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ORESTEIA by Aeschylus

  • Friday, August 2
    Curium Ancient Theatre
  • Saturday, August 3
    Curium Ancient Theatre
  • Performances start at:
    Please arrive at the theatre before 20:00

The internationally acclaimed Greek director and teacher, Theodoros Terzopoulos, collaborates for the first time with the National Theatre of Greece and directs Aeschylus’ Oresteia, the only surviving trilogy of ancient drama and also the last surviving work of the tragic poet, in a single performance and with an excellent cast of 32 actors on stage.

Aeschylus draws his material from the myth of the House of Atreus and the terrible curse on the family, composing the trilogy Oresteia (Agamemnon, Choephori, Eumenides).

After ten years of war, the Palace of Mycenae is preparing to welcome its king, Agamemnon, the triumphant general of the Greeks. But his return from Troy also means his death by the hand of his wife, Clytemnestra, with the support of Aegisthus. In Choephori (The Libation Bearers), Orestes’ return will bring the revenge longed for by Electra. The Chorus rejoices at the redemption of the royal house and Orestes prepares to flee as a supplicant to Delphi to seek Apollo’s protection, pursued by the Furies. The Eumenides is based on the creative telling of Attic cult myths about Orestes’ flight to Athens and his trial by the gods of Olympus. Aeschylus’ plot is further enriched by the establishment of the Areios Pagos (Supreme Court) on Athena’s initiative and the court’s involvement in breaking the curse. Balance and reconciliation put an end to the cycle of blood and revenge.

Through his famous Method, the great theatre master, Theodoros Terzopoulos, presents another directorial proposal, aiming to “dig deep into the myth of Oresteia and search for the unpredictable, the unusual and the paradox”.


Helene Varopoulou
Dramaturgy/Direction/Set-Costume design/Lighting design:
Theodoros Terzopoulos
Original music composition:
Panayiotis Velianitis
Irini Moudraki
Dramaturgy advisor:
Maria Sikitano
Assistant to the director:
Theodora Patiti
Set design associate:
Sokratis Papadopoulos
Costume design collaborator:
Panagiota Kokkorou
Lighting design collaborator:
Konstantinos Bethanis
Artistic collaborator:
Maria Vogiatzi


(in alphabetical order)
Cassandra: Evelyn Assouad
Electra: Niovi Charalambous
Apollo: Nikos Dasis
Watchman/Athenian Citizen: Tasos Dimas
Clytemnestra/The Ghost of Clytemnestra: Sophia Hill
Nurse: Elli Ingliz
Orestes: Kostas Kontogeorgopoulos
Aegisthus: David Maltese
Prophetess: Anna Marka Bonisel
Herald: Dinos Papageorgiou
Athena: Aglaia Pappa
Agamemnon: Savvas Stroumpos
Servant: Alexandros Tountas
Pylades: Konstantinos Zografos


Babis Alefantis,
Aspasia Batatoli,
Nikos Dasis,
Katerina Dimati,
Natalia Georgosopoulou,
Katerina Hill,
Elli Ingliz,
Vasilina Katerini,
Thanos Maglaras,
Elpiniki Marapidi,
Anna Marka Bonisel,
Lygeri Mitropoulou,
Rosy Monaki,
Stavros Papadopoulos,
Vangelis Papagiannopoulos,
Michalis Psalidas,
Myrto Rozaki,
Yannis Sanidas,
Pyrros Theofanopoulos,
Alexandros Tountas,
Konstantinos Zografos

Photos by © Johana Weber


Why does Oresteia continue to hold such tremendous attraction? Perhaps this is because there seems to be an intrinsic need within the human being for a profound relationship with Myth.

Oresteia’s myth is dangerous; it belongs to the world of the uncanny and the strange; it brings terror because it reveals the unbowed, violent, and the untamable deepest laws. Clytemnestra invites us to break the mirror together, so that from its fragments a new nightmarish image may be born, but one that nevertheless retains the dark roots of the myth.

Our intention is to study the depth of the myth of Oresteia and to search for the unexpected, the unusual, the paradoxical. The characters offer their bodies on the altar of the unbecoming, posing relentless questions and dilemmas.

The aesthetics of the performance derive from the dynamic relationship of the Body with Myth, Time, and Memory. We raise again the fundamental ontological question “what is it all about?”, a question that does not accept definitive answers, but constantly mobilises us towards an ever-deeper investigation of the root of sound, of the word, of the multiple aspects of the human enigma and the reconstruction of a new Myth.

– Theodoros Terzopoulos


Greece’s first state theatre company was the Royal Theatre, which was founded in 1901 and operated until 1908. It was re-established under the name “National Theatre” in 1930 and opened for the public in March 1932. The National Theatre of Greece (NTG), during its 90 years of existence, has succeeded in creating a powerful theatrical tradition. The NTG Drama School was founded in 1930 and has since operated in tandem with the NTG.

The repertoire of the National Theatre aims at polyphony, promoting a dialogue between tradition, present and future. The revival of Ancient Greek Drama remains a key area of interest for the National Theatre in an effort to combine respect for tradition with new trends. In 1938 the National Theatre of Greece performed its first open-air production of ancient drama, Sophocles’ Electra; the first performance after centuries at the Ancient Theatre of Epidaurus. In 1955 the NTG established the Festival of Epidaurus.

Today, there are six venues in the National Theatre in Ziller Building (2), in Rex Theatre (3) and the School of Athens – Irene Papas (open-air venue). The National Theatre is always open to collaborations with theatres and artists – tours, joint productions with major theatres abroad, participation in international festivals, educational programs, and invitations to important contemporary artists; these are all part of the effort to broaden an already established network. The NTG was a member of the European Theatre’s Union (2009-2020). Since 2022, the NTG is a member of the European Theatre Convention.

The Artistic Director of the National Theatre of Greece is the director Yannis Moschos.