Clytaemnestra: Bridging Ancient Greek Tragedy and Modern Issues
When discussing writer-director Ougie Pak’s second feature, Clytaemnestra (2021), it becomes apparent that a familiarity with the source text, Aeschylus’ classic Greek tragedy Agamemnon, is crucial to fully appreciate the film. For those unfamiliar with the story, here is a brief summary: Agamemnon, leader of the Greek army, inadvertently kills a sacred stag of Artemis before the Trojan War. In retaliation, Artemis withholds the wind, preventing the Greek fleet from sailing unless Agamemnon sacrifices his own daughter, Iphigenia. Agamemnon complies, the Greeks win the war after ten years, and he returns home with a new concubine, Cassandra. Clytemnestra, Agamemnon’s wife, murders both Cassandra and Agamemnon to avenge their daughter’s death and to legitimize her lover, Aegisthus. This act sets off a chain of events that leads to further tragedy within the family. Aeschylus explores these themes in his trilogy, the Oresteia, focusing on the repercussions of these actions on the next generation, particularly on Orestes, Agamemnon and Clytemnestra’s son.
In Clytaemnestra, we are introduced to actress Hye Bin (Kim Haru) as she arrives in Athens to join a Korean production of Agamemnon directed by Kim Jongman. The dynamics within the rehearsal process are already tense as we observe that out of the six cast members, only one is male. The director’s approach to the rehearsals is demanding and at times degrading, as he criticizes the actors, particularly focusing on Hye Bin who plays Clytemnestra. His methods are authoritarian, using loaded questions and harsh critiques that sow discord among the cast members. The director’s insistence on a Brechtian performance style further complicates the actors’ ability to connect with their characters and lines.
As tensions escalate, the director replaces Hye Bin with a more famous actress, Kim Ian, relegating Hye Bin to a lesser role in the production. The arrival of Kim Ian brings a new dynamic to the cast, as her interactions with the director raise questions about power dynamics and manipulation within the rehearsal process. The rivalry between Hye Bin and Kim Ian comes to a head in a physical altercation that mirrors the themes of betrayal and revenge present in the original Agamemnon story. The conflict between the two actresses adds a layer of authenticity and intensity to the film, highlighting the complexities of human relationships and the blurred lines between art and reality.
The film’s raw and unscripted moments capture the raw emotions of the actors as they navigate the challenges of the rehearsal process. The director’s control over the actors and his questionable motives raise ethical questions about the treatment of performers in the pursuit of artistic excellence. The blurred boundaries between fiction and reality within the film mirror the themes of deception and manipulation present in the original Agamemnon story, further blurring the lines between truth and performance.
Subheadings:
The Director’s Authoritarian Approach
Power Dynamics and Manipulation in Rehearsal
Exploring the Boundaries of Art and Reality
Overall, Clytaemnestra offers a thought-provoking exploration of the intersection between ancient Greek tragedy and contemporary issues surrounding power, manipulation, and the ethics of artistic creation. Through its nuanced portrayal of the rehearsal process and the complex relationships between the actors, the film challenges the audience to reflect on the enduring relevance of classical texts and their ability to shed light on the complexities of human nature. As the tensions within the cast reach a boiling point, Clytaemnestra ultimately serves as a powerful reminder of the enduring themes of betrayal, revenge, and the consequences of unchecked ambition that continue to resonate in our modern world.