“The approach to the same myth in three different ways by as many top creators is inherently a challenge... I therefore aimed to assimilate their discourse by interspersing verses from contemporary poets rather than displaying it in an artificial manner differentiated from today's language,” writes the translator in his introduction, who, after the “Theban cycle” of Sophocles (Oedipus the Tyrant, Oedipus at Colonus, Antigone), continues his triadic approaches to ancient drama, this time focusing on the emblematic figure of Electra.

Electra – daughter of Agamemnon and Clytemnestra, younger sister of Iphigenia and older sister of Orestes – was originally named Laodice and her name was changed because she remained (until the moment of the drama) unmarried: ἀλέκτρος (she who did not know a lektron: bridal bed). According to other mythical traditions, Electra is associated with the mystery worship of the Cabeiri: she was queen of Samothrace and mother of Harmony, whom Cadmus (the founder of Thebes and possibly the brother of Electra) married, thus her name is also linked to the Theban cycle – indeed, one of the seven gates of Thebes was called Electra.

Regarding Dmitris Kalokiris’s translation work, it has been written: “I read the translation of the Theban cycle in the robust and crystal-clear Greek of D.K. It is an ideal means to come into direct contact with ancient Greek discourse; it constitutes a way to read (and enjoy) it as if articulated today.”  Vangelis Chatzivasileiou, periodical The Reader. “D.K. translates the ancient text like a lover of discourse.”  Takis Grammenos, periodical Poetics. “The translator thoroughly researched even metrical allusions, rhythmic imitations, assonances, and subtextual rhymes in the choral odes.”  Anthoula Daniil, periodical Well.