Carson's new translations of Aeschylus' Agamemnon, Sophocles' Electra and Euripides' Orestes have been compiled into a two-part theatrical event, which will be performed on two separate evenings or in a one-day marathon. Poetry, Latin: From the Beginnings through the End of the. Philosophy, Dialectic in Ancient Greek and Roman Maritime Archaeology of the Ancient Mediterranean Latin Paleography, Editing, and the Transmission of Classi. History of Modern Classical Scholarship (Since 1750), The Greek Domestic Architecture c. 800 bce to c. 100 bce The Oresteia also participated in major changes to Athenian dramaturgy, as Aeschylus used-possibly for the first time-the skēnē building, the wheeled cart ( ekkyklêma), and a third actor.Īrt and Archaeology, Research Resources for Classicalīilingualism and Multilingualism in the Roman Worldīronze Age Aegean, Death and Burial in theĬlassical Architecture in Europe and North America since 1.Ĭlassical Architecture in Renaissance and Early Modern Eur.Ĭlassical Art History, History of Scholarship of In addressing justice through the origin of the Areopagus tribunal, Aeschylus, uncharacteristically for Greek tragedy, engaged one of the most explosive political issues of this time, since, a few years earlier, Ephialtes, attempting to check the power of aristocratic institutions like the Areopagus, stripped it of its broader powers, but was assassinated shortly after the changes were instituted. Aeschylus, to maximize the dramatic potential of his theme, re-imagined the myth so that the system of justice as vendetta reaches an absolute crisis in the form of an intra-familial gender war that takes on a cosmic scale that results in the origins of the legal system wherein humans are held accountable for their actions and tried by other humans who are not party to those actions. To address this theme Aeschylus transformed from the Odyssey the myth of the final phases of the House of Atreus: the murder of Agamemnon by his wife Clytemnestra and cousin Aegisthus after the sack of Troy, and the consequent matricide committed by their son Orestes. The theme of the Oresteia, justice, was a particularly urgent concern for a democracy that was still only a half-century old. Since Aeschylus died in Sicily two years later and there is no evidence of any Athenian productions in the intervening period, Aeschylus likely ended his career victoriously at the City Dionysia with the Oresteia. The Oresteian tetralogy consisted of four plays- Agamemnon, Libation Bearers ( Choephori), Eumenides, and the satyr-play, Proteus, which was lost-with the first three plays forming the only trilogy to survive antiquity. The Oresteia, the pinnacle, and likely the final production, of Aeschylus’s long career in Athens, was produced at the City Dionysia of 458 BCE, where it won the first prize.
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