ESPAÑOL: Esta es mi obra favorita entre las de Eurípides, de las quince que he visto o leído, junto con Medea, aunque por razones bastante diferentes. Esta vez la he visto en el archivo de Estudio-1, aunque se trataba de una adaptación libre, pues han retocado el final y algunos de los personajes desempeñan el papel de otros en la obra original. Pero en conjunto esta versión no está mal.

Para dejar abierta la posibilidad de una continuación (Ifigenia en Tauride), Eurípides termina la obra diciendo que Ifigenia se salvó milagrosamente cuando Artemisa la reemplazó como víctima por una cierva blanca. En esta versión, Agamenón afirma que hubo milagro, pero que lo vieron pocas personas. Es obvio para el lector que está mintiendo.

Ifigenia en Aulide es la más humana de las tragedias de Eurípides. En este sentido, se parece a mi obra favorita entre las de Sófocles: Antígona. En conjunto, me gusta algo más Sófocles que Eurípides.

ENGLISH: This is my favorite Euripides play, among the fifteen I've watched or read, along with Medea, for quite different reasons. This time I have watched it in the Estudio-1 archive, although it was a free adaptation, since they have tidied up the ending and some of the characters play the role of others in the original play. But overall this version is not bad.

To open the possibility of writing a sequel (Ifigenia in Tauride), Euripides ends the play asserting that Ifigenia was saved by a miracle when Artemis replaced her as victim by a white doe. In this version, Agamemnon states that there was a miracle, but it was seen by just a few people. It's obvious to the reader that he's lying.

Iphigenia in Aulide is the most humane of the tragedies by Euripides. In this sense, it is similar to my favorite work among those of Sophocles: Antigone. On the whole, I like Sophocles somewhat better than Euripides.

2.5? This play is... super weird.

banger

This is hardly a straightforward play.

At this point in our society's history it will likely resonate strongly with Game of Thrones viewers, as the play neatly mirrors recent events Shireen's being burnt at the stake by her father, including her devotion to him, but not many others, I think. Self-sacrifice of this sort, where the sacrifice's identity is diminished to that of an object a gift, has been regarded as barbaric for so long that it's an alien notion, intellectually accessible, but not emotionally. Nowadays, sacrifice is depicted as something that augments someone's image, because it's usually voluntary - but that's a tangential thorny issue.

There are two themes here, the will to be and the ease with which we can deny the humanity of others. In his n  Sceptical Essaysn, Russell uses another play by Euripides, n  The Trojan Womenn to argue that we distance ourselves from most emotional aspects except hate when judging people we perceive as different or distant and argue rationality to its extremes. Is it not the same here, when a all the soldiers demand the death of a girl who wasn't in any way involved, to start the war? Even her uncle wants to sacrifice her and he only stops when he emphatizes with Agamemnon, as a father and realizes he would be killing his own niece in his quest to retrieve a woman who left him.

Thus Iphigenia finds herself wanted dead by thousands of people. However, after a few token protests she consents. An argument can be made that this is the "voluntary sacrifice" of our more civilised days, to protect Achilles, her mother and the rest of her family who the army would have lynched. Moreover, she often mentions that she does not belong to herself but to Greece and that each man's life is more precious than a thousand women. Considering that she was promised a life in heaven and that she was acting in accordance with society her timely agreement would make sense. On one hand she regains a bit of her identity through this "choice", leaves her family with closure and a last dignified image of her and she does her duty as a princess, on the other hand, she would have died either way, so either she chose not to or didn't think to proclaim her will to be herself.

From this point of view, I think she is more like a representative of contemporary morality for Greek women of the time. Her mother had had another child by her first husband who Agamemnon slew as a baby before marrying her, and she was devoted to him until he tried to take her daughter, Iphigenia, it could be argued, would have argued until she understood her family would die. Hence a woman would have been taught not to be, unless for someone else.

I said it's not straightforward, because the men and the family are rewarded and Iphigenia is spirited away through divine intervention leaving the play on a strong patriarchal note. One the other hand Euripides is considered a feminist, he could have chosen the ending because some characters were needed to appear in the sequel n  Iphigeneia in Taurisn.

