Educação Em Esparta E atEnas: dois métodos E dois paradigmas
Maria de Fátima Silva University of Coimbra
University of Coimbra Susana Hora Marques
(eds.)
tragic HEroinEs on anciEnt and modErn stagE
3
José Ribeiro Ferreira All the volumes of this series are submitted to a panel of independent referees.
Editors: Maria de Fátima Silva and Susana Hora Marques Title: Tragic Heroines on Ancient and Modern Stage Publisher: Centre of Classical and Humanistic Studies – University of Coimbra (1ª/2010) Academic Co-ordinator of the Editorial Plan: Maria do Céu Fialho Other Collaborations: Delfim F. Leão, Frederico Lourenço, M. J. Almeida Editorial Board: José Rib eiro Ferreira, Francisco Oliveira, Maria deFátima Silva, Nair Castro Soares Technical Director of the Collection: Delfim F. Leão Design: Elisabete Cação, Nelson Henrique, Rodolfo Lopes Universidade de Coimbra Faculdade de Letras Tel.: 29 89 981 | Fax: 29 86 7 3-44 Coimbra
ISBN: 978-989-8281-0-1 Digital ISBN: 978-989-8281-1-8 Legal Deposit: 1270/10
Published under the Programme POCI 2010:
© Classica Digitalia Vniversitatis Conimbrigensis © Centre of Classical and HumanisticStudies -University ofCoimbra All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, photocopying, or otherwise, without the written permission of the publisher, except for educational purposes, namely e-learning environments.
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Educação Em Esparta E atEnas: dois métodos E dois paradigmas Contents
Preface
7
Introduction
9
H Sk, P Mk
Medea, Clytemnestra and Antigone:
27
P V
Rehearsing instabilities in Aidan Carl Mathes’
tHE antigonE
7
António Pedro’santigonE on stage
6
A R-Hw
S M P
Sophocles’ ElEctra by Krzysztof Warliosi
7
K Mk
Medea’s Sacrifice and the unsatisfied director: E’ Medea A V
87
A Mk
Seneca’s pHaEdra - an over passionate heroine: H Bš’ Faidra
109
Ešk Pčk
Innocent victim or scheming seductress? Euripides’ Phaedra (Hippolytus) and Kalidas’s Urvashi (VikramorVasiyam): w 121 Bj S
5
palaVras dE aprEsEntação
PrefaCe
wk k 0 1 J 2009 U C1, Nwk P A Gk D, w C C H S C. U “ ”, w w C A, w C P . E Ck R, 1
W w k k P F L M J A w E wk.
José Ribeiro Ferreira
G, N, P, P, U K Sw – C , E, 20 w w . , 1 20 , w : , A, M P. B Gk R , w , w , w , k , w . w , P’ Poenulus “” w k wk P D L2.
2
C. F, L. N., J, C. A. M., . (2010),FESTEA – Tema Clássico. Dez Anos de um Festival de Teatro (1999-2008) . C: C E C Hí.
IntroductIon
IntroductIon
Changing Attitudes towards Ancient Drama in heatre Practice
I Ep N R D P A G D (A-N) b G p . T p x b y p C T S ( y ) p G . S Ep y C T S p . I p xp G . S , p y y. S pp z p. b p / A P () Ep (7), Jy by pp . T C S Dp Uy Cb, P (P. D. M Fá S) .
9
Henri Schoenmakers & Platon Mavromoustakos
T p pp G , b p Ep. I y p y Cb. I p y G xp y p, p y p G . W pp pb: () y G , (b) q, pb ? the lIteraryattItudetowardsancIentGreekdrama
A G b . A q, x xp p p p . T , y B.C. p xp y xp , p. W y p , p py 10
IntroductIon
y py . H, p y G y y b x p xp. P b b G ‘Sp’, p . T x ‘’. - Te notion ‘classical’ T ‘’ y ‘y’, ‘’, ‘’, p la condition humaine. T ppy py y B.C. q p, x py . I , , py ‘’ condition humaine, b y y p . Pj b f py py . T y . O y, y y Ay, Sp, Ep Ap. I p y, x 11
Henri Schoenmakers & Platon Mavromoustakos
x b -p — xp, , y b . A q p xp py ’ . A, p p y y, b p y B.C. , p p py x . T G p p p z b p . T xp x pp y . M xp p , , b b . - Norms related to ancient Greek drama T y B.C. b b by A C. A b y. T p p y , , . T y xp 12
IntroductIon
. T , y yp b p, y , , y, p ( xp Medea Peace) ekkyklema — p . Ty y . C A , b —py F G p — p b y. T y ( , M y by Ep) y ( y p E by Ay, Sp Ep) y p. D y pz , p, p . N p p G p p pp p .
13
Henri Schoenmakers & Platon Mavromoustakos who
Is responsIble for communIcatIon wIthIn
the theatre?
A pb pb G b q, pb pp : , ? T py p p , b y. A , py pp pb; b b pb b x b b. T y px p b p b C Sy b Te Cherry Orchard (). S, x x p ‘’ b . H, p y x y py py G. T q pby y.
Ab G , y b Sy C. 14
IntroductIon
D pb p p b p. F p p x q p p , xp G . I p pp p p, p b . O p x . T f b b p p. I y p b . A xp p Oresteia by B Gp L Téâ Lbé (7). W py A p y y A, O y b b b , b x. N A, b . A y x b b y . O p , b pz y b A’ . 15
Henri Schoenmakers & Platon Mavromoustakos
T p x b x . Oy b x y ’ pb y (p, , , ) x b b p. D pp ( , ) x y y x , , p x, p . - Teatre makers between innovation and renovation I p y p p b p y xp . S, , y B.C. W y xp p y xp, p G y. F xp, Mx R xp p p y Oresteia p ‘’- yp p C S B, ppy 16
IntroductIon
. I px y , G , y y , y b q b p p . A b b ‘’ b y p . T W b By (87) y W. S y S W W G R p b p . M-Sy Cé Fç py Oedipus Rex R p O F(8), G S Iy p p Agamemnon. I G Dp (7 ) G Ep p Sp’ E by D R (8). T p b Ep py y pby p xp p p (.. K K, L R, P S, P H, ..). H, 1
Henri Schoenmakers & Platon Mavromoustakos
b p I yp Ep, , S W W, p -p p (.. J L B F, E V x N) xp p y y. T p p , y p pp p p p. F x y ( ), b p b p y p , y ‘’ - p y b p p b p p xp y p . A p p x p p b p p p p . W p S’ p Bacchae Dionysos 69 (p 8) y p. S x Ep, x . A, py b p p p ‘’ 1
IntroductIon
( ) p q b x. B S’ : p b p. - Back to the communicative function of theatre T y b y , y B.C., y y p by p y G by ‘’ p y . I , y ‘’ ‘’—, b, p la condition humaine p p, — p. T b p y p Gy y y y b p: Oresteia Ay. P S’ p Sbü H U B y (8) p y py b p . Ay, p y b by b Agamemnon, 19
Henri Schoenmakers & Platon Mavromoustakos
z A. T A b C p, Cy b p. T A py y A, y b pp p. I p Ap p p p . W ekkyklema by A p b Cy A. F py pp P S’ p p y Gy Oresteia p b y G. T p p xy y by y . A z p , y b y b . T y O A pf b q O b y yy. I y y y- y Oresteia 20
IntroductIon
p py Gy, b , p py . I “b y” – p, b b y y . xp y p py p. I A Kb Oresteia Kp M. A py y U S’ Iq ( ) by G B D R C, py, Eumenides, z p z p b p z. T f z p y, py y f - p. T xp p by Sp D. I p G D Rpb (DDR) py by z D. I p z b y BRD DDR. T z y p y. A p z j b 21
Henri Schoenmakers & Platon Mavromoustakos
p Ey, D. p yp - . S y ppy p, , b y by z y . I y pz y p y pp by p p z. T xp y p. S’ p Bacchae , y x, b y p G p, y p G Gy Oresteia b p ‘ y’ p b p. S , q b p ( Oresteia y y p py) pp . T
P S p M ( . T j Ey). I p p p S U, p b by y b . 22
IntroductIon
py . By x y by x ‘’ ‘y’ b b y - y b p b pb y, . I b pp G y . T b xp p, , . I b b p Cb, y xp p b z. F z Ep N R D P A G D y y b - Ep . H S (Uy U) P M (Uy A)
23
A trAdição dos sete sábiios
Tragic heroines on ancienT and modern sTage
25
MedeA, ClyteMnestrA And Antigone
m edea , c lyTemnesTra
and
a nTigone :
a
psychological approach according To The Tragedies and The myThs under The frame of The paTriarchal socieTy
P V (Unvy An)
Gk gdy dmnd by mpng ml gu, n w v bm ymbl nd dmbl yp n vy vlzn ug nu. Pn wmn, bld w nul buy, wdm, nllgn nd ug, w dd g bynd nw m m, pp lw nd ul nd un l blmn upd dwn. T n pl g n, n pl y. T ndd b dvlud nd wmn d b pnd zy w, pu, mud lv. Nvl ml gu lwy d b mpun lk lg n. In d mgnlz wmn, nwly bld mn-dmnd y d upnd gu nd pl m w n, u Pnlp ( nd bdn), Angn (duy), Al ( nd mdy) nd Adn (bndnmn). Bu vn nw xmpl w bynd uul n nd lkd lk ld n, w uld n b md. Md un dvn Od ng upd dwn ung mndu knwldg: n nly 27
Petros Vrachiotis
p mmly, bu n b d nd gv yu bk n ld. Adng Eupd qu w : …I you ofer ools some brand new wisdom, they’ll consider you quite useless, not someone wise.] And i, within the city, people think o you as greater than those men who seem quite wise, you’ll appear a nuisance. So it is with me. For I’m a knowledgeable woman. I make some people envious.
Md’ nm n nl. I dv m vb μήδομαι w mn ‘I nk, I dv, I ’. H mun mmnd g wddng. Hlpng Jn b mn nd bm kng, emina universalis nnd nm w bddn knwldg nd unxpld ml ul. Mn dmndd wmn b ll nd ln. A dwnll my, y bld ‘mnnly’ dm nd bnd ny knwldg y uld n nl. Tu, Md b bnd n ‘undbl gd’. Eupd db Md zy, jlu nd mn wmn. Adng my, ul l w n u nd vv ppl. Bu n nly Zu n u Dnyu, Md bddn d . W wll nv knw ‘w’ ud
Jnn, I. : vv. -. 28
MedeA, ClyteMnestrA And Antigone
ldn, bu Knwldg bud nd Md bnd n nnyng lm. Md und ml wld upd dwn: byd , klld b nd ll n lv w Jn bu d . S unmd ml nu yng , u, n nd d wn . S vwlmd pud-nvnn nd lw m. Mu b pund, nd ? Und w pnly? Eupd mn ln. Gd mlv nd pwl n n . N nly n pund, bu m g kng An, Ag, nd pvd w m ml , Md. Md d gdd n gn Mynn l. S w wpd n Cn unl H Ag. Ann dp p n Elu - wll n Rm - pl mng n Elyn Fld. T Gk Su Ily nd w ymn. Evn Apllnu Rd pd “u” vd Agnu, qul Jn. Bu nnyng Md ynnymu unl dy. Ou ‘n’ wld nvd wp mdl m-vgn w d m mmn gd. T bl Md npd l-lun jlu wmn. Nvl, mpuny n jud. Wv d mply Md ld. Clymn ddul wmn w ng buy. Agmmnn d mud wn un 29
Petros Vrachiotis
nlu n d v . W mg bm pwul ul nd mgy dyny Hld, w und . y yl y nd nk pwul nm dyny, Agmmnn w ppnd mmnd gnl Gk my gn jn. Bu Clymn bn b qun. A ubnd’ dpu k v kngdm nd ml mdl ul: x g nd ly w Agu, Agmmnn d w bndmd. Wn un vu m y, Clymn wy ldng dubl x, ymbl kngp. N wll nd bk, n l pn yung Cnd, Agmmnn’ py m w. S dd kll Agmmnn - n w m pn - bu w wpn. S m w ug gnl, wl Agu nly k wn kng ldy pdwy, ju lm n. Clymn wll n pn, n nd dd b m. Spkng dug El, wll dn mud m’ vng n nm Ipgn. Clymn ll bu wmnpw. N n uld v py. T mn m w dply d . T gdn w md up by . And vn dy, w uk w w wn w . A n bb dramatis personae n Agmmnn. S ul v g nvnbl, ul nd ndpndn. S n pl n pl y, w wmn v nm dng ul by mn. 30
MedeA, ClyteMnestrA And Antigone
Clymn pnd n dny wmn nly n Electra by Eupd. S un wd pud dug wn nd u gnd ld. T g qun nw unnng bby lk n dny gndm. In u y, Clymn n nly b pund m. In knd y, wmn n nly b ld m. El n m mu wn, bu bddn w pgnn m g. T gdn wll n llw Agmmnn plgz, unlk Clymn, w guly nd py w wn l. Bu qun Ag l n p: g md pnng pbbly -ng u wn mlvln d. Pp ddd u ddn ug w nn b dud nd b bud n ng nd dk undgund u ubnu. Clymn - m m - “blvd” wll “d”, ud El y wl munng . Angn bg nd unpln up Sgmund Fud, unv dpn -lld ‘Odpu Cmplx’ . F n , n b nd , ldn n nuu mg. In Odyssey. -, Odpu m m Ep (n J!) nd n mnn gnn l-blndng. Adng Pun, v vdn Odpu d n ldn by m:
Elu, A. : -. 31
Petros Vrachiotis
For how could the report o his wickedness be immediately abolished, i he had our children by Jocasta? Tese children indeed were the ofspring o Euryganea the daughter o Hyperpas: and this is evinced by the author o the versesEuryganea, called Oedipodia. Onasias countenance, painted or the Platæenses with a sorrowul on account o the battle between her sons .
