Retelling a contemporary version of the Oresteia, The People was simultaneously projected and broadcast into the public square of the Italian town of Polverigi.
Carter's MFA thesis involved recasting The Oresteia in a way that demonstrated her commitment to artistic integrity and to bringing a wide range of theatre experiences to the local community.
Oresteia |
In 2012 he published Great Moments in the Theatre, which examined some of what he considered the greatest moments in the history of the artform, from Aeschylus' Oresteia to Jez Butterworth's Jerusalem.
Among famous names involved in those early days were Rupert Brooke as the Herald in Aeschylus' Eumenides (1906), Sir Hubert Parry as the composer of incidental music to Aristophanes' The Birds (1883) – the Bridal March is still used in weddings – and Ralph Vaughan Williams as composer of incidental music to The Wasps, also by Aristophanes (1909).
He quickly moved on to other challenges, creating designs for many plays there, including sets and costumes for the Cocteau’s world premiere of Tennessee Williams’ Something Cloudy, Something Clear, and staging a number of productions, notably poet Robert Lowell’s adaptation of The Oresteia of Aeschylus.
Before Medea, the Musical he wrote and directed Mary! (a musical take on Mary Stuart), Oresteia: The Musical, Cleopatra: the Musical, and Napoleon: The Camp-Drag-Disco-Musical Extravaganza (in which upon discovering that Joséphine de Beauharnais is actually a man, Napoeon decides he is gay and liberates Europe so that all gays can be free).
Though an Alexandrian catalogue of Aeschylean play titles designates the trilogy Hoi Prometheis ("the Prometheuses"), in modern scholarship the trilogy has been designated the Prometheia to mirror the title of Aeschylus' only extant trilogy, the Oresteia.
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Unlike the Oresteia, only one play from this trilogy—Prometheus Bound—survives.
Her full-scale rendering of Aeschylus’ Oresteian Trilogy (a classic of Greek tragedy, uniting the narratives of Agamemnon, Choephori, and Eumenides) included a traditional Greek chorus (complete with handmade masks) and an original musical score crafted to complement Carter’s own painstakingly edited script.
This album is the first part of a metal opera inspired by the Oresteia, a trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus.