„Coephoroi – Eumenides” by Aeschylus, directed by DANIELE SALVO, Syracuse 2014

 In  „Coephoroi” and „Eumenides” Daniele Salvo relies on paroxysmal, exasperated, vocal and physical expressiveness. At the beginning of the tragedy the Chorus of coephoroi accompany Electra (Francesca Ciocchetti) to the grave of her father, achieving a strong visual and emotional impact.

10341605_10204096419115476_2961090741935171028_nPhoto: Ana Afteni

The atmosphere is tense and solemn; the grief of Trojan slaves dressed in black garments and veils blends with the despair felt by the young daughter of Agamemnon in a riotous sound mixture, supported by the complex musical symphony created by Marco Podda: archaic echoes and classical tonalities in an amalgam that evokes a cinematic feel.

10456779_10204096485077125_4184210107820043445_nPhoto: Ana Afteni

Later, pursing the emotional peak which is the openly declared stylistic approach chosen for his staging, the director follows an ascending climax, up to the point of breaking one of the taboos of Greek theatre: murder taking place on stage. Orestes (Francesco Scianna) slaughters his mother (Elisabetta Pozzi) in front of the spectators.

10256576_883791768314108_7076431689384963910_nPhoto: Franca Centaro

The appearance of the Erinyes, dressed in a leotard that makes them look like colourful skeletons, adds more fuel to the wildfire of violence and fury.And so the play reaches its last act, in which Eumenides represents the founding of western justice as an overcoming of the archaic law of retaliation.”

10382983_918573638169254_3299845488225760016_nPhoto: Franca Centaro

The 50th Season of Classical Plays at Syracuse’s Greek Theatre:

Aeschylus’s Oresteia and Aristophanes’ Wasps

L Ciclo di Spettacoli Classici Teatro Greco di Siracusa Syracuse, Italy

Reviewed by Caterina Barone University of Padova

Dă clic pentru a accesa DidaskaliaVol11.pdf


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