Cul nmn l gvn by Pyd m Sy ( nuy b.C). Odpu n k y u, n l Tb. H md d w, Aymdu, dug Snlu, nd lvd u l g nd pd ld (Pyd F n Jby FGrH). O u g p nd udn d d Hm nd mu d bn w my. Sll Odpu n nuu pn (ubnd m/b ldn). I gu bu pl ndd b m mpld, nd u m dm. Bu l u un Angn. Odpu’ dug bld lug d d dyng m, mndng u mm w mu dnd w w v plmd. Angn du n Cn’ l. H n Hmn nd w Euyd wll mm ud n un pn pun . Cn knwn dng Angn’ xun, n bu ny vu. Fnlly dgd nd
yl, . : . 32
MedeA, ClyteMnestrA And Antigone
umld, bu n w “unmpn” gl n bwn Kratos, ‘pw’, nd dl nbl ul. Angn exemplum dvn nd n. Cn ld xpng lw y bu u buy dd mn. W lw pplng ? W gng n bynd mgynm? Angn nv gl w unqunbl ethos nd und m vu. A vy mmn nd n n Cn, yng n dl uld ll pvu ml gu: Md nd ug dmnn Clymn. Cn’ ngm pw nn nl m – pud D lumn n p w gl. I w Hul, wuld v ppd vl nd mgnnmu, bu Angn n n u. B Cn nd Angn nd Lw. Hwv, Cn ld pw. Wn Angn bug n n m, mmnd lk m, bu gn m. S u n m w ngl lk, nd Cn nly n w n l ul nd dp nmp. Angn gd m miasma y, wd nd md mn. S wll n lk m, n bu d m, bu bu d n wn b nmnd by dgung pn. Angn b l H m. Cn lz mbdy uld m , wuld n kll m - nyn w wuld y p m xung duy. H 33
Petros Vrachiotis
gu mu pl y, u, b bld. Angn ddng l wd wd dd mmb mly: But I cherish good hope that my coming will be welcome to my ather and pleasant to thee, my mother, and welcome, brother, to thee.
A pn I blv ul ll Spl’ vn Odpu Kng, wll El, lug xmpl n bng dud . Bd n w gd, Sgmund Fud k n ly dwn ‘Odpu’ nd ‘El Cmplx’. Adng l y, Angn’ n l n n ug d , bu l bu “n lv” w nd b. T l w n y Fud n gnn, bu vn Spl knw Angn w ld lwul mg, nd n n mpu unn. Nvl, lld ‘F Pynly’ k n dv nd g L, P Jw, w d lp w b dug nd l m pgnn (Genesis . -) . N Odpu w n lv w m, n dd dug ll n lv w m. On ny, L’ dug nuly d x w , gvng b nuu ldn, wll ml nd l qun.
Jbb, R. C. : vv. -. 34
MedeA, ClyteMnestrA And Antigone
Md, Clymn nd Angn mng ng g gu, bu l g n lng n. All m ng, n nd ndpln n p g fn. Ty v vy ml pn nd y ng n mn, y pwul pnl. In Principe, Mvll p vu nuv lmn ml pw. Bu bddn ml. T Cn wll lk wmn up n ppmn nd un m n wk nd pl m, kpng knwldg wy m m. Knwldg nd pw n bm ddul wpn n nd wmn. Only “dppy” Bu nd Bn Ldn v g mnknd!
35
Petros Vrachiotis
BiBliography
Bnl-Gégpulu, C. (), “Fld n Eupd”, n Moments o Greek ragedy.An: M. Kdm Bk Inu, -. Elu, A. (), “ ‘Odpu Cmplx’: l gy. Hw dd Fud d Spl?”, Davlos . An: -. Jbb, R. C. (), Sophocles. Antigone. Cmbdg: Cmbdg Unvy P. Jnn, I. (), Euripides. Medea. Vgn. Klky, C. D. (), “T l.plpy Spl”, . An: Elliniki Dimiourgia -. Rul, A. (), “Rbl-wmn: Dn pyp ml ul”, Davlos . An: -. yl, . (), Pausanias. Te Description o Greece - p. . Lndn. Ynz, Y. (), Te religious misogynism: Woman in the “paradises” o monotheism. Rn: Albu Publn.
36
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
ReheaRsing instabilities in aidan CaRl Mathews’ the antigone A R-H (N Uvr Ir, G)
“In disoriented times, we cannot accept the return o the old, deadly gure o religious sacrice; but neither can we accept the complete lack o any gure, and the complete disappearance o any idea o heroism […] Our task is: How can we nd a new heroic gure, which is neither the return o the od gure o religious or national sacrice, nor the nihilistic gure o the last man? Is there a place, in a disoriented world, or a new style o heroism”?
A. B, Te Contemporary Figure o the Soldier in Politics and Poetry “…and he that let go the goat or the scapegoat shall wash his clothes, and bathe his esh in water, and aterward come into the camp”.
“Lvc” :, Te Bible
I rc r “ r” “ rcB r”r () r pc c r r , Spc’ Antigone rc c rpr k rpr b r b x b c r r. Mr c, Antigone’ r rcp r-r cr
B, A. . 37
Anastasia Remoundou-Howley
ccr c r b r r cc r , r r rc r, xp “ rpv rr vr rcr rc r, c c rpv pc cc r ”. Sc r cr pr , A’ b p rr pc b prx r r r pc: r ( paīs) r Cr’ c r b xrc xrc q r pp, .. r c q. Uk r rc r, cr Spc
crb b Gö “ r ”, p r “rc r” r rcr. A, S Grr c, c b r exemplum: rr c prb aporia c rr r-crb q rk r rpr rrpr p’ . T x c A’ cc rc r cc rc c bz p b Ir r A Cr M. I crvr pprpr c r prr cr r ppr, c, (Ir)
Grr, S. : . Q Sr, G. : . S J W Gö’ p vk Antigone c
“Epr”. 38
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
r v, M rr brv rc xpr prvcv pcz c: rr rr Spc’ , , rcr b cr b Antigone’ crcr r pp r bjcv, r, r rc prcc. Fr Ar H r r J Br J Cpjc’ cprr rz, Antigone’ c cc topos r r ( x prrc) pp rv b rcc. O r , pr, M q b b Wr Pp “” rr “r” rc r’ cr r cc, v r r. Tr r prc rv (x/ c/ prrv), bz r cc Grk cc x, , rcp, r-r r rpc A -r, b, rr, cp, “ b c” p r r cr . Or prpr B’
T ppr brr r r pr’ r: “Pp W b S, b v br b Or. Accr, Te Antigone c I’v r rr b, p- prv c k pr v r vr v r” (M, A. : ).
McD, M. : . 39
Anastasia Remoundou-Howley
r, M, q r p rc r, p A’ r v bvr “r” c br rr vr-ccé pc “ r r r crc” “ c r x” rr rr r p’ r b r r cr, cv bc pcr czp, kp p. I , r Ir Antigone-vr, r pprpr Antigone r Ir, Nr S, r v cpc rr. Fr c rjc vrc rr br r, p Cr Jc B, prp vr r Ir cv br b cr pr pc. A r c v Ir pbc p, c r b Cc Crc . A c rr, r r Antigone A, k r Grk cr’ rr : “T A r b c, b I k c -vc p, b p pc”. I r r cr p k pc r rb pr r j Grk cp vr cr c r, rb v Ir, r Db . I v
M, A. : . 40
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
r c A M pr r r vr Antigone Ir c Prjc Ar Cr Db, v xpc pc pr r c: pr p b pr p pv, r c cv bc. W r, M’ bvrv r c xrc pr r. T r prjc b cv rrv r b k, q, r b rp, r, pc, r r c. T vr pr r r r : rvv r “c r” , br r r-r r x/ r. M, -c vc A p vc c b r j r b k cr, prcr Ir. Ub, r Ir c rc r r cqc r c-pc rr ccr r, b vr r pr. Dr , c q, prcp rpr pc, c, rk pc, , b , r b rpb r r b r z crcp
Grr, S. : . 41
Anastasia Remoundou-Howley
cc r c prb c x r rr, x, br, vrc ( c c jr b b r r mores), r c b pr cr b Cc Crc S. T c b b v Ir r b pbc prv r, c b br prr r c b A Cr. Dr pr, r jr c ccrr r rc pprc: r r cv cr r r r r rc cr. M’ rc c ccr pr-x b b rb c cr r rc br b b prc ccv Wr r. Prv r rr Spc’ xb r xp -pb Antigoner rr crq ck pcc pc : J A’ vr, r xp, rbr b pc Frc Rc cpc Nz , r r r c b : rcr “ c- , vr, rb cpr” r rz r c r pp cprr p . S r Pr
Q F, K. : . 42
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
, r , Br Brc prc vr Antigone b r b Frrc Hör Br. I , Antigone rv prc c prjc rcpr r p-r p-c Gr Erp. M cc prcr’ c c Antigone’ p, r r prp ccr prrv, rk r. I c pr r prc pr p, r rz Erp r c k rb Ir, rrrc Antigone v. M c b pr pc, rr, r, vc, D r Antigone c rr r crc prp . Ac b c r r r, r c c rv br b b “r br,” M q pprpr c cc r rc r rc r cc br r . T , vr c k A Brc, Antigone. T rcr prrc, Mc Sc, c cr vr r p r b br p. T b rcr pr r p prcr prpcv: 43
Anastasia Remoundou-Howley
“ rcpr rc x, c c r r r prp b Brc A, r r cr pr p Tb c rcr c”. T r Antigone r-p q ’ rp r cprr ppc q, b M rv c rprv b rjc rc : vr rc b rr crp r -r, r “rpr” prb x -r. M, , Antigone cc cp p, rrc r. H r rp cprv r j r x rx rc ppc rr . I rcrc Antigone’ “c r”, M prjc pr cr q pr Wr , b r rv cp: rv b -rrv c k. T p pr v rrpc xprc rr cc x r , “x v z, , cr; r r cr pprc x rc r r r
M, A. : .
