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Euripides' Electra (Ancient Greek: Ἠλέκτρα, Ēlektra) is a tragedy probably written in the mid 410s BC, likely before 413 BC.A version of the myth of the house of Atreus, Euripides' play reworks important aspects of the story found in Aeschylus' Oresteia trilogy (especially the second play, Libation Bearers) and also in Sophocles' Electra, although the relative dating of Euripides' and ...
Electra, play by Euripides; Orestes, play by Euripides; Electra, a lost play by Quintus Tullius Cicero of which nothing is known but the name and that it was "a tragedy in the Greek style" Electra (1901) a play by Benito Pérez Galdós; Elektra, a 1903 play by Hugo von Hofmannsthal, based on the Sophocles play
Electra (Greek: Ηλέκτρα Ilektra) is a 1962 Greek film based on the play Electra, written by Euripides.It was directed by Michael Cacoyannis, serving as the first installment of his "Greek tragedy" trilogy, followed by The Trojan Women in 1971 and Iphigenia in 1977.
Euripides [a] (c. 480 – c. 406 BC) was a Greek tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most.
Electra, also Elektra or The Electra [1] (Ancient Greek: Ἠλέκτρα, [2] Ēlektra), is a Greek tragedy by Sophocles. Its date is not known, but various stylistic similarities with the Philoctetes (409 BC) and the Oedipus at Colonus (406 BC) lead scholars to suppose that it was written towards the end of Sophocles' career.
Her work on Euripides' Hecuba has been praised for its "integrity" and "balance", [7] and described as "stimulating and thought-provoking." [8] She is a passionate advocate for the arts. [2] In November 2019, Mossman delivered the Nineteenth Dorothy Buchan Memorial Lecture in Ancient History at the University of Leicester.
The composer in 1911. While based on ancient Greek mythology and Sophocles' tragedy Electra, the opera is highly modernist and expressionist in style. Hofmannsthal's and Strauss's adaptation of the story focuses tightly on Elektra, thoroughly developing her character by single-mindedly expressing her emotions and psychology as she meets with other characters, mostly one at a time.
The story of Orestes was the subject of the Oresteia of Aeschylus (Agamemnon, Choephori, Eumenides), of the Electra of Sophocles, and of the Electra, Iphigeneia in Tauris, Iphigenia at Aulis and Orestes, all of Euripides. [7] He also appears in Euripides’ Andromache.