Atreus

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Related to Atrides: House of Atreus, Atreidae
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(Greek mythology) the king of Mycenae and father of Agamemnon and of Menelaus

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Les Atrides semblent avoir eu egalement un contentieux avec Palamede (cf.
She recalled her intense experience, while attending a performance in 1984 of the Theatre du Soleil's production of Les Atrides, of the particular moment when the Furies are "tamed.
4) By contrast, Ariane Mnouchkine's recent Les Atrides at the Theatre du Soleil demonstrates, despite exotic elements borrowed from India and Asia, a historical responsibility of which Barthes would surely approve.
The productions have alternated between classical plays like Les Atrides and the Shakespeare cycle (Richard II, Twelfth Night, and Henry IV) and new contemporary creations such as L'Indiade and L'Histoire terrible mais inachevee de Norodom Sihanouk, roi du Cambodge (The Terrible but Unfinished History of Norodom Sihanouk, King of Cambodia).
Aux Atrides qui se debattent sous l'etreinte d'un passe etranger et brutal
200-201) Interestingly, Levinas's use of the Atrides as a backdrop for freedom will be parallelled by Sartre's in Les Mouches.
The theater ensemble of the Tegel prison gives a performance based on works by Aischylos, Heiner Muller, Samuel Beckett, Jean-Paul Sartre, but also tailor-written texts and folk songs that chronicle the bloody history of the Atrides dynasty.
It's been pretty well established by now (The Mahabharata, Les Atrides, The Warrior Ant) that the cross-cultural exercise doesn't give the funny bone much of a workout.
But advance word could hardly have prepared American theatregoers for the power Les Atrides achieved through sheer simplicity and focus.
Consisting of Euripides' Iphigenia in Aulis and Aeschylus' Oresteia trilogy, Les Atrides told the story of the house of Atreus from the sacrifice of Iphigenia to the acquittal of Orestes.
The full-scale chorus is utilized in productions such as Ariane Mnouchkine's Les Atrides and Lee Breuer's The Gospel ar Colonus, in which a fully realized version of a chorus replaces the ancient Greek one, revising it but maintaining "a collective sense of identity" as a part of "a rigourously non-realistic theatrical aesthetic" (63).
The same question could be asked about Simon Abkarian, the frighteningly passive-violent Orestes in Mnouchkine's Les Atrides (her production of Aeschylus' Orestia, which toured to Montreal and Brooklyn last year).
Certainly, for American audiences, this publication will not sufficiently expand impressions of the company's 1992 tour of Les Atrides, which confirmed the Theatre du Soleil's essential qualities, but was compromised by serious cast changes, design modifications and acoustic problems.
A suggestion by business manager Lori Ott prompted the theatre to track down the fabric Ariane Mnouchkine hung in the Brooklyn Armory to improve acoustics for her Les Atrides.
And while Scorcese's Age of Innocence is universally anticipated (I know I can't wait), Ariane Mnouchkine's Les Atrides will require too much explaining to friends outside the business; and Peter Sellars wants to direct more movies, but no more plays; and the best American movie directors (Altman excepted) wouldn't get near a play, to see it much less film it; and Jonathan Demme could do worse than to talk to Mac Wellman; and pardon me, but a majority of those plays currently being converted to celluloid are going to be listless, unnecessary films and join Noises Off and Equus in the Broadway-to-Hollywood waxworks.