Ib. 44
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
c”. M b, c p Frc ppr Ré Grr ( M’ prr Sr Uvr) c xpc r-cz p c cr prc c rr r p p , c, r. T cp r Antigone, rc rcr b vc brbr r r cr, r c ppr crc rr rr c: A’ pr crc , rc r p, the odd little breeze rom the North () r vr pro patria crc Nrr Ir, r cc, , c pc -r r pr- prpc
Ib. Grr, R. . M Ré Grr vp r crc c prc k r k xp. Fr Grr, crc- cr r Grk r- b rk rc cr vc c rp. I crc, vc cr b b r r brv. A rr, , r k cp c k vc r rp, c vc k r. T cr, rr, vc, v b c rrc c cr. r rz - rz- rc r, r vc, rpr c p r rr xp . (“ k vc, xprc ”, “r c crc cr”). T r r A’ crc, r cp Cr’ realpolitik. I pr b pr r prv
cp. 45
Anastasia Remoundou-Howley
Or r ( r prc) b. I vr, Anti-gone, k r , -r, r v r. S pp r r k pp r c c, r genos. I M’ vr v pp r. T r M’ crp br pc, br v pc c cv rc : Set in Ireland in the 1980s B.C., soon ater Sparta had entered the war on the German side (), p (c r pb ) prr prpr c r rp, kcpc v r, v c r, rc c rk pc. T c ccp c, c crcr r vr r: r , r pr c b -cr A -cr Ir. Sc, Spr-Gr rc , r crpc cqc Pp Wr Sc Wr Wr, r c Tr Ar’ pr r pb pr r Acz. Wr Ar , M’ vr r v “ r c r xpr rr cr”. H bc H M’ cr, r Cr prx: We have an opportunity to collapse History. You and I together. o
Q H, E. : . 46
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
begin all over. o resume time. o become totally human. o put all o this behind us[...]o step out o the soiled clothing o culture (). M’ p b r rcrr rc: rr pc r ()pb ()b b. H crp c br pr r c p pc r-r Antigone -rc p: r--r cq, r crcr, rb cp Cr Jc B c- c r r c r r-, prp jxp p pr , r r r c rc cc b cr pcr, p rrk b pc r r xpr c. A pp c p, rp pc rc c’ rr cr p, v q br r crvr Ir Cr Jc B, q bv r c k r Gr Or’ 1984. I r cp , crcr r r c k cvr c r c b r , prv pbc persona, r c: A rc r c, -rc : I represent ordinariness… tens o thousands o aceless women. Women who stand in queues and wait. And their waiting is more busy, more 47
Anastasia Remoundou-Howley
concentrated, than all the bustle o men (). M’ Antigone pr k b rc ccb r rc crq r (Te children are eating the stung out o old couches ()). A v r vr, c rr Cr, We’re goin’ round in circles(), r cpb vc cr r b crc . A prr , pv r, r r cr (I don’t want to set an example ()) ck p r v r r: I know I’m colourless. I know I’m abrasive. I know I’m a bore. But I’m right, God help me, I’m right. And I have to
go on being right until somebody sends help (). A v pr I r Antigone r take the good with the bad (). A crcr bv H, p rp c : p cr b c Cr, r c , r A c r . Fr H A axia timēs (r r), b r H ck nous/ noesis prr r: Such a waste. Such a squandering [...] You could have been my wie i you’d had any nous. You could have had me. Do you have any insight into what you’ve done to me ()? T rz p (She’s quite delusional. Why do I love her? ()) rr rc vr ck r: You ride your own death in the emale astride. You want to go out in a blaze o glory. Saint Antigone. Wating 48
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
o into cumulus nimbus while the rest o us stay where we are in the ruins. Walloping nails into wood [...]No wonder Christ chose men. Your sex is diseased (). Pr Cr cc Mr r Jc prc: Te aim is rehabilitation. A bringing to the awareness o evil, not a driving to despair (). T pr -bb -- Cr rpc Tb r, Crc Cr, r, r, Erc, r. A’ brr r rrr ‘Pc’ ‘Pc’, A’ rr r r P c, r r r b r brr’ . Cr’ c b q N Ir Cr Jc B vrb, v Pc br, r xc r c’ rcr. A rb bc r brr b rc -pr p pcrc rr b c rb. T cr r c r prc Spc p v b rr prr r cr. Wr , c rbr r cv c r’ r. T v c v r r: I’ve been playing this part or three thousand years. I can’t remember why I took it. It wasn’t like me. I’ m so conused. I have the odd ash, but it’s ainter all the time. What I’ m doing is absurd. And they still don’t understand. None o them. And neither do I (). B : r b rvv vr b pp 49
Anastasia Remoundou-Howley
pr jc vr pr c v b . A’ rr “br r cc vc”. T Cr, r crcr-v M Grk ‘ cr’, b xc: o
stay when Antigone comes? o participate in History? o have a seat at the centre o the epoch? o marry the era, and be impregnated by it? I’d do anything. I’d donate my kidneys (). Tr M’ p, Cr H r c rc r , q cp c r. I q r the whole ruth (), Cr k rv p r p r H’ rc ppc pr. T cc c r Cr p, r prc r Or, cq r A (She’s multiplying inside me like a white blood-cell ()). T rcr cc M prc c, k Spc’ x. A rb r rc
Sc, M. () ‘Prr N r Antigone’: . S Te Antigone: . T c r crc rrc Vcr H’Les Miserables, prc Arc r pc pp Te American Crisis (-) b T P ( rcz r ), What America Means to Me b Pr Srckr Bck, r Arc Nb Prz r Lrr. Cr rcr cp: “I v : “T xpc rp b r , k , r ppr ” P’
x Rvr Wr Arc. 50
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
kp. You’re turning me into your own creation () A pr Cr rp: Go home my little playmate. Bury your brother. Don’t bother me about him again.Te ways o the tree are not to be understood by its leaves. Go home and breed.Te kindergartens are empty.Te swings are tied up. Not a single sandwich wrapper drits across a singleschool-yard. Te gulls have given up and gone away. Go home andbreed. We need the noise ochildren like the noise in a stony place().
M, r A’ “vc” “-r.” I -rc r r c, M’ vr rc prp ccrrc vc crc brbr, a state o total warsince the murder o Cain() c v kp br rb rrr. T c q-Bck -’: v p-cr c r ccr, rck cr, rf, r, v rvr r r . I c b Sr , S. Prbr , Nk , p-Cr Jc B Ir ; r cr. T bckrp v c r c c vc cc r c, r cvz r c vr b r ’ k. I v r rr r,Antigone’ cr prp bjc. I, q b: c r b rr r? M k p r r r, vc, 51
Anastasia Remoundou-Howley
c “’r q r c cr vr c v cr” . Or r r b r k r : [Drcr Mc Sc] had this terrible image o holocaust. But once I started translating I realized that it wouldn’t work as we expected. I wasn’t writing with conviction because I doubted the premise. Itested r on a certain idea o heroism and individual glory. Tat you couldn’t have a martyr without a monster; you couldn’t make Antigone without debasing Creon. So, I thought o a play with no culprits and agreat dealo casualties .
Cc v r r v, vr r crz: b c “xp,” rr’ r, “” prr cc x b bvr “ vr cc”: “Antigone, like all the major tragedies o the Greek canon, exist in cowed orm. It hasbeen sedated by its own stature.heharm o its art has been drained rom it. As a result, it’s suered a sea-change, a ate worse than death; it has become a classic. Tere are a great many reasonswhy this is a shame.orF one thing, A ntigone subverts the very notion o a classic, i by classic we understand a text which inscribes the meaning o history- and, indeed, the history o meanings- […]Antigone, in act,is the record o a part o an individual to assent to such practi ces ”.
M, A. b: . M, A. c: . M, A. : .
Ib. 52
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
T A prr M’ pprpr r p b r r . M b crc (Don’t you uckin’ start Sartrin’ round
the place, a terrible man or the Hegelian riangle, Don’t go Antigonizing him, c. (,,)) b br v b pc c. T r crc r A, r prc r, cr, vrb pc b, vc, , br , pc-. T crx xc b r vc bc cr prccp M’ rz r: Acts o violence may occur ostage in the Greek plays but the act o violence isusually tr ansparent(and thereore sometimes invisible).Yet the exorbitance o conict- the immediacy o rows and blows-disguises its more subtle orms, the tactical cohersion o an understated chat, the menace o mere presence[…]I have an interest in the subspecies o violence o masters and models, o the impoverished sel prostrating itsel at the eet o an idol, o persons who are decentred by their own obsession with other . people
I M’ p, r v rcprc, Grr r, r r rr, c rc cr. I v, Crc rk Antigone “ x Wr cr, Erp cv,”
Ib. 53
Anastasia Remoundou-Howley
“vr r rk Cr r, b Rule o St.Benedict, Pc Mr’ On the Dignity o Man, T Kp, M,” P’ Republic Bible. Antigone ccp pc b r r p pc
the real public enemy (). A M p (pace Crc): “ Antigone b rk, b . I prr pr pcc, rr, rr (Giggles) pcc pr, rrb cr b cc L ccc”. H Cr, k r S, r criminalize[s] any act o weeping as an incitement to gloom. Weeping must be done at home or in the darkness. And it cannot be loud. Audible gnashing or sighing will be punishable in the same way as silent sobbing (). T br Cr cr Antigone I (Poly has been uckin’ vamoosed. An dtigeann tu? Verboten, nito, orget it ()) E, Gc, Gr, I, cpr rbc c r br rc . Cp Antigone’ r r P c , ppr r pc cr
M, A. : . M, A. : . I c brv r pbc (k Ac Grc) cvz prcc bc r r rr Ir c p r Cc crc pr pp pbc r rrr
p: c xcc. 54
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
rv rc c pc ppr Cc Ir. I , M Antigone cp “depuis la ondation du monde” () r cp c Cr. I cc cc , vc c r blamed or everything b r guilty o nothing (), p ppc Cr: Where there are sheep, there will be scapegoats (). Dr Gr Rc, L ck prc Antigone c “ c rk r r Cr c r”. Rk, prc, r c Antigone’ pp pr c r-r Cr c p rcp r’ r “xb”, r vr pr: A Mr M, rr crr J b, r Vr Mr, k/ r ( pr r vr rc r vr A rbr c br-vr--b, rr prcr b c br r brr’ crp rr rr H), A J , r rr, cp, r, , . A r r-r Antigone prcr pp r Ir c b crc ppc c
Q Ρεμεδιάκη, I. : . T cc Crc ppr r pb bk r r Grk. r rrc E . 55
Anastasia Remoundou-Howley
Ir crq Cc crc pcb r r pbc prv r: M’ Antigone r J Arc r C J, “ G, ck Cr” prv vc r vr r, vr r, vr r, “b [] b vr” r p “ rr k k rc v cp”. M r, M c rc ccc r r r J prp: “[ …] because their oshared concern is in always and everywhere the nature violence, whether its routine orm as lynchlaw or in its ritual orm as sacrice, within that rail makeshit we call society”.
T prr A M : “q prr,” cb r c Jc, r r J b , Cr P ( crcx r rrr rckcr). I r rp b r v, v , M vp r r-v pr-pc pp Ir’ r c ppr vc. A’ cr pr, cr vr v c rr
M, A. : .
Ib. 56
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
r . T brc cc v rz c r b cr p cv bc p c Ir p c . M xp r cc prpcv c crb P r c, r Pc Pc: “Antigone knows[…] that her brothers are identical, united by their own rivalry, mirror images o the very dierence which divides them; and she knows as well that Creon’s version o the history is the old humanitarian perversion o the truth, a stubborn allegiance to the belie that the meta-physical orce o Law, not the physical law o Force, determines everything”.
