Tiago Rodrigues: oblivion and rescue. Iphigenia, Agamemnon, Electra or the power of myth on stage

Abstract

In 2015, Tiago Rodrigues staged his trilogy. An anonymous all-female choir echoes the millenary multiplicity of tragic voices. Memory makes explicit the relationship of the trilogy on stage with the tradition that rewrites the primordial tragedy. Euripides and Aeschylus are coalesced as archetypes, but give rise to an interpellation of the spectator that shatters scenic illusion and causes tragedy and tradition to overflow into life. The metatheatrical discursive level regulates the communication established between stage and audience. By the hand of Orestes, Electra becomes the true matricide. He will depart. He takes guilt with him, thereby restoring possible normalcy in the household.