Ifigênia de Eurípides: vítima antiga, heroína grega moderna?
DOI:
https://doi.org/10.25187/codex.v7i2.30458Keywords:
Recepção dos Clássicos, Ifigênia, heroínas trágicas, Grécia Moderna, Michael CacoyannisAbstract
Em sua Poética, Aristóteles descarta a caracterização de Ifigênia como inconsistente. Por que a heroína homônima de Ifigênia em Áulis muda de ideia e decide morrer espontaneamente? Essa questão central preocupou não apenas estudiosos clássicos, mas também artistas de recepção. Como a mudança da atitude de Ifigênia, retratada no palco e na tela, afeta a resposta do público à personagem? Ifigênia é uma vítima ou uma heroína (ou uma mistura de ambas)? O cineasta greco-cipriota Michael Cocayannis acreditava ter um relacionamento especial com Eurípides, mas sua interpretação foi moldada por eventos políticos na Grécia moderna e em Chipre nas décadas de 1960 e 1970. Em seu filme Ifigênia (1977), a antiga heroína trágica foi reformulada como uma jovem menina que se sacrifica pela Grécia. Na interpretação anti-guerra de Cacoyannis sobre a escolha de Ifigênia, ela é tanto heroica quanto vítima dos jogos de poder masculinos e da ambição irredentista. A Ifigênia de Cacoyannis é uma heroína de seu tempo, tanto quanto ela é um reflexo de sua antiga antecessora.
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