Difference between revisions of "The Oresteia"
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("Molora" is a [[Sotho]] word meaning "Ash") A condensation and adaptation of the Aeshylean trilogy by [[Yaël Farber]], which transplants the family strife, death, violence, despair and loss, inherent in the Greek original, into the milieu of post-Apartheid South Africa and traumatic yet healing period the [[Truth and Reconciiation Commission]]. Utilizing the original text, the play also introduces additional text in most of the South African languages, and a chorus of singing and dancing women, created by [[The Ngqoko Cultural Group]] from the town of Lady Frere. | ("Molora" is a [[Sotho]] word meaning "Ash") A condensation and adaptation of the Aeshylean trilogy by [[Yaël Farber]], which transplants the family strife, death, violence, despair and loss, inherent in the Greek original, into the milieu of post-Apartheid South Africa and traumatic yet healing period the [[Truth and Reconciiation Commission]]. Utilizing the original text, the play also introduces additional text in most of the South African languages, and a chorus of singing and dancing women, created by [[The Ngqoko Cultural Group]] from the town of Lady Frere. | ||
| − | The text has been published by [[Oberon Books]] (200*). | + | The text has been published by [[Oberon Books]] (200*). The play originally opened at the [[Market Theatre]] in 2007, and would go on to play to acclaim all over the world. It won three |
= Performance history in South Africa = | = Performance history in South Africa = | ||
Revision as of 05:28, 12 March 2015
The Oresteia by Aeschylus. ***
Contents
The original text
Translations and adaptations
Translations
Into English
Into Afrikaans)
Translated as Die Oresteia Trilogie by Merwe Scholtz in 1981
Adaptations
Molora (2007)
("Molora" is a Sotho word meaning "Ash") A condensation and adaptation of the Aeshylean trilogy by Yaël Farber, which transplants the family strife, death, violence, despair and loss, inherent in the Greek original, into the milieu of post-Apartheid South Africa and traumatic yet healing period the Truth and Reconciiation Commission. Utilizing the original text, the play also introduces additional text in most of the South African languages, and a chorus of singing and dancing women, created by The Ngqoko Cultural Group from the town of Lady Frere.
The text has been published by Oberon Books (200*). The play originally opened at the Market Theatre in 2007, and would go on to play to acclaim all over the world. It won three
Performance history in South Africa
1952: Directed in English by Rosalie van der Gucht at the Little Theatre, Cape Town, in 1952, the year it celebrated its 21st birthday.
1981: Directed in Afrikaans as Die Oresteia-Trilogie by Dieter Reible, for CAPAB. The cast included Wilna Snyman, Johan Malherbe, Marthinus Basson, Grethe Fox, Marga van Rooy, Neels Coetzee, David van der Merwe, Paul Lückhoff, Mitzi Booysen, Selma van der Vyver, Christo Potgieter, Brümilda van Rensburg, Marikie Basson, Heléne Coetzee, Elise Hibbert, Marko van der Colff. Decor and costumes by Raimond Schoop, lighting by Leon Benzakein.
2007: Performed as Molora at the Market Theatre in 2007, directed by Yaël Farber, with Dorothy Ann Gould, Jabulile Tshabalala, Sandile Matsheni and The Ngqoko Cultural Group (consisting of Tsolwana. B. Mpayipheli, Tandiwe Lungisa, Nokhaya Mvotyo, Nofenishala Mvotyo, Nopasile Mvotyo, Nosomething Ntese and Nogcinile Yekani). The assistant director was Yana Sakelaris, with set design by Larry Leroux and Leigh Colombick, costume design by Natalie Lundon and Johny Matole, lighting design by Michael Maxwell and music and song arrangements by The Nqgoko Cultral Group.
Other performances include the Place des Arts in Montreal (2009).
Translations and adaptations
Sources
Inskip, 1977. p 43.
Die Orestiea-Trilogie theatre programme, 1981.
http://www.yfarber.com/molora/
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