Wr r Ir cq, p’ rc prr r r x c A’ pc r c: (Chorus attempts to mufe her mouth with his hand. She bites. He strikes her.) Jesus, my nose is bleeding. Stop it please. ell them. ell them. Tey’ll come or the woman down the street. Will you tell them then? Tey’ll come or your next door neighbor. Will you tell them then? Tey’ll come or you. And ater that, when there’s nobody let, they’ll come or themselves (58).
M’ q bk: “Antigones ’ r x, b r r, c, x
Ib. 57
Anastasia Remoundou-Howley
r P, Gr C, Ar, vrr”. A r - -rc , cr-x cc taking the sins o the world on her shoulders () b H v r Krkv M b r r pc br cr cr. T pr cv cr c prr rb pprv j r b v crcr prp c rc pr k Can’t you see that there’s no greater crime in this world than having clean hands ()? I Br , M xp vr pcr pv, pc c c: , I Cr rc c v: Go home. Go back to your homes. Voyeurs. Peeping oms. You can’t do anything ().
: . 58
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
bibliogRaphy
Ar, . W. (), Prisms. USA: MI Pr. A, J. (), Antigone (La Petite Vermillon) . L: Erp Scbk. B, A. (), “T Cprr Fr Sr Pc Pr” [O]. Avb: p://.c.c/b. [Acc Mrc ]. Brc, B. (),Antigone, a version. r. b Hr, F. M, J. N Yrk: App. Br,and J. (), Antigone’s Claim:Uvr Kinship Between Death. USA: Cb Pr. Lie Cpjc, J. (), Imagine Tere’s No Woman: Ethics and Sublimation. USA: Mc I c. F, K. (), “Fc S: J A’ A”, Zjk, V. Lr, M. ., Laughing with Medusa: Classical Myth and Feminist Tought. Oxr: Oxr UP, -. Grr, R. (), Violence and the Sacred. USA: T J Hpk Uvr Pr. Gö, J. W. (), “Epr” Gr, H. B. Gr, M. ., Te Oxord Companion to German Literature. Oxr: Oxr Uvr Pr, . 59
Anastasia Remoundou-Howley
Grr, S. (), Does Literature Tink? Literature as Teory or an Antimythical Era. Cr: Sr Uvr Pr. H, E. (), “Ac, Rc, C, Wr ”, H, E., Mc, F. Wr, A. ., Dionysus Since 69: Greek ragedy at the Dawn o the Tird Millennium. Oxr: Oxr Uvr Pr. M, A. C. (), “A A A”, Te Irish Press, J , . M, A. C. (b), “A, W’ Hr K”, Te Irish Press, J , . M, A. C. (c), “G A r Hr V”,Te Irish Independent , J , . M, A. C. (), “T A”, Teatre Ireland , . M, A. C. (), Te Antigone, pb crp. Db. McD, M. (), “T Ir Grk r”, McD, M. W, M. ., Amid Our roubles: Irish Versions o Greek ragedy. Gr Br: M, -. , I. (2004), ‘ ’, in
60
ReheaRsing instabilities in aidan CaRl Mathews’
he Antigone
,
,
,
:¨
G. Sr (), Antigones. Oxr: Oxr Uvr Pr. he Holy Bible Containing the Old and New estaments, rp b A.Cr r Arc Bb Sc. N Yrk: Arc Bb Sc, ), p Hrvr Lbrr,.
61
[3] Ergo
António Pedro’s Antigone on stAge
António Pedro’s Antigone on stAge1 S M P (Uvy Cmb)
Th wh cy Sphcl’ Antigone w h p x P plywh lb b d m d wh d pl. Cly, h ply w w bw h d h by m d bld pd P plc, d h l w by wm h . T dcpcy m wll h dc bw ml d ml pdc m mhw cd h m pvl ch h ply. M dl plcl by vc h cmpy plcl cx, wll by h l cc bw m d pw ( m lm c Gk dy ); wm h h hd m ml by ( h m wy h Clcl ply) p h mph
I wld lk hk M. Júl G, h p dc EP, ll h m h kdly v m, wll h m h h pvdd; I wld lk hk l P. Cl M h lhm b Aó Pd’ Antigone w pdc . C. Slv, M. F. : - Aó Sé, Antígona (); Júl D, Antígona (); Jã d C Oó, Antígona (); Aó Pd, Antígona (). Hél C, Perdição. Exercício sobre Antígona (); Edd Dí, Antes que a Noite Venha (). Jã d C Oó’ Antigone, ply vy cl h Sphcl pdm, “ c h myh d .
Ch ppcv” (M, C. : ). 63
Susana Marques Pereira
h cc bw ml d ml. S pd wh dmccy h ldy b blhd Pl, dd h mly d h l A wm k h py. Sx y , , h Expml d P (EP) cldd h cmmm h vy pdc Aó Pd’ Antigone, m py hm h “h m mblmc ply EP’ hy d h P h h wh cy”, d by c dc. T m w h m m hw h Antigone’ m cmpy , v hh h mpc m hd b v Pl h whl d h dcl m d whch Aó Pd w d pdcd h Antigone. I y c h bjc fh dm m ly ll d dy’ l cx. Aó Pd, wh wld b hdd y ld , w j y y h Kl K, d cd md P h fc wy (lk K dd Gc). H w h w v Antigone whch w pmd by EP, h cmpy h w d h c dc c . T ply w pmd cl by h, h d S. Jã Op, dc “md p h f cz h Op hd h m”, ccd h p (c. Dá d Níc m . . ).
G, J. : VIII. 64
António Pedro’s Antigone on stAge
W ply b pmd by pl c m EP m h h hd py pcl h c, ch h m l c h wld l bcm c h hy P – lk Dll Rch ( A) d Jã Gd ( C) wh cd h f pdc Antigone. I hwv Dll Rch w plcd by h c, Iê Plm, h bh lkd d w y. A w mp c wh ch h c h m chc. B Aó Pd wh czd Dll Rch’ l, kp h h ply by ch h l h v Amí. H md h chc m pm h h h f v by c h l c flld wh dp m (c. hd c) – h v’ hd hw d wh h bld pc Hm whm h lvd dly. Bh ch clly ll hw mch h c dc h EP p v wh h ply. Wh Aó Pd’ pdc h l h m bcm dcv, l wh w pcp Ep h lvc h l c h b h h cy. Aó Pd’ “hcl vl” ( ld by h p h m d m cly d h cmmm EP’ h vy) cb h h md chczd by h y ll h lm cd pdc: m h
EP bcm pl cmpy ly c .
C. Fch-Lch, E. : . 65
Susana Marques Pereira
c’ l h x, h pp, h d, c. B hm, pmc d c h m . Aó Pd hwv w h c lz h hy bl m, wk h wd h m l. H cll h h wd h hv b mphzd, h p h d b md, h h h vc, h d mvm . All h cmp h m b dvlpd by h m’ wk, ccd h w ccp h. T cm h chcc h pdc. I pd dmd by plcl c, h ccdd mp Clcl Gk mph h md P wld, h my p h p ll m vld. Sch h c A’ p yy, ymbl h w pp h dcl m cd Pl c d h dly y h P dm. Scphy l dl h m pp, c Aó Pd chck mh h c h lbl ccp cvl , vd my dl d v c h x (c. pc : w c clm d h ).
Sd d lh l cdd m Aó Pd’ v: b h d w lly h l dl pc m h w (c. h d h wd, h ), Aó Pd pf m vv d b d d h d hm m h b d chc Pl, lk Cl F, m h Nl Rd (Em Ncl P). Lh, h h hd, vd by pjc, w wy 66
António Pedro’s Antigone on stAge
Aó Pd d hd c h hm h P dc wd clcl dy ply. I h pl h v h dc my dc b h cv h : h dl yl bld h chc k m clcl dy; h dc w chc (Amí) bc “ dcv d f wll b cmdy”, h md dc c dd h l m h pdc d blh cv cc wh . H x b pmd pcfc cy, dl pcfc m djd md m whl mphclly p by cmpy l. T pl l d vy xpv h Aó Pd kw wll h Ep h h m. I p m bl blh cl dl wh lcc d ch , h chcl pp, d h m m l wh m chc h ply l, lk h ld m h Ch, h v Amí. T l b f ml h wh kw h Sphcl chyp, kd “pjc h pc” wh dd hm ch v y h pmc, d ly m l llm, dl xmpl h c dy d h. “Od h ky b l p mh mz! M, v m lh. W Gc, wh h ky h cld”, h m y xpvly h lcc h pl. Ab Pdll’c v Aó Pd, c. M, C. b: -.
Rd, U. . (), Noites de eatro. Lb. 67
Susana Marques Pereira
h c. I Aó Pd’ pdc, lk clc Gk dy, chcl dc b h pmc mxd wh h cc h ’ bckd d chc h cc ly d ll vlv wy. I h pl, h h ld m m h Ch mmz h m h ply: h “dy dm”. T cm vy fc h P cx h m, cpbl plcl c, chp, b wll hldd by h l m h ply Sphcl dy. “Im d A p w d wy d yy”, y h m h pl. T dc by Plc l m kd md, ccd Im, bc dpc C’ dc; A h cy chll bd lmcy. -“Wh c w d m’ lw, h wh hv h h w dpvd ”? - Im k A, dpc h ly, h mpc ml d l pw; md h ccmmdd h m wy h h P cy w Slz’ h m l p h wh cy. A’ d hwvpv h pbl ycl ml pw, v h c dm h w l. H dm pclly mp cy dmd by dchp lm fv dcd, cy wh h wm’ l ll lv – d xp 68
António Pedro’s Antigone on stAge
h cy fh dm. A d’ v p bc, h m d h pl, “m fh wh hy lv”. Fdm ky wd Aó Pd’ Antigone ly h m cvy b l h v hcl, cl d cl pc wh l h h Sphcl pdm, C. M bv. A pmc by EP’ c cvd h ppl m h dc d h p h m, cc wll cbd by h ccv pmc h P w (. . B, Cmb, Lb). Nb Bc, EP’ c c dc, d Aó Pd’ Antigone h Adó Mcpl d Vl Nv d G. H d cvy md dc h c h m h c’ dp d d chv h, h d h l x wll A Gm’ mdl, cd h cd pmc Aó Pd’ Antigone . “Evyh l md”, m cphy lh, hh ll pv h l clcl mph h hm Aó Pd (c. pc ). Nb Bc hd lly m chcl m h dpl, ch h pbly h b- m wh h pp, dd md , m h l h m h h ply h pmc.
: d b: -. G, J. : VIII. Nb Bc l ply C’ l hpmc. 69
Susana Marques Pereira
I w wll chvd pdc h whl, dv S Sá’ pmc A pcl m (c. pc ), “ h d h vc, h bl , h dmc y h h wh h v”; l d w h Ch’ pmc, “ h cly lc, h wy mvd d lc”. Bd vl ply m h fh cy B.C. h pmc Aó Pd’ Antigone ll hw “Gc my b m h cc px. T pl lly k plc m .. ch p’ m”, l m d p phycl pc, v vd dc vd wy mk h.
Pc - Aym ph m h ply Antigone w by Aó Pd d d by EP .
M, C. : . M, C. : . Aó Pd b b h ply. 70
António Pedro’s Antigone on stAge
Pc - Ph k by Jé M m h ply Antigone w by Aó Pd d d d h dc Nb Bc.
Pc - Ph k by Jé M m h ply
Antigone w by Aó Pd d d d h c dc Nb Bc. S Sá ply A d Nb Bc ply C.
