Στην παρούσα μελέτη οι Βάκχες εξετάζονται ως θεατρικό κείμενο, το οποίο δυνάμει περιέχει τη σκηνική του πραγμάτωση. Η τραγωδία αναλύεται με σκοπό να εντοπιστούν οι σκηνοθετικές ενδείξεις και τα πιθανά σκηνικά προβλήματα και να αναδειχθεί η σχέση και η αλληλεπίδραση κειμένου και παράστασης. / The aim of this study is to present a detailed analysis of the stagecraft of Euripides’ Bacchae. It proposes possible staging arrangements taking into account the text of the play, the staging conventions of 5th century tragedy, the topography of the ancient theatre and parallel scenes from the tragic corpus. The study offers an analysis of the stage action bringing together different elements of performance, such as entrances and exits of the actors and the chorus, masks and costumes, scenery, music and dance, in order to illuminate the meaning constructed by the visual dimension of tragedy.

Zugl.: London, King's College, Diss., 2004.

The first section of this thesis was developed from two major papers I had written during my coursework for the degree. The first, entitled “Orientalism and Dionysos: a look at translations of Euripides’ Bakkhai,” was written for Edwin Genzler’s Translation and Postcolonial Theory class in the spring of 2002. The second, “Postcolonial Greek: Hellenism and Identity in the Early Roman Empire,” was written for Maria Tymozcko’s Translation Theory and Practice class in the spring of 2007. Together, they argue that Greek literature is postcolonial in that it was used by the Roman Empire to certain ends, which resulted in its interpretation being influenced and changed by means of that Roman power and legacy throughout Western Europe, and that Euripides’ Bakkhai in particular was misinterpreted for centuries as a result of that influence. The second section of my thesis is a translator’s note, which discusses the particular theory behind my translation strategy, as well as the choices I made concerning spelling, lines missing from the manuscript, et cetera. The third section of the thesis is the translation itself, on which I began in the fall of 2002 and finished this past summer. The final section of this thesis is a commentary on the play itself. I have focused on the concepts of sophrosune (safemindedness) and paideia (education) around which to weave my analysis. The central idea is that the play serves as a lesson to the audience that sophrosune is part of Dionysos’ sphere, and to deny the life-affirming nature of his ritual is to court danger—the danger of rigidity and oppression. The death of Pentheus, after he rejects this education despite Dionysos’ best efforts to dissuade him, is merely an object lesson, not the repudiation of Dionysos’ worship and the Greek gods as a whole that previous generations have held it to be.

No description available.

This is the first time I choose the play for my project of stage design and costumes and with this thesis there is a qustion I would like to answer to: which is my personal stagn ´s language? That´s why I need a play which helps me to solve this knot.

A tragédia grega As bacantes, de Eurípides, considerada de grande relevância, não apenas literária e teatral, mas, sobretudo, histórica e política, é analisada, nesta dissertação, sob o viés mítico-social, observando-se os diálogos que o poeta estabelece entre um aspecto do passado mítico de sua cultura e seu próprio tempo. Para tal, apresenta-se uma pesquisa acerca do momento histórico da tragédia grega, abordando seu intrínseco valor político, discussões teóricas a respeito de suas características, suas origens, os três principais tragediógrafos e sua recepção, bem como um olhar específico sobre Eurípides e seu legado. Na obra de arte em questão, ressaltamos, em especial, a relação entre as personagens Dioniso e Penteu, como indicadoras dos debates acerca do que se considera civilizado, selvagem ou bárbaro. A esse respeito, verificamos, ainda, pelo lugar de cultura tradicionalmente ocupado por Apolo, em também tradicional oposição a Dioniso, diferentes considerações sobre civilizado, selvagem e bárbaro, bem como a indissociabilidade entre barbárie e civilização, podendo ser balizados conforme valores políticos preponderantes. Tal indissociabilidade consiste na coexistência de elementos de barbárie e de civilização tanto em Dioniso quanto em Apolo, tomados como parâmetros arquetípicos dentro de uma sociedade / Euripides Greek tragedy Bacchae, highly praised for its relevance not only literary and theatrical, but specifically historical and political is analyzed throughout this thesis with a mythic-social idiosyncrasy, by perceiving the inter-established dialogs between the aspect of the poet's own cultural mythic past and his living epoch. Thus, presented is a research about Greeks tragedy historical moment, its intrinsic political value and theoretical discussions upon its characteristics, origins, its three most important play writers and its reception, as well as a specific examination over Euripides and his legacy. In the selected work of art we have mainly observed the relationship between the characters of Dionysos and Pentheus, as debate gauges around what is considered to be civilized, wild or barbaric. In this regard, we uphold, through the position of culture traditionally occupied by Apolo, in traditional as well opposition to Dionysos, different considerations about civilized, wild and barbaric, as well as the indissoluble connection between barbarism and civilization, concepts that can be delimited according to ruling political values. Such inseparable connection consists in the coexistence of barbaric and civilized elements, both in Dionysos as in Apolo, taken after archetypal parameters within a society

