by Sophocles, Translated by Anne Carson
Directed by Javier Antonio González
Thursday October 15, 8pm
Friday October 16, 8pm
Saturday October 17, 8pm;
Registered attendees will receive a password by email before the event.
After ten years away from home, Orestes has returned to the cursed palace committed to murdering his own mother, while his sister Electra mourns their murdered father and awaits her brother’s foretold arrival. Electra is the climax in a family's ongoing cycle of revenge. In the hands of Anne Carson, the tragedy is an urgent retelling, ripe with poetic humor and truth.
We go to tragedy often because of a missing father (Hamlet, Oedipus) or a father soon-to-be-missed (Death of a Salesman, King Lear). In the case of Electra, a cycle of revenge has landed on the younger generation to sort out. I personally return to Greek tragedy because it allows me to dive into the origins of the patriarchal structure we've inherited and are constantly in a crisis with. As a man raised and educated in Puerto Rico, a territory under siege, I am drawn to classics such as this one as a way to problematize these very systems we are grappling with so tangibly today.
I first envisioned Electra at Barnard guided by the idea of a gigantic statue occupying the stage, the chant "El violador eres tú" and other gestures taking place at protests in Hong Kong and Puerto Rico. Now, as we face the current pandemic, I imagine a fully-outdoor event with some characters live (Orestes & Clytemnestra for sure, and hopefully Electra--conceptually, having her afar could also be powerful), and others remotely. The actors and the limited team should be able to remain fully distant throughout the piece and the rehearsal process.
My vision for Electra at Barnard is guided by the image of a colossal statue, the chant "El violador eres tú," and other gestures that have taken place at protests in Hong Kong and Puerto Rico over the past several years. The production will be a work of virtual theatre combining live action, puppetry, and pre-recorded video. More information will be available at auditions.
If you have any further questions, please email Celia Elisabeth Krefter (Assistant Director) at: firstname.lastname@example.org
Stupid Fucking Bird
A funny, raw remix of Anton Chekhov's, The Seagull, Stupid Fucking Bird explores and explodes the sometimes difficult, sometimes hilarious pursuit of love, life, and art. “Here we are. Here We Are.
Here We Are.
This is real, this is true.
This is new, this is now…
A new place.
A liminal space,
A place of grace
And the boundless pursuit
These are Nina’s first lines in Conrad’s play in Stupid Fucking Bird, Aaron Posner’s smart, funny, and profound adaptation of Chekhov’s The Seagull. But oh wow, it’s also basically my inner monologue for the past 4+ months. 2020 has been… And like many, I’ve been cycling through moments of chaos, adjustment, and equilibrium. Chaos, adjustment, and equilibrium.
What excites me about SFB:
- The biting humor.
- How something written in 2013 speaks so clearly to this present moment.
- Each character’s engagement with and pursuit of Love and Art as they navigate and question their place in a changing world.
- The moments that explode the 4th wall!
- The hopefulness.
As a director, I strive to create a warm, open environment where everyone feels comfortable digging in, asking questions, and trying the silly but possibly also brilliant ideas of their collaborators. In our rehearsal process, I intend to laugh a lot, ask questions, listen, experiment, and think outside of the box. And I’ll encourage the rest of the SFB team to do the same.
This will be a virtual production, and I’m really looking forward to exploring this new method of storytelling with this particular play. (I think they will work beautifully together!) I directed Revolt. She said. Revolt again. at Barnard in 2019, and was deeply impressed by the brilliance, bravery, and curiosity of my collaborators. I can’t wait to join forces with and learn from another talented group of art makers.