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This article focuses on the play "Orestes," by Charles L. Mee. Euripedes' "Orestes" is a play of transvaluation, of Athenian policies during the Peloponnesian War, and the validity of the ancient myths. "Orestes" by Mee, is a play of transvaluation of the present age. By recreating the classical tragedy on the ruined landscape of the contemporary world, he implies that the nightmare drama of moral chaos once again has found its audience. In 1920 Max Ernst and Hans Arp, two painters at the center of the movements known as Dadaism and Surrealism, collaborated on a series of collages which they called Fatagaga.

The article presents a discussion involving Aeschylus' dramatic technique with regards to his religious conceptions. The author examines in detail what happens at the end of Cho. and the beginning of Eum., and how the Furies are depicted thereafter. The author attempts to extend his findings by discussing how different plays of the trilogy present supernatural forces in general. According to the author, with regards to Orestes, Aeschylus has been presenting conventions of Greek tragedy, not a miraculous and impossible event, but through one that could plausibly happen in real life.

Examines the theatrical logic of the recognition scene in the play "Choephoroi." Representation of the recognition scene of Orestes and Electra; Impediment of the choreography and break up the symmetrical patterning of strophe and antistrophe by a special structure set up in the orchestra; Ease of playing the recognition scene because of the physical distance between tomb and hiding place.