A tragédia grega As bacantes, de Eurípides, considerada de grande relevância, não apenas literária e teatral, mas, sobretudo, histórica e política, é analisada, nesta dissertação, sob o viés mítico-social, observando-se os diálogos que o poeta estabelece entre um aspecto do passado mítico de sua cultura e seu próprio tempo. Para tal, apresenta-se uma pesquisa acerca do momento histórico da tragédia grega, abordando seu intrínseco valor político, discussões teóricas a respeito de suas características, suas origens, os três principais tragediógrafos e sua recepção, bem como um olhar específico sobre Eurípides e seu legado. Na obra de arte em questão, ressaltamos, em especial, a relação entre as personagens Dioniso e Penteu, como indicadoras dos debates acerca do que se considera civilizado, selvagem ou bárbaro. A esse respeito, verificamos, ainda, pelo lugar de cultura tradicionalmente ocupado por Apolo, em também tradicional oposição a Dioniso, diferentes considerações sobre civilizado, selvagem e bárbaro, bem como a indissociabilidade entre barbárie e civilização, podendo ser balizados conforme valores políticos preponderantes. Tal indissociabilidade consiste na coexistência de elementos de barbárie e de civilização tanto em Dioniso quanto em Apolo, tomados como parâmetros arquetípicos dentro de uma sociedade / Euripides Greek tragedy Bacchae, highly praised for its relevance not only literary and theatrical, but specifically historical and political is analyzed throughout this thesis with a mythic-social idiosyncrasy, by perceiving the inter-established dialogs between the aspect of the poet's own cultural mythic past and his living epoch. Thus, presented is a research about Greeks tragedy historical moment, its intrinsic political value and theoretical discussions upon its characteristics, origins, its three most important play writers and its reception, as well as a specific examination over Euripides and his legacy. In the selected work of art we have mainly observed the relationship between the characters of Dionysos and Pentheus, as debate gauges around what is considered to be civilized, wild or barbaric. In this regard, we uphold, through the position of culture traditionally occupied by Apolo, in traditional as well opposition to Dionysos, different considerations about civilized, wild and barbaric, as well as the indissoluble connection between barbarism and civilization, concepts that can be delimited according to ruling political values. Such inseparable connection consists in the coexistence of barbaric and civilized elements, both in Dionysos as in Apolo, taken after archetypal parameters within a society

No description available.

The purpose of this thesis is to examine the actor's process in tackling the roles of Harry Dalton in Equus by Peter Shaffer, Duke Senior in As You Like It by William Shakespeare, and Dionysus in The Bacchae by Euripedes. Each production is assigned its own chapter, respectively. The chapters explore each role vocally, psychologically, and physically, including the examination of the Alexander Technique. Reflection on the experience of portraying the character and an evaluation of the actor's growth also transpires. The fourth chapter, Finding My Light, summarizes related observations and analysis as a result of performing all three roles. Finally, the fifth chapter, Curtain Call: A Tableau of Contemplation, deliberates on three years of graduate education. It features the benefits and shortcomings realized as a result of participating as one of the first students the Professional Studio Acting Track of Virginia Commonwealth University.

