Apuntes para una Orestíada sudafricana: La frontera con lo clásico en el teatro de Yael Farber

• Daniela Palmeri ^[1]
  1. [1] Universitat Autònoma de Barcelona

     Universitat Autònoma de Barcelona

     Barcelona, España

     
• Localización: De fronteres i arts escèniques / coord. por Núria Santamaria, Francesc Foguet i Boreu, 2015, ISBN 978-84-943779-0-7, págs. 347-360
• Idioma: español
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• Resumen

  • In contemporary theatre, the re-writing of the Greek myth constitutes an extended area of study. Within this tradition, I will focus on the re-writing of Oresteia in non-Western theatre from an interdisciplinary perspective. This paper will consist of a theoretical part about postcolonial theatre, and a comparative part, in which I will concentrate on the rewriting of Oresteia by the South-African director Yael Farber (Molora, 2003). My aim is to analyse the re-writing of the Oresteia as a representation of cultural and political conflict. Yael Farber combines Greek Myth and South-African contemporary history, showing the contradictions within democracy in the post-apartheid period and after the TRC, the Truth and Reconciliation Commission (1995). The play is about grace,vengeance, forgiveness and violations from Greek society to the South-Africansociety. So, Greek Myth is a tool to explore tensions and borders from the classical past to the present.