Özet:

This article aims to argue that Zinnie Harris’s This Restless House, which is a rewriting of Aeschylus’ The Oresteia, is an attempt to give voice to Clytemnestra’s and Electra’s disregarded wounds, claiming that overlooked and/or suppressed traumas demand to be communicated on stage, seeking justice and solace. The act of rewriting by women is also interpreted as an act of reckoning for the trauma of the negation/misrepresentation of the female voice in the canon. Thus, rewriting a classical play functions on two levels, it helps moving female characters and their traumas centre stage, and with the attendance of the live audience the play experiments with the experience of bearing witness to and transmission of women’s traumatic stories. In the light of trauma theory, acting-out & working-through, hauntology, bearing witness and testimony, this article explores staging uncommunicable traumas and the transmission of traumatic experience through retelling and re-enacting.