The medival staging of the Chester play can be really fun with costuming and staging the production. The fun comes out of the history, what influence these plays to be put on and why? How were these plays in the past produce and such. We are so reliant on technology these days, we forget the plays themselves are the art. Example spiderman the musical:
See what happens when spectacles takes over a simple original idea. Not going to lie, reviews for this show also bombed. But take the simple morals of the story and put it in front of people and not force them, they will have fun. So this was fun. The knowledge learned and the application to history was extraordinaire.
Remember how I said God needs a voice and people will take his message. Well, I invite you to watch the bottome clip:
GOD
Thank you
Tuesday, December 7, 2010
Costuming and Make-up for Chester
The final pieces are being now put together. How would one want to follow the story of Adam and Eve. In the beginning were they clothe, were the angels clothe, who was clothe, and why? This is a diffilcult decision, but I find
So many artist see the beginning of human as, well, naked. Do we want to push the envelope of having naked people trouting around. Heck yes. Why not understand the human body as it is. Why cover up in the beginning. Now, the audience may react differently to people being naked, but remember we as thespians have to do our job where the naked doesn't overshadow the show. Here is a note for casting. Find curves in the women and flaws in the boys. Now I'm not saying go find these specific bodies, so do not cast atrractive people. People will find reasons to look at the naked people if the attraction level is there. Look at the art what makes the art beautiful if the people are naked. It is how the body is posed.
For more Chester Plays
AH! I forgot to explain this part for my people. So casting would be small for the Chester Play 2, however, remember there are many plays to the Chester Cycle. If you would like an exmaple of how many plays go to the library and check out this book
Lumiansky, R.M. The Chester Mystery Cycle. London: Oxford University Press, 1974. Print.
The BOOK is an edited version of the chester plays. This relates with the history of the plays because even though we are doing an "excerpt" from the cycle, guilds would look for many people to act in these plays. Hence, why the production would be a hit and miss with the audience. The book covers the other cycles of the plays with explanation. So highly reccommended if play 2 doesn't work for you.
Lumiansky, R.M. The Chester Mystery Cycle. London: Oxford University Press, 1974. Print.
The BOOK is an edited version of the chester plays. This relates with the history of the plays because even though we are doing an "excerpt" from the cycle, guilds would look for many people to act in these plays. Hence, why the production would be a hit and miss with the audience. The book covers the other cycles of the plays with explanation. So highly reccommended if play 2 doesn't work for you.
Actor and Acting for the Chester Play 2
So let's face it, theatre was not the same in the Middle Ages compared to today. We have schools and university dedicated to acting alone. The Chester plays performed in the middle ages were controlled by the guilds, correct? Does this mean all the acting was bad? No. It means, the acting was up to par yet. Lucky for us, too bad for the Middle Ages.
This relates with history because it is typical for people not wanting to see god today. Back then, it might have been different because of the sterotypes of people wanting to see a large figure command such small people. In this case, we will follow a little bit of the sterotypes of the play. Adam a man. Eve a Woman. god equals Voice. The angels could be casted either or. I would like to see the devil have a form not of a serpent though, but a serpent like style. Cunning, witty, ect. It may follow the trend of Hollywood today, then again why would hollywood think this way, hmmmmmmmm?
In tune with what the production needs, the history of the times won't really influence the casting. The middle ages were the beginning, crafting the plays. Some actors would hit the audience with praise reactions, others did not do so well. So what is left for casting? Well, I wouldn't want to see God for instance. I've said this before, but god to the production should not be a form. The voice should raise awareness that if no form is there, than god must be surround all.
This relates with history because it is typical for people not wanting to see god today. Back then, it might have been different because of the sterotypes of people wanting to see a large figure command such small people. In this case, we will follow a little bit of the sterotypes of the play. Adam a man. Eve a Woman. god equals Voice. The angels could be casted either or. I would like to see the devil have a form not of a serpent though, but a serpent like style. Cunning, witty, ect. It may follow the trend of Hollywood today, then again why would hollywood think this way, hmmmmmmmm?The Spectacle of the Chester Play #2
As before, the stage is being set on the pageant cart and the characters will build the frame (the frame being movable because the cart would be too heavy for the actors) the spectacles must now be added.
When thinking of the Late-Middle Ages, most might think the only object of spectacle would be fire, however, their perspective is one-dumb mind sided. There is music, lights, machinery systems, and the mindtricks for the audience; in addition, this being an influenced production we can use today's technology to be safe.
Are we allowed to do this and will it affect the feeling of the play?
Well, 1501 at Mons, two directors took these "secrets" (special effects) machinery and created a tunnel for hell. Actually, it took about 17 people to work this machinery imported from France. One tie in with this spectacle is a witness from Nagler's primary document The Stage Magic of Valenciennes whom account of these machinery as magic. It helped build the set and expand the theatrics of the production.
