Introdução à Oresteia, de Ésquilo
Trevas, Música e Anti-Música
Palavras-chave:
Ésquilo, Orestéia, Dramaturgia, Som.Resumo
Neste artigo apresenta-se uma leitura introdutória da trilogia Orestéia de Ésquilo, composta por Agamênon, Coéforas e Eumênides. Nesta leitura há a ênfase na teatralidade do texto original, por meio da explicitação de suas relações entre som e visualidade. Em conjunto da análise audiovisual de trechos das obras citadas, temos indicações bibliográficas para posteriores investigações. Tal abordagem integrada procura estimular interpretações mais cenicamente orientadas da dramaturgia de Ésquilo.
Referências
ASHBY, C. Classical Greek Theatre. University of Iowa Press, 1999.
BAKOLA, E. "Seeing the invisible: Interior Spaces and Uncanny Erinyes in Aeschylus' Oresteia" in Kampakoglou, A. and Novokhatko, A. (Eds). Gaze, Vision and Visu.ality in Greek Literature, Berlin:De Gruyter, 2017, 163-186
BIERL, A. Die Orestie des Aischylus auf der modern Bühne. Stuttgart: M&P Verlag für Wissenchaft und Forschung, 1997.
BLASINA, A. Eschilo in Scena. Drama e spettacolo nell Orestea. J.B.Metzler, 2003.
BRAUN, M. Die "Eumeniden" des Aischylos und der Aeropag
Narr Francke Attempto, 1998.
BROWN, A. L. The Erinys in the Oresteia: Real Life, the Supernatural and the Stage. Journal Hellenic Studies 103 (1983): 13–34.
BURNS, R. Communications. An International History of the Formative Years. Londres: The Institute of Enginnering and Technology, 2004.
CAPUCO, J. Dressing the Part: Robes and Revelations in Aeschylus’The Oresteia. Relatório de Pesquisa (Senior Project), Bard Digital Commons, 2017. Link: http://digitalcommons.bard.edu/cgi/viewcontent.cgi?article=1058&context=senproj_s2017 .
CATENACCIO, C. Dream as Image and Action in Aeschylus’Oresteia . Greek, Roman, And Byzantine Studies 51(2011):202-231.
CHESI, G.M. The Play of Worlds: Blood Ties and Power Relations in Aeschylus ‘Oresteia’ . De Gruyter, 2014.
CHIASSON, C. Lecythia and the Justice of Zeus in Aeschylus "Oresteia" Phoenix 42(1988):1-21.
EUBEN, J.P. Justice and Oresteia. The American Science Review 76.1(1982):22-33.
EWANS,M. Wagner and Aeschylus. The Ring and the Oresteia. Londres: Faber and Faber 1982.
EWANS, M. Opera from the Greeks: Studies in the Poetics of Appropriation. Ashgate, 2007.
EWANS, M. “Aeschylus and Opera”. In: R.F. Kennedy (Org.). Brill’s Companion to the Reception of Aeschylus. Brill, 2018, 205-224.
FEDELI, G. Tradition and Animal Imagery in Aeschylus’Oresteia. Maia 65.2(2013):257-279.
FISCHER-LICHTE, E. Tragedy's Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford University Press, 2017.
FLEMING, T. The Musical Nomos in Aeschylus’Oresteia, Classical Journal 72.3(1977):222-233.
FOSTER, D. Wagner’s Ring Cycle and the Greeks. Cambridge University Press,2010.
FOWLER, R. Early Greek Mythography. Volume 1. Oxford University Press, 2001.
FOWLER, R. Early Greek Mythography. Volume 2. Oxford University Press, 2013.
FRONTISI-DUCROUX, F. “The Invention of Erinyes”. C. Kraus, S. Goldhill, H Foley, & J. Eisner (Orgs.). Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford University Press, 2007, 165-176.
