Agamemnon in Performance 458 BC to AD 2004

Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from the Renaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and tofeminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classical scholars, theatre historians, and experts in English and comparative literature.All Greek and Latin has been translated; the book is generously illustrated, and supplemented with the useful research aid of a chronological appendix of performances.

“This volume shows how performance history has advanced far beyond the counting of new styles of stage sets, or lists of productions...[it] provides a necessary basis for such advanced historical work to proceed.”

The volume does a remarkable job examining the reception of Agamemnon from antiquity to the present. Hallie Rebecca Marshall, Bryn Mawr Classical Review Simon Goldhill, Times Literary Supplement

Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama, University of Oxford. Pantelis Michelakis is Lecturer in Classics, University of Bristol, and Honorary Fellow, Archive of Performances of Greek and Roman Drama, University of Oxford. Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham, and Co-Director of the Archive of Performances of Greek and Roman Drama, University of Oxford.Oliver Taplin is Professor of Classical Languages and Literature at the University of Oxford, and Fellow of the British Academy.

Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from the Renaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and to feminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classical scholars, theatre historians, and experts in English and comparative literature. All Greek and Latin has been translated; the book is generously illustrated, and supplemented with the useful research aid of a chronological appendix of performances.

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