The traditional Cycle of Classical Plays at Syracuse Greek Theatre into its fifty-second edition: from Friday, May 13 to Sunday, June 19 2016 are taking place every other day of the representations Elektra Sophocles and Alcestis Euripides, and ends with the staging of the Fedra of Seneca on days 23-26 June. As announced by the National Institute of Ancient Drama, presenting the edition, the woman is the absolute star of this season and is precise and original connotations in the texts chosen. The theater of Syracuse, second in size only to that of Epidaurus, will open the dance with the Elektra by Sophocles, directed by Gabriele Lavia and the interpretation of Federica Martino. Translation by Nicola Crocetti, Lavia has drawn the deep strong character of Electra, considerably different from the resigned and helpless protagonist of The Libation Bearers of Aeschylus or Euripides gloomy version, which take a wearying and irremediable guilt. Although the plot is unchanged compared to other transpositions and also here entrusted to the brother of Electra, Orestes, the task to avenge his father Agamemnon, by killing his mother, Clytemnestra, and her lover, Aegisthus, Sophocles has outlined an unexpectedly called female portrait, a Electra determined that rebels against the liabilities of your condition and announces revenge.


Completely different is the pathos that pervades the Alcestis Euripides' tragedy, as announced from Apollo in the prologue, with a happy ending, according to many scholars, a real satyr play to conclusion a tragic tetralogy. Directed by Cesare Slight enhances the translation of Maria Pia Pattoni and especially enhances the interpretation of Galatea Ranzi in the title role, Stefano Santospago in the guise of Heracles and Danilo Nigrelli, who here makes his debut as Admetus. The legend is told that the sacrifice of Alcestis, wife of the king of Fere, Admetus, for which Apollo is able to mediate with the Fates he is permitted to escape Death, provided you find who is offering in its place. Alcestis is sacrificed, bringing out selfishness, cowardice and deceit also of the closest relatives to Admetus, as elderly parents. To restore the happy endings, you must wait for the jovial appearance of Heracles, who coming accidentally learned of the misfortune of his friend, confronts Hades to bring back the gift of the faithful wife.


If Sophocles 'Electra has already been performed at the Greek Theatre of Syracuse three times, in 1956, in 1970 and 1990 and Euripides' Alcestis has had a previous representation in 1992, the Fedra Seneca is an interesting novelty, not confined to a few dates in June, but on the contrary will continue in other important theaters and archaeological sites in the name of a real tour of the tragedy in Sicily. The choice of text is bold and unexpected current and urges directed by Carlo Cericiello to contend with the still open debate about the relationship with the Greek models, ie the Phaedra by Sophocles, but especially the Ippolito crowned Euripides, renovation of the former Ippolito veiled always the same author. At the center of the narrative is the unrequited love of Phaedra (here played by newcomer Imma Villa), second wife of Theseus, for her stepson Hippolytus, that is consumed on the scene between similarities and differences with the Greek tragedies and located in the revelation of their secret and incestuous passion and the inevitable suicide, the only possible outcome. Seneca remove it from the story the internecine war between Aphrodite and Artemis, who in Euripides' Hippolytus and Phaedra text move like pawns, contrasting the desire and the blame of the first to the second virginal chastity. The treatment that makes it, therefore, is much more introspective, deep and follows the emergence and maturation of the feeling of love in Phaedra, describing the degeneration in disease, psychosomatic despair, to allow a modern-sharing for the sad resignation of the protagonist.


Greek Theatre are staged, therefore, unusual women, which deviate from the margin under the thumb of many ancient and transpositions themselves with their experience, proud of their self-denial and self-sacrifice, determined to carry on burning vengeance and ready to follow their passions to death: the tragedy is served.