Podcasts about Oresteia

Vengeance is sweet - sometimes. Explore revenge in Harry Potter and the ancient Greek Oresteia by Aeschylus. We welcome back to the show classicist Dr. Mitchell Parks (Knox College), who presented on "Dumbledore, Agamemnon, and the Imperfect Legacy" at the 2024 Harry Potter Academic Conference. He was struck by the epigraph from The Libation Bearers, one of the plays that makes up the Oresteia, at the beginning of Harry Potter and the Deathly Hallows. We discuss the parallels between the play trilogy and the book series, particularly the intertwined themes of justice and revenge. Although there are some similarities between Harry and Orestes, the former spends much more time wrestling with his options and emotions than the latter. The two texts have very different gender politics, which have been reinterpreted in different ways over the years based on current contexts. Although authorial intent is not Mitchell's main interest, the author made a very deliberate choice to include the epigraph, which is formatted similarly to the lightning bolt-shaped dedication. Still, if a reader can notice parallels and convince other readers of their significance, whether or not the author had a deep familiarity with the referenced text doesn't invalidate the meaning.

Fasting, abstaining from sex, risking the literal wrath of god - today's method actors have nothing on the pioneers of ancient Athenian drama. Following on from our episode about Aeschylus's Oresteia, this episode offers an overview of Greek tragedy and the theater - how it evolved from ritual, what actors and chorus members did on stage, and how an awful lot of the surrounding pageantry reminds our host Rose of the NFL.Want to read a transcript or check out Rose's reading list for this episode? Click here. Don't forget to leave us a rating or review (and share us on your socials). Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the end of the Oresteia, the second part of the Eumenides.Check out thegreatbookspodcast.com.Check out our guide to the Oresteia. The first half of the Eumenides demonstrates Aeschylus' ability to dramatize philosophical questions. The old system of justice, bound to the Furies' blood-soaked vengeance, has proven incomplete. The Olympian purity rituals are not a sufficient answer either.Athena's brilliance is found in pushing the concept of justice forward into a more dispassionate, procedural affair while also discovering how to incorporate the ancient powers. As Lackey notes, “Justice here becomes communal—rooted in reason but enriched by tradition.” The second half of the Eumenides promises a trial that will decide not only Orestes' fate but that of justice itself.The second half of Eumenides begins with a dramatic shift in scene. Athena elects to conduct the trial at the Areopagus also known as the “Crag of Ares” or the “Hill of Ares.” It is a mythical place of justice, as it bears its name from when Ares was accused of murder and tried there by the gods. It is a place of divine judgment. It was also said to be an ancient place of council for the Athenians. As such, Aeschylus bridges mythology and Athenian politics to create a new myth on the maturation of justice.Overall, the trial allows Aeschylus to bring the contrasts he's been making throughout the Oresteia into explicit dialogue. The trial begins, and Apollo serves as an advocate for Orestes (582). One wonders whether Agamemnon is helping his son as well (604).Notice the questions from the Furies are reductive and without nuance (591). The Furies again do not recognize the murder of a spouse as meriting their vengeance (611). Apollo appeals to the authority and power of Zeus (626), and one wonders whether justice here is reducible to the will of he who has the most power. The Furies makes the clever argument that even Zeus shackled his own father, Cronos (648), and Apollo retorts that Cronos could be unchained—he was not murdered (655).Next up we are reading Dante's Inferno for Lent!Then we'll return to the Greek plays to read Prometheus Bound by Aeschylus.

Cycles of violence. Legacies handed from famous fathers to uncertain sons. The trajectory of a society moving from retribution to democracy and justice. Robert F. Kennedy probably did not have all these things in mind on April 4, 1968 when he announced the murder of Martin Luther King, Jr. to a crowd in Indianapolis. But he brought them to the surface nevertheless by quoting the ancient Greek dramatist Aeschylus, father of tragedy in his successful attempt to keep the city at peace on that terrible night: "Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until, in our own despair, against our will, comes wisdom through the awful grace of God."It was a scene worthy of Aeschylus himself. This week, walk through the plot of the Oresteia, the only complete triology of Aeschylus's we still have. It tells the story of a family laboring under a curse, and how that curse came to be lifted.To read the transcript of this play or browse our reading list and reference links, please click here. Don't forget to rate, review, and subscribe us! Hosted on Acast. See acast.com/privacy for more information.

Dcn. Harrison Garlick is once again joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the first part of the Eumenides, the third play in Aeschylus' Oresteia.Check out thegreatbookspodcast.com for more information.Check out our written guide to the Oresteia.The final play of Aeschylus' Oresteia, The Eumenides, sets forth the transformation of justice from the familial mechanics of the blood avenger to a more mature procedural justice set within the polis. It is a story of civilizational maturation. Whereas Agamemnon and the Libation Bearers dealt with the house of Atreus, the Eumenides deals with Athens—a movement from family to polis in consideration of justice.The first half of the Eumenides establishes the groundwork for the plays central conflict: the trial of Orestes with the Furies and Apollo vying against each under with Athena as the judge. The play seeks to find a resolution between two warring worldviews: the more primordial justice of the Furies and the more rational Olympian sensibilities represented by Apollo. What is brought forth by Athena is a new answer to the question: what is justice? To the degree her answer is new, however, is a topic to discuss.Lean more by checking out our guide!

Dcn. Harrison Garlick, Mr. Thomas Lackey, and the Adam Minihan come together to discuss the second part of the Libation Bearers, the second play in Aeschylus' Oresteia. Visit thegreatbookspodcast.com for guides and more information.Support us on Patreon and get access to guides!The second half of the Libation Bearers moves decisively toward the climax of Orestes' role as blood avenger, culminating in the deaths of Clytemnestra and Aegisthus. He will enact the justice that is demanded, and in turn be guilty of murdering his own blood—his mother. As Adam observed, “Orestes is both hero and victim.” This tangled question of justice—whether Orestes can fulfill his father's demand without succumbing to his mother's curse—creates the tension from which Aeschylus will bring forth a narrative not in Homer—the third part of the triad, the Eumenides.I. Orestes' Plan: Vengeance Under the Guise of Guest Friendship (634)Orestes arrives at the house of his father disguised as a stranger (634). Notice, however, that the dynamics of xenia in this scene are subtly off-kilter from the start. First, no one is answering the door (636). Second, the porter asks the stranger for his name (639), an immediate breach of Homeric norms in the Iliad and Odyssey where hospitality was always extended before the host asks who the guest is. The cultural norm of guest-friendship being poorly shown by the house of Clytemnestra and Aegisthus is a subtle sign that the house is disordered and unhealthy. Like Odysseus, Aeschylus has Orestes come home in disguise and lie about his identity (556). Thomas noted the complexity and methodical planning of Clytemnestra's murder of Agamemnon juxtaposed with the simplicity of Orestes' plan of revenge.A key part of this deception is his claim that he, Orestes, has died, a declaration that seems unnecessary for his mission (665). Why does Orestes tell them he's dead? One answer could be another parallel Aeschylus is making with the Odyssey: like Odysseus the beggar testing the loyalty of those in Ithaca prior to his reveal, so too is Orestes using news of his death to test those in the palace at Argos. In other words, he can observe who shows true despair at the news of his death—those are his friends in this mission of vengeance.Check out our written guide for more information!

