Αικατερίνη Διαμαντάκου-Αγάθου, Αναπληρώτρια Καθηγήτρια, Τμήμα Θεατρικών Σπουδών, ΕΚΠΑ
Ιωάννα Ρεμεδιάκη, Λέκτορας, Τμήμα Θεατρικών Σπουδών, ΕΚΠΑ
Ευανθία Στιβανάκη, Αναπληρώτρια Καθηγήτρια, Τμήμα Θεατρικών Σπουδών, ΕΚΠΑ
Messenger-speech is a continuοus speech in which a messenger narrates events, especially suicides, murders, miraculous occurrences, dismemberments, war conflicts and other violent scenes. He is an eyewitness, a trusted person and always, with some exceptions, unnamed. The messenger sets up the violence with his tragic speech because in classical drama violent scenes are not visible on stage. He reports, for example, the deaths of Creon’s and his daughter in "Medea", the attack on Neoptolemus in Delphi in "Andromache", the description of a battle in "Suppliants", the murder of Aegisthus by Orestes in "Electra", the madness of Hercules and the murder of his family in "Hercules Furens". These are some of the horrible events that messenger narrating to spectators. The spectator in ancient Greek tragedy has to rely on his own ears and his imagination because the messenger uses only his tragic narration to reconstitute the off-stage events.
The present drama analysis approaches Euripidean dramaturgy and focuses the research on these specific dramatis personae The main purpose of this thesis is to present and analyse these remarkable speeches and their importance in ancient Greek tragedy. Furthermore in the second part there will be discussed a few performances of Euripidean tragedies in the 21st century on the modern Greek theatrical stage, attempted by directors such as Lydia Koniordou (Ion, 2003), Vasilis Nikolaidis (Hippolytus, 2004), Damianos Konstantinidis (Heraclidae, 2008), Spyros A. Evangelatos (Phoenissae, 2008), Giannis Houvardas (Orestes, 2010), Michael Marmarinos (Hercules Furens, 2011), Antonis Antypas, (Medea, 2011), Spyros A. Evangelatos (Medea, 2013), Themis Moumoulides (Trojan Women, 2014), Sotiris Hatzakis (Trojan Women, 2015), Louiza Kostoula (Trojan Women, 2016). Each one of the directors aforementioned has approached Euripidean drama from a different point of view and we as spectators have had the opportunity to benefit from unique experimentations on the modern Greek stage.
Messenger, Euripides, performances, drama