Sophocles's Antigone, Oedipus the King, Electra (Oxford World's PDF

By Sophocles

Love and loyalty, hatred and revenge, worry, deprivation, and political ambition: those are the causes which thrust the characters portrayed in those 3 Sophoclean masterpieces directly to their collision path with catastrophe.

Recognized in his personal day as probably the best of the Greek tragedians, Sophocles' attractiveness has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium used to be his improvement of a relevant tragic determine, confronted with a try of will and personality, risking obloquy and loss of life instead of compromise his or her rules: it truly is remarkable that Antigone and Electra either have a girl as their intransigent 'hero'. Antigone dies quite forget her responsibility to her kin, Oedipus' decision to save lots of his urban ends up in the terrible discovery that he has dedicated either incest and parricide, and Electra's unremitting anger at her mom and her lover retains her in servitude and despair.

These shiny translations mix splendor and modernity, and are striking for his or her lucidity and accuracy. Their sonorous diction, economic climate, and sensitivity to the numerous metres and modes of the unique musical supply cause them to both appropriate for interpreting or theatrical peformance.

Readership: scholars of all university degrees in drama, classics, comparative literature, theatre reviews. A-level `Classical Civilization' scholars.

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Additional info for Antigone, Oedipus the King, Electra (Oxford World's Classics)

Example text

That is theatrical to the text” (41), he called for that theatre’s renewal through a return to “a concrete physical language” (37) of “music, dance, plastic art, [and] pantomime” (39), namely, a language “addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words” (38). For Artaud, this concrete physical language could be found in the “primitive” performances of the non-industrialized world, in his particular case, as we saw earlier, in Balinese theatre.

General references have been made to the material conditions of possibility, but these conditions were not specified with regard to any particular francophone territory or country. Neither was the possibility discussed of a differential cultural politics within francophone zones. The cultural politics of theatre in Africa and the Caribbean is particularly interesting given issues of political economy and of various discourses of indigeneity that developed in the 1970s and 1980s. Thus, beyond their commonalities, certain differences within and between francophone theatrical avant-garde practices and politics warrant further exploration.

While this policy choice yielded enviable results from the 1960s to the mid-1980s, leading to the so-called Ivorian miracle—impressive growth rates, the rise of a prosperous planter class and an articulate French-educated bourgeoisie, important urbanization and public works projects—many commentators, even the most sympathetic, were mindful of that miracle’s real and potential problems. These included a loss of political sovereignty, with the state essentially “accepting to serve as a relay for foreign, in particular French, interests” (Losch 2000, 9).

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