Looking at Some Striking Transformations of Clytemnestra in Greece and France
DOI:
https://doi.org/10.37130/9qzznr25Keywords:
Clytemnestra, Yourcenar, Staikos, Kambanellis, receptionAbstract
The role of Clytemnestra was shaped by ancient authors as that of a traitor, casting an unmistakably negative image upon her character. By the twentieth century, however, Clytemnestra had undergone a significant evolution from the deceitful, immoral, and scheming figure of the Middle Ages to the passive female archetype of the Renaissance and Classical periods. From the twentieth century onward, playwrights have approached the ancient heroine in a markedly more sympathetic light. In French theatre, Marguerite Yourcenar, in her emblematic stage drama Clytemnestra or Crime, reclaims the myth of the Atreidae to disparage the societal conventions that constrain women to prescribed roles, while simultaneously unmasking the traditional hero through the demystification of Agamemnon. In Modern Greek theatre, Andreas Staikos, through a systematic engagement with ancient dramaturgical elements and a unique mode of textual reception, portrays a Clytemnestra who oscillates within a repetitive pattern, continually transforming and regressing between mythic archetype and personal narrative. Lastly, in Letter to Orestes, Iakovos Kambanellis explores the allegorical dimensions of Clytemnestra’s character. Despite the play’s adherence to a recognizably conservative framework, it subtly critiques the constructed culpability associated with the social roles of both genders. These three adaptations ultimately redeem Clytemnestra, thus elevating her from a symbol of eternal condemnation to one of complex vindication.
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