Abstract
Iphigenia is not one. She is multiple. Central to Wayne Shorter and esperanza spalding's opera titled …(Iphigenia) is the layered multiplicity of Iphigenias who are sacrificed/martyred, time and again, for the cause of Grecian nation building. Unlike other stage and filmic renditions of the opera that tell Iphigenia's story once, emphasizing the psychic drama of what it means to give one's blood for the ideological cause of nation building, …(Iphigenia) repeats the story piling up bodies on stage. Dressed in pink, red, white, silver, fur and more (Fig. 4), Iphigenia's body becomes multiple, becomes collective, becomes sisterhood, becomes interspecies.
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