The drama “Korinfiane” (“Corinthians”) published in 1918 by the Futurist poet Ivan Aksenov

(1884-1935) in the avant-garde publishing house “Tsentrifuga” with a frontispiece by a famous

Constructivist Alexander Rodchenko, stands completely apart from the oeuvre of the learned

Ivanov and pessimistic Annenskii. While based on Euripides’ Medea, all the choral parts were

written in an exuberantly futuristic style, with bold metaphors referring to technological progress

and even to contemporary advertisements. Medea was defined as an ‘princess from Abkhazia,’

Glaucus as a ‘capitalist.’ Medea’s dragons became aviators in Aksenov’s play. This strange play,

written on the eve of the October revolution of 1917, reflects Russian intelligentsia’s search for

new, revolutionary forms, while at the same time making antiquity resonate with a

contemporary, politically radicalized audience.

Special mention should be made of two dramatic poems by one of the greatest poets of the 20th

century Marina Tsvetaeva (1892-1941): “Ariadne” (written in 1924 when the poet was already

living in emigration in Prague) and “Phaedra” (1927). Although Tsvetaeva never studied

classics, a knowledge of antiquity was probably transmitted to her by her father, the

distinguished Russian classicist Ivan Tsvetaev (Torlone 2009:92). A lyrical poet, Tsvetaeva was

less interested in the historical and mythological background of tragedies. She was preoccupied

with exploring the strength of emotions, especially of unrequited love. Her style is highly

expressive and complex. Both poems were planned as parts of a “Theseus” trilogy (the last part,

“Helen,” was never written). In them, Tsvetaeva combined neo-classical elements with Russian

folk traditions. In Tsvetaeva’s interpretation, Theseus abandoned Ariadne on Naxos

intentionally, in order that she may attain a higher level of existence through her marriage with

Bacchus. Phaedra is presented as a victim of the nurse’s persuasion, and the nurse becomes the
embodiment of the power of carnal lust. Unfortunately, “Ariadne” was ignored by the critics, and

“Phaedra” severely criticized, despite the fact that both texts were of outstanding literary quality.

Tsvetaeva eventually abandoned the completion of the trilogy.

As a surprising event for the Russian musical scene, the composer Sergey Taneyev (1856 –

1915) wrote an opera Oresteia in 1894 (it premiered in 1895 in the Maryinsky Theatre in St

Petersburg). He co-wrote the libretto with the writer and translator Alexei Venkstern (1856 –

1909). Taneyev’s first acquaintance with tragedies on ancient subjects was through reading of

Vladislav Ozerov, late 18th century tragedian mentioned above. But, contrary to his predecessor,

Taneyev actually learned Greek and studied ancient history (Belina, Ewans 2010:259). All three

tragedies of the original Oresteia were compressed into the three acts of the opera. The chorus of

the Elders has become the chorus of the people of Argos, whose functions on stage were purely

operatic, and the Furies were of both male and female gender. The characters of Cassandra and

Clytaimnestra were more developed psychologically, the Cassandra-scene being, perhaps, the

most powerful I the entire opera (Belina, Ewans 2010:268-9). At the end, Athena forgives

Orestes because his repentance and suffering have expiated his guilt. This idealistic ending,

almost in the spirit of Leo Tolstoy, with Athena advocating pity and forgiveness, does not seem

very authentic for the world of Greek myths. In addition to his reception of Aeschylus,

Taneyev’s work exhibits the musical influence of Wagner. The critical reception of this

formidable opera has been overall positive (Belina, Ewans 2010:282-3).