Theatrical performance is the most ephemeral of arts. Once a production closes, the living work of art disappears. Fortunately, some productions leave behind enough evidence to reconstruct in words and pictures what a performance was like and to conjecture what the audience saw and heard. Between 1889 and 1995 in America, productions of Sophocles' Electra became the project of some of the most significant directors, actresses, and producers of their day. In reconstructing eleven major productions, this book seeks to accomplish two goals: first, to preserve, albeit in imperfect written form, the productions themselves; and, second, by tracing the history of Electra's production, to highlight some of the most pivotal figures in the development of American theater, including several key women often neglected by theater historians. Along the way, for those who celebrate Greek tragedy in production, this book will allow the reader to sit vicariously in the audience and enjoy eleven Electra productions on the American stage. E. Teresa Choate is an Associate Professor and Assistant Chair at the Department of Theatre in the School of Visual and Performing Arts at Kean University.

Brill’s Companion to Euripides, as well as presenting a comprehensive and authoritative guide to understanding Euripides and his masterworks, provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Euripidean studies.

In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions -- Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes, giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. --from publisher description.

Shakespeare's Hamlet--written 1,000 years after the classical Greek period--follows a narrative pattern similar to that of the Greek Electra myth, and it isn't the only story to do so. We see signs of Electra's influence again in the 20th-century works of Oscar Wilde, Eugene O'Neill and T.S. Eliot, among others. This revised and updated edition will look more closely at the influence of Electra on popular culture throughout history and the questions it poses regarding oppositions such as logic versus instinct, night versus day and repression versus freedom.

* A Washington Post Notable Fiction Book of the Year * Named a Best Book of the Year by NPR, The Guardian, The Boston Globe, St. Louis Dispatch From the thrilling imagination of bestselling, award-winning Colm Tóibín comes a retelling of the story of Clytemnestra and her children—“brilliant…gripping…high drama…made tangible and graphic in Tóibín’s lush prose” (Booklist, starred review). “I have been acquainted with the smell of death.” So begins Clytemnestra’s tale of her own life in ancient Mycenae, the legendary Greek city from which her husband King Agamemnon left when he set sail with his army for Troy. Clytemnestra rules Mycenae now, along with her new lover Aegisthus, and together they plot the bloody murder of Agamemnon on the day of his return after nine years at war. Judged, despised, cursed by gods, Clytemnestra reveals the tragic saga that led to these bloody actions: how her husband deceived her eldest daughter Iphigeneia with a promise of marriage to Achilles, only to sacrifice her; how she seduced and collaborated with the prisoner Aegisthus; how Agamemnon came back with a lover himself; and how Clytemnestra finally achieved her vengeance for his stunning betrayal—his quest for victory, greater than his love for his child. House of Names “is a disturbingly contemporary story of a powerful woman caught between the demands of her ambition and the constraints on her gender…Never before has Tóibín demonstrated such range,” (The Washington Post). He brings a modern sensibility and language to an ancient classic, and gives this extraordinary character new life, so that we not only believe Clytemnestra’s thirst for revenge, but applaud it. Told in four parts, this is a fiercely dramatic portrait of a murderess, who will herself be murdered by her own son, Orestes. It is Orestes’s story, too: his capture by the forces of his mother’s lover Aegisthus, his escape and his exile. And it is the story of the vengeful Electra, who watches over her mother and Aegisthus with cold anger and slow calculation, until, on the return of her brother, she has the fates of both of them in her hands.