Directing Sophocles’ Electra

Zusammenfassung

In his essay “No More Masterpieces,” Robert Brustein suggests that “we regard each new production of a classical play less as a total re-creation of that work than as a directorial essay upon it,” and that each new production “is merely one more perspective on a profoundly complicated tragedy, a perspective that will undoubtedly inspire other productions in reply. And it is this continuing dialogue that keeps masterpieces alive on the stage, just as the dialogue among … critics … helped to keep the plays alive on the page.”¹