By Erika Fischer-Lichte
Dionysus Resurrected analyzes the worldwide resurgence sincethe overdue Sixties of Euripides The Bacchae. through studying and contextualizing those modern-day performances, the writer finds extraordinary parallels among transformational occasions takingplace in the course of the period of the play s revival and occasions withinthe play itself.
Puts ahead a full of life dialogue of the parallels betwee ntransformational occasions through the period of the play s revivaland occasions in the play itself.
The first comparative research to examine and contextualize performances of The Bacchae that came about among 1968 and 2009 from the us, Africa, Latin the United States, Europe andAsia.
Argues that displays of the play not just symbolize liminal states but additionally move the spectators into suchstates.
Contends that the play s mirrored image on quite a few levels of globalization render the tragedy a modern play.
Establishes the significance of The Bacchae inside of Euripides' paintings because the in basic terms extant tragedy within which the god Dionysus himself seems, not only as a personality yet because the protagonist.
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Additional info for Dionysus Resurrected: Performances of Euripides' The Bacchae in a Globalizing World
An answer is given which is equally revealing and difficult. And so on, until every one has contributed at least once . . After every one in the group had participated in the encounter, people could turn on Shephard, who was playing Pentheus at this time. Shephard had to answer the questions, but could not ask any. The game continued until Shephard’s opacity was sufficiently pierced so that he could not respond to the question. Then he said, ‘This is mortifying’, and the game was over. Once the questioning went on for more than an hour.
Many elements emerge during a performance as a consequence of certain interactions. In other words, over its course a performance creates the possibility for all participants to experience themselves as a subject that can co-determine the 20 INTRODUCTION actions and behavior of others and whose own actions and behavior are similarly determined by others. The individual participants – be they performers or spectators – experience themselves as subjects that are neither fully autonomous nor fully determined by others; subjects that accept responsibility for a situation which not all of them have created but which all participate in.
In the 1960s, theatre artists in different Western countries believed that theatre needed to develop from a “hermeneutic,” interpretive institution, which claims to convey timeless values formulated in the texts of the classics, into an unmistakably “political” institution. The primacy of the text was thus refuted. The classical texts were now read in terms of their potential topicality and staged accordingly. That is to say, the dismemberment of the text was no longer hidden but performed demonstratively by different means which, however, were all intended to establish a new relationship between actors and spectators and to open up possibilities for all participants to undergo new, maybe even irritating, experiences.