Ever since Antiquity, the curse on the Atreidae has cast a shadow over western theatre. Both Euripides and Racine wrote of Agamemnon, a father who, to release the winds that would carry the Greek fleet to Troy, offered his daughter Iphigenia as a sacrifice. In Iphigénie, Tiago Rodrigues wonders what Iphigenia’s lot would be if the men who had decided her fate had chosen to not yield to the authority of the gods. This free will-inspired approach appealed to Anne Théron, who often explores the silent scream of women in her stage creations. “Clytemnestra is a gigantic character. She asks the men to give up. She creates for us, as we watch her today, a new memory of tragedy.” Iphigenia, too, is in control of her destiny: “I die because I chose to die. I die to be forgotten. My death belongs to me.” Iphigénie, a show co-produced with the Teatro Nacional São João and whose cast includes two Portuguese actors, brings the focus of history into the warp and weft of human relationships, letting intimacy speak.

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