So could we add fire (pyrotechnics) yeah.
So could we add "magic" to the show? I am going to stop you right there. Magic is an effect to trick the mind into something that wasn't there. I want people to feel the spectacles and understand the emotions of the play.
Nagler, A.M.. "The Stage Magic of Valenciennes." A Source Book In Theatrical History. Compiled. Mineola: Dover Publications Inc., 1952. Print.
Monday, December 6, 2010
STAGING Chester Cycle Play 2
In the Late Middle Ages, the staging of these productions were watched because they were the hit of the community. It's weird, to state community referring to the middle ages towns, but whatever the point, this production must feel the same. I touched on history influencing the plays a vice versa, but it is time as a production to do the same.
In Naglers Source Book, English Pageant Cars, summarizes into these plays being a festival. Today's economy and budgetting may not allow a whole day of plays to go forth, but what stops the plays from going to the people.
Set on a pageant cart, the production would travel through out the community to show off what is in store for them; making a "cycle" through the twon/university portraying these thespians that are about to put on a show. Why is it Shakespeare is allowed to blow trumpets and hang a flag before his show and the Ligutral dramas can't have their fun!?
The play would be performed outside, of course, and staged for the people. I forgot to explain touch on the pageant carts. They are huge, so it would also be diffilcult to lug this huge set across town and such, so it would be more of a fram for people to take notice. Then once, the actors are back and place the "scene" in it's place the play can begin. Now onward with production!SOURCES:
Nagler, A.M.. "english pageant cars." A Source Book In Theatrical History. Compiled. Mineola: Dover Publications Inc., 1952. Print.
Chester Cycle Play 2 Influence and Perspective
After listening to this sound, the stage and concept can now begin forming. As time progresses, the thoughts of not staging a production, but recreating the aura of the play comes to mind. Last post I hinted on how production would be form and why? I spoke about how God's voice begins the play and not a form. Through my thoughts, god is not a form or being. GOD is GOD. He or she does not have to form to lead an audience, but should be-
This only comes after I am influence by my scholarly article Tears for Abraham: The Chester Play of Abraham and Isaac and Antisacrifice in Works by Wilfred Owen, Benjamin Britten, and Derek Jarman, by Allen J. Fratzen. For the most part, the article explains how people's perspective of the Chester plays production value goes up, but the moral and lesson value goes down. It is because people want entertainment and not a lesson.
We as thespians must learn from the past and understand why these plays even exist in the first play. Refering back to the article, it also sums up, people in the middle ages learned the true meaning of sacrifice for it was the first moral lesson to be taught from these stagings. So we must be influence to do things, not bigger, but push the button on giving the audience the deep thought of GOD's Will. Hence, why I am influence to portray god not in form but of being. Give him/her a loud voice and that is all. Let the audience interpret the words of god and not needed to be entertained by what form he/she comes in.
SOURCES:
Frantzen, Allen J., 1947-. "Tears for Abraham: The Chester Play of Abraham and Isaac and
Antisacrifice in Works by Wilfred Owen, Benjamin Britten, and Derek Jarman." Journal
of Medieval and Early Modern Studies 31.3 (2001): 445-476. Project MUSE. Brooks
Library, Ellensburg, WA. 21 Sep. 2010 <http://muse.jhu.edu/>.
The Plays Synopsis Chester Cycle Play 2
If the reader is looking for a play with the story of Adam and Eve, look no further. The Chester Cycle play 2 is the play for you. The "characters" are listed as follow:
ADAM
DEVIL/SERPENT
EVE
FIRST ANGEL
SECOND ANGEL
THIRD ANGELFOURTH ANGEL
image source: http://chestofbooks.com/arts/ancient/Older-Spain-Arts-And-Crafts/images/Altar-Front-In-Enamelled-Bronze-11th-Century-Museum-of-Bur.jpg
The play beings with the minstrels playing, and god comes forth and speaks out two lines in latin
Ego, sum alpha et omega
primus et novissimus
translation into...
I am Alpha and the Omega
the beginning, and the end...
From this verse, sums up into God's will. The play is, please don't get offended, another thought out version of Adam and Eve, however, the moral must be told. Adam is told about God's will, Eve breaks God's will, eternal damnation for breaking God's will to both of them because they followed the ways of the serpent whom is the devil. The play reads like poetry, but is still a play. There is a moral to the point, but to take this as a play would seem to diminish the value. I will explain in my next post. Again, even though this play 2 is an easy, yet understandable play, it is just 1 of the many plays part of the Chester cycle.
Note: For future reference, don't begin to think the play production will follow any of the format of history. The play/time will only influence the design choices. For instance, God beginning lines with a powerful voice is stronger with his words only than his actions.
