Word: aeschylus
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...usually treated as a slave instead of an ambassador. His peripatetic existence throws him constantly into the presence of the powerful and influential. He meets, among others, Buddha, Confucius, an ar ray of Indian mystics and holy men, Pericles, Thucydides, Sophocles. He knows people who knew Pythagoras and Aeschylus. During his last years in Athens, Cyrus hires a young mason to repair a wall. His name is Socrates...
...successful conclusion. Instead, Chayefsky, Russell and even Hurt are at their worst. The director lifts the worst parts of the ending of 2001; the screenwriter suddenly discards the rest of the movie in favor of banalities about the "power of love"; and the actor plays it all like Aeschylus, when it's more like Rod McKuen. Eddie Jessup calls his last tango in the tank "the most supremely satisfying moment in my life." Still a young man, poor Eddie may have better days ahead...
...character - who is always "on." He is the metaphor matador, the tale twister, the verbal bully who mesmerizes those onstage and in the audience with his endless conjury of felicitous syllables. He is the theater's grand gabby old man, the shaman, the incantator, who goes back to Aeschylus and forward to O'Neill and Osborne, Stoppard and Shepard. Put a spotlight on him, and the eloquence swells, the spell continues. He simply will not shut...
Finally, Ashton claims that "Aeschylus and Sheridan, Feydeau and Joe Orton are ill-assorted companions"; this is nonsense, as anyone familiar with theatrical repertory knows. The ART season will include Shakespeare and Feiffer, Beckett and Beaumarchais; the Blaridge productions are, I think, similarly well-chosen. To follow the course of specialization Ashton suggests would, over the length of a season, bore the actors almost as much as the audience, and destroy the whole purpose for which the company was started...
London's Royal Shakespeare Company has returned to the Greeks in a three-night marathon cycle often plays derived from Aeschylus, Sophocles, Euripides (seven of the ten) and a dramatization by John Barton of a segment of Homer. The cycle is presented as a trilogy: "The War," "The Murders" and "The Gods." Its purpose: to show the turbulent destiny of the doomed House of Atreus in chronological order. Barton, master builder of this endeavor, likes to work on the grand scale. In previous years he was celebrated for The Wars of the Roses, a panorama adapted from Shakespeare...