Aeschylus' Oresteia

Aeschylus' Oresteia

Directed by Theodoros Terzopoulos

Odeon of Herodes Atticus
4 & 5 September 2024

After its triumphant premiere at the Ancient Theatre of Epidaurus,
Aeschylus' Oresteia directed by Theodoros Terzopoulos
is touring Greece and Cyprus.

For tickets for the other performances
on the tour see here

On 12 and 13 July, in a thrilling atmosphere in the packed Ancient Theatre of Epidaurus, more than 19,000 people gave a standing ovation to Theodoros Terzopoulos, and the cast and creatives of The Oresteia. This production of Aeschylus' emblematic trilogy, the first collaboration between the National Theatre of Greece and the internationally acclaimed director and teacher, is already being hailed as a triumph for Greek theatre.

The performance was attended by the Minister of Culture, Lina Mendoni, the Artistic Director of the Athens Festival, Katerina Evangelatou, representatives from the worlds of politics, literature, and the arts, and thousands of other people.

Following the two consecutive sold out performances at the Ancient Theatre of Epidaurus, The Oresteia will tour from July to September in Greece and Cyprus: from Thessaloniki and Dodoni to Limassol, and from Kavala and Dion to the Odeon of Herodes Atticus and the School of Athens "Irene Papas".

Production team

Translation: Eleni Varopoulou
Direction and adaptation: Theodoros Terzopoulos
Associate director: Savvas Stroumpos
Sets, Costumes, Lighting: Theodoros Terzopoulos
Original music: Panayiotis Velianitis
Dramaturgical adviser: Maria Scicchitano
Dramaturg: Irene Moundraki
Directing assistant: Theodora Patiti
Associate set designer: Sokratis Papadopoulos
Associate costume designer: Panagiota Kokkorou
Associate lighting designer: Konstantinos Bethanis
Artistic associate: Maria Vogiatzi
Video: Nikos Pastras
Photographs: Johanna Weber

Cast: Evelyn Assouad (Cassandra), Tasos Dimas (Watchman/Leader of the Chorus/Athenian citizen), Konstantinos Zografos (Pylades), Ellie Iggliz (Nurse), Kostas Kontogeorgopoulos (Orestes), David Malteze (Aegisthus), Anna Marka Bonissel (Prophet), Nikos Dasis (Apollo), Dinos Papageorgiou (Herald), Aglaia Pappa (Athena), Savvas Stroumpos (Agamemnon), Alexandros Tountas (Servant), Niovi Charalambous (Electra), Sophia Hill (Clytemnestra/Ghost of Clytemnestra)

Chorus: Babis Alefantis, Evelyn Assouad, Natalia Georgosopoulou, Katerina Dimati, Konstantinos Zografos, Pyrros Theofanopoulos, Ellie Iggliz, Vasilina Katerini, Thanos Magklaras, Elpiniki Marapidi, Anna Marka Bonissel, Lygeri Mitropoulou, Rosy Monaki, Aspasia Batatoli, Nikos Dasis, Vangelis Papagiannopoulos, Stavros Papadopoulos, Myrto Rozaki, Yannis Sanidas, Alexandros Tountas, Katerina Hill, Michalis Psalidas, Giulio Germano Cervi

The performance is part of the 2024 Athens & Epidaurus Festival.

Summer tour
FRIDAY 19-July | Thessaloniki | Theatro Dasous at 21.00
FRIDAY 26-July | Ancient Theatre of Dodoni at 21.00
FRIDAY 2-Aug | Limassol |Kourion Ancient Amphitheatre at 21.00
SATURDAY 3 Aug | Limassol |Kourion Ancinet Amphitheatre at  21.00
SATURDAY 24-Aug | Kavala |Ancient Theatre of Philipi at  20.30
WEDNESDAY 28-Aug | Ancient Theatre Dion at 20.30
WEDNESDAY 4-Sep | Odeon of Herodes Atticus at 21.00
THURSDAY 5-Sep | Odeon of Herodes Atticus at 21.00
SUNDAY 8-Sep |School of Athens “Irene Papas” at  21.00
WEDNESDAY -11Sep| School of Athens “Irene Papas” at  21.00
FRIDAY 13-Sep | School of Athens “Irene Papas” at  21.00
SATURDAY 14-Sep | School of Athens “Irene Papas” at  21.00

With Greek and English surtitles.

