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What would a modern adaptation of an epic poem by Euripides look like? The world would have never known but it is safe to say that Cacoyannis has done just that. Cacoyannis created a cinematic version of the classic in 1977. Even with a few faults the movie still remains a standout for viewers when considering the ethical modifications of to a classic. This movie brought a modern adaptation of Iphigenia when compared to Euripides; there should be examination of the content, cinematics, and overall reception of the movie. The movie starts off with Agamemnon’s troops acting barbarius. In an attempt to control the blood thirst of the troops Agamemnon allows the troops to kill some pastoral herds. These animals were owned by Calchas. During this …show more content…
Over the years she has harboured ill feelings concerning her husband Agamemnon because he killed her husband and then begged her father for forgiveness. Eventually Iphigenia decides that she wants to sacrifice herself for glory and Greece. Glory is what stems all of the events throughout the movie. Greece is going to war against Troy because Helena left her husband. Greece wants a glorious win over Troy and are willing to sacrifice Iphigenia for a possible upper hand. Agamemnon is willing to sacrifice his eldest daughter so that he can be the great military leader that he once was. Iphigenia is willing to die with the belief and hopes of being immortal in the history of …show more content…
The music has rather suspenseful and at times over intensified the overtone of the moment instead of accessing the undertones of the moment. The acts were extremely exaggerated including Irene Papas who played Clytemnestra. During her acting at times it felt as though she was being extra exaggerated making it awkward to watch. That being considered there was never a moment that occurred when you felt as though she did not genuinely care about every moment. The actor for Agamemnon Kostas Kazakos there were times that it would have been more appropriate to add more feeling into his scene. Often was a viewer it felt as if he would not make a decision for himself but instead was constantly waiting for someone to react. The setting was incredible. It seemed as if it was truly taped in ancient Greece. It was beautiful and embodied what I would image ancient Greece would look like. The soundtrack was over exaggerate. It would be nice if there was not as much drums. Often times it made the scene have an increased moment of anticipation when nothing major was really
Sophocles' Oedipus Tyrannus can be argued that it is related loosely to Rita Dove's The Darker Face of the Earth. This comparative and contrasting characteristics that can be seen within both plays make the reader/audience more aware of imagery, the major characters, plot, attitudes towards women, and themes that are presented from two very different standpoints. The authors Sophocles and Dove both have a specific goal in mind when writing the two plays. In this paper I will take a closer look of the two, comparing and contrasting the plays with the various elements mentioned previously.
The film adaptation of Sophocles’ Antigone portrays the text substantially well in several ways. The filmmaker’s interpretation encourages the audience to be discerning as their perception of the Greek tragedy is enhanced. The play becomes profound and reverberant because of the many interesting elements of production. These include musical score, set design, and the strategic costuming – all of which advocates an improved comprehension of Antigone.
To begin comparing Euripides Medea and Ovid’s Metamorphoses Book 7, we need to look at three components: context, characters, and themes. Both Euripides and Ovid tell the story of Jason abandoning Medea for another woman; however, they do not always share a perspective on the female protagonist’s traits, behavior, and purpose. Euripides portrays a woman who reacts to discrimination by beginning a battle to gain revenge all who harmed her, which she is prepared to follow through with even if it means resorting to the most despicable methods. Ovid, on the other hand, tells of a much less severe figure whose modest goal is only to persuade Jason to return. Despite these written differences, both of their Medea’s create trouble by acting with emotions instead of with reason, and as a result, put themselves in undesirable situations. Euripides and Ovid present two different sets of motivations for Medea's behavior wh...
The name “Oedipus” is commonly associated with concepts of power, incest, and fate due to Sophocles’ enduring play Oedipus the King, but it is not a word that many Greek historians or literary students would associate with vegetables. In 2005, however, Jason Wishnow created exactly this strange association by directing an eight-minute, stop-motion rendition of Oedipus the King where all of the characters were portrayed as different vegetables, speaking to each other in human voices and acting out the story of the King of Thebes and his tragic fate. Videos such as this that portray ancient stories in a comic light have a few positive attributes including a wider audience base through the use of the Internet and a light-hearted, aesthetically pleasing distraction from the potentially disturbing themes, yet many essential qualities of classic Greek literature are lost in the conversion. Though portraying the story of Oedipus through the medium of a vegetable movie may be more enjoyable than the original text for some audience members, this entertainment value comes at a high cost: emotional attachment to characters is lost, the dramatic ancient Greek setting is upset by multiple anachronisms, and many profound themes are cheapened or omitted in order to make way for the ultimate goal of comic relief.
