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The Oresteia
The Oresteia
Directed and adapted: by Peter Stein
Directed: by Peter Stein
Translated from German: by Boris Shekasyuk
Sets and costumes: Moidele Bickel
CHORUS: Valeri Abramov, Nikolai Abrashin, Vladimir Burlakov, Anatoli Vasiliev, Igor Kostolevski, Youri Kochnev, Alexander Kutepov, Nikolai Lazarev, Eugeni Mironov, Alexander Mikhailushkin, Vyacheslav Razbegaev, Sergei Sazontiev, Vitali Stremovski, Vladislav Sytch Lyudmila Bogomolova, Olga Vyalikova, Yelena Gabetz, Olga Dzisko, Tatiana Dogileva, Xenia Kudryashova, Natalia Loskutova, Yelena Mayorova, Ela Sanko, Irina Soldatova, Xenia Talyzina, Lyudmila Chursina, Natalia Kochetova
Guard: Vitali Stremovsky
Messenger: Vyacheslav Razbegaev
Agamemnon: Anatoli Vasiliev
Aegisthos: Sergei Sazontiev
Orestes: Eugeni Mironov
Pylades: Vladislav Sytch
Apollo: Igor Kostalevsky
Servant: Alexander Kutepov
Clytemnestra: Tatiana Vasilieva
Cassandra: Natalia Kochetova
Electra: Tatiana Dogileva
Nurse: Olga Dzisko
Pythia: Lyudmila Chursina
Athena: Yelena Mayorova
The Moscow «Oresteia» is a great and captivating performance... Stein took the great risk of making a scenic version that goes against the vogue, affirming the word as the main element of theatre. The risk proved to be justifiable . Nothing was cut, shortened or missed to make life easier for spectators... Stein demands concentration...
Bernd Zucher, Zudedeutche Zeitung:
His «Oresteia» is the classics of classics. It is Russia seen from afar and above. Nothing is particularly surprising in this depiction. This production is Stein's message to Russia, his "humanitarian aid" in the direct sense of these words. His purpose was sharing, helping understand. He performs The Oresteia for us like the Prince of Denmark performed the "Mousetrap", or like inmates of Charanton performed the story of Marat and Marquis de Sade. In other words, «The Oresteia» is an act of recognition, establishment of guilt, therapy.
Yelena Gorfunkel, Nevskoye Vremya:
Peter Stein's The Oresteia is a gigantic structure, erected on the ruins of the former super-theatre. Nobody believed this would be possible or necessary. And only great maximalist Peter Stein disproved these conjectures, fears, doubts and anxieties and against all the putsches and coups confidently and consistently worked to achieve his goal, his Russian Oresteia, letting us discover under the shabby overcoat of socialist realism the snow-white classical tunic of Athena...
Sergei Nikolayevitch, Ogonyok :
The project involved enormous risks, but Stein's sociocultural attraction proved to be exceptionally timely. The choice of venue was perfect, for this theatre is an ideal place for the history of the accursed family, culminating in the lifting of the curse.
Boris Yukhananov Kommersant-Daily: