Agamemnon is the first play in
"The Orestian Trilogy" by Aeschylus.
Aeschylus was born in 525 B.C
and was a soldier who fought in the Athenian army that defeated
the Persians at the battle of Marathon. This decisive victory
of a small people over a mighty power had an immense effect on
the character of Aeschylus and his work. His first play was produced
when he was twenty six. "The Oresteia" was produced in 458 B.C,
two years before his death. It is the only trilogy preserved and
demonstrates his ability to develop a theme over three separate
dramas. Aeschylus drew on ancient stories for the plots of his
plays. His own life experience stimulated his thinking. His birthplace
was Eleusis, a place full of religious mysteries. As a boy he
must have seen many pilgrims, troubled in spirit, seeking explanations
of life's problems or release from trouble, and he grew up obsessed
with the conviction of the impossibility of escape from the fates
and the furies that pursue man.
"The Oresteia" explores this very
theme. "Agamemnon" is a play that explores the relentlessness
of fate. That man despite his achievements cannot escape his destiny.
In a climate of uncertainty an action to subdue one god can result
in the wrath of another. And so is Agamemnon's fate. Agamemnon
is a powerful, honoured and respected king who accepts his mortal
status, but with a divinity to rule as king. The play interweaves
the story of Helen of Troy and how she sent a nation to war, and
the curse on the House of Atreus. Agamemnon sacrifices his daughter
Iphigenia to secure a wind to Troy for his fleet but to what end
- to conquer Troy - but can this ever justify the murder of your
own child? But then his family are cursed and whichever way he
turns disaster looms.
And what of Clytemnestra, his
wife? When she has killed Agamemnon there is no weakening, no
regret, remorse. She is the minister of Fate, the minister of
Justice, the typical "Fury" of the Greeks. Her hatred of her husband
is cleverly cloaked in a facade of composure and femininity. She
uses her sexuality to lure him in and then take him off guard
for the final kill. The lioness devours her prey.
Into this web of deceit comes
Cassandra, a princess of Troy, the daughter of Priam. She is Paris'
sister. Her brother's actions and his night with Helen, wife of
Menelaus, spark the war In Troy. But bringing Cassandra back as
a trophy of war, Agamemnon brings her into the House of Atreus.
Her prophetic powers foretell the impending doom but she is unable
to warn Agamemnon. The audience wait in expectation as to whether
her prophecy will ring true.
Staging "Agamemnon" has been a
challenging experience in attempting to remain faithful to the
original whilst also making the work accessible to young people
and a contemporary audience. When one considers that Greek Drama
saw the birth of all drama the style and the conventions become
almost sanctified. The chorus in the play have long commentaries
on the story, the Law of Zeus and man's destiny. The classical
dialogue can sound alien and whilst listening to a well-crafted
chorus of fifty in an amphitheatre would be spectacular, transferring
it to a studio proves difficult. Long choric speeches can lose
their impact, as in modern society we crave variety, visual images
and short spans of concentration. With this in mind we have remained
faithful to the idea of a chorus and choral speaking but have
created more varied opportunities with not only the Elders, but
also the Maids and Priestess' chorus. As all parties are members
of the palace community although the Elders don't speak all the
dialogue the voice is still 'of the people'. And 'of the people'
they are, as the chorus also represent the audience questioning
the characters and searching for clarification.
The stories of Greek mythology
are full of intrigue, deception and fatalistic outcomes. The story
of the House of Atreus is no exception. "Agamemnon" is only the
beginning.
Liz Yates
