In the Oresteia Aeschylus addressed the bloody chain of murder and revenge within the royal family of Argos. As they move from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration. In Agamemnon, a king's decision to sacrifice his daughter and turn the tide of war inflicts lasting damage on his family, culminating in a terrible act of retribution; The Libation Bearers deals with the aftermath of Clytemnestra's regicide, as her son Orestes sets out to avenge his father's death; and in The Eumenides, Orestes is tormented by supernatural powers that can never be appeased. Forming an elegant and subtle discourse on the emergence of Athenian democracy out of a period of chaos and destruction, The Oresteia is a compelling tragedy of the tensions between our obligations to our families and the laws that bind us together as a society.
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Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances. "Observer"
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film. "Evening Standard"
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays. "Spectator""
Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances. Observer
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film. Evening Standard
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays. Spectator
""Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances." --Observer
"Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film." --Evening Standard
"brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays." --Spectator
Aeschylus (525-456 BC) was the father of Greek tragic drama, usually considered the first great writer in the Western theatrical tradition.
Rory Mullarkey won the 2014 George Devine Award for his play The Wolf from the Door and was the recipient of the Pinter Commission in 2014 an award given annually by Lady Antonia Fraser, Harold Pinter s widow, to support a new commission at the Royal Court. He was the Royal Court s writer-on-attachment in 2010 and has been closely associated with the theatre s international work, translating Russian-language plays from Latvia, Russia and Ukraine, including Aleksey Scherbak s Remembrance Day as part of the 2011 International Season and for a number of staged readings. His first full-length play, Cannibals, opened at the Royal Exchange Manchester in 2013, where he became the youngest playwright to have his work performed on their main stage. In 2014, Rory Mullarkey won the Harold Pinter Playwriting Prize, the George Devine Award (jointly with Alice Birch) and the James Tait Black Prize for Drama for his play Cannibals, published by Methuen Drama.
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Seller: Revaluation Books, Exeter, United Kingdom
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