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!

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

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.