71
Susana Marques Pereira
BiBliogrAPhy
Fch-Lch, E. (), “m Ac Gk T”, Exploring European
Identities/ Ideologies by me ans of (Re)Pr esentations of Ancient Greek Drama . Epdv, -. F, S. (), Le Mythe d’Antigone . P. G, J. (), Splm d’ O Primeiro de Janeiro , d M, p. VIII. G, G. (), Pirandello . P . M, C. ( ), “Aí , R , Má , – Mlh”, Máscaras de Antígona Ágora , Splm . Portuguesas Av, -. M, C. (b), “A Aí d Aó Pd: Lbdd d m Gl”, Máscaras Portuguesas de Antígona – Ágora -Splm . Av, -. M, C. (), “Aó Pd, Aí: Gl d Nv éd d Sócl”, Representações de eatro Clássico no Portugal Contemporâneo – III. Cmb, -. P, C. (), O EP e o eatro em Portugal. Histórias e Imagens . P. Slv, M. F. (), “Aí bv – Edd Dí, Antes que a Noite Venha”, Máscaras Portuguesas de Antígona – Ágora-Splm . Av,-. 72
António Pedro’s Antigone on stAge
S, G. (, ª d.), Antígonas (d. p.). Lb. Wl, D. (), Greek Teatre Performance: an Introduction . Cmbd.
73
SophocleS’
SophocleS’ ElEctra
by
Electra by KrzySztof WarliKoWSKi
KrzySztof WarliKoWSKi:
tranSgreSSion of the hero
K M (Ch Uv, Pu)
bu Electra – h pm md b Kzz Ww – m u, bu pd m d h vd d d x. T pm p h ppv w p Ph h, wh – pd b dm d b h h E h pu – w b bu h mp , bu h bud v wh h Gd, bu h d u – u d mp h m m, d, bu , bu h p-h uu Pd… T h p Kzz Ww (b ) – wd h m , wd-w d uu Ph d h dm h ( xmp h vd h New Teatrical Reality Award). H w h -Ph dm d h v h Shp. I h h w m d w wh P S, P B, Im Bm, G Sh d m h Ph d Kzz Lup Jz Gzzw. Fm h v b h w bd, m Gm. Electra w h vh pm. I w h h d. C ud u 75
Krystina Mogilnicka
qu m h m ( m hu dd u d h h pu h pm, qu m P S’ Oresteia) d p p h d h Gm h u bd, u d d d. Bu h , Mj Nw – wd h d T Iu Pd – w h pmè Electra v p v. A h x d h pmè h pm h h u d p – Gzz Jz w h ropical Madness, p b W, h v-d Ph d w. Nw w h d h dw h w h Pd – h d h We, the new theatre! Ad Electra, h w h Ph h hd d du wh h W h . I h Ww Electra d v pm, bu ju Electra h pm d b md mp d h phm Ww hd bu. T phm bd h bd, xu, h u ( m – Ww’ v ) mp d d-d … T pd Electra w d Extra Ecclesiam b Gzz Nzł, h uh mph bu Ww3. Extra Ecclesiam Nulla Salus L ph whh m: Outside the Church there is No Salvation. ud, wh
Węz, R. , W, J. , Guzzń, P. , Dw, Ł. . Nw, M. . 3
Nz, G. . 76
SophocleS’
Electra by KrzySztof WarliKoWSKi
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W, J. . K 3. Kwz, J. R. , Wżń, D. , Guzzń, P.
, Gźń, P. , Jń, J. . 77
Krystina Mogilnicka
m h Ww pm, h ph m h u d Hxh Omj, h m m Ofbh d b Sb. W d h: “A dd m h m b h hu Kv, wh, d h Im u, h hd b wp hu b h wm”, b h wm wh wh hdv h hd, dd mp b d wh v. K h b w h h hu Electra bhv d v wm. Ad h h ph d v wm p h m vvd w. I h h w d qu m h K’ b – xmp h h Electra Sph h u h d. E h h pm v h – h h wh ph m, h u h u. K h b h b h h m h d praesens. T h dbd b h p , whh d hm, d h uu hd hm, h uu whh d dd. T m h h u mp, h h . T pm Ww wh h wh E d bd h ud, wd qu Ahu’ Agamemnon, db h h m h mu. wd h b h , h d p d d w h mud d bhd hm – h p whh db E. T mud Cm dd 78
SophocleS’
Electra by KrzySztof WarliKoWSKi
d, bb wh bhub wh . K db E ubb mm. T p h p d h p h v – h v h uu, whh d dd. T hu, d b h Wp, G (whh w mp bu Ph ud) d mv wh mpd, m hph, m u d b wh u – h u x m h md. T h x E, wh h dp vvd h u d. K, w bu h mh, bud p bw E d Hm – h bh h m u – wh h h w d b h w v h mh d w h p h ’ bdm d h h, h w hu, h . T u hm m h d h xu. T bh pup h md wh dh, pd h m p. Bh dvd h h, d h hd. K’ p bw h mh d Shp’ dm b m mpd, m bu h d – E Oph h m m Oph E, wh h ud… I h praesens E h w pb, w h p h m (u) d h wd d h w h: h wd,
Pwłw, R. , Jń, J. , Węz, R. ,
Sh, A. . 79
Krystina Mogilnicka
h bud v hd d, whh d h mm ud, d h h b h d b – whh m mud h . Wm, d K, h d Sph h sacrum (A p xmp) – h dvd h dd, d d b hm. E d mm ud d O, h m. Ad O, K’ p, Hm ( Ww’ pm md h h p O, Muz Bzw, w p Hm h pvu p d h h v muh h m
h Shp pm ). A K w, E ph mv O, d h hm h mh. h h h wd b h u – mud h mh d h v. I K’ p Sph, u h u b h mp whh v h u. T u b h praesens. O wd, E d – h humd , hw wh hum. T wm, d K’ w udd h d, d wh xu d b wh h m h wh . K h v Sph w w pvd b ph h mbdm h h md mb ( mph h vu), h h h d d dv, h
Jń, J. . 80
SophocleS’
Electra by KrzySztof WarliKoWSKi
Sph hw h h hum wh h h , hw d m… Sm Ww’ pm md h h m Du S, h p E, w ud, ubb d ub. K d muh bu h p bw E d O, h dv b v h b. T up bh b d v. T u hm h w u, “m” w, “m” b h bdhd. Bd , bu xu. E muh m h mh O, h muh m h v d . K h mh d h v h ubu xu u bw h b. T d h d, K , m h u mp – ju h hu h v m u d v h , h bh d h wh h w dd bd – wh puhm d p m Gd, wh . T v h d w ju h x mud w. Gd d wh m h u bud. T , – deinotaton – d h h. T w dvd b Gd d b h pp; wh h v h h v, h mu. T dd h v K’ p h d d h B w, whh ‘w V’. T b h mud mu,
Gbw, D. , W, J. . 81
Krystina Mogilnicka
K’ p, bu h df h O Ww’ pm v h wh h v-bh h hd. Electra, d h p, p h m hm d pu Ww’ h: m whh m; h wh d ud; whh du; h xu bhv h whh bvu. Gzz Nzł wh d h pd Extra Ecclesiam ud d Ww’ h h mh, h whh d wh h vw u d b , h vw mu. T dd h v – h u pd b h d d h B w. T p h v bvu. Mb w bvu h ud, h bu h mm w xpd, j mu (, u d pu), hph, b, d d wh um, mp “-” d d h w d p h hw.
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85
Medea’s
Medea’s sacrifice
sacrifice and the unsatisfied director
and the unsatisfied director:
euripides’ Medea
by
anatoli VassilieV A M (Uvy Ah)
T pp m dc Epd’ Medea dcd by Al Vlv d pmd Gc Ag . H g dc dl wh G gdy hgh h ppcv mdy. T dc chllgd blhd wy pg Ac G Dm d h pdc w cdd cvl. Mdy hgh Glbly T pmc d vl G c (Ah, Epdv, Sp, Olymp, Kvl, P, Tl, c). T pmè w h h Ag h c h Epdv p h Hllc Fvl. Al Vlv, R dc wh lv Fc, hd b vd by h Rgl d Mcpl T P d h Hllc Fvl dc Epd’ Medea. Epd’ Medea w Vlv’ mp gg wh Ac G Dm, h ccl pdc Medea’s Materialby Η. Müll. H ch Epd’ ply cvy h vl mg gdy hgh h cmb myh d d, h clh c cl d h mphyc h glblz. Polis w h whl wld. Medea 87
Anastasia Merkouri
Vlv Md pc, h mg w wld (E d W) h clh, d h w mdl lhp (J-Md). I h dc’ gg h dcv mg w d ld md bg plc. Vlv c h , h d hg, j h p. T ply ld wh phlphy d mphyc cx wh hm g . T dc vy d h phlphcl, pychlgcl d mphycl pc gdy wh gg mplm h p. H m b dl wh chypcl g h md wld. H q h R c Ig Y “pychlgcl h dl wh hm lhp wh T h Id dl wh h l mg d”. Vlv c h ld mphyc h cld h myh, d d gd .
Lvd, M. b. Vdl, G. b. cly h p Lyd Kd gv h xmpl. “dy c by m Abc c c l cc wh W c chcz hm m”. T m h w cl bg bl cmmc. Vlv m h d h J wd hlp Md. H cc w h chld’ . H dp w m lhp, m xbl, w d mg (q Lyd Kd M, E. b). Pmc pgm, . Pmc pgm, . A hvg cd h w lg m g d mphyc, Vlv ll bl d wh h “gy h vbl wld” . B h cvcd h h h c d/ hg, d vl gdy’ phlphcl pc. T why Plc w ccl h ch d c g.
Vlv dcl hml b Ch Ohdx. H g 88
Medea’s
sacrifice and the unsatisfied director
H l mbc h ldc lm gdy bc cc Dy v. H q Pl’Symposium “T p h b gc d cmc p lgh. H h mbc gdy d cmdy hpp l” (Pl, Symposium d). H w, hgh, h h w wll lwy b wll cvd. S, h wll ccp y dc p. Mdy gd Accdg L. Hdwc “dy ‘md’ h lgg() d, h dm (vcl), h cm d pp, h dg d h
mc d dcp” . Fm h p vw l w hw Vlv cbd Epd’Medea g. H ch Sph h ply. Evyhg w pd d, h cl h , ch h wd wll d h ch, h wd pl, d h bcgd wd wll. T w l ddh c h . A mllc c wh bll’ hd (chypcl ml ymbl) h whl w dv by chc b d dg h pmc. Ch (cldg g plc h c) bc R hcl d, whch lm chd h lg. Hdwc, L. : . Accdg Vlv vyhg G gdy g m h v md Dy my. Evyhg hpp h cx v cvy, v h m dmc mm (Lvd, M. ). S, h plc Md’ vgl pl y dy . 89
Anastasia Merkouri
w d by h Ch d h pg dg h dlg, d bl w d l wh Md ccd h chld. T c d vl pp, ch c, dll-dmm/chld, ml cw, ml c. A ml w mvg hgh h pmc hwg h y m. T blc d wh cm h Ch w cd by Bl d. Md w dd blc d d. T w ll h p h Md cl d Md’ p d ddly g. T Ch’ cm w dgd v h v mvm h chgphy. T c mpg Md’ chld d m, l h mm h lcd. Mc w pclly cmpd h pdc mp cmb h p wh h p, E d W. T dc wd b bd rebetiko mc, h w b by h mg mcg wh cm Gc m A M d h G bouzouki ply. Rebetiko lv mc d Gc dy. dl d G m, .g. bouzouki, laouto, c. w d by lg rebetiko ch ( mc d c). A vy mm w Md g h g gg amané.
