ПА THE DIALOGUE OF THREE WOMEN ABOUT LOVE: PHAEDRA, MARINA CVETAEVA, SARAH KANE
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Abstract
In the classical era wise Euripides despite the dominant thought that he was a fanatic misogynist admires Phaedra’s fiery emotions: in the tragedy “Hippolytus Crowned” (428 BC) he masterfully manages the dramatic heroine, whilst through her vulnerable psyche he displays the disastrous transformation from a naïve emotion to a self-destructive passion;
In bloodstained Europe which is destroyed by the unrestrained Nazistic brutality progressive Marina Tsvetaeva climbs up her own Sisyphus’ rock: she grieves, but she refuses a compromise with the passive futility, she isn’t humiliated by the slow death that the moral system of totalitarianism imposes so cruelly. Her driving force is based on Phaedra’s myth, while in the titular poem (1923) she succeeds in uniting her extramarital quests with the real achievement of intellectual creativity;
Imitating the tragic end of legendary Phaedra and romantic Tsvetaeva Sarah Kane, the controversial author of the theatric work “Phaedra’s love” (1996) ends her short life by hanging. Besides by adopting Brecht’s authentic attitude he irritates the impressed viewers in a constructive way, he doesn’t manipulate them passively, but she attacks the false moral values, while he performs a multidimensional politics and sharp feministic criticism.
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