Původní záměr Národního divadla nasadit na repertoár antický titul vystřídal nakonec zájem o moderní adaptaci klasického mýtu. Oresteia (na motivy Aischylovy trilogie) z pera britského dramatika Roberta Ickea vypráví krutou historii rodu Átreovců jako současný detektivní příběh. Na naší první scéně se objevuje v režii Mariana Amslera.Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Původní záměr Národního divadla nasadit na repertoár antický titul vystřídal nakonec zájem o moderní adaptaci klasického mýtu. Oresteia (na motivy Aischylovy trilogie) z pera britského dramatika Roberta Ickea vypráví krutou historii rodu Átreovců jako současný detektivní příběh. Na naší první scéně se objevuje v režii Mariana Amslera.

This week Dcn. Garlick is joined by Mr. Thomas Lackey and the Adam Minihan to discuss part one of the Libation Bearers, the second play in Aeschylus' Oresteia. Check out thegreatbooksdpodcast.com for more resources.Check out our Patreon for a written GUIDE to the whole Oresteia.From our guide:The Libation Bearers presents Orestes as both the hero and the victim. The cycle of violence will both demand his action and condemn it. “The one who acts must suffer,” as Aeschylus observes. The play builds an incredible tension within the current mechanics of justice and primes the audience to desire some lasting resolution—a resolution that will only come in the Eumenides.Aeschylus' Libation Bearers, the second play in the triad of the Oresteia, places Orestes within the moral tension of lex talionis and its cycle of violence. He is the son who, to avenge his father, must kill his mother, Clytemnestra. Aeschylus presents us with fundamental questions on justice—a primitive justice that demands blood for blood, an eye for an eye. The cycle of violence both demands action and condemns it.What makes the Libation Bearers such an essential and resonant part of the Oresteia is its relentless focus on the mechanics of justice and its interplay between violence and fate. Aeschylus "pushes us to think not only about the relationships in play but about larger moral questions.” Through Orestes' struggle to fulfill his divine obligation as blood avenger, and through Electra's own crisis of prayer, the play asks profound questions about the nature of justice. Aeschylus' beautiful line, "The anvil of justice stands fast... fate beats out her sword" (628), is arguably the moral heart of the play. A tale of pain, justice, and fate. I. Orestes Returns Home (1)The story begins several years after the murder of Agamemnon, when Orestes, now a young man of eighteen or so, secretly returns home from exile.[1] Much of the tragedy lies in understanding Orestes' difficult situation: to be a blood avenger for his father, he must kill his own blood, his mother.Orestes' opening monologue invokes Hermes—who fittingly serves as the bridge between the living and the dead (1). The opening invocation to the divine was seen in Agamemnon as well and will be seen again in the Eumenides. The relationship between the living and the dead is a key theme in this play and a perennial question that makes this a great book. It will contain both prayers on behalf of the dead and the intercession of the dead for the living.It is notable that in the absence of having a father, Orestes is presented as a confident, determined figure ready to do the unthinkable. In the Odyssey, he served as the role model for Telemachus, and here we see him lack the timidity and self-doubt that plagued the fatherless Telemachus. It raises the question, however, of who or what shaped Orestes into a character ready to face this grave moral burden? To use a phrase, who was his Mentor? As we will see in the text, as Telemachus had Athena, Orestes had Apollo....Keep up the good work![1] Fagles,...

We are reading Aeschylus' Oresteia. This week Dcn. Garlick, Adam Minihan, Thomas Lackey, and Dr. Frank Grabowski discuss part two of Aeschylus' Agamemnon, the second part of the first play of the Oresteia. Check out thegreatbookspodcast.com for more sources.Check out our written guide to the Oresteia.I. Clytemnestra and Agamemnon: Murder, Manipulation & Denial (795)Clytemnestra dominates Agamemnon as a complex figure of cleverness, rage, and manipulation. Upon Agamemnon's return, she denies him a true homecoming by rolling out the red tapestries and inviting him to walk on them (901). Two main observations on the red tapestries. First, Clytemnestra is literally denying Agamemnon the satisfaction of setting his foot on Argos's soil. It is a denial of him truly coming home. Compare this denial to the herald who praises the soil of Argos upon his return (493).Second, walking on the tapestries is an act of hubris and impiety. Even Agamemnon states it is an act reserved for the gods (915). It said that the dye needed to make these tapestries would have been incredibly laborious and expensive—and upon walking upon them, they would be ruined. Note also their comparison to streams of blood (903). Clytemnestra is inviting Agamemnon to a prideful, impious, and prodigal act. The invitation should be compared to Agamemnon's opening lines that praise and give gratitude to the gods (795).Clytemnestra hatred is profound. Her actions reflect years of planning, deep-seated hatred, and extraordinary control over the narrative surrounding the king's return. She is leading Agamemnon into impiety so that he will die at odds with the divine. It is akin, in Catholic parlance, to leading someone into mortal sin prior to murdering them. It is a supernatural cruelty similar to Achilles intentionally throwing bodies in the river to deny them their burial rites in the Iliad.Agamemnon's behavior in this moment reflects his characteristic weakness. He is effeminate, weak-willed, and impressionable. Clytemnestra is clever and dominative (935). He even states that Clytemnestra is treating him “like a woman” (912). His inability to assert himself as either husband or king leaves him vulnerable to Clytemnestra's intellectual superiority. She remarks: “The power is yours, if you surrender your free will to me,” underscoring how she undermines his authority on every level (939). One should recall the wife of Odysseus, Penelope, the “matchless queen of cunning,” who through her wit and fidelity preserved King Odysseus' kingdom and herself until his return. One may see Clytemnestra as an evil Penelope—a queen whose wit is turned against her king to his destruction. II. The Chorus and the Tragedy of Cassandra (977) The old men of Argos, the chorus, “huddle in terror” as Agamemnon and Clytemnestra enter the palace. They are afraid and inept. Notice the imagery of a man's blood wetting the earth and whether it can then sing (1017). It is difficult not to think of the story of Cain and Abel, and how Abel's blood cried out to God (Genesis 4:10). Clytemnestra reemerges from the palace and attempts to coax Cassandra, the Trojan princess, into the palace. Cassandra is silent, which is expected, as it was tradition only two persons would speak on the stage at a time—and here Clytemnestra and the leader of the chorus are both speaking....

