“Theatre is an ideal model of life and the sole art form that does not have any claims to eternity”, asserts the director Konstantin Bogomolov. His latest production at the Vilnius State Small Theatre, “My Father Agamemnon”, was inspired by the work of the youngest classic of Greek tragedy Euripides (480–405 B.C.). The great tragedian was constantly looking for innovations, sought to actualise the traditional mythological plots by various allusions to reality and to achieve suggestive simplicity in the drama form. In his works Euripides was the first to address the reality of earthly life, which was represented with incisive wit. “My Father Agamemnon” is based on the motifs of his dramas “Iphigenia at Aulis”, “The Trojan Women”, “Helen”, “Hecuba”, and “Orestes”.

Konstantin Bogomolov (b. 1975) is one of the most remarkable directors of contemporary Russian and European theatre. A winner of a great many awards, who has worked in the leading theatres of Moscow, and is currently involved in several important projects in Poland, Germany, and Latvia, the director challenges the traditional treatment of a literary text and the nature of theatre. Bogomolov’s productions are distinguished by polemics and an unorthodox interpretation of reality, which always provokes a heated reaction of the theatre audience, critics, society, and politicians.

Bogomolov chose the most famous tragedy by Euripides, “Iphigenia at Aulis”, as a reference for his dramatization. According to the researchers of Euripides’s work, in this drama the tragedian does not aim to solve the universal problem of fate and focuses his attention exclusively on the spiritual suffering of the young Iphigenia on the threshold of death and salvation. Euripides is not interested in a consistent development of the myth and looks for its most acute moment strongly connected with reality.

While setting the war as a background for the story evolving on stage, Bogomolov focuses on the analysis of the parents-children relations. In the director’s words, “Giving life in his world starts the chain of destruction. Parents become the original evil and a source of eternal danger. Parents devouring their children – this kind of story determined by Iphigenia, seen in her eyes, and narrated by her character can become the semantic axis of ‘My Father Agamemnon’”.

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