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Agamemnon in Russia
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Abstract
Seneca’ s Agamemnon has never been produced in Russia or the USSR, and the Agamemnon of Aeschylus has never been performed as a separate play. This chapter, therefore, focuses on the Oresteia in the Russian theatrical tradition and the role played by the first play in Aeschylus’ trilogy in particular. The Oresteia is the only ancient drama to appear regularly on the stage in the twentieth century in Russia; and whilst its production history includes a theatrical disaster that had a direct effect on the fate of the Moscow Academic Art Theatre (or MAAT II),1 it was also the only play to survive during the difficult years for the arts, notably in the 1930s and 1940s. No other Greek or Roman play has had such a dramatic stage history in Russia.
Title: Agamemnon in Russia
Description:
Abstract
Seneca’ s Agamemnon has never been produced in Russia or the USSR, and the Agamemnon of Aeschylus has never been performed as a separate play.
This chapter, therefore, focuses on the Oresteia in the Russian theatrical tradition and the role played by the first play in Aeschylus’ trilogy in particular.
The Oresteia is the only ancient drama to appear regularly on the stage in the twentieth century in Russia; and whilst its production history includes a theatrical disaster that had a direct effect on the fate of the Moscow Academic Art Theatre (or MAAT II),1 it was also the only play to survive during the difficult years for the arts, notably in the 1930s and 1940s.
No other Greek or Roman play has had such a dramatic stage history in Russia.
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