Dcn. Garlick, Dr. Frank Grabowski, and Thomas Lackey are reunited to discuss the first part of Agamemnon, the first play in Aeschylus' Oresteia. Check out thegreatbookspodcast.com for more information.From our written guide available to our supporters:The first play of the Oresteia tells of the homecoming of Agamemnon and is predominately animated by revenge. Aeschylus presents us with questions concerning the legitimacy of the Trojan war, how Argos has suffered without its king, and why Clytemnestra has plotted to murder her husband. Though chronologically Odysseus has not return home yet, one should compare this text to the Odyssey and Odysseus' own homecoming – written almost three hundred years prior by Homer. Aeschylus draws heavily from Homer but changes small but significant details, which creates a narrative that presents a profound lesson on the weaknesses of lex talionis as enacted by the blood avenger model. Throughout Agamemnon and into Libation Bearers, we are invited to consider whether a new model of justice is needed.I. The Opening: Unease and Gender Inversions (1)The play begins with an invocation to the gods, as will the following two plays. Through the watchman, Aeschylus communicates the time and setting to his audience in a manner typical of Greek drama. The watchman's opening monologue conveys a disquieting mood of fear and quiet dread. As observed, Lackey describes the opening as “a little eerie and a little bit off.” Notably, the watchman yearns for the return of Agamemnon, his king, and we note the king's absence has left the kingdom, Argos, in suffering (24, 37). One thinks here of the suffering of Ithaca without Odysseus in the Odyssey. The opening passages invites us to ask: “What has life been like in Argos over the past decade during the king's absence?” and “What is the effect of the empty throne of Argos upon its people?” From the outset, Aeschylus will play with gender roles and descriptions. Notice Clytemnestra, Agamemnon's wife, “maneuvers like a man” (13), while Agamemnon himself will be presented as effeminate. This thematic inversion invites readers to examine Aeschylus' pedagogical purpose for such language. As Dr. Grabowski observes, the toying with gender traits parallels Shakespeare's Macbeth, wherein Lady Macbeth similarly exhibits masculine qualities of ambition and dominance. As the play progresses, readers gain insight into life in Argos during Agamemnon's ten-year absence. The people long for an end to their suffering, for “an end to their pain” (23). Notably, Aeschylus allows us to see how Argos viewed the Trojan war (44), which is largely presented, at first, as a just war in which Agamemnon was the “great avenger” of Zeus punishing Troy for its violation of guest-friendship (45), i.e., Prince Paris absconding with Menelaus' wife, Helen. The reader should note whether Agamemnon's return starts to adjust this narrative....Check out our whole guide on the Oresteia.

Dcn. Harrison Garlick and Adam Minihan are reunited to intro Aeschylus, the Father of Greek Tragedy.Aeschylus (b. 525 BC) was a warrior, statesman, and the father of Greek tragedy. Born into nobility, he grew up in Athens during its pivotal transition from tyranny to democracy. Furthermore, he famously fought in the Battle of Marathon (490 BC), defending a nascent Western civilization against Persian invasion. Aeschylus died in 456 BC, leaving behind a legacy that shaped the foundation of Greek drama.Check out thegreatbookspodcast.com for more information.From our guide on the Oresteia:1. What is the Ionian Revolt?To understand Aeschylus, we must first understand the Greco-Persian War (c. 499 BC to 429). In sum, what is called the “First Persian Empire,” founded by Cyrus the Great around 550 BC, stretched from modern-day Iran, Asia Minor, modern day Israel, and Egypt. In Asia Minor, this Persian empire ruled over Hellenistic city-states. One may recall that Troy, a polis with both Hellenistic and eastern traits, was also located in Asia Minor. In 499 BC, the city-states rebelled against their Persian overlords with the support of Athens in what is known as the “Ionian Revolt.” The revolt failed and the Persians retained control of Asia Minor; however, King Darius of the Persian Empire believed Athens should be punished and elected to invade Greece. 2. What was the first invasion in the Greco-Persian Wars?The Ionian Revolt sparked the larger Greco-Persian Wars and led to King Darius' invasion of ancient Greece in 492 BC. Athens led the federation of city-states against the Persians, and Aeschylus fought for the Athenian army. Notably, Aeschylus and his brother both fought at the famous Battle of Marathon in 490 BC at which the first Persian invasion was defeated.[1] Aeschylus' brother, however, died in the conflict.[2] The Battle of Marathon is often held as a watershed moment in the birth of Western culture. The battle is also the namesake of running a marathon, as the legend has it that an Athenian runner ran the twenty-six miles from Marathon to Athens to tell them of the Athenian victory. 3. What was the second Persian invasion in the Greco-Persian Wars?Ten years later, a second Persian invasion was headed by King Darius' son, King Xerxes. This is the setting for the famous Battle of Thermopylae (480 BC), in which the smaller Spartan force of approximately 7000 men under King Leonidas held off 120,000-300,000 Persian invaders. The word Thermopylae means “hot gates” and takes its name from the hot springs in that area—it is also fittingly one of the mythological entrances to Hades. After Thermopylae, the Athenians won a great naval battle against the Persians at Salamis in 480 BC. Notably, Aeschylus is said to have fought in this battle as well and wrote his play The Persians about the conflict. The Greeks, led by the Athenians and Spartans, would eventually expel the Persians and bring peace in 449 BC. 4. What do we know about Aeschylus' writings?Aeschylus is...

