Script Compiled


Yesterday I compiled all 32 plays into word documents. The page count is 1,637. Wow.

I also did a general format of all the plays. I use the font Calibri, size 11. In case you’re interested.

Also, I do a mass “replace all” to follow every piece of punctuation by a paragraph mark. I do this because it allows me to see each thought more clearly. The next step is for me to “translate” from these wonderful century-old translations* into my bizarre sense of poetry, syntax, and contemporary vernacular. Every word will come from my brain and none of the arrangements chosen by the original translators* will be found in my final draft. Later, I will explain in more detail my “translation” process. (And for the record, I cannot not translate from Ancient Greek.)

The script right now is broken into four sections. I tried to do three sections, reflecting the three days I am proposing for the theoretical festival production, but the third section was too large and kept crashing Word, so I broke the third day into two parts.

The arrangement of the plays may shift as I realize more about the over all narrative I will be creating, but as of now the script is arranged as such:

Day 1: The Leaders. Deals with The Theban plays, those related to Theseus, and others thematically relevant. (The Bacchae, Medea, Oedipus Rex, Ion, Oedipus in Colonus, Seven Against Thebes, The Phoenician Women, The Suppliants, Hyppolytus, and Antigone)

Day 2: The Heroes. Deals with Herakles and The Trojan War. (Prometheus Bound, The Suppliant Maidens, Herakles, Alcestes, The Women of Trachis, Herakles’ Children, Iphigenia in Aulis, Rhesus, Philoktetes and Ajax.)

Day 3: The Lost. Deals with the fallout of the Trojan War, Orestes homecoming and the chaos that ensues. (The Persians, The Trojan Women, Hecuba, Agamemnon, Both Elektras, The Libation Bearers, Andromache, The Eumenides, Orestes, Iphigenia in Tauris, and Helen.)

Parts of the arrangement seem really forced as of now. And some of the plays will need to be conflated together because the narrative story overlaps. And The Persians, what to do with that one?

*My adaptation will be grown from public domain translations done by four great men mostly over a century ago:

Theodore Alois Buckley; Tragedies of Euripides, Volume 1 (1892).

Lewis Campbell; Sophocles: The Seven Plays in English Verse (1883).

E. P. Coleridge; Plays of Euripides, Volume 1 (1910) and Volume 2 (1913)

E. D. A Morshead; Seven Plays of Aeschylus (1881)

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