The Revolutionary Intertextuality of Molora by Yäel Farber

This article focuses on the challenging intertextual phenomenology characterising the play Molora by South African playwright and director of international acclaim Yäel Farber. Premiered in Grahamstown in 2003, and published in 2008 after award-winning national and international tours, Molora is...

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Autor principal:	Zinato, Susanna
Formato:	article
Lenguaje:	DE EN ES FR IT NL PT RU
Publicado:	Edizioni Ca’ Foscari 2021
Materias:	Yäel Farber. Molora. Intertextuality. Intertextuality and hermeneutics. Greek tragedy in post-Apartheid theatre. Transcultural intertextuality. Language and Literature P Language. Linguistic theory. Comparative grammar P101-410
Acceso en línea:	https://doaj.org/article/a64b370c4a9746c6a86d6d54040c3aae
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spelling	oai:doaj.org-article:a64b370c4a9746c6a86d6d54040c3aae2021-11-18T11:17:54ZThe Revolutionary Intertextuality of Molora by Yäel Farber2499-156210.30687/AnnOc/2499-1562/2021/09/006https://doaj.org/article/a64b370c4a9746c6a86d6d54040c3aae2021-09-01T00:00:00Zhttps://edizionicafoscari.unive.it4/riviste/annali-di-ca-foscari-serie-occidentale/2021/55/the-revolutionary-intertextuality-of-molora-by-yae/https://doaj.org/toc/2499-1562 This article focuses on the challenging intertextual phenomenology characterising the play Molora by South African playwright and director of international acclaim Yäel Farber. Premiered in Grahamstown in 2003, and published in 2008 after award-winning national and international tours, Molora is a radical adaptation of Aeschylus’ Oresteia. It dramatises the challenges faced by South Africa in the highly-charged post-Apartheid aftermath, through dramatic confrontations between Klytemnestra, Elektra, and Orestes echoing the testimonies delivered by perpetrators and victims on the TRC’s ‘stage’, and through a chorus made up of seven Xhosa matriarchs belonging to the Ngquoko split-tone singers, who witness, comment on and significantly participate in the play’s action. Molora’s complex intertextual construction and dynamic are shown to call for a hermeneutical approach careful to avoid simplifying presentifications, as well as any possible fracture with extratextuality. Intertextuality, in fact, is here given the task to creatively and syncretically combine the ancient Greek text with the indigenous Xhosa text through a process of transcultural imbrication that, from beginning to end, exudes the tragedies of all-too-present history while instantiating a revolutionary use of memory. Zinato, SusannaEdizioni Ca’ FoscariarticleYäel Farber. Molora. Intertextuality. Intertextuality and hermeneutics. Greek tragedy in post-Apartheid theatre. Transcultural intertextuality.Language and LiteraturePLanguage. Linguistic theory. Comparative grammarP101-410DEENESFRITNLPTRUAnnali di Ca’ Foscari. Serie Occidentale, Vol 55, Iss 55, Pp - (2021)
institution	DOAJ
collection	DOAJ
language	DE EN ES FR IT NL PT RU
topic	Yäel Farber. Molora. Intertextuality. Intertextuality and hermeneutics. Greek tragedy in post-Apartheid theatre. Transcultural intertextuality. Language and Literature P Language. Linguistic theory. Comparative grammar P101-410
spellingShingle	Yäel Farber. Molora. Intertextuality. Intertextuality and hermeneutics. Greek tragedy in post-Apartheid theatre. Transcultural intertextuality. Language and Literature P Language. Linguistic theory. Comparative grammar P101-410 Zinato, Susanna The Revolutionary Intertextuality of Molora by Yäel Farber
description	This article focuses on the challenging intertextual phenomenology characterising the play Molora by South African playwright and director of international acclaim Yäel Farber. Premiered in Grahamstown in 2003, and published in 2008 after award-winning national and international tours, Molora is a radical adaptation of Aeschylus’ Oresteia. It dramatises the challenges faced by South Africa in the highly-charged post-Apartheid aftermath, through dramatic confrontations between Klytemnestra, Elektra, and Orestes echoing the testimonies delivered by perpetrators and victims on the TRC’s ‘stage’, and through a chorus made up of seven Xhosa matriarchs belonging to the Ngquoko split-tone singers, who witness, comment on and significantly participate in the play’s action. Molora’s complex intertextual construction and dynamic are shown to call for a hermeneutical approach careful to avoid simplifying presentifications, as well as any possible fracture with extratextuality. Intertextuality, in fact, is here given the task to creatively and syncretically combine the ancient Greek text with the indigenous Xhosa text through a process of transcultural imbrication that, from beginning to end, exudes the tragedies of all-too-present history while instantiating a revolutionary use of memory.
format	article
author	Zinato, Susanna
author_facet	Zinato, Susanna
author_sort	Zinato, Susanna
title	The Revolutionary Intertextuality of Molora by Yäel Farber
title_short	The Revolutionary Intertextuality of Molora by Yäel Farber
title_full	The Revolutionary Intertextuality of Molora by Yäel Farber
title_fullStr	The Revolutionary Intertextuality of Molora by Yäel Farber
title_full_unstemmed	The Revolutionary Intertextuality of Molora by Yäel Farber
title_sort	revolutionary intertextuality of molora by yäel farber
publisher	Edizioni Ca’ Foscari
publishDate	2021
url	https://doaj.org/article/a64b370c4a9746c6a86d6d54040c3aae
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The Revolutionary Intertextuality of Molora by Yäel Farber

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