Dcn. Harrison Garlick is joined by Dr. Jennifer Frey of the University of Tulsa Honors College to discuss Book 20 of the Odyssey: The Portents Gather.Check out thegreatbookspodcast.com for guides and more!From the written guide:97. What happens in book twenty?After his conversation with Penelope, Odysseus the beggar lays in bed alert to the fact the maidservants are leaving the house to go sleep with the suitors (20.08). Athena causes him to fall asleep (20.59), and in the morning Odysseus prays to Zeus for an omen of support (20.109). His prayer is answered and his “heart leapt up… convinced he'd grind the scoundrels' lives out in revenge” (20.134). The palace is alive in preparation for a feast in honor of Apollo (20.173).We are introduced to a new character, the cowherd, who is immediately reminded of king Odysseus when he sees Odysseus the beggar the first time (20.224). Athena stirs up the suitors (20.316), and one of the suitors throws on “oxhoof” at Odysseus (20.320). Telemachus chastises the suitor (20.339), and the suitors ask Telemachus to have Penelope choose a new husband (20.370). Athena whips the suitors up into a frenzy (20.385), and the prophet, Theoclymenus, leaves the palace—as he is so troubled by his visions of the house drenched in blood (20.390). The book ends with the suitors mocking Telemachus, Telemachus bearing it stoically while looking at his father, and Penelope listening to every word said in the hall (20.439).98. What should be made of Odysseus' request of Athena?Odysseus' request of Athena gives structure to the rest of the text (20.41). First, recall that it is Zeus that oversees guest-friendship; thus, Odysseus understands he needs divine permission to kill the guests in his home. Second, note the concern that if he does kill the suitors, their avengers will come to kill him (20.45). Here, we need to understand the judicial custom of blood avengers. In short, if a person in the family was murdered, a member of the victim's family bore a responsibility to then avenger the death of their relative. This is the underpinning to the story of Orestes killing Aegisthus for the murder of his father, Agamemnon. Later in Aeschylus' Oresteia, the tragedian will take up this story and explore the shortcomings with this understanding of justice. One such fault with the blood avenger model of justice is that is perpetuates circles of violence. For example, Odysseus will kill the suitors, but the family of the suitors will then seek to murder him; in turn, if they do murder Odysseus, Telemachus would then be bound to avenge father. As such, the concern is how does the cycle of violence stop? The answer to that question will be given one way at the end of the Odyssey and in another at the end of the Oresteia.Returning to the text, note that Athena does not answer him (20.47). Odysseus needs to have faith, as he's not given a detailed explanation of the divine plan. It is notable the passage ends with Homer using “loosed his limbs” as an idiom for sleep—as its normally an idiom for death (20.61). One wonders then if we are not on the verge of a rebirth for Odysseus. Finally, despite Athena's response, note that Odysseus still asks Zeus for a sign—and Zeus gives it to him (20.109).More questions and answers in our guide!

This week, we have the wonderfully talented composer and lyricist behind The Lightning Thief: The Percy Jackson Musical, Rob Rokicki, with us! Discussion topics may include: musical world-building, the inner workings of Good Kid, The Oresteia, motifs, the power of an acoustic guitar, cut songs, philosophies on reprises, and updating the show for its upcoming London production. Check us out on Patreon to submit questions for future interviews, and to get early episodes, cut material, art previews, and more! https://www.patreon.com/MonsterDonutPodcastQuestions? Thoughts? Arguments? Email monsterdonutpodcast@gmail.com.Come say hi and check out the sketches Phoebe made this episode on Twitter, Instagram, or TikTok! @PJOPod on all platforms.Find our new Monster Donut merch here!: https://www.redbubble.com/people/monsterdonut/explore.More information on the show can be found at https://monsterdonut.wixsite.com/podcast.THEME SONG:"The Mask of Sorokin," music and arrangement by Dan CordeGuitars - Dan CordeBass - Quinten MetkeDrums - Todd CummingsRecorded, mixed, & mastered by Todd CummingsOUTRO MUSIC:"Shadow Run," music and arrangement by Dan CordeGuitars - Dan CordeBass - Quinten MetkeDrums - Todd CummingsRecorded, mixed, & mastered by Todd Cummings Hosted on Acast. See acast.com/privacy for more information.

Send your questions or provocations to Adam or Budi here!In this episode, Budi sits down with Richard Schechner to talk about his extradoinary career in theatre.Richard Schechner, one of the founders of Performance Studies, is a performance theorist, theater director, author, editor of TDR and the Enactments book series, University Professor, and Professor of Performance Studies. Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including theatre, play, ritual, dance, music, popular entertainments, sports, politics, performance in everyday life, etc. in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice.  He founded The Performance Group and East Coast Artists.  His theatre productions include Dionysus in 69, Commune, The Tooth of Crime, Mother Courage and Her Children, Seneca's Oedipus, Faust/gastronome, Three Sisters, Hamlet, The Oresteia, YokastaS, Swimming to Spalding, and Imagining O. His books include Public Domain, Environmental Theater, Performance Theory, The Future of Ritual, Between Theater and Anthropology, Performance Studies: An Introduction, and Performed Imaginaries. As of 2018, his books have been translated into 18 languages. His theatre work has been seen in Asia, Africa, Europe, and North America. He has directed performance workshops and lectured on every continent except Antarctica.  He has been awarded numerous fellowships including Guggenheim, NEH, ACLS, and fellowships at Dartmouth, Cornell, Yale, Princeton, and the Central School of Speech and Drama, London.Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi sit down with Brian Kulick, the current chair for the theatre programme at Columbia University. Author of Staging the End of the World: Theatre in a Time of Climate Crisis, Brian talks us through his extensive career as a director, author and educator. Kulick is a director, writer, educator, producer, and current Chair of the Theatre Program. He's been the Artistic Director of Classic Stage Company (CSC) where he directed Galileo with F. Murray Abraham, The Tempest with Mandy Patinkin, and The Forest with Dianne Weist. He commissioned and co-directed poet Anne Carson's award-winning An Oresteia, collaborated with composer Duncan Sheik on productions of Brecht's Caucasian Chalk Circle, Man's A Man, and Mother Courage, and produced CSC's much lauded Chekhov Cycle (Ivanov, The Seagull, Uncle Vanya, The Three Sisters, and The Cherry Orchard) with Alan Cumming, Maggie Gyllenhaal, Ethan Hawke, Joley Richardson, Peter Sarsgaard, John Turturro and Dianne Weist. Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Aeschylus' Oresteia is the only extant trilogy of Greek drama. Alongside the Parthenon, the Oresteia is considered one of the two greatest 'monuments' to the Golden Age of Athens. In this trilogy - The Agamemnon, The Libation Bearers, and The Eumenides - Aeschylus dramatizes a rite of passage from savagery to civilization. Over the course of the narrative, the ancient law of blood is overcome by a new civic law, sanctioned by the gods. The word "justice" (Dikê) is used more often in the Oresteia than in any other Greek tragedy. Through these verses, we witness a struggle from the hazy, mysterious world of archaic Greece, governed by gods who behaved capriciously and unpredictably, into the clarity of civic life, in which human beings are empowered to make the contextual decisions of governance. Michael D. Davis, lectures on Philosophy of Tragedy: https://youtube.com/playlist?list=PLiyEzRZtxXGU_Q5-jFqhIHJYbsahnQBNd&si=7o-LZMjQfX5Mb657 Episode art: John Singer Sergeant - Orestes Pursued by the Furies