Just as Patroclus’s humility and selflessness juxtaposes Achilles’s pride, Iphigenia’s eventual maturity starkly contrasts Agamemnon’s indecisiveness and immaturity as a leader. In order for the sacrifice to truly create awareness of a tragic flaw, the victim must possess an uncorrupted, tragic virtue that starkly contrasts the flaw and provoke some sort of innate reaction from their opposing character, whether it be for the better or not. Patroclus’s virtue saves Achilles by inspiring introspection and providing a turning point in his life and Iphigenia saves her people, but fails to touch the soul of her reckless father because she lacks a consistent voice and is not taken seriously by her father as a source of
She shows that she has personality traits that are unlike her parents and siblings that, hopefully, will end the cycle of revenge, plotting, and violence. Unlike her family, Iphigenia shows compassion and selflessness when faced with the dilemma of having to kill off both Orestes and Pylades, even before it was revealed they were related. Unlike her father who was ready to kill her for his own needs, Iphigenia worked very hard on trying to find a way to save everyone she could. Showing this side of her made it evident that she would start to turn around her family’s legacy and create a new tradition of a positive
The Greek gods were not only intimately involved in the action of the Trojan War, they were also the impetus for the war. Although the overt cause of the war was Paris' abduction of Helen, this act was the result of quarrelling goddesses. The Trojan prince Paris was forced to choose the fairest amongst the goddesses Hera, Aphrodite, and Athena. Each goddess attempted to sway Paris with offerings, and Aphrodite's temptation was Helen; this leads to the war and the immortal alliances that overshadow its mortal activities. The story that the poem implicitly addresses is of the Achaen king Agamemnon and his daughter Iphigenia. The Achaen forces have gathered at Aulis before mounting their attack on Troy when one of Artemis' stags is killed; this, coupled with Agamemnon's boasting of the act, is why "Artemis is offended" (51). In retaliation, the goddess imprisons the troops at Aulis by preventing the wind from powering their fleet. In order to appease the goddess and begin the war, Agamemnon sacrifices his own daughter Iphigenia as "the child" who will become "the victim of Aulis." Although Artemis intervenes and makes Iphigenia one of her priestesses, only the goddess knows that Iphigenia escaped death.
Euripides lived in Ancient Greece between 480 and 406 BC. In contrast to the great tragedians of his time (such as Aeschylus and Sophocles), he was considered a non-conformist and was often condemned for the way he portrayed his characters and the beliefs and values of the society he was living in. In Ancient Greece, women were expected to be submissive and their duties were limited to staying at home, away from the public eye. They were not allowed to have a social life or participate in decision-making, as men were the only ones enjoying these privileges. In tragedies, they were expected to fulfill the same role as in real life. In Hippolytus, Euripides challenges these judgments by examining and putting an emphasis on Phaedra's mental processes. He analyzes her feelings and emotional intelligence, providing us with a glimpse into her mind and her motivations for choosing death as her only option to save herself. In this paper, I will argue that Phaedra's decision to commit suicide serves as the venue to assert authority and acquire power over Hippolytus' destiny.
The production had many elements which for the most part formed a coalition to further the plot. The characters, the three part scenery and costumes represented well the period of time these people were going through. As far as the performers entering and exiting the stage, it could have been more organized. There were a few times when the performers exited at the wrong times or it seemed so due to the echo of the music. At certain moments the music was slightly loud and drowned the performers. Many of the songs dragged on, so the pacing could have been more effectively executed. Though the music was off at times, the director's decision to have most of the songs performed center sage was a wise one. Also the implementation of actual white characters that were competent in their roles came as a great surprise to the audience and heightened the realism.
Agamemnon is the husband of Clytemnestra, father of three and the leading General in the Trojan War. The Prophet Calchas approach Agamemnon and tells him that the sacrifice of a virgin will send wind to allow his troop’s ships to get off to battle. Agamemnon decides to sacrifice his daughter, Iphigenia, to get the wind needed to go to battle. Iphigenia does not realize what is happening to her until it is too late. Although she tries to escape her fate, she still is given to Calchas as the virgin sacrifice.
Euripides. Three Plays of Euripides: Alcestic, Medea, The Bacchae. 1st ed. New York: W.W. Norton, 1974. Print.
Fergusson, Francis. Oedipus, Myth and Play. Literature and Its Writers: An Introduction to Fiction, Poetry, and Drama. 2nd ed. Ed. Ann Charters and Samuel Charters. Boston: Bedford, 2001 1462-1469.
The time period of Greek theater’s popularity was a very influential time in our world’s history. Without knowing what Greek theater was all about, how can someone expect to truly understand a tragic play and the history it comes with? The history behind the character of Oedipus, in the play Oedipus the King, is very complicated. His intricate past dealing with prophecies, family members, and murder is the main focus of the story. There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the audience’s pity for the character, and the hero is of noble birth.
Agamemnon kills his daughter, Iphigenia, for power and respect. This power is more important to him than his daughter, thus he sacrifices Iphigenia instead of stepping back and letting someone else lead the armies to battle. The Chorus emphasizes this when they recall his words before he sacrifices Iphigenia “However he did not shrink from slaying a victim daughter in aid of war raged” (Aeschylus 20). He is more worried about losing respect than his own daughter. His lust after power and respect made him insensitive to fair judgement. He tries to justify himself by saying there is no other way but to sacrifice her. He does anything to fulfill the public’s desires to gain him their praise, up to and
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.