Yael Farber uses the Oresteia trilogy as a metaphor through which to revisit the horrors endured by the black majority at the hands of the white minority. But unlike the original, Farber brea
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This turns out to have a devastatingly practical function as well as a symbolic one.As in Strindbergs original, the play is structured as a dance of death (to use another Strindberg title) between two fatally mismatched, inextricably bonded charactersI love this farmIt occurs after that first bruising, blood-drawing sexual collision, as they lie in each others arms, breathing gently and steadilyWorking on the play taught me many things, chief among them being that Strindberg, whose mother was a fierce serving maid, had writtenor, more specifically, suppliedthe bones for the kind of drama it was almost impossible to wreck through interpretation, particularly if you stuck to his major themes, which was how class and power intersected with sex
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