Vdl, G. : pmc pgm, . Amané g g ld p. I mly bd mcl mpv d d h y h m h p wh g . T mc h
pmc w pc w l. Sm h jyl 90
Medea’s
sacrifice and the unsatisfied director
T ply’ chgphy w cd by Jp ml d E chq, bd h gy z h hm bdy. T w c myhc hm, ch h bl h d h Gd. T w xcv, lm c dc by h Ch d mvm by h c. T ppd cm h Ch d h dpd h ml c p h mvm gvg h mp c w d xy. O dcl v by Vlv w, mg h, h mplm ml Ch cg mc d c, wh w Md’ d gg b h p d p d chg b h mph pl v h Kg d J. T dc vd h Ch gd my Md’ m h p d cc bh d h y: g h lcd d jy h mph. O h cy, h ml Ch mly cd, mplyg h pc chc Vlv’miseen-scène. Sm h v w: - T xdd d h pmc (, h). hyhm rebetiko hgh clhd wh h dmc m c. Mv, rebetiko clly ccd vydy l m Gc. Py, S. . T pmc h llwg gh Sp ld l h h. T c dd gmd pch, chc’ pc g w m dc, h c-ch w dggg h chld’ cp, h w dcmp Ag 91
Anastasia Merkouri
- T pc: Vlv ch cl p h by ddg wll cg m h dc’ vw h ch. H l “dlcd” h ply m h oikos Kh Sp lg bc p dx. Md c b ywh, h h wld, y polis, c gh wh hl dg. Sh mph ly v oikos h cy b v h glb. - T gmd pch w mp dcmp wd, -v h lgg d xp m phycl, -vbl wy. - T Mg’ lglpch, whchmpd c dmc hgh c ( G, Eglh d Fch by h Mg d w c h Ch) pd h h w pd d h wld, h gdy h glbl mg. T plgh h w bgh g j h c ymblzd h mpc h Md h md wld. - Md’ (bll) gh wh J, ymbl h lhp, h bl bw h w x, bw w cl, w ql wld. - T c wh Ag d h dc d h Mg’ pch w dlvd ly G (Fz, C. : ). All h chg dc h Vlv pcvd wh h dc hgh w xm d yg. “Vassiliev’s viewpoint of Medea”, vw, Kathimerini (), Ag. Wh d Medea’s Materialgmd pch w vy lq xmpl -vbl xp, whch dd’ w h d hl h pdc. I h vw Vlv d h c w ll xpc glblz, w hld dd h h d c l c y lg (Lvd, M. ). 92
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h h pc hm l, h lgh d cmdy. A mhw ïv Ag dd dvc m h w Md bg h m m ly h glmy mph h m. - Md pd g h b C g h w hgg d h w d hmmd g ml cw h pc. T d ccmpd by mc d mvm cd vy g c. - Md lld h chld g g h dll/dmm. Sh ccd hm h l-bl h c h g “ccg” hl h m m. Ad h h dggd h cp d h ch. - Md’ mph x: h l h l wld, h g-, mvg h dm g h chld lv wh h. Sh dd by g h ml c wh h mp Md plc ch d bll ll hll g mc Hl/ S. Vlv h mphycl pc h ply, h w dm l: hm l h d h “c” h hgh dm, h
Vdl, G. c. T w pbbly m h cmc d l w pmbly m hw d wh mbdd h l wld l h gcc d bcm l b chp bjc. T ldc d jyl bcgd m bvd, v dmd h dmc m c. T cc mph w lwy c wh h x. Vl Nld, dc, h vw pp h vw. H clm h Vlv w gh plcg h ply lgh cc mph, h dyg h glmy d h ply (Nld,
V. ). 93
Anastasia Merkouri
gd d myh, wh Md mph d dd chld ply hpply wh h mh. - T Ch “bd” J h ch d dcmpd Ag v h bdy gyg h b d J’ dv. m p, Vlv dd m bd by h l gdy, l h clmd pc. H d: “Wh b h l ( gdy), h h bc gdy l dyd”. Ac’ g d mhd Vlv’ pmv cd bd Scc gc. Tgh xpm d ch h dcmp d cmp Slv’ mhd c g. I h éd, h lly pp c’ mpv, whch mly bd pl xpc. T, gh wh h c, h h pl mm h pdc. Accdg h dc, “A c wppd by myy. C h c pd b l g myhcl v? Acg h hcy. I ply, whch myh l, c m b hc”. By vdg cld pch, Vlv phycl h chq d h wy hy dp - vbl xp h d m. By cg pccl-éd bd pl xpc d hcy, h gv h c h chc
Lvd, M. . T m h h cmmc bw c d pc, v clhg . M, E. .
Sm, Z. d pmc pgm, . 94
Medea’s
sacrifice and the unsatisfied director
cmmc wh h dc. O d h pmc pgm: “I gl, c b dmd h Al Vlv wg bclly w y cmp gd h g dc d dc cv: vy d wh mll d lm (pychlgcl c/lm whch g xd d h ch Chhv) d mphycl lm (.. lm gm whch hgh h pmc bd Pl’ dlg). Rcly hgh h dcd h lm vl gy d h gh p pch. T l pychlgcl d mphycl dm, whch
h m h myy h” . H d h c y m p Plc dlg cg hgh mpv. Vlv h b Sept ou huit leçons de théâtre w h h v d h vydy w wh h c. T hd d whch m h c d d p h c, wh h c hld hd wh h hlp h dc. S, dc h xpm cly d chg h mhd. H cmp h w mll ldd x bg , h h h. Whv h m chvm, h hppy bc wh h chvd w chp cmpd h h. H y “Wh I cmp my mll ldd wh h h, I l I’m hg, I m
Sm, Z. ; Ggpl, K. . Vlv, A. (), Sept ou huit leçons de théâtre . P: Ed P.O.L.; pmc pgm, .
K, . . 95
Anastasia Merkouri
ld, I m dp . I hv d mhg clmb hgh. S, I chg my mhd g. T d h m, b h mhd chgg. T d m gh b h lwy vl”. Adc cp Vlv’ dcl chc md h pdc h cl b mise-en-scène. T dc’ mj p dd’ m b cl gh d h dc w pzzld by plh mg. M h dc w cd b h pccl hy hd j wchd . Sm l hcd d hd h c dg h pmc; h l h h h mddl h pmc g h yc ldly. F my y w h h b gl dc b h dc’ gh xp dgm m l c wy. T cc El Vpl h md h hg “hpp wh h dc’ plcl d hcl b, h hc bl cd wh h c hcl mly h pcc m d plc”. Ad h c “Smm h cdl d hcl, lg d plcl , lhgh hc cc mgh b d dh”. Sh l m
Pmc pgm, . T my wpp vw whch dcb d p dc’ p. Ο c cl h llwg x: Vpl, E. , Lvd, M. , Ggpl, K. , Sg, G. , “Epd”, Ggpl, V., Kz, G., B, F., Pp, C., Chz, N. , Chz, N. , Aglpl, V. .
B, F. . 96
Medea’s
sacrifice and the unsatisfied director
dlgcl c d dp mv pbl ; v gzd gp pc wh d c h dc d/ h pmc . I my vw h cpl h ccly . Ppl lly wlcm md pmc lg h g dc xcvly v v, pvcv cc. Sm G dc hv pd h p hdppvl mgh b c dp c v c plcl, cl lg c j h h c w d hg h d cy, whch ml h dc . I c I h w m lc c, d m dy d bld dcl . T G dc ccmd p Ac Dm hgh mdy, lhgh h l w dcd h hv b m vv pdc . L Hdwc m h
Vpl, E. . A p h G dc d m G ll blv h Ac G Dm m b gd cly dlly d h x b pcd d mg b cvyd. Sm cd y md p G Dm lg. Ty m l pd. Ac G Dm hgh b g ml ly h G. S, g lc h cll mly g cvly. Pmc hy hgh hw h G dc hv wlcmd h w mb -G dc. Ggpl, K. , h m p my pdc h bgh mdy G gg. Chz, N. . Vpl, E. . Lvd, M. .
Sg, G, Tdpl, P. b, Lvd, M. 97
Anastasia Merkouri
“wldgbl” “md” v h “md” dc” pclly wh cm ply clly ld l dy. T G dc “d” wch md pdc G gdy, d vl hm ccdgly. T l h dy. Ov h p dcd w hv ll b xpcg h ccmc v pc lv . I m d cy w ll l wh chgbl d vl. gdy lll h qm. I dl wh chgg d clhg d. T l bcm llw, h w bcm dd, h b l gv dh, gd bcm hm c. T h p wh mdz mg llh gp bw vly d vydy l. I h c Medea dcd h, h dc d dy glblzd wld. H ccd h x d my mp l h pmc cmpy ly . Vlv dd m lz h lhgh m h d lm h d w cgzbl (lm m d Md cl, ymbl, cm, d mc) h l mg ll md pzzl h pc, pclly h d lm’ c, Id, G. . Hdwc, L. : Fch-Lch, E. : dcb m “W w wh w cm m; w w wh w w. B w wh w hdg […] I m h dblz ll d , whh dvdl, gd-ld, gl, hc, l, lg, cll. W pmly ch w d”.
Fch-Lch, E. : . 98
Medea’s
sacrifice and the unsatisfied director
cmb ccd. H wy hg d h c xpm w clly dpcd h mise-en-scène. H ddd w lm d mpd cmb hm mm lv ch h h mise-en-scènelgh. Hwv, ld h w v d wh h l hch. Mv, h md h p vy xplc d mm hh wy (v blly lc m). Wh ply, whch dl mg h whvlc d cly, gd lc m, my b y b ld.T cm w vycg h dc l m w vy ml wh h dc’ w d mhd. T dc’ hc d mm
dlgcl dd w pdly chllgd . T hg cm “vg h pmc” . S, m dcl dvc, gmd vw h p d h p dv lm d ccd ch h cd h G dc d, whch hy dd m hv b bl cgz h w.G pc cld dcd
Lyd Kd p h h dc’ p w hlhy c d h Medea’ gg w by. “Sm c w hh, bc h ply l hh”(q Zlg, K. :). Lyd Kd l h h dc w vl p h h l h w ll l (Lvd, M. b). Agl Ppp md h h l h w h mddl gh d h h l lv (M, E. c) d Nc P w hcd bc h vlc (q Zlg, K. ). Lvd, M. c. T cc Vl Aglpl p h Vlv dd pc h dc’ dc d lc, h h pdc w “ hwlg h m c pvc”, Aglpl, V. b. 99
Anastasia Merkouri
Vlv’ md p; hy cld cg hmlv h pdc. My hg h plc h ch dd mg ch h dc . T dc’ bcd. Ofcl pgmm pc - T h fcl pgmm pc hzd by h Mcpl d Rgl T P Epdv Ac h, h & h Ag
Py, S. . Hdwc, L. : q Apph, K. A. (), “Tc l”, Callaloo, . : -, “A l m pdc w x h m cmmy h wy h x m h”. T m ppl h pmc plymphc x. 100
Medea’s
sacrifice and the unsatisfied director
101
Anastasia Merkouri
102
Medea’s
sacrifice and the unsatisfied director
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Ggpl, V., Kz, G., B, F., Pp, C., Chz (pg), “T l cc hg”, Eleftherotypia, Ag. Ggpl, K. (vw-), “Ig bbbl”, a Nea, Spmb, [Ol] Avlbl: hp:// www..g/ dl.p?pd= &c=&d= [Accd h Apl ]. Ggpl, K. (vw - ), “I vyhg llwd?”, a Nea, Ag, -. Ggpl, K. (vw-), “Iv horror vacui”, a Nea, Ag, [Ol] Avlbl: hp://www..g/dl. p?pd=&c=&d= [Accd h Apl ]. Gldhll, S. (), How to Stage Greek ragedy. Ld: T Uvy Chcg P. Hdwc, L. (d.) (-), Critical Essays. Documenting and Researching Modern Productions of Greek Drama: Te Sources (cllc v y Wb Op Uvy UK). [Ol] Avlbl: hp://www.p.c./ ClclS d/G Ply/y/y dx. hm [Accd h Apl ] Hdwc, L. (), ranslating Words, ranslating Cultures. Ld: Dcwh. 104
Medea’s
sacrifice and the unsatisfied director
Hdwc, L. & Sy, Ch. (), A Companion to Classical Receptions. Oxd: Oxd Uvy P. Hdwc, L. (), “plg G Dm h Md Sg”, Exploring European Identities/Ideologies by means of (Re)Presentations of Ancient Greek Drama. Ah: Ep Nw Rch d Dcm Pmc Ac G Dm, -. Id, G. (vw-), “Epd”, Eleftherotypia, Spmb, [Ol] Avlbl: hp://chv. .g/l/l_hp?q=%E%E %F%DF%EB%E%E%F& =&d= [Accd h Apl ]. K, . (), “Pl h b h dc”, vw Vlv, A., o Vima, Jly, [Ol] Avlbl: hp://www.vm.g/ dl.p?pd=&d=&c=&d= // [Accd h Apl ] Lvd, M. (vw-), “Spc g c”, o Vima, Spmb, [Ol] Avlbl: hp:// www.vm.g/dl.p?pd=&c=& d=&d=// [Accd h Apl ] Lvd, M. (), “Ah bl h”, vw Vlv, A., o Vima, Ag, [Ol] Avlbl: hp://www.vm. g/dl.p?pd=&d=&c=&d =// [Accd h Apl ] 105
Anastasia Merkouri
Lvd, M. (b), “T dc wd p”, vw Kd, L., o Vima, Ag, [Ol] Avlbl: hp://www.vm. g/dl.p?pd=&d=&c=&d =// [Accd h Apl ]. Lvd, M. (vw-c), “T h d h ppl”, o Vima, Ag, [Ol] Avlbl: hp://www.vm.g/dl.p?pd=&d= &c=&d=// [Accd h Apl ]. M, E. (), “Clm ll”, vw Vlv, A., Eleftherotypia, Mch, [Ol] Avlbl: hp://chv..g/l/l_h p?q=%E%E%F%DF%E B%E%E%F&=&d= [Accd h Apl ] M, E. (vw-b), “Evyhg d”, Eleftherotypia, Ag, [Ol] Avlbl: hp://chv..g/l/l_hp?q= %E%E%F%DF%EB%E% E%F&=&d= [Accd h Apl ]. M, E. (c), “I lvd h - h ‘’”, vw Ppp, A., Eleftherotypia, Ag, [Ol] Avlbl: hp://chv..g/l/ l_hp?q=%E%E%F%DF %EB%E%E%F&=&d= ([Accd h Apl ]. 106
Medea’s
sacrifice and the unsatisfied director
Nld, V. (vw-), “A ply Medea”, a Nea, Ag, [Ol] Avlbl: hp://www. .g/dl.p?pd=&c=&d= [Accd h Apl ]. Py, S. (vw-), “Medea w h bd”, Kathimerini, Ag, [Ol] Avlbl: hp://w.hm.g/dcg/_w_cl_ cv__//_ [Accd h Apl ]. Sm, Z. (), “I lv h c”, o Vima, Jy, [Ol] Avlbl: hp://www.vm. g/dl.p?pd=&d=&c=&d =// [Accd h Apl ]. Sg, G. (vw-), “Epd”, a Nea , Ag, [Ol] Avlbl: hp://www..g/dl. p?pd=&c=&d= [Accd h Apl ]. Sg, G. Tdpl, P . (vw-b), “Md, h dy ”, a Nea, Ag, [Ol] Avlbl: hp://www..g/dl. p?pd=&c=&d= [Accd h Apl ]. Vpl, E. (vw-), “Scdl’ p”, o Vima, Spmb, [Ol] Avlbl: hp:// www.vm.g/dl.p?pd=&c=& d=&d=// [Accd h Apl ].
