b'Jaime Corpmindsets that the work tries to theatrically expose andKekis, O. (2010) Medea Adapted: The Subaltern Barbarian Speaks [Online], interrogate (2000: 200). It is difficult, however, to continuewww.nanopdf.com/download/medea-adapted-the-subaltern-barbarian-speaks_pdf [08/02/19] thinking about Les Atrides as a production of historical responsibility (Bryant-Bertail 2000: 176) when perhapsRevermann, M (2008) The Appeal of Dystopia: Latching onto Greek the most radical of the female characters, Klytaimestra,Drama in the Twentieth Century. Arion: A Journal of Humanities and the Classics, vol. 16, no. 1 [Online], www.jstor.org/stable/pdf/29737379.has been transformed from characteristically like apdf?ab_segments=0%252Fdefault1%252Frelevance_config_with_man (Aeschylus 1995: 12) to the ultra-feminised role indefaults&refreqid=excelsior%3A3eebeb433e03609cee7d54b6f256498b [08/02/19]Mnouchkines production. Said, E. (2003) Orientalism. London: Penguin BooksThe strength of Bryants case for Les Atrides lies in her commentary on the movement (2000: 191) of characters within a power structure. Bryant-Bertails extensive analysis of specific details in the production, the tweak in a costume or return of certain actors, allows an understanding of how Mnouchkine is presenting a flight not to freedom of gender identity but from one constructed position to another, creating a sense of narrative displacement, of a history rolling past to expose a social landscape (2000: 191). It is this social landscape which is being reflected onto the audience and which reinstates the production as historically responsible (Bryant-Bertail 2000: 176).Gender, Empire and Body Politic successfully analyses gender and empire discourses using the production of Les Atrides. Although perhaps the production is not wholly, as Bryant-Bertail argues, historically responsible, her reading of the production as reflecting the audiences interior psyche is proved in discussion of semiotic othering and specific character movement (2000: 176). BryantBertail, S. (2000) Space and Time in Epic Theatre: The Brechtian Legacy. New York: Camden House. Butler, J. (1988) Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. [Online] www.jstor.org/stable/3207893?seq=9#metadata_info_tab_contents [06/03/19] Gnette, G. (1997) Palimpsests: Literature in the Second Degree, London: University of Nebraska Press. Goetsch, S. (1994) Playing against the Text: Les Atrides and the History of Reading Aeschylus. [Online] www.jstor.org/stable/1146381?seq=1#metadata_info_tab_contents [06/03/19] Hutcheon, L. (2013) A Theory of Adaptation, Second Edition, Oxon: Routledge. Ioannidou, E, (2018) Reinscribing the Other in Contemporary Adaptations of Greek Tragedy, in Reilly. K, (ed.) Contemporary Approaches to Adaptation in Theatre, London: Macmillan Publishers Ltd, pp. 191-193. Kekis, O. (2018) Hyper-theatrical Engagement with Euripides Trojan Women: A Female Writ of Habeus Corpus, in Reilly. K, (ed.) Contemporary Approaches to Adaptation in Theatre, London: Macmillan Publishers Ltd, pp. 195-212.25'