GAGNON, J.M. Agonistic Politics, Contest, and the Oresteia. Tese, University of Minnesota, 2012.
GANTZ, T. The Fires of The Oresteia. The Journal of Hellenic Studies 97(1977):28-38.
GARSON, R. Observations on Some Recurrent Metaphors in Aeschylus’Oresteia. Acta Classica 26(1983):22-39.
GENTILI, B. & LOMIENTO, L. Metrica e ritmica. Storia dele forme poetiche nella Grecia Antica. Mondadori Università, 2003.
GRIFFITH, R.D. Disrobing in the Oresteia. The Classical Quarterly 38.2 (1988): 552-554
GRIFFITH, M. Brilliant Dynasts: Power and Politics in the Oresteia. Classical Antiquity 14(1995), 62-129.
GURD, S. A. Aeschylus’Oresteia: Silence, Criticism, Tragedy. Tese, University of Toronto, 2001.
HASKELL, G. The Oresteia: A Theatrical Poetics. University College London, 1994.
HEATH, J. Disentangling the Beast: Humans and Other Animals in Aeschylus’s Oresteia. Journal of Hellenic Studies 119 (1999):17-47.
HILBIG, N. Die "Orestie"- Rezeption in der Gegenwartsdramatik: Aischylos´ Tragödie im Spiegel unserer Zeit. Grin Publishing, 2013.
IRELAND, S. Stichomythia in Aeschylus: the Dramatic Role of Syntax and Connecting Particles. Hermes 102 (1974):509-524.
JOUANNA, J. “Du mythe à la Scène”In: J. Jouanna; F. Montanari; & A-C. Hernández (Orgs.) Eschyle à L’Aube du Théâtre Occidental. Genebra: Fondation Hardt, 2009, 50-126.
KÄPPEL, L. Die Konstruktion der Handlung der Orestie des Aischylos. Die Makrostruktur des 'Plot' als Sinnträger in der Darstellung des Geschlechterfluchs. Munique: C.H. Beck, 1998.
KRAM, S. The Grotesque in The Oresteia of Aeschylus. Dissertação de Mestrado, University of Alberta, 1981.
LEÃO, D. O horizonte legal da Oresteia. O crime de homicídio e a fundação do tribunal do Areópago. Humanitas 57(2005):4-34.
LEBECK A. The Oresteia: a Study in Language and Structure. Harvard University Press, 1971.
LEE, M. Athena Sings.Wagner and the Greeks. University of Toronto Press, 2003.
LEHMANN, H-T. Tragedy and Dramatic Theatre. Londres: Routledge, 2016.
LYNN GEORGE, M. A Reflection on Homeric Dawn in the Parodos of Aeschylus’Agamemnon. Classical Quarterly 43 (1993): 1- 9.
MARSHALL, C.W. Casting the Oresteia. Classical Journal 98(2002):257 274?.
MOTA, M. A Dramaturgia Musical de Ésquilo. Investigações sobre a Composição, Realização, e Recepção de Ficções Audiovisuais. Editora da Universidade de Brasília, 2008.
MOTA, M. Introdução à Dramaturgia Ateniense: Espaço, Som e Organização Textual. Dramaturgia em Foco 1.1(2017):78-95.
MOTA, M. Dramaturgia. Conceitos, Exercícios e Análises. Editora Universidade de Brasília, 2017a.
MONAHAN, M. Women and Justice in Aeschylus’Oresteia. Tese, Northwestern University, 1987.
MORRIS, J. Reclaiming The Furies: The Oresteia Revisted. Tese, Pacifica Graduate Institute, 1995.
NOOTER, S. The Mortal Voice in the Tragedies of Aeschylus. Cambridge University Press, 2007.
PICKARD-CAMBRIDGE, A.W. The Dramatic Festivals of Athens. Oxford University Press, 1953.
PRAG, A.J. Oresteia: Iconographic and Narrative Tradition. Aris& Phillips, 1985.
