A tragédia é de confiança: Ifigénia, Agamémnon, Electra de Tiago Rodrigues

• Autor(a) principal: Várzeas, Marta
• Data de Publicação: 2023
• Tipo de documento: Livro
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/156971

According to Sarrazac, one of the characteristics of modern and con‑temporary drama that marks the rupture with previous Greek‑based theater is the fact that the action no longer unfolds «in an absolute present, like a race towards the outcome (the catastrophe)», but to consist «increasingly in a return - reflective, interrogative - to a past drama and to a catastrophe that has always been heard.» In the Portuguese milieu, the playwright and director Tiago Rodrigues is a clear example of this paradigm shift Sarrazac talks about. His rewriting of the tragedies of Aeschylus and Euripides, reveals the introspective tendency of some contemporary theater, fue‑led by the intrusion of the author's voice ("rhapsodic subject"), the deconstruction of the character, the blurring or even annulment of the boundaries between fiction and reality - aspects that invite reflection on tragic mimesis and on the memory of theater itself. This is what we try to show in this study focused on the first play of the trilogy Ifigénia, Agamémnon, Electra.