The CHESTER Plays ORIGINS
To begin with, the plays themselves must have a history, and boy, do they have history. To say there is one play is a complete understatement. The plays were a cycle, a compliation of plays to be "cycled" through out the day. Incidently, doing what the greeks had been doing in the beginning. Having multiple plays going on during the day and keep going.
In other words, from Oxford Reference Online when Chester Play's searched, "see mystery plays."
Oh! Alright.
"mystery plays, biblical dramas popular in England from the 13th to the later 16th cent., take their name from the mestier (métier or trade) of their performers; they were previously called ‘Miracle Plays’ which, strictly, are enactments of the miracles performed by the saints. The Mysteries enact the events of the Bible from the Creation to the Ascension (and in some cases later)."
In addition, "Though it is clear from their archives that many English towns had them, only four complete cycles survive: York, Chester, Wakefield ...it is not known where it comes from. They are connected with the feast day of Corpus Christi."
For the most part, the plays relate to the last post, which the church influence the prodcution of these plays, and probably wrote them as well. Now the reader knowing where the play comes from the play can be explained.
SOURCES:
"Chester Plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e1173
"mystery plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e4316>
In other words, from Oxford Reference Online when Chester Play's searched, "see mystery plays."
Oh! Alright.
"mystery plays, biblical dramas popular in England from the 13th to the later 16th cent., take their name from the mestier (métier or trade) of their performers; they were previously called ‘Miracle Plays’ which, strictly, are enactments of the miracles performed by the saints. The Mysteries enact the events of the Bible from the Creation to the Ascension (and in some cases later)."
In addition, "Though it is clear from their archives that many English towns had them, only four complete cycles survive: York, Chester, Wakefield ...it is not known where it comes from. They are connected with the feast day of Corpus Christi."
For the most part, the plays relate to the last post, which the church influence the prodcution of these plays, and probably wrote them as well. Now the reader knowing where the play comes from the play can be explained.
SOURCES:
"Chester Plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e1173
"mystery plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e4316>
IN THE BEGINNING...
There was theatrics throughout history, and it comes to the era of Medival. The play which has landed in my hands is part of the Chester Cycle, Play 2. Before I begin, I would like to remind the reader the period the material relates too.
It was in the late Middle Ages (1300's-1500's) where the cycle of religious plays were at it's peak. The cause of this was due to the help of the church releasing the plays upon the people. In short, before the 1300's the church held the rights to the plays being performed. The Cycle plays purpose was to have people wanting to come to church after seeing them. As time progress, the chruch then slowly, but surely, let the plays go public.
The blooming of the plays in the late Middle Ages can be connected with the influence of the economic and political changes which occured during the (1050's-1300's). The plays could not be produced when the surroundings are filled with feudal lords. As a result, Guilds were formed to protect the peoples interest from such lords and merchants (when the play would travel). But do not be lead astray, I am not saying the guilds were formed for the plays, but the community banded the group together. Each guild had its hiearchy, and once civil becomes greed. Kings and princes began to take control of the guilds, therefore the lords which had the people's trust; would influence the people, but then once again ruled by the kings.
In any case, the plays were still produce with the blessing of the church. Now we understand the timeline of the origins surroundings of the cycle plays. We, now can construct the production of the play itself and form an understanding of the big question...WHY?
SOURCE:
Brockett, Oscar G.. "European Theatre in the Late Middle Ages." History of the Theatre. Edited. Karon Bowers. Boston: Pearson Education Inc., 2007. Print.
It was in the late Middle Ages (1300's-1500's) where the cycle of religious plays were at it's peak. The cause of this was due to the help of the church releasing the plays upon the people. In short, before the 1300's the church held the rights to the plays being performed. The Cycle plays purpose was to have people wanting to come to church after seeing them. As time progress, the chruch then slowly, but surely, let the plays go public.
The blooming of the plays in the late Middle Ages can be connected with the influence of the economic and political changes which occured during the (1050's-1300's). The plays could not be produced when the surroundings are filled with feudal lords. As a result, Guilds were formed to protect the peoples interest from such lords and merchants (when the play would travel). But do not be lead astray, I am not saying the guilds were formed for the plays, but the community banded the group together. Each guild had its hiearchy, and once civil becomes greed. Kings and princes began to take control of the guilds, therefore the lords which had the people's trust; would influence the people, but then once again ruled by the kings.
In any case, the plays were still produce with the blessing of the church. Now we understand the timeline of the origins surroundings of the cycle plays. We, now can construct the production of the play itself and form an understanding of the big question...WHY?
SOURCE:
Brockett, Oscar G.. "European Theatre in the Late Middle Ages." History of the Theatre. Edited. Karon Bowers. Boston: Pearson Education Inc., 2007. Print.
Sunday, November 7, 2010
End Game
So wrapping my thoughts up I find this production blog very useful...even for later. What did it teach me, well if anyone wants to see my thoughts on how I portrayed Agamemnon they can come here and see what each little step I did along the two weeks we had. So before I go I would like to sum up what I wanted and what I see best.
At the beginning I shared how I hated the fact h\Hollywood is d iterating the literature of Greek Tragedies. The movie Troy is lame and shouldn't been seen as a historical movie, but just entertainment. The literature gives so much more. It gives depth to who Agamemnon is and his demise. It speaks that a man may be in power, but behind every powerful man is his wife. BAM!
So don't let the above happen to you. Go to a library and read the literature or scan the research because it won't be filled with Brad Pitt and Eric Bana. It will be filled with knowledge. Yeah!
At the beginning I shared how I hated the fact h\Hollywood is d iterating the literature of Greek Tragedies. The movie Troy is lame and shouldn't been seen as a historical movie, but just entertainment. The literature gives so much more. It gives depth to who Agamemnon is and his demise. It speaks that a man may be in power, but behind every powerful man is his wife. BAM!
So don't let the above happen to you. Go to a library and read the literature or scan the research because it won't be filled with Brad Pitt and Eric Bana. It will be filled with knowledge. Yeah!
The Beast within Agammemnon
In Aeschylus’ Agamemnon, symbolism is prominent throughout the play, and it is used to represent the feelings of the characters. The Greeks concentrated heavily on symbolism in their everyday life. Worshippers of many gods, the Greeks obviously felt the need to allow one thing to represent another. Their gods were symbols of things on earth that they did not understand; using these gods enabled them to make sense of certain things and/or feelings. Therefore, it comes as no surprise that Aeschylus, an obvious product of his idealistic time, would incorporate this belief of symbols into his writing. Agamemnon is overloaded with symbolism; on of the most prominent is the animal imagery.
Humans who cease to control themselves legitimately tend to be personified as animals. This statement is justly proven throughout Agamemnon through the use of several different animal symbolisms. One in particular is the lion. The lion can be seen as a powerful animal, as well as be noted for its slyness and deceitful tendencies. This “king of beasts” is known to be a bloodthirsty creature that is ruthless and threatening. Lions are also said to be protective, social beasts, and this seemingly contradicts the man, Agammemnon.
This concepts makes me wonder if my thoughts of costumes could be change, not in the way of greek, but other cultures. The lion is sort of a universal beast. So it makes me wonder of, "What if he was covered by a lion wardrobe to show his dominance compared to the whole group?" The thought sends chill down my spine.
Then Again I see someone else has thought of how awesome, yet weird it shows to have a lion on your head.
Reference: Picutre- http://www.fectio.org.uk/shows/2004archeon3.jpg
Humans who cease to control themselves legitimately tend to be personified as animals. This statement is justly proven throughout Agamemnon through the use of several different animal symbolisms. One in particular is the lion. The lion can be seen as a powerful animal, as well as be noted for its slyness and deceitful tendencies. This “king of beasts” is known to be a bloodthirsty creature that is ruthless and threatening. Lions are also said to be protective, social beasts, and this seemingly contradicts the man, Agammemnon.
This concepts makes me wonder if my thoughts of costumes could be change, not in the way of greek, but other cultures. The lion is sort of a universal beast. So it makes me wonder of, "What if he was covered by a lion wardrobe to show his dominance compared to the whole group?" The thought sends chill down my spine.
Then Again I see someone else has thought of how awesome, yet weird it shows to have a lion on your head.
Reference: Picutre- http://www.fectio.org.uk/shows/2004archeon3.jpg
AESCHYLUS...the poet, the man, the primary document
I refinished reading the history once again from Nagler on the subject of Aeschylus.
I know I posted about his life already from ORO, however, I wondered if it had any dispute and it doesn't. But it did give me a better insight on he man.
I never realized Sophocles in terms defeated Aeschylus in winning over the crowd. Also when he introduced the chorus with the orchestra in The Eumenides and women and children suffered the most; I believe I suffer more from laughter when reading this
Then above all else he dies from a turtle being dropped on his head. HA! I guess he sort of had it coming. Then I moved onto the next document which related him in acting in his own shows. Naglers (collection of primary documetns) viewpoint on Aeschylean seems to stretch out his role in history. Sort of how I am on this blog, but what itrigues me the most is then how he related it into his tragedies. I believe Aeschylean art is tragic for it relates to his life as well. No matter what the man did he always had something going for him until tragically losing to Sophocles. Basically, when a man cannot give up his power he is tragically stricken down. FACE!
References
Nagler, A.M. "Aeschylean Choreography." A Source Book in Theatrical History. New York: Dover Publications INC., 1952. Print.