PYPLACZ, J. Los elementos cómicos en la Orestía de Esquilo. CFC(G). Estudios griegos e indoeuropeos 19(2009): 103-114.
ROSE, P. The Politics of the Trilogy Form: Lucía, The Oresteia and the Godfather. Filmhistoria 5.2-3(1995): 1-15.
RUSSO, N. The Imagery of Light and Darkness in the Oresteia. Tese, Ohio State University, 1974.
SAAYMAN, F. Dogs and Lions in The Oresteia. Akroterion 38.1(1993):11- 18
SAMONS. L. Aeschylus, the Alkmeonids, and the Reform of the Areopagos. Classical Journal 94(1999):221-233.
SCOTT, W. Musical Design in Aeschylean Theater. Dartmouth College Press, 1984.
SOLYMAN, L. Getting the Message. A History of Communications. Oxford University Press, 1999.
STARKEY, J. Play in the Sunshine. Didaskalia 8(2011): 142-156.
STEWART, B. The Synthesis of World-Views in Fifth-Century Greece: A Study of Time and Space in Aeschylus’s Oresteia and the Parthenon. Tese, Ohio University,1993.
TAPLIN, O. Klytaimnestra’s Beacons. Dionysus ex Machina II (2011): 339-344,
WERNER, C. The Erinyes in Aeschylus’Oresteia. Tese, Victoria University of Wellington, 2012.
WILSON, P.& TAPLIN, O. The ’Aetiology’ of Tragedy in the Oresteia, Proceedings of the Cambridge Philological Society 39(1993):169-180.
WIDZISZ, M. The Durations of Darkness and the Light of Eleusis in the Proloque of Agamemnon and the Third Stasimon of Choephoroi. Greek, Roman, And Byzantine Studies 50(2010):461-489.
WIDZISZ,M. Chronos on the Threshold: Time, Ritual, and Agency in the Oresteia . Lexington Books, 2012.
WORTHEN, T. Dawn Phenomena in Greek Tragedy/Aspects of Time in Greek Tragedy. Ensaio, 2015. Link: https://www.academia.edu/14181222/Dawn_phenomena_in_Greek_Tragedy .
YOON, F. The Use of Anonymous Characters in Greek Tragedy. Brill, 2012.
WILK, W. Medusa: Solving the Mystery of Gorgon. Oxford University Press, 2000.
BAKOLA, E. "Seeing the invisible: Interior Spaces and Uncanny Erinyes in Aeschylus' Oresteia" in Kampakoglou, A. and Novokhatko, A. (Eds). Gaze, Vision and Visu.ality in Greek Literature, Berlin:De Gruyter, 2017, 163-186
BIERL, A. Die Orestie des Aischylus auf der modern Bühne. Stuttgart: M&P Verlag für Wissenchaft und Forschung, 1997.
BLASINA, A. Eschilo in Scena. Drama e spettacolo nell Orestea. J.B.Metzler, 2003.
BRAUN, M. Die "Eumeniden" des Aischylos und der Aeropag
Narr Francke Attempto, 1998.
BROWN, A. L. The Erinys in the Oresteia: Real Life, the Supernatural and the Stage. Journal Hellenic Studies 103 (1983): 13–34.
BURNS, R. Communications. An International History of the Formative Years. Londres: The Institute of Enginnering and Technology, 2004.
CAPUCO, J. Dressing the Part: Robes and Revelations in Aeschylus’The Oresteia. Relatório de Pesquisa (Senior Project), Bard Digital Commons, 2017. Link: http://digitalcommons.bard.edu/cgi/viewcontent.cgi?article=1058&context=senproj_s2017 .
CATENACCIO, C. Dream as Image and Action in Aeschylus’Oresteia . Greek, Roman, And Byzantine Studies 51(2011):202-231.
CHESI, G.M. The Play of Worlds: Blood Ties and Power Relations in Aeschylus ‘Oresteia’ . De Gruyter, 2014.
