And over, and over

Ho Ka Kei’s take on the last canonical part of the story of the House of Atreus; Iphigenia and the Furies (on Taurian Land) opened last night at the Aki Studio in a production directed by Jonathan Seinen.  It’s a very funny and very thought provoking take on the story that will likely be best known to opera goers as the plot of Gluck’s Iphigénie en Tauride.  I want to start with the three questions that the playwright set out to answer:

  • What does it mean for mainly POC’s and marginalized folks to be taking this tale on?
  • What do we gain/ what do we lose/ what may feel erased/ what is truly universal about this tale or is that an assumption due to its status in the canon?
  • When we end a cycle, say a cycle of vengeance, what other cycles emerge?

This interests me especially because I’m not in any real sense a marginalized person.  Indeed I’m almost “archetypically” of the group that has made the classical canon its own; i.e a white male with a traditional classical education(1).

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