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date: 16 October 2019

Abstract and Keywords

The productions discussed in this chapter span four decades, and their manifold differences justify the title “eclectic encounters.” Each represents a specific response to the Greek original, reflecting the personal concerns of the artists involved (particularly the author’s own political convictions), the material conditions available to them, and the cultural and political environment that shaped their, and their audiences’, perceptions. The productions include Euripides’ Electra (1973), Cyclops (1983, adapted as a musical, Cyclops—Nobody’s Musical), and Suppliant Women (1993); Sophocles’ Oedipus tyrannus (1981), Women of Trachis (2006, adapted for solo performance as Deianeira), and Electra (2009); and Aeschylus’ Persians (1990), along with a brief account of Rehm’s work on the Oresteia (translator, actor, assistant director) in Australia in 1974.

Keywords: Aeschylus, Sophocles, Euripides, Cyclops, Oedipus, Suppliant Women, Persians, Electra, Women of Trachis, Oresteia

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