The ending was quite rushed. After the gut-wrenching events of, say fifteen minutes ago, Agamemnon was 'bye, babe, off to play with the boys' pretty quickly, as if this wasn't the last time he saw his wife before war against a citadel built by the gods.

Puanım 4/5 (%76/100)

“Kısa ve öz konuşarak kendini güzel tanıttın,
ama ben kadınlarla konuşmaya utanırım.”

Iphigenia Truva Savaşı’nda savaşmış ünlü komutan Agamemnon’un kızıdır. Bir kehanet sebebiyle savaşı kazanmak için Agamemnon’un kızını kurban etmesi gerekir. Tanrıların isteği olduğu ve kızını vatanı ve askerleri önünde tutmaması gerektiği halde Agamemnon kendi öz kızını kurban etmek istemez. Kardeşi ve ünlü Helen’in eşi olan Menelaus ise kurbanın gerekli olduğunu söyler. Olaylar gelişir ve Agamemnon da kurbanın gerekli olduğuna karar verir. Fakat bu sefer Menelaus yeğenini ölmesini istemez. Agamemnon karısı Klytaimnestra’ya Iphigenia ile birlikte Aulis’e gelmesi için mektup yollar. Iphigenia’nın ünlü savaşçı Akhilleus ile evleneceği yalanını ortaya atar. Anne kız Aulis’e gelir fakat haberler Akhilleus’un kulağına gitmiştir. Agamemnon’un böyle davranmasına öfkelenen Akhilleus Iphigenia’yı korumaya yemin eder. Akhilleus’un askerleri Myrmidonlar bile kurbanın gerekli olduğunu düşündüğü için komutanlarının üstüne yürür. Ne yapılırsa yapılsın Agamemnon ikna edilemez ve Iphenia kaderini kabullenir. Kurban edilmek için ayrılır ve sonra bir haberci aracılığıyla neler olduğunu öğreniriz. Iphigenia öldürülmek üzere sunağa yatırılır fakat o sırada Artemis kendisini gösterip onun yerine bir geyik koyup kızı kurtarır. Hikaye böyle bitiyor ve Iphigenia Tauris’te adlı kitapta devam ediyor.

n  IFIGÉNIA: ver esta luz do dia é o que há de mais doce;
e debaixo da terra é o nada; é louco quem anseia morrer.
Melhor é viver mal que bem morrer.n

— Mito
Ifigénia foi sacrificada, em prol da GUERRA, pelo pai, Agamémnon, para que bons ventos levassem os barcos de Áulide para Tróia.

— Realidade
Carlos Alberto Pais de Almeida, aluno distinto de Filologia Clássica da Faculdade de Letras de Coimbra, no ano lectivo 1968-1969, estudou, traduziu e comentou esta peça como tese de licenciatura. Não a chegou a apresentar porque foi chamado ao serviço militar, morrendo, na GUERRA, em Moçambique.


[Mark Rothko, Sacrifice of Iphigenia, (1942)]

This is an extremely readable adaptation of Euripides' Iphigenia at Aulis, which is a great anti-war play questioning the sacrifices people are willing to make just for the chance to fight in a war without any real goal or benefit.

Teevan does two things I find particularly interesting in this adaptation. First, he incorporates a frame narrative where the old servant from Iphigenia at Aulis reflects back on the sacrifice from the end of the Trojan War when Agamemnon and the Greeks have returned home. This immediately layers time, bringing us back from the storyteller's present to his remembered past, in a way that also complicates our relationship with time as viewers of an adaptation. We are reviewing, as the servant is remembering. But this also locates us at the cusp of Aeschylus' play Agamemnon, the first play of the Oresteia trilogy, which is set immediately after Agamemnon has returned from Troy. This is important because Teevan emphasizes (through repetition) Klytaimnestra's threat that if Agamemnon sacrifices Iphigenia she will repay him in kind. And the frame story locates us as viewers at that moment of retribution.

