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The Oresteia de Aeschylus

The Oresteia

Autor Aeschylus Editat de Robert Auletta
en Limba Engleză Paperback

Găsim în această ediție a trilogiei The Oresteia o abordare remarcabil de practică a textului antic, concepută special pentru a fi jucată și înțeleasă în context contemporan. Structura volumului este riguros organizată pentru a sprijini atât lectura, cât și punerea în scenă: succesiunea celor trei piese — Agamemnon, Coeforele și Eumenidele — este precedată de o introducere istorică și un ghid esențial de pronunție. Considerăm că marea calitate a acestei versiuni din seria Drama Classics este fluiditatea dialogului; traducătorii J. Michael Walton și Marianne McDonald au reușit să păstreze gravitatea lui Aeschylus fără a sacrifica ritmul narativ.

Progresia conținutului este susținută de un aparat de anexe care transformă volumul dintr-o simplă piesă de teatru într-un instrument de studiu complet. De la analizele asupra stagecraft-ului grecesc până la explorarea metricii și a contextului politic ateniene, cuprinsul indică o acoperire exhaustivă a operei. Față de alte lucrări ale autorului, precum The Persians and Other Plays, unde accentul cade pe evenimente istorice contemporane poetului, The Oresteia explorează tranziția de la legea talionului la justiția civică. Această ediție completează excelent volumul Aeschylus: The Oresteia de Simon Goldhill, oferind textul propriu-zis adaptat pentru performanță acolo unde Goldhill oferă analiza critică și socială. În timp ce The Complete Aeschylus urmărește o fidelitate poetică arhaizantă, ediția de față optează pentru un stil direct, „truncated colloquial”, care face ca tragedia sângeroasă a lui Agamemnon și Orestes să rezoneze surprinzător de modern.

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Specificații

ISBN-13: 9780881454901
ISBN-10: 0881454907
Pagini: 140
Dimensiuni: 152 x 229 x 8 mm
Greutate: 0.2 kg
Editura: Broadway Play Publishing

De ce să citești această carte

Recomandăm această ediție studenților la teatru și cititorilor pasionați de beletristică clasică care își doresc o traducere clară și dinamică. Veți câștiga nu doar acces la singura trilogie greacă păstrată integral, ci și un context istoric și tehnic bogat prin cele șapte anexe incluse. Este alegerea ideală pentru cei care vor să înțeleagă bazele dramei occidentale printr-un text adaptat pentru ritmul scenei moderne.

Despre autor

Aeschylus (c. 525–456 î.Hr.) este recunoscut drept părintele tragediei grecești, fiind cel care a transformat teatrul prin introducerea celui de-al doilea actor, permițând astfel conflictul direct între personaje. Deși a scris între 70 și 90 de piese, doar șapte au supraviețuit timpului, The Oresteia fiind singura trilogie antică păstrată în întregime. Opera sa este marcată de teme profunde precum dreptatea divină, destinul și evoluția societății civile. Importanța sa a fost atât de mare încât epitaf-ul său menționează participarea la bătălia de la Maraton, nu succesul său literar, subliniind legătura strânsă dintre arta sa și cetatea ateniană.

Descriere scurtă

This collection includes three full-length plays: AGAMEMNON, THE LIBATION BEARERS, and THE EUMENIDIES, collectively known as THE ORESTEIA. In AGAMEMNON, the title character, having sacrificed his daughter, Iphigenia, to win the battle of Troy, returns to Argos. His wife, Clytaemnestra, murders him while her lover, Aegisthus, who will soon assume the throne, looks on. In THE LIBATION BEARERS Agamemnon's daughter Electra mourns her father's death. Her brother, Orestes, returns to Argos to kill their mother and stepfather, now king, and avenge their father's death. In THE EUMENIDIES Orestes, trying to escape the vengeance of the Furies, is rescued by the gods and ordered to stand trial in a democratic court in Athens. He is acquitted, and the Furies are transformed and civilized to end the cycle of violence. "THE ORESTEIA is the granddaddy of domestic-violence drama, and that's hardly Greek to us. The 2,500 year-old Aeschylean trilogy - on which Sonny kills Mom and her love, who made sword meat of Dad - is as American as apple pie ... Auletta - whose own works include WALK THE DOG WILLIE, RUNDOWN, and the Obie-winning STOPS and VIRGINS - seems an odd collaborator for Aeschylus. But he is in fact an old hand at diddling with old Greeks. He has adapted both Sophocles's AJAX and Aeschylus's THE PERSIANS for Peter Sellars. He also adapted Georg Buchner's DANTON'S DEATH for Robert Wilson." -Carolyn Clay, Phoenix (Boston) ..". I very like very much the truncated colloquial that you've worked out. It's better than Ezra Pound] managed and it's just right for the purpose you have, to provide a fast moving text for the stage ..." -letter from James Laughlin, New Directions ..". Auletta's script glistens with old strokes highlighting rather than detracting from Aeschylus ..." -Ed Siegel, The Boston Globe"

