Spectators, Actors and the American Dramatic Text
Edited By Barbara Ozieblo and María Dolores Narbona-Carrión
Charles Mee’s Intertextual and Intercultural Inscriptions. The Suppliants vs Big Love 105
Charles Mee’s Intertextual and Intercultural Inscriptions The Suppliants vs Big Love∗ Savas PATSALIDIS Aristotle University, Thessaloniki Il n’y a pas de hors-textes (Jacques Derrida) Life [...] is an experience we share with others (Charles Mee) Despite (or because of) the political, technological and other radical changes in our postmodern times, theater artists from all over the world still turn to the Greek classics, perhaps more frequently than any of their predecessors, with a variety of motives. Some are attracted by the mater- ial or the character of the original which in many cases has led to a new version, a self standing work. Others are tempted by the possibilities of restoring the original vision and effect of a play which they deem to have become obscured or distorted (Innes 248, 249).1 Their claim is that no matter how timely some of the classical themes appear to be, the passage of time and social change inevitably leave their mark. As Peter Sellars claims, prefacing the run of his Gulf War adaptation of Aeschy- lus’ The Persians (1993), “a classic is a house we’re still living in. And as with any old house, you’re going to fix it up and add a new wing. It’s not an exhibit. It’s meant to be lived in, and not admired” (qtd. in Lahr 103). Which means that to make this old house a home to reflect the ∗ I would like to thank my colleague Ruth Parkin Gounelas for reading the paper and making useful suggestions....
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