Word: electras
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Dates: during 1970-1979
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...saloon. The voice behind him is soft and beckoning. He rises and holds the pregnant girl in his arms. The beaming, reunited couple could be lovers -but they are father and daughter. By the time her common-law husband joins the pair, it is clear that riverrun becomes Electra...
...fanciful in their dramatic use of Greek "gods" and fate, Sartre adopts the symbolic fable of the House of Atreus as a serious medium for analysis of social guilt. He throws the uprooted Orestes into a miasma of remorse and penitent masochism. But in portraying Orestes' collaboration with Electra to avenge the murder of their father, Sartre avoids abstraction and presents his characters concretely...
Stephen Hoye as Orestes cleverly underplays his role in the early stages of the play; then, at the point when he takes possession of his identity as Agamemnon's avenger, his demeanor hardens, in a manner as shocking to Electra as it is to the audience...
...part which suited her gaunt figure and certainly her shrill, frenzied voice. Al Ranzio's nasal monotone was bothersome at times, but as Zeus, he combined all the self-assurance and comic undertones which Sartre wrote into the role. Norma Levin had surely the most difficult assignment as Electra. She captured the guilelessness of Sartre's very ordinary, very energetic heroine; she also got to speak some of Sartre's most beautiful set-pieces, the little speeches of reminiscence which form a motif in the play...