CHIASSON, C. Lecythia and the Justice of Zeus in Aeschylus "Oresteia" Phoenix 42(1988):1-21.
EUBEN, J.P. Justice and Oresteia. The American Science Review 76.1(1982):22-33.
EWANS,M. Wagner and Aeschylus. The Ring and the Oresteia. Londres: Faber and Faber 1982.
EWANS, M. Opera from the Greeks: Studies in the Poetics of Appropriation. Ashgate, 2007.
EWANS, M. “Aeschylus and Opera”. In: R.F. Kennedy (Org.). Brill’s Companion to the Reception of Aeschylus. Brill, 2018, 205-224.
FEDELI, G. Tradition and Animal Imagery in Aeschylus’Oresteia. Maia 65.2(2013):257-279.
FISCHER-LICHTE, E. Tragedy's Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford University Press, 2017.
FLEMING, T. The Musical Nomos in Aeschylus’Oresteia, Classical Journal 72.3(1977):222-233.
FOSTER, D. Wagner’s Ring Cycle and the Greeks. Cambridge University Press,2010.
FOWLER, R. Early Greek Mythography. Volume 1. Oxford University Press, 2001.
FOWLER, R. Early Greek Mythography. Volume 2. Oxford University Press, 2013.
FRONTISI-DUCROUX, F. “The Invention of Erinyes”. C. Kraus, S. Goldhill, H Foley, & J. Eisner (Orgs.). Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford University Press, 2007, 165-176.
GAGNON, J.M. Agonistic Politics, Contest, and the Oresteia. Tese, University of Minnesota, 2012.
GANTZ, T. The Fires of The Oresteia. The Journal of Hellenic Studies 97(1977):28-38.
GARSON, R. Observations on Some Recurrent Metaphors in Aeschylus’Oresteia. Acta Classica 26(1983):22-39.
GENTILI, B. & LOMIENTO, L. Metrica e ritmica. Storia dele forme poetiche nella Grecia Antica. Mondadori Università, 2003.
GRIFFITH, R.D. Disrobing in the Oresteia. The Classical Quarterly 38.2 (1988): 552-554
GRIFFITH, M. Brilliant Dynasts: Power and Politics in the Oresteia. Classical Antiquity 14(1995), 62-129.
GURD, S. A. Aeschylus’Oresteia: Silence, Criticism, Tragedy. Tese, University of Toronto, 2001.
HASKELL, G. The Oresteia: A Theatrical Poetics. University College London, 1994.
HEATH, J. Disentangling the Beast: Humans and Other Animals in Aeschylus’s Oresteia. Journal of Hellenic Studies 119 (1999):17-47.
HILBIG, N. Die "Orestie"- Rezeption in der Gegenwartsdramatik: Aischylos´ Tragödie im Spiegel unserer Zeit. Grin Publishing, 2013.
IRELAND, S. Stichomythia in Aeschylus: the Dramatic Role of Syntax and Connecting Particles. Hermes 102 (1974):509-524.
JOUANNA, J. “Du mythe à la Scène”In: J. Jouanna; F. Montanari; & A-C. Hernández (Orgs.) Eschyle à L’Aube du Théâtre Occidental. Genebra: Fondation Hardt, 2009, 50-126.
KÄPPEL, L. Die Konstruktion der Handlung der Orestie des Aischylos. Die Makrostruktur des 'Plot' als Sinnträger in der Darstellung des Geschlechterfluchs. Munique: C.H. Beck, 1998.
KRAM, S. The Grotesque in The Oresteia of Aeschylus. Dissertação de Mestrado, University of Alberta, 1981.
LEÃO, D. O horizonte legal da Oresteia. O crime de homicídio e a fundação do tribunal do Areópago. Humanitas 57(2005):4-34.
LEBECK A. The Oresteia: a Study in Language and Structure. Harvard University Press, 1971.