Seven plays survive out of more than 70 written by Aeschylus during his lifetime. Last week, I covered The Oresteia, his famous trilogy, and this week I cover his four other surviving tragedy plays.I highlight the following three contrasts I've found throughout Greek Literature and share what we learn within these Aeschylean plays:* Fate vs The Will of Zeus* Ares (force) vs the Areopagus (debate/civilization)* Family Curse vs Human Agency Get full access to Books of Titans at booksoftitans.substack.com/subscribe

In this episode, Erik Rostad discusses book 13 from his 2024 Reading List - The Oresteia by Aeschylus.Show Notes* Aeschylus* Purchase The Oresteia* Support the Podcast - Hire EPR Creations for Online Consulting* The Books of Titans Book Subscription with Landmark Booksellers* The Great Books Reading List* 2024 Reading List* Reading Resources* Books of Titans Website Get full access to Books of Titans at booksoftitans.substack.com/subscribe

Actor Greg Hicks has played many leading roles at the National Theatre and the Royal Shakespeare Company over the last forty years, as well as starring on the West End and appearing on screen in films including The Mercy and Snow White and the Huntsman. He is about to perform a one-man show, The Dream of a Ridiculous Man, based on a short story by Dostoyevsky, at the new Marylebone Theatre in London. BTG Editor David Chadderton spoke to him a few days before it opened about the play and how much more of himself he will be presenting to an audience than in other roles he has played. He also spoke about some of his past roles, including performing naked in Romans in Britain for a role that nearly ended him up in criminal court immediately followed by appearing in full costume and mask for Peter Hall's famous Oresteia (he credits Hall as his mentor at the National in the 1970s). The Dream of a Ridiculous Man, adapted and directed by Laurence Boswell, is at Marylebone Theatre in London from 21 March to 20 April 2024. (Rehearsal image of Greg Hicks in The Dream of a Ridiculous Man, credit Richard James Taylor)

Pigweed, Crowhill, Longinus, and all three wives went to Baltimore to see an adaptation of The Oresteia, which was originally a 3-part play by Aeschylus. In this podcast they reflect on the play and related issues. The play focuses on the web of vengeance within the family of Agamemnon and Clytemnestra, starting with Agamemnon's sacrifice of their daughter, Iphigenia, before the battle of Troy. When Agamemnon returns home with Cassandra the prophetess of Apollo as a spoil of war, Clytemnestra invites him back in regal style, but then murders both her husband and his new girlfriend. It then falls on Orestes, their son -- urged on by their daughter Electra -- to avenge the death of his father. But then, who is to avenge Clytemnestra? How far does this go? Where does it end? The play addresses issues of just war, faith, free will and determinism, religious and moral obligations, family relations, and vengeance and justice. The show ends with a discussion of Troy and the alleged historical backdrop to the play.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins us each week with her reviews of the Maryland, DC and Virginia regional stage. We discuss The Oresteia at The Chesapeake Shakespeare Company through March 10, 2024.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

On this episode of Sentience, we welcome Dr. Thomas Jenkins, Professor of Classical Studies at Trinity University and former Director of the Collaborative for Learning and Teaching. Dr. Jenkins is a specialist in how ancient classics manifest in contemporary media like television, novels and video games. In their discussion, among other subjects of classical antiquity, host Kyle Gillette and Dr. Jenkins examine his most recent project: a new translation of “Agamemnon”, the first part of Aeschylus' trilogy The Oresteia. “Agamemnon” productions, directed by Dr. Gillette, will be shown from February 16 through February 24 at the Stieren Theater. Reservations are free and available to book at https://tuagamemnon.bpt.me/. Music Credits "La Verrou de Lordat" by Circus Marcus "Villa Soul" by Jonas Hipper Sourced from the IML Collective Intro guitarron performed by Danna Ramirez Jimenez recorded in Studio B at Trinity University.

Last month, The Order of Fire read the Oresteia, a series of three plays by Aeschylus. On this week's live show, C.B. Robertson and Jack Donovan go over the plays and talk about why we think they are so important.Many of our members were surprised at how engaging the plays were -- especially in some of the BBC audio performances available on Audible and even on YouTube for free. • Aeschylus' Oresteia - Agamemnon (BBC ... The Oresteia is the story of Orestes, who killed his mother after she killed his father -- Agamemnon from the Iliad. He is then chased and tormented by the grotesque and ghoulish Eumenides, and seeks sanctuary from Apollo. Apollo sends him to Athena, who conducts a trial to end the blood feud, establishing a mythic basis for trial by jury.https://caffeineandphilosophy.com/Instagram: / caffeineandphilosophy Jack Donovan is the author of The Way of Men, Becoming a Barbarian, A More Complete Beast, and Fire in the Dark. He is the founder of The Order of Fire and the PH2T3R project. https://www.jack-donovan.com/sowilo/Instagram: / starttheworld Twitter:

Sotheby's Principal Auctioneer Oliver Barker joined Sotheby's in 1994 moving to the Contemporary Art department in 2001, rising to Chairman, Sotheby's Europe, Senior International Specialist in 2016. He is a key figure on the rostrum at the major auctions in both London and New York. Barker oversaw the iconic sale of Banksy's "Love is in the Bin," famously shredded by the artist moments after hammering for $1.04 million in 2018. Additionally, Barker participated in the livestream hybrid auctions – The Webby Awards introduced during the pandemic. Notable achievements include the sales of Francis Bacon's "Triptych Inspired by the Oresteia of Aeschylus'' for $84.6 million, Botticelli's "Portrait of a Young Man Holding a Roundel" for $92.2 million, and this year, the sales of Impressionist, Modern, and Contemporary art that brought  $597 million in a single night.He and Zuckerman discuss three decades in a career, representing the company and the vendors, relationships with objects, the aesthetic experience, how should one start a collection, art as a place of solace, long term relationships, the YBA and the London art world of the early 1990s, the work that happens outside of the sales, the profound influence of art, and little know aspects of how he spends his personal life!

In this Human Meme AI podcast episode, Atomic Dave, along with his AI team of crackpot researchers -- analyze "The Oresteia" -- as a common touchstone of human equity, and a method of the commerce of thought throughout the Ages. Plus, a whole new version of The Oresteia, a modern retelling, is created during the show! The real David Boles thanks you for listening! 

