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By Jove Theatre Company

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We would like to thank everyone for coming and for sharing their joy with us.

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On 12 June 2021, a group gathered on zoom to celebrate the installation. There were compliments, confessions, scribbles, and a reflection on the project.

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If you want to now, you can visit our response wall, Your Gentlest Work, to leave your thoughts and response inspired by the project.

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This is an end...but not the end. Head back through to find a new section.

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This is an end...but not the end. Head back through to find a new section.

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If you want to now, you can visit our response wall, Your Gentlest Work, to leave your thoughts and response inspired by the project.

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If you want to now, you can visit our response wall, Your Gentlest Work, to leave your thoughts and response inspired by the project.

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This is an end...but not the end. Head back through to find a new section.

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This is an end...but not the end. Head back through to find a new section.

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Video description

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A teenage girl leans out from behind a white marble statue in a  white marble alcove. She is wearing a white bardot top and black trousers. Her arms frame either side of her head.

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A woman stands with her hand on her hip, surrounded by a swirl of rainbow colour and slightly distorted.

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A pair of black scissors lies on yellow rose petals, next to a yellow rose. White background.

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A figure's shoulders are seen in a lying position with the face turned away from the camera. The image appears in unnatural colours against a colourful background.

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A woman is laying down. Another female lies on top of her with her hand placed upon the chest of the woman below. The woman below holds the hand against her. The image is distorted so that the same image is layered and multicoloured against a black background.

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Euripides, Iphigenia in Aulis

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'Iphigenia:
As the suppliant’s olive-branch, I wrap my body around your knees, the body which this woman bore to you.

Don’t kill me before my time! It’s sweet to look upon the light.

Don’t force me to look at the things beneath the earth.

I first called you 'father,' you first called me 'child'. '

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Lilian: "Returning to Hong Kong during the pandemic after living in the UK for a decade, I was struck by how often the city reminds us of our colonial past and how British culture has seeped into our society. A few examples in the film include British-influenced street names, architecture, cuisine and the judicial system. I have also included a number of notable landmarks from the colonial era, such as the City Boundary Stone which used to mark the capital of Victoria City in British Hong Kong, Tai Kwun which was formerly Victoria Prison and the Central Magistracy, and Blake Pier which was named after Hong Kong’s 12th Governor Sir Henry Arthur Blake."

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Goethe, Iphigenie auf Tauris

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'Pylades: So those who kept you safe watched over me, for what I might have been, had you not lived, I cannot bear to think, Since I have never lived nor wished to live other than with and for you, since my childhood.

Orestes: Do not recall to me those happy days when your house gave me room to live in freedom.

Your noble father, wise and loving, nurtured

The tender plant I was, half-frozen dead,

And you, a friend of never-failing humor,

Danced every day about me, full of life,

A light and many-colored butterfly

About a dark flower, playing the light of your own pleasure into my dark spirit,

Till, troubles all forgotten, I with you,

In haste of youth, dreamed and reeled in transport.

My life began when I began to love you.'

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Euripides, Orestes

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'sick, wasted with a savage sickness... his mother’s blood blows him along in frenzy-fits... hidden inside his wraps, when his body gets relief from the illness he is sane and he cries, but at other times he jumps from the bed, running wild like a colt from under the yoke'

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Sophocles, Electra

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'Let’s not stay to hear her cry, her complaints'

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Euripides, Iphigenia in Aulis

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'Clytemnestra:
You married me against my will and took me by force, after killing my first husband, Tantalus. My tiny baby you ripped violently from my breasts and you smashed him on the ground.

And one of these children you will arrogantly steal from me.'

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Euripides, Iphigenia in Aulis

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'Agamemnon:
a fake marriage in exchange for my daughter...
soon she will be bride to death'

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A woman stands reflected in the shower tile and surrounded by steam.

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A kitchen knife lies on a chopping board, next to a chopped onion. An ant circles next to the knife.

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A classical portrayal of Iphigenia being fanned and listening to Orestes

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One figure tackles another round the wait, who leans into the first figure. The image has been layered and appears in multicolour against a colourful background.

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One woman holds a rainbow umbrella on a beach. Two women are standing either side of her and are leaning in and kissing her cheeks.

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Three women sit on top of three tyre swings. Behind them is a row of trees. All three are leaning backwards towards the camera, with their hair swinging towards the ground.

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Postcard showing an outcropping of land in turquoise sea. Text overlay reads 'greetings from Tauris' and text below the image reads 'your home away from home'.

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A postcard showing a rocky ocean cove with turquoise water. Text overlay reads 'Aulis by the sea' and text below the image reads 'lose yourself here'.

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A postcard showing an ancient building on top of a rocky hill; a text overlay reads 'beautiful Mycenae', and text under the image reads 'home of the house of Atreus'.