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Sophocles is the putative son of Aeschylus, the great “father of tragy.” I maintain that without this, Sophocles’ production would not have reach those levels of perfection that several of his works border on. He, first, adopts it; then he copies it; and finally, he overcomes it. A kind of creative Japanese miracle: it raises the number of actors or representatives to three and gives more voices to the chorus, it breaks up the trilogies, giving freom and autonomy to the works, the theatrical action becomes richer and – one of the transcendental points – humanizes the tragy: it makes that pain more crible, it engages the public with those eyes torn from their sockets, with those braids that imprison the thin neck.

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Although Sophocles uses several myths as the generating engines of his tragies, we cannot deny that talent that abounds in him and that makes human stereotypes trace to this day. Even Freud took Oipus for one of his most hallucinatory business email list theories and his characters continue to be so current : the fights between brothers for the paternal house (Antigone), the interest and love of the children (Oipus at Colonus), the pride of the false desert (Ayax), the forgotten and abandon brother (Electra), the one who does not resolve things (Philoctetes), the fatigue of marriage (The Trachinias).

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 All his themes still circulate in our civiliz society. As I said at some point as a teenager: “After the Greeks, nothingness, total silence.” These, who creat everything, hallucinat everything, liv everything, also creat tragy, as if by chance, in Phone Number IT one of those Dionysian drunkenness that they got into in the name of their god and after several days surround by goats they sang those drunken dithyrambs. that will take shape at the hands of Thespis, who in that traveling wagon gave rise, tomorrow later, to coryphaeians in coturnos and choristers who made the audience crazy with the most disastrous songs, to dark masks, orchestras that hallucinate, now for their era, almost Floydian.

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