Addison LIBRARY: The Oresteia (Modern Plays), by Aeschylus

The Oresteia (Modern Plays), by Aeschylus

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The Oresteia (Modern Plays), by Aeschylus

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He who learns must suffer.
Before setting out for the Trojan War, King Agamemnon sacrificed his daughter Iphigenia. Many years later, when Agamemnon returns to his palace, his adulterous Queen Clytemnestra takes her revenge by brutally murdering him and installing her lover on the throne. How will the gods judge Orestes, their estranged son, who must avenge his father's death by murdering his mother?
The curse of the House of Atreus, passing from generation to generation, is one of the great myths of Western literature. In the hands of Aeschylus, the story enacts the final victory of reason and justice over superstition and barbarity.
The original trilogy, comprising Agamemnon, The Libation Bearers and Eumenides, is distilled into one thrilling three-act play in this magnificent new translation by award-winning playwright Rory Mullarkey.

Sales Rank: #782254 in Books
Published on: 2015-09-19
Released on: 2015-09-19
Original language: English
Number of items: 1
Dimensions: 7.81" h x .26" w x 5.06" l, .30 pounds
Binding: Paperback
120 pages

Review

“Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances.” ―Observer

“Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film.” ―Evening Standard

“brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays.” ―Spectator

About the Author

Aeschylus (525-456 BC) was the father of Greek tragic drama, usually considered the first great writer in the Western theatrical tradition.

Rory Mullarkey won the 2014 George Devine Award for his play The Wolf from the Door and was the recipient of the Pinter Commission in 2014 – an award given annually by Lady Antonia Fraser, Harold Pinter's widow, to support a new commission at the Royal Court. He was the Royal Court's writer-on-attachment in 2010 and has been closely associated with the theatre's international work, translating Russian-language plays from Latvia, Russia and Ukraine, including Aleksey Scherbak's Remembrance Day as part of the 2011 International Season and for a number of staged readings. His first full-length play, Cannibals, opened at the Royal Exchange Manchester in 2013, where he became the youngest playwright to have his work performed on their main stage. In 2014, Rory Mullarkey won the Harold Pinter Playwriting Prize, the George Devine Award (jointly with Alice Birch) and the James Tait Black Prize for Drama for his play Cannibals, published by Methuen Drama.

From AudioFile
Although these Greek plays are 25 centuries old, this production is, remarkably, the first audio release to include the complete trilogy. The strongest play is the final one, THE EUMENIDES, during which Orestes is tried before Athena for the murder of his mother, Clytemnestra. It features a fine performance by Robertson Dean as Apollo, Orestes's advocate. After listening to the trilogy, it's easy to appreciate the challenges of adapting Greek dramatic conventions to audio. For example, lengthy passages are delivered by a chorus, which may seem contrived to modern listeners. Unfortunately, this production magnifies that awkwardness--far too many lines are delivered with injudicious sound effects and multiple voices that are more cloying than dramatic. D.B. © AudioFile 2007, Portland, Maine-- Copyright © AudioFile, Portland, Maine

Most helpful customer reviews

16 of 16 people found the following review helpful.
Lucid and thought-provoking production of the trilogy
By M. Faith
Imagine yourself a member of an audience sitting in a Greek amphitheater over 2,000 years ago, caught up in the ebb and flow of a tragic drama unfolding before you, hanging on every word proclaimed by the larger-than-life masked actors who move across the stage--now lamenting in unison, now pitted against one another in angry confrontation--and you will get a sense of what it's like to listen to this 2007 full-cast audio production of Aeschylus's tragic trilogy, The Oresteia. It is an event. An event that draws you in and holds you focused on murder and mayhem and their come-uppance. An event that marches inexorably toward a restoration of the balance in the universe.

This adaptation by Yuri Rasovsky (and under his expert direction) captures not only the characters, the story line, and the tone of this tragic sequence but also its quintessential sense of time and place. No bad deed goes unpunished--especially when it involves killing one's own family. The performances are clear and straightforward, and Rasovsky's orchestration of them brings out the themes that weave their way through all three plays of the trilogy. Never intrusive, the device of using electronic distortion to enhance several of the voices serves, among other things, to distinguish gods from mortals, and is well within the spirit of the larger-than-life masks with built-in megaphones used in Greek theater.

This Hollywood Theater of the Ear production is a thoughtful and thought-provoking, as well as enjoyable, rendition of the plays.

10 of 12 people found the following review helpful.
Superb final act
By Hellenic Kithara-player
All told, very good version of the plays. Some may question the choice of certain actors or the choice of using distortion, most likely electronic, to enhance certain characters, but the plays do work.

The final act, The Eumenides, comes off particularly well. At the very end the chorus is sung to a marvelous melody that comes quite by surprise, providing an amazing lift to the play.

3 of 3 people found the following review helpful.
Great play, ok translation, dreadful cast
By Teacher man
Oh dear. I really disliked this. I gave up at the second disk.

The chorus sounds like some bad sci fi experiment.
Clytemnestra sounds like she's auditioning for a Desperate Housewives episode.
Agamemnon sounds like he's a game show announcer.

Los Angeles has thousands of really talented actors. Some from this cast may be fine in other roles but here most of the cast is miscast. Want to watch a really good cast? Watch Iphigenia with Irene Papas as Clytemnestra and Kostas Kazakos as Agamemenon: great performances! Brings tears to my eyes every time. There you get two regents, parents battling for their family and country and agonizing over the choices. It's life and death and they play it all. Here, the emotional level is on par with a sweater choice. The Trojan Women has some great performances, Irene Papas, Katherine Hepburn.

I have seen marvelous Greek productions done in Greece in Greek at Epidaurus. The Brits can do a fine job. I saw Diane Rigg do an admirable job in Medea on Broadway. Zoe Caldwell is legendary as Medea. These plays can be thrilling and riveting. Yet, why is there so damn few on CD or DVD? Is it really that much more money to video or bring the cast in to do a CD?

Please, someone take another go. The Getty Center in Malibu is bursting with money. They produce Greek drama. How about filming their productions?

Addison LIBRARY

Kamis, 03 April 2014

The Oresteia (Modern Plays), by Aeschylus

The Oresteia (Modern Plays), by Aeschylus

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