107
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Vlv, A. (),Sept ou huit leçons de théâtre. P: Ed P.O.L. Ah w, (vw-),“Vlv’ vwp Md”,Kathimerini , Ag, [Ol] Avlbl: hp://w.hm.g/dcg/_w_cl_ cv__//_ [Accd h Apl ]. Vdl, G. (vw-), “Md, hrebetiko g”, Eleftherotypia, Jly, [Ol] Avlbl: hp:// chv..g/l/l_hp?q=%E% E%F%DF%EB%E%E%F &=&d= [Accd h Apl ]. Vdl, G. (b), “Oly Ch hypc h Md cd”, vw Vlv, A., Eleftherotypia, Ag, [Ol] Avlbl: hp:// chv..g/l/l_hp?q=%E% E%F%DF%EB%E%E%F &=&d= [Accd h Apl ]. Vdl, G. (c), “Vlv dy’ K d R”, vw Kd, L.,Eleftherotypia, Ag, [Ol] Avlbl: hp://chv.. g/l/l_hp?q=%E%E%F %DF%EB%E%E%F&=&d= [Accd h Apl ]. Wl, D. (),Greek TeatrePerformance:an Introduction . Cmbdg:Cmbdg Uvy P. Zlg, K. (vw-), “Ty d h bc Medea”, Eleftheros ypos, Ag, -. 108
Seneca’S
Seneca’S Phaedra analySiS of
Phaedra - an over paSSionate heroine
an over paSSionate heroine:
hana BureSova’S Faidra E P (Msy Unsty, Bn, Czc Rpubc)
Pmncs Snc´s pys y sn n t Czc stgs – t ny stgng py wttn by ts ncnt ut b Bu´s pmnc ws Phaedra n n t Tt t t Ppy, wc ws t n pttn, tug. T ps mng (nt ny) Czc cssc pgsts tt Snc´s pys w nt mnt t b pm, s tt ty xtmy cut – nt mpssb – t b stg. At t sm tm, t wu b nï t psum Czc cts, ng tuy n ttn stgng Snc t bc n, wu b g t sc ntstng unnwn ncnt pys n put tm n t stg. Wtut cs cptn bt ttms n cssc pgsts – wc s t cs n Bu´s pmnc – t s mpssbty t stg ts ut cn n b cng n t Czc Rpubc. It wu b nstuct t n ut t ts ts ‘supsttn’ cncnng (m)pssbty stgng Snc s ts cts cn b sn nt ny n t Czc
Snc, …aneb Faidra (…or Phaedra). nstn: Zn Hbc Js Kstyz. Fst stgng: t Jun . Dct: Ew Scm. Ts, w, s tu ny wt spct t mn stgng Snc´s pys. T s nc but s pys bng stg by Jsuts ung t cntuy n s mnstc n pubc scs. 109
Eliška Poláčková
Rpubc but mst n t w Cnt n Estn Eup. It s ct tt mst n nc xsts Snc´s pys bng stg n ntquty. Hw, mst n nc ny t tgy bng stg n Snc´s tms n t xsts t. As cnsqunc, t p Principate, Dominate n t css Rmn Emp s sn n t sty t tt s n pc wtut m. It mns tt n ts tms tt pmncs w nt pmy bs n mtc txts. On t cnty, tt ms bs n mpstn, musc n mmnt fus, suc s mimos, pantomimos c. Obusy, tgy n cmy nt tty spp, ny ty w y stg n t tt bungs pm n u. Yt ty xst n us ms n w pm t mny, m ss pt, ccsns – ung symps n pcs pt uss by cts, n btuss (balneae) by t ut ms n s ns, t sm spc pt pubc ccsn. In ts css, y ws t w pc pm. Ony sct pts m t py w t pm, ct sung. Ctny, t s nt nt mn tt m – Snc´s tgs t b m spcc – ws nt stg t t t n ntquty. Hstns n t wts ny nt cns ts ttc ms wty cng, nc t tt Rmn tgy ( wc Snc s t ny ps ut) ws mpssb t stg.
In Fnc, Ity, Spn n Ptug, n t cnty, stgng Snc´s pys s n nspnsb ttn.
McDn, M., Wtn, J. M. : . 110
Seneca’S
Phaedra - an over paSSionate heroine
Ts pnn ny t t s t s n t t cntuy wt t p csscsm. B tn t w n ubts wt ts pys w w nt ‘stgb’ n t psnt stg n t pst, n ts ubts n bn s n Fnc t bcus t ng-stng ttn stgng Snc t. Apt m ts, t s nt pssb sn Snc´s nn-psnc n t Eupn stgs. It s t msunstnng t ncs btwn G n Rmn tgy, t stnct tus, stuctu n sttc ct pp t ts gn n bt cutus. Fm t scc mnnts Rmn tgc txts, t bsc cctstcs Rmn tgy n ppstn t t G n cn b uc. Fst, t mtc stuctu t m s sn n m pc n cmpsn wt t tt, s t gn bcm pmy ty n ny wt t nnt pssbty stgng. As cnsqunc, t stuctu t tgc txt ws ssmt t t stuctu wttn txt tt s mnt t b (n -) t tn w. Nxt, t sttc ct pp n ts txts w, t, nt s w. T m n, stystcy bt n mbs wt ptc ws t txt ws, t btt t u t xpcttns ts cpnts. G tgy, n t cnty, mpy t ty cs pmy ccng t t sutbty t mtc mpct. Fny, t unc t st
T ttn cms m t puttn Rcn gn Snc by t pttns s pys. It wu b m pppt, tug, t sp but Snc´s tgy s t ny ps txts ts Snc. 111
Eliška Poláčková
cntuy A. D. – cnsstng t ctzns t mst pwu n p mp n t w t tt tm – xpct nt mtns m tgy tn t t-cntuy Atnns, tus t scng n but scns n t ps Rmn tgs n cmpsn wt t w-bnc ustty t G ns. Ts ncs cmng m stc n cutu bcgun bn t subjct t t pcss utn, tug wc G tgy cm css s t m ub t tw. T ct, w, w cntmpy, wc ms t w utn pntss. Ntss, t s bn wy ccpt by bt cssc pgsts n tt-ms w, s cnsqunc, mst xcusy wt G tgy, puttng t Rmn n s. Hn Bu, cntmpy Czc tt ct, s t scn n t pps t ngctng Snc n t Czc stgs. S s n t w Czc cts w nt bngng stng mtns n pathos n t stg. It s, t, n sups tt s ws b t n sutb sttgy puttng Snc´s Phaedra n stg D Dué (T Tt t Du Stt) n . T mnuts ng pmnc s bn py mny tms snc ts st stgng bt n t Czc Rpubc n b, n s st n t pt D Dué. Atug mnng g sttc n ntctu qumnts
Rmn tgy nt mtc t qumnts csscsm t w-bnc stuctu n ust gy, s psnt by (t ng ) Astt.
