To put The Agamemnon on a modern American Stage presents some real problems. Our work is an attempt to realize certain elements: the dark world of Argos turned in on itself, unable to resolve its fear; Clytemnestra’s need to seek freedom from religious superstition: to tear down the god, to act without guilt, to resolve her revenge by herself. Also to find equivalents for the music and choral majesty of ancient times, to deal with both as surrealist motifs, to seek visual support for the spoken words; and finally to seek the inner life of the characters rather than their external show.

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