Nagler, A.M. "Aeschylus-Man of the Theater." A Source Book in Theatrical History. New York: Dover Publications INC., 1952. Print.
I know I posted about his life already from ORO, however, I wondered if it had any dispute and it doesn't. But it did give me a better insight on he man.
I never realized Sophocles in terms defeated Aeschylus in winning over the crowd. Also when he introduced the chorus with the orchestra in The Eumenides and women and children suffered the most; I believe I suffer more from laughter when reading this
Then above all else he dies from a turtle being dropped on his head. HA! I guess he sort of had it coming. Then I moved onto the next document which related him in acting in his own shows. Naglers (collection of primary documetns) viewpoint on Aeschylean seems to stretch out his role in history. Sort of how I am on this blog, but what itrigues me the most is then how he related it into his tragedies. I believe Aeschylean art is tragic for it relates to his life as well. No matter what the man did he always had something going for him until tragically losing to Sophocles. Basically, when a man cannot give up his power he is tragically stricken down. FACE!
References
Nagler, A.M. "Aeschylean Choreography." A Source Book in Theatrical History. New York: Dover Publications INC., 1952. Print.
Nagler, A.M. "Aeschylus-Man of the Theater." A Source Book in Theatrical History. New York: Dover Publications INC., 1952. Print.
Sunday, October 31, 2010
Hilarious Idea for Lobby Display
So earlier I posted a Youtube video on the paths to the city of Mycenae and the professor in the video spoke about the paths along the ridges to the city. So I laughed at myself about creating a path to the theatre. So what would be created would be the site surrounding the area. It would have open area design for hills and trees. Then as the patrons would enter the lobby would be the outskirts of the city. Market place and all of that jazz. See example of illustrations below:
This would give theatre patrons a sense of time. It would not be specific but it would be fun for them to walk around the "greeks." The best part would be walking into the theatre where the one guard on the outside of the wall would be watching until the beginning of the play where I discussed about a green light flashing to signal the guard. Then those who are outside in the lobby would react and come inside to hear the news.
Fun yes. Are we doing it yes.
References.
image 1: http://picsicio.us/domain/toursingreece.gr/
image 2: http://www.artrenewal.org/asp/database/image.asp?id=2978
Fun yes. Are we doing it yes.
References.
image 1: http://picsicio.us/domain/toursingreece.gr/
image 2: http://www.artrenewal.org/asp/database/image.asp?id=2978
How Agamemnon should tranform designing wise throughout the play???
Costumes:
Tricky if those who don't have a genuine idea of how the play is formed. So we know at the beginning of the play we are given a signal from offstage when "Troy" had fallen. So we begin with the rejoice idea (holy, pure):
Very casual and powerful among this figure. However as the play progresses the power gets to the clothing by consuming it with some sort of dark and rich matter (It could be blood or rags), but it should be gathering enough for when Clytemnestra kills him it represents the rage which is released upon him.
Lights:
The lights during the play are soft focus but becomes more scheming of who is where feel. Example below:
Beginning
The green in this light could reflection of the signal for the soldier which would bring the stage lights up to general showing that Troy has fallen.
Then when the play progesses into the dark a tragedy side it forms into this
Then the murder for lights transforms into the painting
Blackout
What do you guys think?
Tricky if those who don't have a genuine idea of how the play is formed. So we know at the beginning of the play we are given a signal from offstage when "Troy" had fallen. So we begin with the rejoice idea (holy, pure):
Very casual and powerful among this figure. However as the play progresses the power gets to the clothing by consuming it with some sort of dark and rich matter (It could be blood or rags), but it should be gathering enough for when Clytemnestra kills him it represents the rage which is released upon him.
Lights:
The lights during the play are soft focus but becomes more scheming of who is where feel. Example below:
Beginning
Blackout
What do you guys think?
Oh! We're halfway there....CASTING!
I have some great casting news people. After researching the tragedy of Agamemnon I began thinking who could portray these characters. Oh man, I realized I had not thrown out the characters of the play. Well, let's do it with a little help from our friend Oxford Reference Online...
"Agamemnon
king of Mycenae and brother of Menelaus, commander-in-chief of the Greek expedition against Troy. On his return home from Troy he was murdered by his wife Clytemnestra and her lover Aegisthus; his murder was avenged by his son Orestes and daughter Electra.
Clytemnestra
wife of Agamemnon. She conspired with her lover Aegisthus to murder Agamemnon on his return from the Trojan War, and was murdered in retribution by her son Orestes and her daughter Electra.
There are a quite a load of characters, but I wish to focus on the main two who bring this to an epic tragedy, Agamemnon is constantly acting selfish and greedy, constantly reflecting about the various ways in which to acquire power. Although he does want to win his battles and protect his country, he does it for the wrong reason: to gain power and respect as a king. Agamemnon’s magnanimity encompasses neither the love of his family, nor the love for his country. This is not to say Agamemnon does not exude power, respect, and honor. However, the degree of his honor is simply measured by false public recognition and by his selfish desires to become powerful.
Aeschylus’ tragedy Clytemnestra is portrayed as a strong willed woman, which was not very typical of her time. Early in the play Agamemnon sacrifices his daughter because the winds would not allow his ships to sail any further so by sacrificing Iphigenia the winds would blow in his favor. This action inevitably set the stage for Clytemnestra’s lust for revenge since it was her daughter as well. Clytemnestra used her manly qualities to carefully and deceitfully plan the death of her husband; her lust for revenge was so immense that she wished for her husband to return so that she may kill him herself.
So who would I suggest in such a powerful role as these two:
Actor Liam Neeson as Agamemnon. This actor could basically take any scene and control with his recognizable voice and his facial expression could bring the calm to a mad men.
Next: Tilda Swinton as Clytemnestra
Her sleek beauty look may be welcoming, but again, under it all she is fierce and ready to kill.
Thoughts?
References.
"Aegisthus" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e989>
"Agamemnon" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e1212>
"Clytemnestra" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e14652>
"Agamemnon
king of Mycenae and brother of Menelaus, commander-in-chief of the Greek expedition against Troy. On his return home from Troy he was murdered by his wife Clytemnestra and her lover Aegisthus; his murder was avenged by his son Orestes and daughter Electra.
Clytemnestra
wife of Agamemnon. She conspired with her lover Aegisthus to murder Agamemnon on his return from the Trojan War, and was murdered in retribution by her son Orestes and her daughter Electra.
There are a quite a load of characters, but I wish to focus on the main two who bring this to an epic tragedy, Agamemnon is constantly acting selfish and greedy, constantly reflecting about the various ways in which to acquire power. Although he does want to win his battles and protect his country, he does it for the wrong reason: to gain power and respect as a king. Agamemnon’s magnanimity encompasses neither the love of his family, nor the love for his country. This is not to say Agamemnon does not exude power, respect, and honor. However, the degree of his honor is simply measured by false public recognition and by his selfish desires to become powerful.
Aeschylus’ tragedy Clytemnestra is portrayed as a strong willed woman, which was not very typical of her time. Early in the play Agamemnon sacrifices his daughter because the winds would not allow his ships to sail any further so by sacrificing Iphigenia the winds would blow in his favor. This action inevitably set the stage for Clytemnestra’s lust for revenge since it was her daughter as well. Clytemnestra used her manly qualities to carefully and deceitfully plan the death of her husband; her lust for revenge was so immense that she wished for her husband to return so that she may kill him herself.
So who would I suggest in such a powerful role as these two:
Actor Liam Neeson as Agamemnon. This actor could basically take any scene and control with his recognizable voice and his facial expression could bring the calm to a mad men.Next: Tilda Swinton as Clytemnestra
Her sleek beauty look may be welcoming, but again, under it all she is fierce and ready to kill.
Thoughts?
References.
"Aegisthus" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e989>
"Agamemnon" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e1212>
"Clytemnestra" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e14652>
Idea of how to portray the death of Agamemnon happy halloween
Being Halloween let's throw it out how to portray the death of Agamemnon. In the play, Agamemnon is pronounced dead when Clytemnestra opens their house doors standing over him with a bloody knife. Clytemnestra proclaims from the version The Agamemnon of Aeschylus...
"...By my hand he fell low, lies low down and dead,
And I shall bury him low down in the earth,
And his household need not to weep him
For Iphigeneia his daughter
Tenderly, as is right,
Will meet her father at the rapid ferry sorrows,
Put her arms around him and kiss him!"
It's sort of strange for the mother to claim happiness for the child which in her father sacrificed to the gods to win the Trojan War. Whatever!? So pretty intense scene. So would I rewrite the literature in showing the death of Agamemnon. HECK YES. Why not? Why is it alright for the senate to stab Caesar and not show the drama of a wife killing her unfaithful husband. In the picture above is a creepy painting already of how dramatic the scene would be. Clytemnestra with her new lover Aegisthus on the prowl of murder, but does this justify showing the killing. I say yes.
The justification of how we would portray this would still be clean. I am not claiming let's throw blood onto the audience from the bloody knife as she thrust it into him, but the shadow of death seeps onto the wall by what we percieve. A great example for this would be of course, Hitchcock.
Scary imaginations, right?
References.
MacNeice, Louis. The Agamemnon of Aeschylus. New York: Brace and Companu, 1936.
Youtube: http://www.youtube.com/watch?v=8VP5jEAP3K4.
