Anastasia Pepe
SPOILER!
POSTMODERN INTERCULTURAL GRAPE
THE PRIDE OF THE IMBECILE FROM THE NATIONAL THEATER
The three tragedies of “ORESTEIA” by Aeschylus that were presented without interruption at the Ancient Theatre of Epidaurus on June 28,29, 2019, “AGAMEMNONAS”, “HOIFORES” and “EUMENIDES”, demonstrated the great desire of our people and foreign visitors, to listen and learn, standing in the worn stands of the ancient theater from the complicity of all the drama, standing tenaciously in the serene landscape of Epidaurus for 4.5 hours.
The translation of K.H.Myris (K. Georgousopoulos) with the orthophony of the actors and the purity of listening from the acoustics of the ancient theater made the performance magical.
BUT THE POSTMODERN STAGING OF THE THREE DIRECTORS (IOUS VOULGARAKI, LILYS MELEME, GEORGIAS MAVRAGANI) WAS ENOUGH TO TURN ALL THE JOY OF THE SHOW INTO UNBEARABLE MISERY.
In AGAMEMNON, the dance movement of the elders of Argos was performed in groups back and forth, giving the image of rabbis walking together, speaking in whispers. Testicles practically did not exist! Testicles, that is, the inherent creative movement of the Dance that danced, sang and played music at the same time, even with a new look, did not exist! Clytemnestra had been annulled as a role, as the Matriarchal power dominating the tragic action kills Agamemnon, in conflict with the Patriarchal institutions. Only the excellent performance of Kassandra (Despina Kourti) animated the Dionysian element of the performance with its articulation and movement, foretelling her death.
In CHOIPHORAS, the dancing women who enter the orchestra to offer dances at the tomb of Agamemnon were shown praying in a straight line to the earth, like Muslims praying towards Mecca. Absolutely foreign kinesiologically to the Greek burial customs.
In EUMAINIDES, expressions of Christian liturgy were added to the text, while the whole performance was structured in 14 scenes as a Gospel discourse. Was there a deeper need?
WHAT IS THE VALUE OF A PERFORMANCE IN THE ANCIENT THEATRE, WITHOUT CHORICA (LYRICAL POETRY)? Without evident the struggle of the outgoing Patriarchate against the already established Patriarchy? In the postmodern intercultural grape of the three tragedies, why is Greekness not emphasized? Why is it not reviving the Greek spirit of questioning the institutions, which carries the message of Immediate Democracy as a catharsis? Why are the cultures that the three directors referred to incisively, patriarchal?
Their inability to move forward by bringing new and in-depth novels, so as to express today's concerns and to be interpreted by future generations, has the effect of diminishing the value of the poetry of ancient Tragedy and the poet Aeschylus.
ANASTASIA PEPE
ARCHITECT-WRITER
THE PRIDE OF THE IMBECILE FROM THE NATIONAL THEATER
The three tragedies of “ORESTEIA” by Aeschylus that were presented without interruption at the Ancient Theatre of Epidaurus on June 28,29, 2019, “AGAMEMNONAS”, “HOIFORES” and “EUMENIDES”, demonstrated the great desire of our people and foreign visitors, to listen and learn, standing in the worn stands of the ancient theater from the complicity of all the drama, standing tenaciously in the serene landscape of Epidaurus for 4.5 hours.
The translation of K.H.Myris (K. Georgousopoulos) with the orthophony of the actors and the purity of listening from the acoustics of the ancient theater made the performance magical.
BUT THE POSTMODERN STAGING OF THE THREE DIRECTORS (IOUS VOULGARAKI, LILYS MELEME, GEORGIAS MAVRAGANI) WAS ENOUGH TO TURN ALL THE JOY OF THE SHOW INTO UNBEARABLE MISERY.
In AGAMEMNON, the dance movement of the elders of Argos was performed in groups back and forth, giving the image of rabbis walking together, speaking in whispers. Testicles practically did not exist! Testicles, that is, the inherent creative movement of the Dance that danced, sang and played music at the same time, even with a new look, did not exist! Clytemnestra had been annulled as a role, as the Matriarchal power dominating the tragic action kills Agamemnon, in conflict with the Patriarchal institutions. Only the excellent performance of Kassandra (Despina Kourti) animated the Dionysian element of the performance with its articulation and movement, foretelling her death.
In CHOIPHORAS, the dancing women who enter the orchestra to offer dances at the tomb of Agamemnon were shown praying in a straight line to the earth, like Muslims praying towards Mecca. Absolutely foreign kinesiologically to the Greek burial customs.
In EUMAINIDES, expressions of Christian liturgy were added to the text, while the whole performance was structured in 14 scenes as a Gospel discourse. Was there a deeper need?
WHAT IS THE VALUE OF A PERFORMANCE IN THE ANCIENT THEATRE, WITHOUT CHORICA (LYRICAL POETRY)? Without evident the struggle of the outgoing Patriarchate against the already established Patriarchy? In the postmodern intercultural grape of the three tragedies, why is Greekness not emphasized? Why is it not reviving the Greek spirit of questioning the institutions, which carries the message of Immediate Democracy as a catharsis? Why are the cultures that the three directors referred to incisively, patriarchal?
Their inability to move forward by bringing new and in-depth novels, so as to express today's concerns and to be interpreted by future generations, has the effect of diminishing the value of the poetry of ancient Tragedy and the poet Aeschylus.
ANASTASIA PEPE
ARCHITECT-WRITER
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Oreste- Dancers (2019)
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