Descriere

Descriere de la o altă ediție sau format:
Aeschylus' famed plays Agamemnon, The Libation Bearers, and The Eumenides comprise the Oresteia, which uses the dark and convoluted story of a family curse, and a long history of murder and revenge, to raise haunting questions about the nature and the price of justice. In Agamemnon , the Argive king reaches home following his victory in the Trojan War, only to meet his death at the hand of his wife, Clytemnestra. Horrible as this deed is shown to be, we also come to understand in the course of the play how justice has been satisfied by Agamemnon's murder. The second play in the trilogy, The Libation Bearers (Choephoroe), portrays the vengeance of Agamemnon's son Orestes, who returns from exile to exact the price of his father's murder. With the aid of his sister Electra, Orestes kills Clytemnestra, and her lover, Aegisthus. By spilling his mother's blood, however, he invites the wrath of the ancient Erinyes, or Furies, and they begin to pursue him. The Eumenides shows the Furies' pursuit of Orestes, who is protected by the younger god Apollo. Orestes is ultimately tried for his crime in Athens, and Athena, goddess of wisdom, casts the deciding vote on his behalf, and releases him from the ancient familial blood-guilt. Athena persuades the Furies to accept the new legal justice and a new role in the polis, as Kindly Ones, who will bless the city of Athens and its land. In this exciting new translation, at once faithful to the original and as fully alive as a poem in English, Alan Shapiro and Peter Burian showcase the complexity and intricate imagery of this great work of Athenian tragic poetry.

Notă biografică

Alan Shapiro is Professor of English at the University of North Carolina at Chapel Hill and the author of a number of prize-winning volumes of poetry and prose, including The Dead Alive and Busy, winner of the 2001 Kingsley Tufts Award. Peter Burian is Professor of Classics at Duke University. Together, they act as the general editors for Oxford's Greek Tragedy in New Translations series.

Cuprins

Note
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides

Recenzii

Peter Meineck's new rendition of the Oresteia is that rare and wonderful thing: a text accessible to the Greekless audience while still preserving the vocabulary of Aeschylus. Those of us who have seen Peter Meineck's performances have long marveled at his ability to turn Greek into clear English, how he does not do 'versions' of the plays, how he does not rewrite the ancients into modern jargon (even his comedies maintain more Aristophanic text than is usual). Here lines that students have always needed explicated stand clear. . . . Helene Foley has provided a fine introduction for this translation. Introduction and translation together provide an exciting text, one that should be widely read, widely used. --Karelisa Hartigan, University of Florida, in The Classical Outlook

. . . a translation for the stage by an experienced man of the theater. Its virtues are very real, and, though Meineck makes them seem easy, very hard to achieve. The idiom is contemporary without yielding to the siren song of gimmicky updating; it manages to be clear without betraying Aeschylus’ complexity or sacrificing his intricate imagery. What makes it effective on stage makes it work on the page, too. With the added guidance of Helene Foley's characteristically intelligent Introduction and Meineck's own crisp annotation and full stage directions, this translation offers the most approachable and in many ways most communicative Oresteia now available. It will be the Oresteia of choice for many teachers and their students, as well as for readers interested in what makes Greek tragedy great theater. --Peter Burian, Duke University

Textul de pe ultima copertă

"By far the best translation. Faithful to the original Greek text and eminently readable. The notes constitute a commentary in their own right."--Albert Henrichs, Harvard University "Hugh Lloyd-Jones's translation stands out very much from any other. The notes are first class and scholarly."--Jeffrey Rusten, Cornell University