"...By my hand he fell low, lies low down and dead,And I shall bury him low down in the earth,
And his household need not to weep him
For Iphigeneia his daughter
Tenderly, as is right,
Will meet her father at the rapid ferry sorrows,
Put her arms around him and kiss him!"
It's sort of strange for the mother to claim happiness for the child which in her father sacrificed to the gods to win the Trojan War. Whatever!? So pretty intense scene. So would I rewrite the literature in showing the death of Agamemnon. HECK YES. Why not? Why is it alright for the senate to stab Caesar and not show the drama of a wife killing her unfaithful husband. In the picture above is a creepy painting already of how dramatic the scene would be. Clytemnestra with her new lover Aegisthus on the prowl of murder, but does this justify showing the killing. I say yes.
The justification of how we would portray this would still be clean. I am not claiming let's throw blood onto the audience from the bloody knife as she thrust it into him, but the shadow of death seeps onto the wall by what we percieve. A great example for this would be of course, Hitchcock.
Scary imaginations, right?
References.
MacNeice, Louis. The Agamemnon of Aeschylus. New York: Brace and Companu, 1936.
Youtube: http://www.youtube.com/watch?v=8VP5jEAP3K4.
Truth of Troy: A Real Agamemnon?
Here's a great video on the location of Mycynae (the location of the play).
During the 100 B.C. they created impressive structures such as the “Treasury of Atreus” which was burial place that was built with stone blocks that taper inward toward the highest points. Another impressive structure built by them was the Lioness Gate at Mycenae, which was built from large stones with carvings of Lions.
These Lions symbolized the King for them. The function of the lions were to act as guardians of the gate. It is said that the Mycenae were Egyptian influenced of burial customs together with strong supports.
This is grand to know for the production set. We now know there is a beauty with a powerful platform.
During the 100 B.C. they created impressive structures such as the “Treasury of Atreus” which was burial place that was built with stone blocks that taper inward toward the highest points. Another impressive structure built by them was the Lioness Gate at Mycenae, which was built from large stones with carvings of Lions.
These Lions symbolized the King for them. The function of the lions were to act as guardians of the gate. It is said that the Mycenae were Egyptian influenced of burial customs together with strong supports.This is grand to know for the production set. We now know there is a beauty with a powerful platform.
References.
"Mycenae" The Oxford Encyclopedia of Classical Art and Architecture. Ed. John B. Hattendorf. Oxford University Press, 2007. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t231.e0646>
The many, many, and many versions of Agamemnon
Sifting through the library stacks I came across the greek literature section and was overwhelmed of what I came across. At first I picked up a different version of Agamemnon and not the real trilogy (will post explanation later in this entry). So I thought it would be fun just to check out for any good reads any one wants:
G.Rosenmeyer, Thomas. The Art of Aeschylus. Los Angeles: University of California Press, 1982. Print.
MacNeice, Louis. The Agamemnon of Aeschylus. New York: Brace and Companu, 1936. Print.
Smyrna, Quintus. The War at Troy. Norman: University of Oklahoma press, 1968. Print.
These will give different perspective of how translation are put into perspective. Also it lead me into the real literature form of Agamemnon. An excerpt from ORO:
"Oresteia, the collective name given to the three Greek tragedies (trilogy) by Aeschylus on the story of Agamemnon, Clytemnestra, and Orest
s, produced at Athens in 458 BC when it won the dramatic competition. It is the only trilogy that survives complete. The plays are Agamemnon, Chophoroe (‘libation bearers’), and Eumenids (‘kindly ones’, a euphemism for the Furies).
The story is taken from the mythical history of the descendants of Atreus in which crime led to further crime through several generations. The Agamemnon opens in an atmosphere of hope mingled with foreboding, as the watchman on the roof of Agamemnon's palace in Argos looks out for the signal beacon to announce the fall of Troy. After the signal is seen, the news is confirmed by the arrival of a herald. Agamemnon's wife Clytemnestra appears jubilant, but the chorus of Argive elders recall Agamemnon's sacrifice of his daughter Iphigeneia to enable the Greek fleet to set sail, and brood over the possible consequences. Agamemnon arrives, bringing with him the captured Trojan princess Cassandra, his concubine. Clytemnestra treacherously welcomes him and then leads him into the palace. Cassandra, who has not spoken up to this point, is now moved to frenzied prophecy, foresees Agamemnon's murder and her own, as well as having a vision of the past crimes of the house, and utters a lament. She too enters the house, knowingly going to her death. The cries of the dying Agamemnon are heard. The interior of the palace is revealed, with Clytemnestra exulting over the bodies of the two victims. She answers the elders' reproaches by citing as justification Agamemnon's sacrifice of Iphigeneia. Aegisthus, her lover, appears, and subdues the elders with threats of force. The latter can only hope that one day Agamemnon's son Orestes will avenge him..."