F t st n s t st tnt ts pp. 112
Seneca’S
Phaedra - an over paSSionate heroine
m ts cpnts, t pmnc bcm xtmy succssu – t gn psng spnss m bt t ctcs n t unc, n Hn Dř ws w t Aé R´s Pz t P. T sn tt succss su b sn n Bu´s ppc t Snc´s py. S nt ntn t mnz pt t gn txt ts mnng n ny wy. In t ws, s jct t mt ctuztn n t t b s tu t t mnng t py s pssb. Ts tnncy sut n s cncpts mpy n t pmnc: () jctn t sm-gm n pctng t pt n ccts n t stg; () us ntusm n t pctng; () nfunc t ct An Mnucn. T nfunc Mnucn, t mus cntmpy Fnc stg ct, cn b tc n t w cncpt t pmnc s w s n t sngu cmpnnts. Bu t nsptn . g. m Mnucn´s Oresteia (Les Atrides), n wc Mnucn pps t cncpt ngug n t tt psnt by My. Accng t s
It s n nnu pz Czc tt ctcs w t t bst tt cmnts (t bst pmnc, m ct tc.) I m w t ct tt “ty t t gn mnng” s t tcy xpssn. Bu, n my pnn, t t unstn n cnsqunty psnt n t stg t bsc cncpts nnt n t txt t py n t mpsz t quts t txt by t scnc ctns. S ttp://www.bcus.cm/SPIP/ubqu.pp?_ ubqu= t pctus m t pmnc. Vs Emc My (-), Russn ct, ct n puc. 113
Eliška Poláčková
ty, ngug n t tt s y m tn t mns ctng t sgn n t mmnt. Tt s, ws n t stg su s t cmpnnts (musc, mtn, tc.) t pmnc t tn sm nt n mtc mnng n t wn. Inqut s t ty my sm wn pp n pywgt suc s Snc, Bu cts n ts guns t pmnc n wc t ws nt t mst mptnt cmpnnt, s s usu wt t pmncs ncnt m s w. On t cnty, s mpys t sgn, t cstums n spcy t sty ctng s t cmpnnts smy mptnt ctng t mnng t py s t ws . Cncnng t cstums n t sty ctng, t nsptn by Mnucn s Bu t t nn-wstn cutu ttn, spcy t t ttn t Asn tt. T nsptn by t Asn wys ctng s cy sb n t ctns n mmnt t cus n styz ctng t ccts. As t cc ts ptcu cs s mtt by t pusut t unstc pjctn, t sty ctng w b t wt t. Cstums s mn us Mnucn´s Oresteia n t us c stnct cus (. g. , wt, g), wc cctz t psns (. g. wt Hppytus s gn) s w s s s symbs (. g. s cu n b). Ant sm tu t tw pmncs s t mss us n bt tm, cng ny t
Bun, E. : . 114
Seneca’S
Phaedra - an over paSSionate heroine
ct´s c (Eumns n Oresteia, Tsus n Faidra). T nn-wstn nsptn s pps n musc cmpnnt t pmnc. T tw sucs musc n t pmnc: cng n t musc pm n t stg. T tt s puc n t nn-wstn wy by nn-wstn cct – s. Mn n ng ss wt w st xcuts s unctns n t pmnc. Fst, s ptcu spcs, suc s tt t Mssng sm pts t cus´ sngs. Scn, s t muscn – s s ns stng musc nstumnts t n, suc s mt bw, wc pucs g-ptc t ns wn stuc n t g by wn pst, wn tub, wc pucs t sun n wn tun ups-wn. Ts nstumnts ct suns stng t t t Eupn unc, wc s smtng unm n stnt s ppnng n t stg. As sut, Bu wns t tn nws t gp btwn t txt n t unc n s nt st t m t py ctu n t tmp spt sns. Hw, by ts ppc ts gc n ntctu pxmty pps cyst c. T, t s cts n gc t-g t P s. T w pmnc ns wt s wng nc. T mn stts tunng un swy n tn qucns t pc unt p ntc mmnt, s st fyng un s by w t gts swy tun wn. Ts stt cstsy mns us P´s mnss utbusts n t pus pssn ung umn s sms t b cnm by ts n mg. 115
Eliška Poláčková
As mntn b, n t bsc cncpts Bu´s pmnc s t unstc pjctn t pt n ccts Snc´s py. Ts sttgy s, n ct, nnt t t txt ts, bcus ncnt tt nt nytng sm t t ‘stc’ ‘psycgc’ ctng. T ctns n t stg w pct n pc s mgny n w tus pm n styz wy. Ts s ptcuy tu Rmn tgy, wc ws xtmy mtn n ‘xpssnstc’ n ws busy pm s suc. Bu pts ts sttgy n nstucts t cts t py n gy styz wy t mpsz t mtn n pttc cct Snc´s txt. T wy n wc t cts t spcs s t nn-mtc tus t py. T s nt muc gu, t ng yc mngus tt ct by t cts wt p mtn mpty mnst by qunt cngs n t my n ptc c. Spc pw s s us bty t xpss t cngng mtns. Futm, t mmnt s cuy msu: c gstu s ts ptcu mnng n t swnss, wt wc t s tn xcut, mpszs t mnng. T ctns n spcs t cus n m styz tn ts t ccts. T u m mmbs t cus psnt n stg pctcy tugut t pmnc. Smtms ty ny snt bss t ctns pm by t ccts. M tn, tug, ty ptcpt n n wy nt n t ctn, t by mmnt 116
Seneca’S
Phaedra - an over paSSionate heroine
(. g. ng n t stg, pmng stng ncs) by sngu uttncs (usuy c spnss sng ws ccmpnyng c pts by t ‘s’). Ty s ct s c sngs mpyng tnty sng- mutp-cttn. T tn t c s by n mns cqu – t s t gstys, pttc n u mtns. T sm cn b s but t mmnts, wc nt sm t b nfunc by ny ptcu ttn (nt wstn n stn n). Ts ccntut wy ctng s ggt by t smy nn-stc stg sgn. T s ny n bjct psnt n t stg: squ tnspnt cyst n t cnt tt cn b t wt nt-cu gts. At t bc t stg, g w, wc cn s cng cu, m gss tnspnt pstc s ct; ps wt mnscnt ts pp n t t t n t pmnc. Apt m ts, t w stg s mpty n c wt bc. T ctng cms y muc t t wt suc n nstnct n mnngss bcp, wc s xcty wt Bu ntn. T cngs cu gts, m n t cyst n t w, s t pct n mpsz t xggt mtns psnt n t scn. T t cncpt Bu´s Faidra t wt s t xtm ntusm t pctn n mgy t pmnc. Ts tu s nc gn nnt n t txt t py, s Snc´s unc ws t s tb s n scng ctns psnt n t stg, t st but tm n 117
Eliška Poláčková
t. T, t s scns n t py, n wc t ntustc scptn smtng tb s psnt. T mst tb tm s t Mssng´s spc ptng wt cugc ccucy t pcss Hppytus’ t. Bu unstns y w t mpct y w n t unc n s nt suppt t mnng by nytng s t tn musc (ts psnc nn-psnc by cntst). On t t n, s uss ntustc wy pctn n t scns, w t ws gny n xpct nc scng ct. On tm s t scn n wc P s n bst t Hppytus n t st spt ttmpt t gn s ctn. ng nt cnstn w cs t unc s t t ctss, t mpct sng wmn´s n bst t ng tm s nty pwu. T s nt st scns wt smy pwu mpct. Ts cnnct wt t mt b. In t st ts scns, Tsus ns s sn´s sw n P´s bm n s ny psu t b t ws Hppytus w suc . In ts mmnt, gbs t sw n s t stng n s n. At w scns, s n stts bng s cut by t b n t stms s b fw wn t b. Tn t Mssng´s spc cms n t t n t, stms b fw wn m Tsus´ ys nc gn. T mt b s tus mp t bng mny cnnttns n pssb
T unc s sttng gt n t stg ng xtmy
cs cntct wt t cts. 118
Seneca’S
Phaedra - an over paSSionate heroine
mnngs. T cmx s t scn n wc t by pts Hppytus’ by bugt tgt n wt ct. Bt Tsus n P p t ns nt t by mss n bu t b t gss bjcts n t scn. Agn, t cnnttns bugt by ts ctn xtmy pwu n t cntxt t w py. Puttng tgt t cncpt ntusm wt t stc sttgy, t sms P s nty t pssnt n, t st t cntmpy Czc (Eupn) unc, wc s nt us t sng suc stng mtns n pathos psnt n stg. Hw, t s nt sucnt sn xpng Snc’s Phaedra cmpty m pyuss. Bu´s pmnc ps t pssbty stgng ts py wt succss. S cts t cnncng mg t stutn, n wc t s qut t s: Shall the world hear o strange prodigies, shall nature’s laws give way, whenever a Cretan woman loves?
Natura totiens legibus cedet suis,/quotiens amabit Cressa?
(Snc, Phaedra: . -). 119
Eliška Poláčková
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vIctIm or schemIng seductress?
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B S (Op Uy, U.K.)
I p, p, I w y l l Hu/ pc u u yp y Gk I y ly. P yl : cpy P U pc ll, l, lly , lly , u c, c lu l x. U py w l, Puu- c uy cll u , puy cy cl l cy. H, I p u plpcl l Skc u p P cc l, p c p l l Sk lu ( , cc Hpplyu’ wp pcul c w Hu Bcl p y cc . Bu uc cp uy). 121
Bijon Sinha
T ccp chastity seduction c xpl k pl p u -cll ‘By Opp’ Apll Dy yc, p Al Metaphysics Py
able of Opposites, l l ppu y Nzc. Dw Hippolytus, P’ l c c u Hpplyu, c cy P’ pc uc, p uc Opp, wll l p w lccl pc , , ully, y, wc ully p lu, u ly cll p cyclc c c, uc -c. T plpy wll w Ac Hu/ Skc plpy advaita, xpl U, cc Kl w culy w P, u ulk P, cc l ully – c uc w u qu wc cc ply l y xpc l’ uy. I wul pcul pl uc P - w wul uc lu u. Bu l plc, pp.
Hippolytus, lu “cplx, ul-ly, ul” ply, l c 122
Innocent
vIctIm or schemIng seductress?
w xply ‘By Opp’ u p Spc ‘’. Ap, x A, cy; xul c; ‘pl xul pu xuly’; uc cy uc pcuy ( uly cul l Eup’ c w w Hpplyu: Hippolytus Kaluptomenos (Hippolytus Veiled
or Hippolytus hiding himself in shame as Phaedra proposes to him on-stage) x ull w y, I wul u cul l y yc: l ‘c’ , xully- , y). Lk P, ly U w ly cplx, uu cc: ylcl u u uclly wk Kl. A w, w, , u. S u w yp cplly u. H lp w l, Puu, pl ply, lp l lcclly c – p uul c, upc, ly. T c yc wc qu u l: l l p xul c. I , ll pup, llu c, c u l, y Nzc lcc pc , y c lu u lck cuu ‘l 123
Bijon Sinha
pp’ wc l lu, cpul Hu plpy change l ly c. Eylclly-pk, cu ‘cy’ ‘clcy’ l x. ‘Cy’ — L castitas, ‘cll’ ‘puy’ — , u plpcl y, cly uc ll xul l, u p xul u l cul , pup pc, xul cc u. O Gk wqul cy, sophrosyne, , wc c Gk wl w plpcl u. T l pp l-y , u ppp cl- ( plly cl-) w. I cly c x l. Hu’ w pl x ccp l. T , kw brahmacharya, uly l cy. I cclu, I wul u y w ccp ‘uly ply’ cy lu y pp: c x wu . Spcc cc c wk, y ply pc uc ply, ply c cp y pp.
124
Innocent
vIctIm or schemIng seductress?
T llw cp y pp u Hippolytus ( y wc l ccu Vikramorvasiyam): . w . lu c . y . puy (P: ; Hpplyu: y) pllu . c u . C (u, luul, yu) z . qu-cuu lp w p- p cl. . pc lc pp, u ll: - cl - xul - l ccl - c x . P y , Hpplyu . ply u ‘pp uly’: w, , . semnos ( uu) sôphronein (cy) cc. Lk Vikramorvasiyam, Hippolytus cplx ply – w . T cc l fc k wl 125
Bijon Sinha
By Opp /; l/l; / c; /; p/y; l pl pp c . Fc ucul pl L-Su u By Opp ppl’ p c w ly. T l cc, “c ” cul l p y ulc pplc: ‘’, w qu clly ‘’, ‘ll’ ‘ p’ w c cp c. ‘T c’ ( cquc y) qu lu: Hippolytus, cul, Skc plpy, p enlightenment Tu w . I Vikramorvasiyam, enlightenment c ul cc U Puu k u . I plc , cc , u Gk y, ully ul y ply wc y ll pw. Suc p cc w plpy Nzc w u cp ll pp – ll cl cfc l’ ull u - c wl. T y l ll , u cl yc l, cl y 126
Innocent
vIctIm or schemIng seductress?
pul l c y c , y w, p l pl y.
127
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Mythology and Religion, Geography, History and Literature. L: Rul K Pul. Hwz, E. P. (), Te Indian Teatre: a Brief Survey of the Sanskrit Drama. L: Blck S L. Mlw, A. N. (), “Hu Bu Gk Plpy”, Philosophy East and West . . Hw: Uy P Hw, . [Ol] All: p://cc.u.u.w/ FULLEX/JR-PHIL/lw. [Acc Juy ] Mw, J. (), Euripides, Medea and Other Plays. Nw Yk: Ox Uy P. Mll, S. (), Euripides: Hippolytus, Duckworth Companions to Greek and Roman ragedy. L: Duckw.
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