Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. This article offers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. The identification of the overarching themes will unveil the spaces for transformation: while Carr focuses on the depiction of a modern and corrupt Agamemnon and the rewriting of strong women, O’Brien adds extra plots and characters to highlight feminist voices, and Hinds eliminates, adds and relocates lines from the original play, to write a more performable version. Conclusions reveal the rewriting of the concept of sacrificial women, and present the three plays as relevant contributions to the reception of Euripides in Ireland.
