This article discusses Yaël Farber’s 2003 play Molora within the context of the South African Truth and Reconciliation Commission, which Farber consciously draws on through the play’s themes, characters, and narrative structure. At the same time, however, Molora is also an adaptation of Aeschylus’s Oresteia, with strong parallels established especially to the trial scene at the end of the trilogy’s final play, the Eumenides. In this article I analyse the relationship Farber establishes to both Aeschyus’s trilogy and ancient Greek staging conventions in general, while also discussing how she integrates the ancient Greek narrative into a South African post-Apartheid context. Thereby, particularly the parallels Farber draws between the establishment of the ancient Greek law-court, the Areopagus, with the South African TRC will be assessed, with a particular focus on issues of visualization, representation, performativity, and communal memory.

中文翻译：

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“如果你的行为是公平的，你为什么需要黑暗？”：在 Yaël Farber 的 Molora 中上演死亡、暴力和 TRC

本文在南非真相与和解委员会的背景下讨论了 Yaël Farber 2003 年的戏剧 Molora，Farber 通过该剧的主题、人物和叙事结构有意识地借鉴了该委员会。然而，与此同时，《摩洛拉》也是对埃斯库罗斯的《俄瑞斯忒亚》的改编，特别是与三部曲最后一部《欧墨尼得斯》结尾的审判场景建立了强烈的相似性。在这篇文章中，我分析了法伯与埃斯丘斯的三部曲和古希腊舞台惯例的总体关系，同时还讨论了她如何将古希腊叙事融入南非种族隔离后的语境中。因此，特别是法伯在建立古希腊法院 Areopagus 与南非 TRC 之间的相似之处将被评估，