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Adventures with Iphigenia in TaurisA Cultural History of Euripides' Black Sea Tragedy$
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Edith Hall

Print publication date: 2012

Print ISBN-13: 9780195392890

Published to Oxford Scholarship Online: January 2013

DOI: 10.1093/acprof:oso/9780195392890.001.0001

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Women’s Adventures with Iphigenia

Women’s Adventures with Iphigenia

Chapter:
(p.256) XII Women’s Adventures with Iphigenia
Source:
Adventures with Iphigenia in Tauris
Author(s):

Edith Hall

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195392890.003.0012

Several significant female cultural figures have used Euripides' Black Sea Iphigenia to reflect on their status as women and as civic subjects. When Lesya Ukrainka began her Ukrainian dramatic poem Iphigenia in Tauris in 1903, Iphigenia finally began to speak as a victim of Russian imperialism in Ukrainian territory (which includes the Crimea), as a lonely woman, a sister, and a socialist revolutionary. Much more recently, three women in the USA have staged Euripides' IT or written adaptations of it which speak to feminist (among other) concerns: JoAnne Akalaitis' Iphigenia Cycle (1997), Ellen McLaughlin's Iphigenia and Other Daughters (1995) and Michi Barall's Rescue Me (A Postmodern Classic with Snacks) (2010). This chapter asks how successfully these productions addressed the problem of making the sexual politics of an ancient play relevant today.

Keywords:   Lesya Ukrainka, Crimea, feminism, women, sexual politics, JoAnne Akalaitis, Ellen McLaughlin, Michi Barall, adaptation

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