Tony Harrison: The Oresteia

Relationship to Classical text As in The Common Chorus (Parts I and II) Harrison adheres closely to the source text

Close translation of words/phrases/excerpts A translation of Aeschylus’ Oresteia

Classical/post-Classical intertexts Robert Browning’s Agamemnon (1877), for the sound and character of his translation (see Harrison’s Introduction, p.8ff in the 2002 edition), Northern English accents and the consonantal sound qualities of Old English verse, especially though the use of compound words. This style of language is partly used to achieve clarity of diction from the   masked actors (ibid. p.22ff). 19th and 20th century scholarship relating to sexual politics, especially that which references the mythology of the Oresteia (in the writings of Lafargue, Freud, Hegel etc.), as well as late 20th century feminism (ibid. p.30ff).

Comment First performed by the National Theatre Company at the Olivier Theatre on 28 November 1981 and subsequently at Epidauros in July 1982. It was later televised by Channel 4 on 9 October 1983. The use of tragic masks was integral to the performances.

Note Also collected in Tony Harrison Plays 4, Faber, 2002.