The other interesting thing, and I'm not totally sure what to make of it, is that Teevan seems to devote a lot of page space (though maybe not as much stage time) to the chorus of girls looking admiringly at the Greek warriors. They discuss the men extensively, debating which ones are better looking, braver, kinder, etc. I think this is supposed to be part of Teevan's anti-war emphasis, showing the romanticization of war, and the eroticism instilled in militarism. Edith Hall suggests this in the introduction, but I don't totally see it myself.

Kitap, savaşın getirdiği zor seçimler ve fedakarlık temalarını işliyor.

Iphigenia Aulis'te, Agamemnon'un Troya'ya gitmek üzere Aulis'te bekleyen ordusuyla karşılaştığı güçlükleri konu alıyor. Büyük bir ordunun lideri olarak savaş hazırlıkları yaparken, Agamemnon beklenmedik bir sorunla yüzleşir: tanrıça Artemis’in öfkesi nedeniyle rüzgar kesilmiş ve ordusu Aulis'te hareketsiz kalmıştır.

Tanrılardan bir işaret gelmediği için ordusu Aulis'te beklemeye devam ederken, Agamemnon’a bir kahin tanrıların öfkesini yatıştırmak için kızı Iphigenia'yı kurban etmesi gerektiğini söyler. Agamemnon, bu noktada büyük bir ikilemle karşı karşıya kalır. Kızını feda ederek ordusunu sefere çıkarabilir ya da bu isteği reddedip, aylardır bekleyen askerlerini hayal kırıklığına uğratarak geri gönderebilir. Ancak geri dönerse, Troya seferindeki liderlik konumunu ve kazandığı itibarı kaybetme korkusu yaşar.

Kitabın ortalarına doğru çaresizlik zirveye ulaştığında, Akhilleus devreye giriyor. Başta cesur ve kararlı bir duruş sergilese de, yaşanan olaylar ve kendi iç çatışmaları onun da tereddütler yaşamasına neden oluyor.

This episode in the house of Atreus is powerful indeed. Is the morally torn cast desperate and defenseless in the face of the will of the Gods? Or are they complacent and cowardly? A terribly strong antiwar statement, even if this particular translation feels a little clunky.

4 stars

This one took me a bit longer to read and it might have been a little boring at times but overall I liked it. Ever since learning about Iphigenia's fate in school, I want to learn more and Orestea hasn't given it to me. This book did. I liked reading about her and especially about her relationship with Clytamneistra. It is sweet to see that even in the Ancient Greece parents valued and loved their children so much.

امتیاز دادن به این نمایشنامه اوریپید کار مسخره ایه، از این نظر که پایانش به دست ما نرسیده (یا اصلا نوشته نشده) و نسخه ای که ازش مونده مملو از اضافات و حذفیات مختلف بوسیله فرزند اوریپید و دیگرانه.
به هر حال اون چیزی که مونده ترکیبیه از بخش های شاهکار و کلیشه های تکراری اوریپید. بخشی که ایفیگنی در مسلخ خودش به اشتباه فرض میکنه که در مراسم ازدواجش هستش و همسرایان براش سرود میخونن جزو شاهکارهای تراژدی های یونانیه، جایی که تراژدی با درگیری تقدیر شوم و معصومیت زنانه/کودکانه کوبنده تر میشه (نمونه اش در فصلی از زنان تروایی که هکوبا برای آینده نوه اش که لحظاتی بعد کشته خواهد شد، تصمیم میگیره)
اما در پایان تراژدی، طبق معمول، زنان اوریپید در حساس ترین لحظه درام ناگهان تصمیم به ایثار خود در راستای بقای شوهر/پدر/خانواده/ملت میگیرن و با مونولوگی انباشته از شعار از تصمیمی که در راستای قربانی کردن خود گرفتن، حمایت میکنن. در اینجا هم ایفیگنی، دختر آگاممنون، که در ابتدا کودکی وحشت زده است، به این نتیجه میرسه که فدا کردن خود در راستای مام میهن ارزشمندترین کاریه که یک زن میتونه بهش دست بزنه. حالا اینکه چطور یه دختر بچه میتونه به این نتیجه برسه الله اعلم!

This is opera material.