Anonymity reigns within the dark realm of black metal. We interviewed an entity known to us here as Ajna. Ajna healms Forest Thrall and plays in Vengeance Sorcery, Cerberus, Sravana, Cemetery Lights and likely more currently active and some that are at this time conceptual acts.  We talk about the Vengeance Sorcery experience of playing Nuclear War Now Fest in Tijuana, Mexico. Ajna goes into depth on the musical paths taken in listening and in playing and gives a short anecdote about how a member of Dokken presented as a sort of missed connection on a tow truck route. We talk about nature and the scourge of the litterer! We veer off on 108 mystic and odd directions and of course we talk about the music we're listening to!    Links: https://www.instagram.com/forest.thrall.108/ https://linktr.ee/AJNA108 (this has links to Bandcamp pages as well) Opening: Cerberus "Chaos Altar" Unrelenting Chaos Rick: Natural Wonder Beauty Concept "Natural Wonder Beauty Concept" Natural Wonder Beauty Concept (Mexican Summer) Water Damage "Fuck That: Reel 13" 2 Songs (12XU) Cranes "La Cérémonie" La Tragédie D'Oreste Et Électre (Dedicated / Music On Vinyl)[additional note: https://en.wikipedia.org/wiki/The_Oresteia_in_the_arts_and_popular_culture] Spectral Voice "Craving Final Impasse" split with Undergang (Dark Descent Records) Qrixkuor "Zoetrope" Zoetrope (Invictus Productions / Dark Descent Records) Josh: Syndrome 81 "Dans Les Rues De Brest" Prisons Imaginaires (Black Water) Conservative Military Image "Shirt Tucked Aggression" Casual Violence (Lionheart Records) Secret Stairways "What Lies Beyond the Door" Enchantment Of The Ring (Dungeons Deep Records) Wraith Knight "With The Great Ancestral Sword" Deep In The Dungeons Of The Dragonlord (Dungeons Deep Records) Aphex Twin "in a room7 F760" Blackbox Life Recorder 21f / in a room F760 (Warp) Ajna: Runespell "Mirrors Of The Dead" Shores Of Náströnd (Iron Bonehead) Albionic Hermeticism ‎"The Devil in a Conical Flask (Or His Unholy Formula)" Nova Nativitas Mundi (Amor Fati / The Hermetic Order of Ytene) Sravana "Tri" Som [note: midway through interview] Closing: Forest Thrall "Of Rifle Axe and Steel" Amidst Pines (Death Prayer Records) The Redscroll Podcast is a monthly show (new episodes on the first of the month) that works as a companion to what we do at Redscroll Records in Wallingford, CT USA. We are a record store that has a heavy emphasis on the left of center / underground music of the world. Whether it be underappreciated or just has a niche audience, marginalized or just off the radar it's all of interest to us. With the show we'll generally have a localized focus. We'll discuss what is in our personal rotation at the moment. We'll talk to guests who have to do with all of the above. And we'll talk about specific dealings with the store. If you have input you're welcome to contact us through email (redscroll@gmail.com). Oh, and please do subscribe! New episodes on the first of every month! (Subscribe on Android)(Subscribe elsewhere just by searching for us please!  

Brian, Andrea, and Brandon revisit all 3 plays in this Q&A. They start with Brian playing Professor, giving first-timers Andrea and Brandon the questions he uses with students when teaching these plays. Then they dive in to all the burning questions...yours and theirs!Join the discussion on CIRCE Circle: https://circe.circle.so/c/overdue-classics/New Aberdeen College - Brian Phillips, Board Member: https://newaberdeencollege.com/Send questions or comments to podcasts@circeinstitute.org Hosted on Acast. See acast.com/privacy for more information.

Brian, Andrea, and Brandon dive in to the final play of Aeschylus trilogy resolving the woes of house Atreus. They discuss Athene's establishment of Athens as the center for rhetorical justice as well as the passionate...and strange...arguements by the Furies and Apollo as they adjudicate between piety and matricide. Join the discussion on CIRCE Circle: https://circe.circle.so/c/overdue-classics/New Aberdeen College - Brian Phillips, Board Member: https://newaberdeencollege.com/Send questions or comments to podcasts@circeinstitute.org Hosted on Acast. See acast.com/privacy for more information.

Turns out we really didn't cover enough of Agamemnon to really get into The Libation Bearers. Luckily we have Brian Phillips to get us all up to speed. Brian, Andrea, and Brandon then get into parallels between Oerestes and Odyssius, competing claims of piety, and true dilemma.Join the discussion on CIRCE Circle: https://circe.circle.so/c/overdue-classics/Send questions or comments to podcasts@circeinstitute.org Hosted on Acast. See acast.com/privacy for more information.

Andrea and Brandon are joined by old friend and former colleague Brian Phillips for this series on Aeschylus' Oresteia. In this first episode, they jump into Agamemnon discussing its back story, connections to and deviations from Homer, and end up wishing for more time. You can also check out Brian's article on Penelope, Clytemnestra, and weaving here: https://circeinstitute.org/blog/blog-potw-odyssey-dangerous-women-their-looms/" Hosted on Acast. See acast.com/privacy for more information.

Timothy J. Redmond received his PhD in political science from the University at Buffalo. He's an award-winning educator and author of over one hundred articles on critical thinking and politics and the book Political Tribalism in America: How Hyper-Partisanship Dumbs Down Democracy and How to Fix It. He teaches political science and history at Williamsville East High School and Daemen University. And in his spare time, he plays drums for the hardcore/punk rock band Snapcase.During our chat we talked about the origins of tribalism, from our early religious wars, to William Golding's book Lord of the Flies, and how this very human characteristic of tribal behavior has caused modern day Democrats and Republicans to have an unfavorable opinion of the opposing party almost 90% of the time. We then got a bit wonky while discussing the importance of placing Party over Policy, how we can better acquire and evaluate false political information, decipher political polls and complex statistics, and how best to navigate the stream of phony headlines and fake stories.We ended our discussion with the Story of Oresteia, a collection of plays that illustrates the tragedy of tribalism and revenge as only a Greek tale can.It was my pleasure to have Professor Redmond on my show, and I hope you learn as much as I did during our chat.Watch Episode: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit truethirty.substack.com/subscribe

