An introduction to a classic play
Michael Billington notes in The 101 Greatest Plays: From Antiquity to the Present that Aeschylus’ classical play The Persians is the oldest surviving work of Western drama. First performed at the City Dionysia in 472 BC, The Persians takes a nuanced approach to the matter of war and conquest. It was a direct inspiration for the French national anthem, ‘La Marseillaise’. Percy Shelley’s drama Hellas was written in response to it. It’s the only play from the classical era that deals with historical events rather than mythological ones. In short, The Persians is a fascinating play and Aeschylus’ handling of war is worthy of closer inspection and analysis.
The real-life historical incident which inspired Aeschylus’ play was the Greeks’ victory over Persian forces at the Battle of Salamis in 480 BC. The Persian King Xerxes attacked the Greeks at Salamis in a sea battle because he wanted vengeance following his defeat at the earlier Battle of Marathon ten years before. Given that Aeschylus’ play was first performed just eight years later, many of the spectators in the original audience of The Persians would have either fought in the conflict or known someone who had. In summary, Aeschylus’ play focuses on the Persian court, where Xerxes’ mother, Atossa, and a chorus of old men, await news of Xerxes’ military attack. Unfortunately, when news arrives, it could hardly be worse: Xerxes’ Persian army has been annihilated by the Greeks. Read the rest of this entry
An introduction to a classic play
Iphigenia at Aulis (the title is sometimes rendered as Iphigenia in Aulis) has been criticised for its melodrama, but its portrayal of the central character’s decision to agree to renounce her life for the ‘greater good’, and Agamemnon’s ambivalence about sacrificing his own daughter, make it a curious and satisfying play which repays close analysis and discussion. The play is largely (more on that later) by the Greek tragedian Euripides, and was first performed in 405 BC. In the mid-1550s, Iphigenia at Aulis even provided an unlikely claim to fame in English literature: it became the first piece of dramatic writing to be ‘composed’ by an Englishwoman, when Joanna Lumley (alternatively Jane Lumley) translated Euripides’ play into English, thus becoming effectively the first female dramatist in the English language. (We discuss Lumley in our book of literary curiosities, The Secret Library: A Book-Lovers’ Journey Through Curiosities of History.)
Before we go any further, though, a brief summary of the plot of Iphigenia at Aulis. At the port of Aulis (an ancient port in central Greece), the Greek fleet is all ready to sail off to the Trojan War. But Agamemnon, who will lead the fleet, has been told that in order to get calm winds for the journey, he must make a terrible sacrifice to the goddess Artemis: he must kill his own daughter, Iphigenia. Read the rest of this entry
An introduction to a seminal play
Looking back at Look Back in Anger, we are likely to gauge and analyse John Osborne’s approach to masculinity and relationships differently from the way original theatregoers and critics did (such as Kenneth Tynan, who enthusiastically promoted the play). The play was the inspiration for not one but two important new phrases in the English language to describe British post-war theatre: the phrase ‘angry young men’ was coined to refer to a group of British writers of the 1950s who shared Osborne’s desire to rail against the Establishment, while the term ‘kitchen-sink drama’ also has its roots in Look Back in Anger. The play also inspired the title of an Oasis single ‘Don’t Look Back in Anger’. The play’s influence, it would seem, has spread all over the place. But why is it worth reviving, studying, analysing, discussing, and revisiting?
The circumstances surrounding the writing and staging of the play are as dramatic and interesting as the plot of the play itself. John Osborne wrote Look Back in Anger pretty quickly, in just 17 days, while sitting in a deckchair on Morecambe Pier. At this stage of his life, Osborne was living in a tiny flat in Derby with his wife, the actress Pamela Lane. The marriage was not especially happy by this point, and the home life of Jimmy and Alison Porter in Look Back in Anger sprang from Osborne’s own wedded misery. (Pamela was also having an affair with a dentist, getting more than her teeth seen to, one suspects. Ironically, Osborne, who was an actor as well as a playwright, had recently played a dentist in a production of a George Bernard Shaw play.) Osborne and Lane would later divorce, with Osborne starting a relationship with the actress who played Alison Porter in the original production of Look Back in Anger. Read the rest of this entry