出版社：Universidad de Aveiro, Departamento de Línguas e Culturas
摘要：In 2015, Tiago Rodrigues staged his trilogy. An anonymous all-female choir
echoes the millenary multiplicity of tragic voices. Memory makes explicit the relationship
of the trilogy on stage with the tradition that rewrites the primordial tragedy. Euripides
and Aeschylus are coalesced as archetypes, but give rise to an interpellation of the
spectator that shatters scenic illusion and causes tragedy and tradition to overflow into
life. The metatheatrical discursive level regulates the communication established between
stage and audience. By the hand of Orestes, Electra becomes the true matricide. He will
depart. He takes guilt with him, thereby restoring possible normalcy in the household.