As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled: How Ancient Greek Myths Empower Us to Resist Tyranny (Redwood Press, 2021) demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. Emily Katz Anhalt is Professor of Classics at Sarah Lawrence College. Her most recent book is Enraged: Why Violent Times Need Ancient Greek Myths, which was selected as one of the Times Literary Supplement's Best Books of 2017. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled: How Ancient Greek Myths Empower Us to Resist Tyranny (Redwood Press, 2021) demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. Emily Katz Anhalt is Professor of Classics at Sarah Lawrence College. Her most recent book is Enraged: Why Violent Times Need Ancient Greek Myths, which was selected as one of the Times Literary Supplement's Best Books of 2017. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Timothy J. Redmond received his PhD in political science from the University at Buffalo. He's an award-winning educator and author of over one hundred articles on critical thinking and politics and the book Political Tribalism in America: How Hyper-Partisanship Dumbs Down Democracy and How to Fix It. He teaches political science and history at Williamsville East High School and Daemen University. And in his spare time, he plays drums for the hardcore/punk rock band Snapcase.During our chat we talked about the origins of tribalism, from our early religious wars, to William Golding's book Lord of the Flies, and how this very human characteristic of tribal behavior has caused modern day Democrats and Republicans to have an unfavorable opinion of the opposing party almost 90% of the time. We then got a bit wonky while discussing the importance of placing Party over Policy, how we can better acquire and evaluate false political information, decipher political polls and complex statistics, and how best to navigate the stream of phony headlines and fake stories.We ended our discussion with the Story of Oresteia, a collection of plays that illustrates the tragedy of tribalism and revenge as only a Greek tale can.It was my pleasure to have Professor Redmond on my show, and I hope you learn as much as I did during our chat.Watch Episode: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit truethirty.substack.com/subscribe

As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled: How Ancient Greek Myths Empower Us to Resist Tyranny (Redwood Press, 2021) demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. Emily Katz Anhalt is Professor of Classics at Sarah Lawrence College. Her most recent book is Enraged: Why Violent Times Need Ancient Greek Myths, which was selected as one of the Times Literary Supplement's Best Books of 2017. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled: How Ancient Greek Myths Empower Us to Resist Tyranny (Redwood Press, 2021) demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. Emily Katz Anhalt is Professor of Classics at Sarah Lawrence College. Her most recent book is Enraged: Why Violent Times Need Ancient Greek Myths, which was selected as one of the Times Literary Supplement's Best Books of 2017. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us—as they encouraged the ancient Greeks—to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled: How Ancient Greek Myths Empower Us to Resist Tyranny (Redwood Press, 2021) demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way. Emily Katz Anhalt is Professor of Classics at Sarah Lawrence College. Her most recent book is Enraged: Why Violent Times Need Ancient Greek Myths, which was selected as one of the Times Literary Supplement's Best Books of 2017. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

The fierce Furies are transformed into "the kindly ones" in The Eumenides, the play that not only concludes the Oresteia on a hopeful note but also features the first-ever jury trial in recorded Western literature. I'm Rachelle Ferguson of Kittywham Productions, and Unknown Friends is my biweekly book review podcast. Visit the Unknown Friends homepage at www.kittywhamproductions.com/podcast. To learn more about me and my work as a Christian playwright, explore my website at www.kittywhamproductions.com. Support the podcast and access exclusive content: www.patreon.com/unknownfriends Get in touch with me on Instagram: www.instagram.com/rachelle.ferguson Connect with me on Facebook: www.facebook.com/kittywhamproductions Email me: kittywham@gmail.com Thanks for listening! If you enjoyed the episode, please subscribe to the podcast, leave a quick review, and share with your book-loving friends!

The second play in the Oresteia introduces our title character Orestes and complicates the trilogy's themes of revenge and justice. Can righteous motives, or even a command from a god, ever justify murder? I'm Rachelle Ferguson of Kittywham Productions, and Unknown Friends is my biweekly book review podcast. Visit the Unknown Friends homepage at www.kittywhamproductions.com/podcast. To learn more about me and my work as a Christian playwright, explore my website at www.kittywhamproductions.com. Support the podcast and access exclusive content: www.patreon.com/unknownfriends Get in touch with me on Instagram: www.instagram.com/rachelle.ferguson Connect with me on Facebook: www.facebook.com/kittywhamproductions Email me: kittywham@gmail.com Thanks for listening! If you enjoyed the episode, please subscribe to the podcast, leave a quick review, and share with your book-loving friends!

First staged nearly 2500 years ago, The Oresteia is a trilogy of tragic dramas written by Greek playwright Aeschylus. As the only tragic trilogy that survives from the Hellenistic world, The Oresteia gives us insight into the structure and style of ancient theater. I'm Rachelle Ferguson of Kittywham Productions, and Unknown Friends is my biweekly book review podcast. Visit the Unknown Friends homepage at www.kittywhamproductions.com/podcast. To learn more about me and my work as a Christian playwright, explore my website at www.kittywhamproductions.com. Support the podcast and access exclusive content: www.patreon.com/unknownfriends Get in touch with me on Instagram: www.instagram.com/rachelle.ferguson Connect with me on Facebook: www.facebook.com/kittywhamproductions Email me: kittywham@gmail.com Thanks for listening! If you enjoyed the episode, please subscribe to the podcast, leave a quick review, and share with your book-loving friends!

This week on Secondary Rules, Joshua Neoh and Ryan Goss talk about law and forgiveness in the ancient Greek plays of the Oresteia; federalism in the age of Covid; and touch on the PM's speech about a referendum on the Voice.Paul Gewirtz, Aeschylus' LawScript of Aeschylus' Eumenides (final play in the Oresteia, 458 BCE)de Tocqueville on federalism   The PM's Address to the Garma Festival last weekendIndigenous Voice Co-design Process, Final Report to the Australian Government, July 2021If you're a student in Australian Public Law or Legal Theory this semester, more available on the course WATTLE sites.  Interested in starting your own law studies or learning more about our legal research? Learn more here. Our thanks to Jack O'Brien, Tom Fearon, and the ANU College of Law for their production of the podcast. Our theme music is by Soul Shifters. ANU acknowledges and celebrates the First Australians on whose traditional lands we meet, and pays our respect to Elders past and present.  

Peter Filichia, James Marino, and Michael Portantiere discuss the recording session of the upcoming release of The Music Man 2022 Cast Recording. Peter is writing the liner notes, and was at the recording session. Michael talks about a recording called, “Oscar Hammerstein to a Xerox Recorded Portrait,” To Kill a read more The post This Week on Broadway for July 31, 2022: Oresteia appeared first on BroadwayRadio.

