in the Mood for a little catharsis in the fall? If I don’t miss is it, a Greek tragedy, in the face of a welcome renaissance in the american theatre. There’s usually at least a hundred Shakespeare, a Sophocles, or Euripides. Aischylos ends up even further down the stats. As I recall, moved to tears in the middle of the first Dramatenbesök, in a school performance of ”the Orestien” that our masters forced us to go through. It was in the end badly, and I could see hardly anything on the low lit stage, did a security guard at the crest of the wall – spying after the Troy case was tried to form a coherent sense of the all-framrullande this, Emil Zilliacus archaizing translation: ”O gods, then all the effort will never end!!!”
Latinläxan was a trifle in comparison.
I returned to the royal dramatic theatre in stockholm was not the result of Aischylos, but on the fact that I had spotted at the Anita Björk, and Irma Moore, where, in the darkness, Uno Henning, who, Appalled, and Earl Hill as a young man Orestes.
I count to eleven, Sophocles, between 1908 and the start of 2019, plus the fourteen, As a beginning, as late as 1934. ”Medea,” clear favorite. And then, suddenly, this autumn, ”Iphigenia in Aulis,” in Jon Fosses version as well as a ”Fedra/Hippolytus” of the material is from Racine, Seneca, and Euripides. At the same time, ”Antigone” in the theatre, on the basis of the work of canadian poet Anne carson’s new translation, which, three years ago, attracted some attention, with Juliette Binoche in the Ivo van hove’s production. And the ”them women,” at the Malmo city theater in sweden.
There are a number of reasons why ancient Greek drama has been a rare visitor in the scenes. And not only that. The easiest is with regards to the distance, in both the imaginary and the real. In the Greek story, and the pantheon forms a barrier with the language, of course, a different one. Shakespeare, the kings and the fools will speak to us from the threshold of our own times. Even the witches in ”Macbeth” can be downloaded from our mormödrars memories of the wise old women and the spirits.
the explanation for this is that the three tragöderna – Aischylos, Sophocles, and Euripides – in the early ottoman rule of the philosophers. Plato and aristotle were the first to be out of the depth of the idélära to criticise the theatre and expel the actors from his ideal state. The Greek drama has been from his earliest youth been so closely associated with the history of man, don’t joke about it with impunity. Europe is here, with the transition from a tribal society to the rule of law, that is to say, democracy.
it is Possible to play, ”Antigone”, but to relate to those of Hegel and of Heidegger’s analysis of the conflict between Antigone and Kreon? You have to take the path of Freud in order to understand what is He suffering from? In addition, they are difficult körpartierna, and each of the räknenisse to the theater-select the ”Live it up here,” instead of, ”The bound Prometheus”.
in one of his books of essays, ”Beröringens C”, is reminiscent of that of johann wolfgang von Goethe, had a problem with it, began to make närläsningar of Shakespeare’s plays. If it is a mistake to believe that Shakespeare wrote the läsdramer, it would be just as confusing to browse through the filosofiböckerna in order to get the secrets of the ”Backanterna” and ”Trojanskorna” on the trail.
Perhaps we have simply provided us with an idealized picture of the Greek theater, which is a cult place, a sacred origin. This isn’t a place of catharsis, it’s just another word for a cry or a laugh. As Brecht noted, it was the time when the theater left the cult, it became a theatre.
if the paralysis is released now? Anne carson’s translation of Sophocles, and Euripides suggests this. His personal comments as well. Is it a tragedy? Therefore, you are full of the wrath of god. Why are you full of the wrath of god? You are full of sorrow.”
but one critic Simon Critchley has a down-to-earth explanation of their spring-released book, ”the Tragedy, ” the greeks and us”. Critchleys and the hero is called Gorgias, rhetorician and sophist from the Greek colony of Leontini, in Sicily, as in 427 b.c. and moved to Athens as an ambassador. The sophists took it with good money in order to teach the young athenians in the art of twisting and turning the words, in order to win the debate. For teaterhataren Plato it was the sophist is not better than that of an actor. They changed their position, seeing things from the other side, and defended by the awkward position, and put the logic in my head.
the time of Gorgias, would be Hanif Bali, blöjhögerns your own dialogue as to what you may think of him, poking holes in the elite, bloating. As defended by, for example, the ”lösaktiga” Allen.
Simon Critchleys book is his invitation for us to ask the question, not for philosophers, but for the theater itself. To search for the theatre’s own philosophy. What is the theatre? What does the knowledge. Critchley is not the first one to see a similarity between the sofisten Gorgias, and nihilisten of Samuel Beckett, his love for the negationerna, this is the ”maybe” that does not fall into the temptation to know for sure, call out the chorus. As in beckett’s novel, ”The onämnbare,” from 1953, in the small-Inger, Eriksson’s translation:
