Creation, production


Based on the trilogy by AESCHYLUS directed by GEORGES LAVAUDANT

To stage the Oresteia today, in 2019, two thousand and four hundred years after its creation - what kind of representation is this ? What does it mean ? Can we even conceive, can we even imagine these two thousand and four hundred years ? What a dizzy spell !

To return to the “Greeks”, is to remember that drama is something more than a simplistic and one-dimensional explanation of the world. It works as a cure against populism.

These plays are a weapon (yet oh so pacific !) against sociological analysis of our human behaviors and desires. This is not a reductionist kind of drama that drives you down to trivial news items and turns your mind into a shrunken head. Greek drama (sorry for the anachronism) does not compete with newspapers or television. It is at once poetry, philosophy, story and History, fiction and dream,preaching and moral lesson. It takes you on a high-risk, disorienting journey. It deceives you, it drowns you, it rescues you. The challenging aesthetics and poetics of Aeschylus in this peerless trilogy, its verbal invention, its narrative feeling, the intertwining of psychoanalysis and detective story, make us stronger but also more demanding. How many poor contemporary remakes are made, when the originals are yet to be fully deciphered ? These texts do not lecture us, do not teach us lessons. They are safes made of paper for which the key is yet to be found so as to solve their mysteries; untraceable for the pure reason that this key does not exist and never will. These texts are to be played, proffered, whispered, in front of a silent and enthralled crowd composed of children and old timers, sitting there, all gathered, while once again the night is falling and the stars are beginning to shine - here, let it begin : “I pray the gods to quit me of my toils”...

Georges Lavaudant, 8th of January 2019