In Brant Two, GRRM digs deep into his bag of tricks and comes up with...twincest! But this pair of identical twins couldn't be more dissimilar--they disagree on literally everything, except for maybe the need to silence Bran. Speaking of which, Jamie looks to add "kidslayer" to his list of honors/epithets. But let's not make the mistake of having the incident at the very end of the chapter obscure everything that came before--the chapter is in fact about problems of perception and interpretation. Surprise! That also happens to be a key theme in Bran One. So it seems pretty clear based on these two chapters (and insights from the larger series) that Bran's role is similar to that of Ishmael in Moby Dick. That is, he's the (limited) lens through which we view much of the action in the story, and communicates some of the key problems and issues George wants to explore. These include the inescapably subjective experience of seeing and interpreting our reality. Of course, this problem will occur over and over throughout the series and is not exclusive to Bran. But it's clear that it is perhaps the central motif of Bran's character. I've said over and over again that real magic is being able to see with another person's eyes, being able to feel what they feel. Early returns, however, aren't encouraging--George so far seems to be saying that it's difficult, if not impossible, to do so. Bran One and Two say that our understanding is necessarily totally context dependent and incomplete, while Arya One says we can't reliably make others aware of our feelings and experience, at least not with words. Meanwhile, here's Cat Two, earnestly encouraging us to look through different lenses and keep the parallax alive, hoping that maybe, just maybe, we can find a shared meaning. For my part, I'm on Team Cat. Whatever the resolution, I'm virtually certain that this will be an animating source for all the books to come in the series. Note: I'm heavily involved in a Lady Stoneheart episode. LSH as a Dante character. LSH in the context of war literature. LSH in the context of the literature of revenge--emphasis on The Iliad and The Oresteia. And finally, LSH and the contrast between restorative and retributive justice. These are my LSH areas of exploration. If you have questions or avenues you want covered, please do leave a voice message through the Spotify pod message function. Get in! --- Send in a voice message: https://anchor.fm/glen-reed/message

In which Carla goes deeper into the Five and a Half Hallway and The Three Attic Whalestoe Letters of the House of Leaves novel (fifth episode in the series).Theme song and stinger: “Comadreamers I” by Haunted Me, off their Pleasure album, used with permissionThe House of Leaves universe:House of Leaves by Mark Z. Danielewski https://bookshop.org/a/6560/9780375703768The Whalestoe Letters: From House of Leaves https://bookshop.org/a/6560/9780375714412Poe's album “Haunted”: Apple https://apple.co/2MT62F4, Spotify https://spoti.fi/3c2RsDqHouse of Leaves There Might Be Cupcakes series: https://www.podchaser.com/lists/house-of-leaves-episodes-there-might-be-cupcakes-podcast-107aIYJ3DwReferenced and Recommended:Pisces: https://thoughtcatalog.com/january-nelson/2021/05/pisces-woman/The Seafarer: https://oldenglishpoetry.camden.rutgers.edu/the-seafarer/The Battle of Maldon: https://oldenglishpoetry.camden.rutgers.edu/battle-of-maldon/Homer's Odyssey: https://bookshop.org/a/6560/9780143039952Aeschylus's Oresteia https://bookshop.org/a/6560/9780140443332Euripides' Iphigenia in Aulis https://bookshop.org/a/6560/9781534322158The Killing of a Sacred Deer https://bookshop.org/a/6560/0031398277897Journey to the Center of the Earth by H. G. Wells, narrated by Tim Curry https://www.audible.com/pd/Journey-to-the-Center-of-the-Earth-A-Signature-Performance-by-Tim-Curry-Audiobook/B003ZFO3FAThe Deep House https://letterboxd.com/film/the-deep-house/The Descent https://letterboxd.com/film/the-descent/ and The Descent 2 https://letterboxd.com/film/the-descent-part-2/The Blair Witch Project https://letterboxd.com/film/the-blair-witch-project/How to Support Cupcakes:Leave a review: https://lovethepodcast.com/theremightbecupcakesFollow the podcast: https://followthepodcast.com/theremightbecupcakesSubscribe on Substack: http://theremightbecupcakes.substack.com, free and paid subscriptions, 75% paid subscription discount for Patreon subscribersAudible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004RCare/Of Vitamins: https://takecareof.com/invites/chr4bw and enter code CUPCAKES at checkoutPatreon: https://patreon.com/theremightbecupcakesand please visit my lovely sponsors that share their ads on my episodes.Where to Find Cupcakes:Substack: http://theremightbecupcakes.substack.comPatreon: http://patreon.com/theremightbecupcakesHorror Forum: https://theremightbecupcakes.com/horrorFacebook Page: https://www.facebook.com/theremightbecupcakesFacebook Group: https://www.facebook.com/groups/theremightbecupcakesTwitter: @mightbecupcakesInstagram: @theremightbecupcakes and @carlahauntedReddit: https://www.reddit.com/r/theremightbecupcakes r/theremightbecupcakesGoodreads: https://www.goodreads.com/group/show/804047-there-might-be-cupcakes-podcast-groupContact: carla@theremightbecupcakes.comComplete list of ways to listen to the podcast on the sidebar at http://theremightbecupcakes.com

Agamemnon, Clytemnestra, and blood vendetta in the house of Atreus --- Support this podcast: https://anchor.fm/genevieve-sugrue/support

“The true hero, the true subject, the center of the Iliad is force,” wrote Simone Weil. And yet, she said that Homer's poem is “the purest and loveliest of mirrors.” How can a poem that revels in the visceral description of death and that chronicles the destruction of a great city be so pure and lovely? Jonathan and Ryan take a look into this epic mirror and into Weil's justly famous essay on it.Simone Weil's The Iliad, or the Poem of Force (free English translation): http://biblio3.url.edu.gt/SinParedes/08/Weil-Poem-LM.pdfSimone Weil's The Iliad, or the Poem of Force (bilingual French-English critical edition): https://bookshop.org/a/25626/9780820463612Homer's Iliad: https://bookshop.org/a/25626/9780374529055Aeschylus' Oresteia: https://bookshop.org/a/25626/9780140443332Sophocles' Theban Plays: https://bookshop.org/a/25626/9780156027649Ovid's Metamorphoses: https://bookshop.org/a/25626/9780156001267Virgil's Aeneid: https://bookshop.org/a/25626/9780553210415New Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

Liza Lim on how storytelling through opera has shaped her own story as a composer.

Greek tragedy is one of the earliest and most influential forms of theatre, and no discussion of Western classics could be complete without looking at one (at least!) of the extant plays from the 3 great Athenian playwrights - Aeschylus, Sophocles, and Euripides. This week, listen to a discussion of the Oresteia, by Aeschylus, which depicts the demise of Agamemnon when he returns from the Trojan War and the conflict brought about for his son, Orestes. (Note: you can read the full play here, on Project Gutenberg, translated by E.D.A. Morshead.) Intro/Outro music by Cooper Cannell

Liv speaks with Aimee Hinds about the intricacies of Clytemnestra's story and how storytellers and reception over millennia has affected the understanding of this powerful Spartan woman. Follow Aimee Hinds on Twitter, here and check out her incredible Etsy shop here.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources referred to: Aeschylys's Oresteia, Sophocles' Electra, Euripides' Orestes and Electra (ie, all the stories of the death of Agamemnon and Clytemnestra); Euripides' Iphigenia at Aulis. For episodes covering Clytemnestra's story, refer to those on the Oresteia primarily, plus some early Trojan War and Atreidae Curse.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.