Information: www.n-t.gr

About the Oresteia

In 458 BCE, at a time of violent social and political upheaval, Aeschylus presented the Oresteia (Agamemnon, The Libation Bearers, and the Eumenides), the only surviving trilogy of ancient drama and his last extant work, written just two years before his death, which reflects many of the rapid changes of his era.

The trilogy revolves around the tragic ordeal of Orestes, which spreads successively to all the characters and the chorus through successive stages, from destabilisation to desperation to madness. This situation is exploited by Athena in the third part of the trilogy, when she institutes democracy by force, through a controversial peace.

In the first two parts of the trilogy, Agamemnon and The Libation Bearers, the murders that put an end to the tyrannical rule of Agamemnon and Clytemnestra are the culmination of a new period of crisis and destabilisation that is reflected in The Eumenides. The Furies, the chthonic deities that represent instinct and impulse, preserve memory. Knowing that any dispute with the gods is doomed to end in defeat, they rebel and threaten the good order of the city. Orestes must pay so that not only the crime but also its repetition are punished, and the memory of the conflict is kept alive.

Athena uses every means at her disposal in her attempt to achieve peace between the gods and the Furies, offering the latter various rewards and privileges. To achieve their capitulation, she brings violence into the realm of language. Her speech introduces deceitful persuasion, lies and deception into the political arena. The Furies yield of their own accord. Wearing the characteristic purple robes of metics (resident aliens), they are renamed the Eumenides ("Gracious Ones") and move away from the heart of the city. Their ultimate fate is obscurity and oblivion, deep within the bowels of the earth. Democracy has been established. But not painlessly. Whatever is incompatible with the new regime - the part of the living body associated with memory, instinct, animal drive - has been banished. The new order of things is imposed by the mechanisms of power in such a way that it is as if these vital forces had never existed.

The Furies compromise and accept the social position of metics, yet their internal structure is not altered. Like natural phenomena that do not disappear from the earth, but spiral through transformation, escalation and de-escalation, so the chthonic deities can be imagined retreating and withdrawing, only to re-emerge, constantly assuming new, unexpected forms.

Director's note

Why does The Oresteia continue to exert such a tremendous attraction? One answer might be our need for a deeper relationship with myth. The myth of The Oresteia is dangerous, belonging to the world of the strange and unknown, initiating terror because it reveals the intractable, the violent and the deepest laws that cannot be tamed. Clytemnestra invites us to join in breaking the mirror, so that a new nightmarish image will be created from its shards, while the dark roots of the myth are preserved.

We intend to dig deep into the myth of The Oresteia and to search for the unpredictable, the unusual, and the paradoxical. The characters offer their bodies at the altar of the unfamiliar, posing constant questions and dilemmas. The aesthetics of the production arise from the dynamic relationship of the body with myth, time and memory. We once again ask the fundamental ontological question "what is it about?", a question to which there are no definitive answers, but which constantly drives us towards ever deeper research into the roots of sounds, words, the multidimensionality of the human enigma, and the reconstruction of a new myth.

Theodoros Terzopoulos

The Oresteia at the National Theatre of Greece

The National Theatre of Greece has presented five productions of The Oresteia at Epidaurus: in 1954 and 1959, both directed by Dimitris Rontiris; in 1972, with Takis Mouzenidis at the helm; in 2001 under the direction of Yannis Kokkos; and in 2019, when Io Voulgaraki, Lilly Meleme and Georgia Mavragani took on Agamemnon, The Libation Bearers and The Eumenides, respectively, in their first directorial outing at Epidaurus.