Jeremy Pickard, Space Intern SITI Company Consultants: Ellen Pearre Cason, Accountant; Chris Healy and Thomas Mallon, Attorneys; Al Foote, Web Programmer CONTACT AND CONNECT 520 8th Avenue 3rd Floor, Suite #310 New York, NY 10018 (212) 868-0860 [email protected] Website: www.siti.org Facebook: www.facebook.com/SITICompany Twitter: www.twitter.com/siticompany SITI Extended Ensemble [SEE]: www.siti.groupsite.com Exclusive Worldwide Tour Representation: Rena Shagan Associates www.shaganarts.com THE ACTORS Akiko Aizawa has been a member of SITI Company since 1997. Previous performances with SITI include Trojan Women (after Euripides), Antigone, Steel Hammer, A Rite, Café Variations, Radio Macbeth, and bobrauschenbergamerica. She has also performed at the following venues: BAM (Brooklyn Academy of Music), Humana Festival, Public Theater, Joyce Theater, Guggenheim Museum, Park Avenue Armory, American Repertory Theater, ArtsEmerson, Carolina Performing Arts, Wexner Center, and LA Opera. J. Ed Araiza is a writer, director, and performer. SITI credits include Trojan Women (after Euripides), Under Construction, Hotel Cassiopeia, A Midsummer Night’s Dream, systems/layers, bobrauschenbergamerica, Culture of Desire, The Medium, Small Lives/Big Dreams, War of the Worlds–the Radio Play, and Radio Macbeth. He has written seven original plays directed in Iceland, Canada, India, Colombia, and is the head of the UCLA School of Theater, Film, and Television’s Graduate Acting program. Eric Berryman was most recently seen in SITI Company’s production of Steel Hammer (Humana Festival).