LEE, M. Athena Sings.Wagner and the Greeks. University of Toronto Press, 2003.
LEHMANN, H-T. Tragedy and Dramatic Theatre. Londres: Routledge, 2016.
LYNN GEORGE, M. A Reflection on Homeric Dawn in the Parodos of Aeschylus’Agamemnon. Classical Quarterly 43 (1993): 1- 9.
MARSHALL, C.W. Casting the Oresteia. Classical Journal 98(2002):257 274?.
MOTA, M. A Dramaturgia Musical de Ésquilo. Investigações sobre a Composição, Realização, e Recepção de Ficções Audiovisuais. Editora da Universidade de Brasília, 2008.
MOTA, M. Introdução à Dramaturgia Ateniense: Espaço, Som e Organização Textual. Dramaturgia em Foco 1.1(2017):78-95.
MOTA, M. Dramaturgia. Conceitos, Exercícios e Análises. Editora Universidade de Brasília, 2017a.
MONAHAN, M. Women and Justice in Aeschylus’Oresteia. Tese, Northwestern University, 1987.
MORRIS, J. Reclaiming The Furies: The Oresteia Revisted. Tese, Pacifica Graduate Institute, 1995.
NOOTER, S. The Mortal Voice in the Tragedies of Aeschylus. Cambridge University Press, 2007.
PICKARD-CAMBRIDGE, A.W. The Dramatic Festivals of Athens. Oxford University Press, 1953.
PRAG, A.J. Oresteia: Iconographic and Narrative Tradition. Aris& Phillips, 1985.
PYPLACZ, J. Los elementos cómicos en la Orestía de Esquilo. CFC(G). Estudios griegos e indoeuropeos 19(2009): 103-114.
ROSE, P. The Politics of the Trilogy Form: Lucía, The Oresteia and the Godfather. Filmhistoria 5.2-3(1995): 1-15.
RUSSO, N. The Imagery of Light and Darkness in the Oresteia. Tese, Ohio State University, 1974.
SAAYMAN, F. Dogs and Lions in The Oresteia. Akroterion 38.1(1993):11- 18
SAMONS. L. Aeschylus, the Alkmeonids, and the Reform of the Areopagos. Classical Journal 94(1999):221-233.
SCOTT, W. Musical Design in Aeschylean Theater. Dartmouth College Press, 1984.
SOLYMAN, L. Getting the Message. A History of Communications. Oxford University Press, 1999.
STARKEY, J. Play in the Sunshine. Didaskalia 8(2011): 142-156.
STEWART, B. The Synthesis of World-Views in Fifth-Century Greece: A Study of Time and Space in Aeschylus’s Oresteia and the Parthenon. Tese, Ohio University,1993.
TAPLIN, O. Klytaimnestra’s Beacons. Dionysus ex Machina II (2011): 339-344,
WERNER, C. The Erinyes in Aeschylus’Oresteia. Tese, Victoria University of Wellington, 2012.
WILSON, P.& TAPLIN, O. The ’Aetiology’ of Tragedy in the Oresteia, Proceedings of the Cambridge Philological Society 39(1993):169-180.
WIDZISZ, M. The Durations of Darkness and the Light of Eleusis in the Proloque of Agamemnon and the Third Stasimon of Choephoroi. Greek, Roman, And Byzantine Studies 50(2010):461-489.
WIDZISZ,M. Chronos on the Threshold: Time, Ritual, and Agency in the Oresteia . Lexington Books, 2012.
WORTHEN, T. Dawn Phenomena in Greek Tragedy/Aspects of Time in Greek Tragedy. Ensaio, 2015. Link: https://www.academia.edu/14181222/Dawn_phenomena_in_Greek_Tragedy .
YOON, F. The Use of Anonymous Characters in Greek Tragedy. Brill, 2012.
WILK, W. Medusa: Solving the Mystery of Gorgon. Oxford University Press, 2000.
