Showing results by author "Ian Johnston - translator" in All Categories

The three Theban plays by Sophocles - Oedipus the King, Oedipus at Colonus and Antigone - are great landmarks of Western theatre. They tell the story of Oedipus, King of Thebes, who was destined to suffer a terrible fate - to kill his father, marry his mother, and beget children of the incestuous union. He does this unknowingly but still has to suffer terrible consequences, which also tragically affect the next generation.

In The Oresteia, Aeschylus dramatizes the myth of the curse on the royal house of Argos. The action begins when King Agamemnon returns victorious from the Trojan War, only to be treacherously slain by his own wife. It ends with the trial of their son, Orestes, who slew his mother to avenge her treachery - a trial with the goddess Athena as judge, the god Apollo as defense attorney, and, as prosecutors, relentless avenging demons called The Furies.

The Trojan War is over, and Odysseus, the cunning King of Ithaca, sets out for home, his wife Penelope, and his son, Telemachus. It proves a long, 10-year journey, fraught with dangers.

Perhaps the greatest poem of the Western world, The Iliad tells the story of 50 critical days towards the end of the Trojan war. Achilles has quarrelled with Agamemnon and sulks in his tent, while Hector brings his Trojans to the brink of victory; but fate will have the last word.

Euripides's play follows the fates of the women of Troy after their city has been sacked, their husbands killed, and their remaining families taken away as slaves. It serves as an anti-war narrative as it highlights the suffering of the women left behind. The tragedy also calls attention to how women were treated as commodities in the past by showing how they were divided among the remaining men as spoils of war.

One morning, traveling salesman Gregor Samsa wakes from an anxious dream to discover that he has inexplicably changed into a monstrous insect. Nonetheless, life goes on, and poor Gregor is left to deal not only with the existential questions of who or what he now is but also with more mundane concerns: his job (which he fears he’ll lose), his loved ones (whom he fears he disgusts), and the daily indignities of everyday life (which continue apace). Soon, even those who sympathize with his bizarre predicament begin to lose their patience....

This play forms part of a tetralogy which focuses on one of Wedekind's obsessive themes: the destructive interplay between primal sexual urges and social convention. Each play revolves around a powerful young female character, who has the power to control and captivate men, but who in turn is destroyed by the exercise of that power. In Castle Wetterstein, that role is represented by Effie, the young daughter of a bourgeois widow, who is being courted by the man who killed her late husband in a duel.

The Trojan War is over, and Odysseus, the cunning king of Ithaca, sets out for home, his wife Penelope, and his son Telemachus. It proves a long, 10-year journey, fraught with dangers, from Polyphemus, the one-eyed Cyclops, and the seductive Sirens, to the love of Calypso on her all-too-comfortable isle.