Η παρούσα εργασία εστιάζεται στη μελέτη των εννοιών Φύσις (= φυσική κατάσταση, φυσική τάση) και Νόμος (= ανθρώπινη σύμβαση, θεσμός, έθιμο) ως διπολικού σχήματος ενταγμένου αφενός στα πλαίσια της διδασκαλίας των σοφιστών και αφετέρου στην τραγωδία του Ευριπίδη Βάκχαι. Κατά τη διάρκεια του 5ου αιώνα π. Χ., εποχής έντονης πνευματικής ζύμωσης εμπνευσμένης από τις κοινωνικές, πολιτικές και πολεμικές συγκυρίες, αναδύεται στη σοφιστική σκέψη το εννοιολογικό και ιδεολογικό αντιθετικό σχήμα Φύσις- Νόμος. Αρκετοί σοφιστές διατυπώνουν πεποιθήσεις που κλίνουν υπέρ της Φύσεως, η οποία ταυτίζεται με το όντως αληθινό και συμφέρον, κατά τον Αντιφώντα, με την πηγή της ελευθερίας, κατά τον Αλκιδάμα, με τη δικαιοσύνη την εκπορευόμενη από την υπερίσχυση του δυνατότερου και με την αναίρεση κάθε σύμβασης, κατά τον Καλλικλή. Κάποιοι άλλοι σοφιστές υιοθετούν θέσεις που κλίνουν υπέρ του Νόμου, ο οποίος αποτελεί πηγή δικαιοσύνης και απαραίτητη προϋπόθεση για την επιβίωση του ανθρώπου, κατά τον Πρωταγόρα, κριτήριο ηθικά ενδεδειγμένης χρήσης των αρετών και εγγυήτρια δύναμη ευπραγίας, κατά τον Ανώνυμο του Ιάμβλιχου. Ποια, όμως, η παρουσία της Φύσεως και του Νόμου μέσα στην ευριπίδεια τραγωδία Βάκχαι; Η παρουσία αυτή γίνεται αντιληπτή κατά την εξέταση της αντιπαράθεσης του θεού Διονύσου με τον ηγεμόνα της Θήβας Πενθέα. Από τη μία πλευρά, η διονυσιακή λατρεία είναι άρρηκτα συνδεδεμένη με τη Φύσιν σε ό,τι αφορά τόσο τις τελετουργικές πρακτικές της, όσο και την υπόσταση του ίδιου του τιμώμενου θεού Διονύσου. Από την άλλη πλευρά, ο ηγεμόνας της Θήβας Πενθέας ενεργεί ως ο θεματοφύλακας του Νόμου, προασπιζόμενος μία συμβατική μορφή δικαίου η οποία δρα ως συνεκτικός ιστός μεταξύ των πολιτών. Είναι, ωστόσο, η έννοια του Νόμου εντελώς εξοβελισμένη από τη διονυσιακή λατρεία, στα πλαίσια της οποίας επιβάλλεται η εφαρμογή ενός συγκεκριμένου τελετουργικού τυπικού; Μήπως ο Νόμος, του οποίου υπεραμύνεται τόσο σθεναρά ο Πενθέας διώκοντας τους μαινόμενους ακολούθους του Διονύσου, είναι αναπόσπαστο κομμάτι της βακχείας; Άραγε ήταν η ανάγκη επίτευξης ισορροπίας ανάμεσα στις δυνάμεις της Φύσεως και τις δυνάμεις του Νόμου η αλήθεια που διέφυγε του Πενθέα, καθορίζοντας έτσι το τραγικό του τέλος; Αυτά είναι τα ερωτήματα στα οποία καλείται τελικά να απαντήσει η έρευνα που διεξάγεται στην παρούσα εργασία. / This essay focuses on the study of the concepts of the Nature (=natural condition, natural inclination) and the Law (=human convention, institution, custom) when linked by a bipolar relationship. The two concepts mentioned above are studied on the one hand within the framework of the teachings of sophists and on the other hand in the context of the tragedy Bacchae of Euripedes. During the fifth century B.C., an age characterized by a long and intense intellectual agitation which was inspired by the social, political and polemic conjunctures, the semantic and ideological antithetical scheme Nature – Law rises out of the thinking of sophists. Some sophists express convictions defending the Nature that is identified with the real truth and the real profit, according to Antiphon, with the source of freedom, according to Alkidamas, with the justice deriving from the prevalence of the strongest person and with the refutation of the conventions, according to Callicles. Some other sophists adopt positions defending the Law constituting the source of justice and a prerequisite for the survival of the humankind, according to Protagoras, a criterion of the morally right use of the virtues and the guarantee of prosperity, according to Anonymous of Iamblichus. But what about the presence of the Nature and the Law in the context of the tragedy Bacchae of Euripedes? This case could be understood after a careful study of the juxtaposition of the god Dionysus to the king of Thebes Pentheus. On the one hand, the worship of Dionysus is indissolubly associated with the Nature as far as both the rites and the substance of the honored god Dionysus himself are concerned. On the other hand, the king of Thebes Pentheus acts as the guardian of the Law defending a conventional form of justice functioning like a binding tie between the citizens. Is, though, the concept of the Law absolutely eliminated from the worship of Dionysus, within the framework of which the application of a specific ritual is imposed ? May the Law, which is defended so vigorously by Pentheus who persecutes the maniac worshippers of Dionysus, constitute a part and parcel of the bacchanals? May the necessity of a balance between the powers of the Nature and the powers of the Law be the principle that escaped Pentheus’ notice determining his tragic end? These are the questions that the research held in this essay aspires to answer.