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| | DIDASKALIA: Ancient Theater Today |
 | | This casts a different light on what it means to occupy the centre of the theatrical space, especially where, as with Sophocles's play, Electra refuses to take shelter from the sun inside the palace and is so visibly central, almost transfixed before the audience by her own will and situation. |
 | | In this play the female lamenting voice is restrained, brutalized (inadvertently by Orestes, and by the play deliberately), questioned, partially undercut, put in its place, but nevertheless takes on itself the role of articulating and engaging the audience in the complex ethics of lamentation and vendetta' [19]. |
 | | Understood as a critique of the association of women with tragic lamentation, the play foregrounds a different but no less heroically sustained affirmation, even if dramatic irony also allows this to be seen as a satire on the delusions and illusions of feminine naivety. |
| www.didaskalia.net /issues/vol5no3/milne.html (3808 words) |
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