Word: clytemnestra
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...philosophic plane-and it is amazing how gracefully Sartre weaves his discussion of freedom into tense dramatic situations-Orestes is an iconoclast, fervently devoted to his particular historical destiny (the murder of Clytemnestra and Aegisthus). By assuming the burden of guilt for himself and others. Orestes becomes Sartre's symbol of moral freedom and nobility...
...study which explores far beyond Lowell's personal circumference. In Notebook Lowell is a public poet. He writes: Of politicians and insects, "All excell, as if they were key-note speaker, first of the twenty first-ballerinas in the act, all original or at least in person. . ." Of Clytemnestra, "Orestes, the lord of murder and proportion, saw that the tips of her nipples had touched her toes--a population problem and bad art." Of civilization, power, and Caracas, "through another of our cities without a center, as hideous as Los Angeles, and with as many cars per head, and past...
...House of Atreus is an adaptation by John Lewin of Aeschylus' trilogy, The Oresteia. Agamemnon has sacrificed his daughter Iphigenia to win from the gods a favoring wind that will speed his fleet to Troy. Mad with grief and fury, his Queen, Clytemnestra, awaits the return of the victorious King from the Trojan War, and while he is in his bath she stabs him to death. Aided by his sister Electra, Agamemnon's son Orestes in turn murders both his mother and her lover Aegisthus. Pursued by the Furies, Orestes is tried before the goddess of Athens...
...that can be translated into words or music. It has no explicitly dramatic or psychological content. Particular movements may evoke emotional responses in the audience, but these responses will vary from person to person. Cunningham is interested in movement itself, "the physical image, fleeting or static." Unlike Graham in "Clytemnestra" or Limon in "The Moor's Pavane," he has never dramatized a legend. Yet his dances posses strong mood, an atmosphere that defines verbal presentation, perhaps because of the ambiguity and constant change involved in any Cunningham dance...
IPHIGENIA IN AULIS. Euripides' parable of disastrous ambition is charged with timeless emotion, and Director Michael Cacoyannis keeps this production in swirling, stylized motion. Greek Actress Irene Papas brings to her role of Clytemnestra a smoldering tension that erupts in a cry expressing the pain of a woman whose husband destroys their daughter for his own ends...