Anton Bierl Play

Review of an Actual play. I have included most of the review so that one may see how totally out of contex and gratuitous the rabbit references are. Emphasis added.


Anton Bierl, Die Orestie des Aischylos auf der modernen Bu+hne.
Stuttgart: M & P Verlag fu+r Wissenschaft und Forschung, 1997. 124pp. ISBN 3-476-45170-4.

Reviewed by Gregory Hays
University of Illinois, Urbana-Champaign
hays1@uiuc.edu

"As the lights go up, wartime scenes recalling Picasso's Guernica
are projected by video onto the fourth wall ... Clytemnestra, nude and
portrayed as a large-bellied, full-breasted mother animal, is brought onto
the stage on a riser which moves back and forth in a wave-like motion. ...
The role of Agamemnon is played by a mongoloid actor ... who enters
equipped with a royal crown and, seating himself upon a chair, mumbles
unintelligibly into a distorted and overamplified microphone. ...
Cassandra, another full-breasted primordial woman, is rolled in in a
transparent plastic container (representing the imprisonment of the Tragic
Self). ... Clytemnestra now re-enters and slaughters Agamemnon, as a kind
of white linen scrim is quickly drawn across the stage. It suddenly turns
blood red. Clytemnestra then positions herself beneath a shower-head from
which blood flows, turning visibly browner. With obvious pleasure, she
rubs her naked belly with the liquid and screams "merda!" repeatedly over
the corpse of her slaughtered spouse ... Following this horrific tableau,
Aegisthus wildly attacks the leader of the rabbit chorus, who is lamenting
the death of his king; he comes through the scrim of the fourth wall onto
the apron, places the crown on his head, and apostrophizes the still
weeping chorus leader as 'You shitty little rabbit'" (95-6).

Parting Words (copyright, contact information, etc.)