Arracher les parures du dieu
La gestuelle de Cassandre dans les Troyennes d’Euripide (v. 445-462) et dans l’Agamemnon d’Eschyle (v. 1264-1278)
Bibliographic Data
| ID | 10332015 |
|---|---|
| Authors | Aurélie Wach (corresponding author) |
| Year | 2019 |
| Issue | 109 |
| Pages | 101-111 |
| Publication date | 2019-06-20 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Pallas (JOURNAL) |
| Journal identifiers | ISSN: 0031-0387 • E-ISSN: 2272-7639 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/pallas.16575 |
| OpenAlex | W3012588286 |
| Language | EN |
| References cited | 5 |
Should we consider the “mythical” material Euripides uses as first and foremost a “story”? Euripides’ staging of Cassandra, in Trojan Women, suggests that, in this play, the dramaturgical work takes its starting point less from a given narrative than from a precise gesture, which concentrates within a silhouette or an action the mythic essence of the character. Thus, Cassandra’s scene can be understood as originating in the Aeschylean Cassandra’s gesture, while inverting its very signification. In such a case, the theatrical actualisation of “myth” would involve above all the reinvestment of a concrete image out of which the text grows, intensifying, deepening and questioning it in a new and unique version, and not the other way round
Art · Humanities · Literature · Mythology · Archaeology and Historical Studies · Classical Antiquity Studies · Language, Metaphor, and Cognition
| Citation velocity | historical |
|---|---|
| Highly cited | No |