So I was wrong with the correct literature title. It seems it was a trilogy of plays which makes his more fun and wide open. Also another excerpt of ORO of whom Aeschylus is...
"Aeschylus (525–456 BC), the earliest Greek tragic poet whose work survives...Aeschylus is generally regarded as the real founder of Greek tragedy: by increasing the number of actors to two and diminishing the part taken by the chorus he made true dialogue and dramatic action possible."
So this makes me think that the dialogue and action are furth increase if chorus had been given up and the actors on stage have control. Awesome. This was an awesome researchexpierence for those are finding there literature production. Exciting.
References
G.Rosenmeyer, Thomas. The Art of Aeschylus. Los Angeles: University of California Press, 1982. Print.
MacNeice, Louis. The Agamemnon of Aeschylus. New York: Brace and Companu, 1936. Print.
Smyrna, Quintus. The War at Troy. Norman: University of Oklahoma press, 1968. Print.
These will give different perspective of how translation are put into perspective. Also it lead me into the real literature form of Agamemnon. An excerpt from ORO:
"Oresteia, the collective name given to the three Greek tragedies (trilogy) by Aeschylus on the story of Agamemnon, Clytemnestra, and Orest
s, produced at Athens in 458 BC when it won the dramatic competition. It is the only trilogy that survives complete. The plays are Agamemnon, Chophoroe (‘libation bearers’), and Eumenids (‘kindly ones’, a euphemism for the Furies).The story is taken from the mythical history of the descendants of Atreus in which crime led to further crime through several generations. The Agamemnon opens in an atmosphere of hope mingled with foreboding, as the watchman on the roof of Agamemnon's palace in Argos looks out for the signal beacon to announce the fall of Troy. After the signal is seen, the news is confirmed by the arrival of a herald. Agamemnon's wife Clytemnestra appears jubilant, but the chorus of Argive elders recall Agamemnon's sacrifice of his daughter Iphigeneia to enable the Greek fleet to set sail, and brood over the possible consequences. Agamemnon arrives, bringing with him the captured Trojan princess Cassandra, his concubine. Clytemnestra treacherously welcomes him and then leads him into the palace. Cassandra, who has not spoken up to this point, is now moved to frenzied prophecy, foresees Agamemnon's murder and her own, as well as having a vision of the past crimes of the house, and utters a lament. She too enters the house, knowingly going to her death. The cries of the dying Agamemnon are heard. The interior of the palace is revealed, with Clytemnestra exulting over the bodies of the two victims. She answers the elders' reproaches by citing as justification Agamemnon's sacrifice of Iphigeneia. Aegisthus, her lover, appears, and subdues the elders with threats of force. The latter can only hope that one day Agamemnon's son Orestes will avenge him..."
So I was wrong with the correct literature title. It seems it was a trilogy of plays which makes his more fun and wide open. Also another excerpt of ORO of whom Aeschylus is...
"Aeschylus (525–456 BC), the earliest Greek tragic poet whose work survives...Aeschylus is generally regarded as the real founder of Greek tragedy: by increasing the number of actors to two and diminishing the part taken by the chorus he made true dialogue and dramatic action possible."
So this makes me think that the dialogue and action are furth increase if chorus had been given up and the actors on stage have control. Awesome. This was an awesome research
References
"Aeschylus" The Concise Oxford Companion to Classical Literature. Ed. M.C. Howatson and Ian Chilvers. Oxford University Press, 1996. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t9.e72
"Oresteia" The Concise Oxford Companion to Classical Literature. Ed. M.C. Howatson and Ian Chilvers. Oxford University Press, 1996. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t9.e2047>
The play the production...THE BLOG (the why and synopsis)
First off, I would like to ask for those who know what I am referring to when I speak of the movie TROY to forget the movie and learn the real literature. The Agamemnon of Aeschylus is explained from this excerpt from Oxford Reference Online...
"...in Greek myth, son of Atreus, brother of Menelaus, husband of Clytemnestra, king of Mycenae, or Argos, and leader of the Greek forces in the Trojan War. He is represented in Homer's Iliad as a valiant fighter, a proud and passionate man, but vacillating in purpose and easily discouraged. His quarrel with Achilles is the mainspring of the poem's action. The Odyssey tells how, on his return from Troy, he was feasted in the palace of his wife's lover, and there murdered by them both, together with his captive Cassandra. This story is retold by later authors, with minor variants."References
"Agamemnon" The Concise Oxford Companion to Classical Literature. Ed. M.C. Howatson and Ian Chilvers. Oxford University Press, 1996. Oxford Reference Online. Oxford University Press. Central Washington University. 1 November 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t9.e89
MacNeice, Louis. The Agamemnon of Aeschylus. New York: Brace and Companu, 1936.
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