Dionysus resurrected : performances of Euripides' The Bacchae in a globalizing world
Author(s)
Bibliographic Information
Dionysus resurrected : performances of Euripides' The Bacchae in a globalizing world
(Blackwell Bristol lectures on Greece, Rome and the classical tradition)
Wiley-Blackwell, 2014
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and indexes
Description and Table of Contents
Description
Dionysus Resurrected analyzes the global resurgence since the late 1960s of Euripides' The Bacchae. By analyzing and contextualizing these modern day performances, the author reveals striking parallels between transformational events taking place during the era of the play's revival and events within the play itself.
Puts forward a lively discussion of the parallels between transformational eventsduring the era of the play's revival and events within the play itself
The first comparative study to analyse and contextualize performances of The Bacchae that took place between 1968 and 2009 from the United States, Africa, Latin America, Europe and Asia
Argues that presentations of the play not only represent liminal states but also transfer the spectators into such states
Contends that the play's reflection on various stages of globalization render the tragedy a contemporary play
Establishes the importance of The Bacchae within Euripides' work as the only extant tragedy in which the god Dionysus himself appears, not just as a character but as the protagonist
Table of Contents
Acknowledgments vii
Preface ix
Introduction 1
-Rediscovering The Bacchae -
Part I: Festivals of Liberation: Celebrating Communality 25
Chapter 1: The Birth Ritual of a New Theatre 27
- Richard Schechner's Dionysus in 69 in New York (1968) -
Chapter 2: Celebrating a Communion Rite? 48
- Wole Soyinka's The Bacchae of Euripides at London's National Theatre (1973) -
Chapter 3: Sparagmos and Omophagia 72
- Teat(r)o Oficina's Bacantes in Sao Paulo (1996) -
Part II: Renegotiating Cultural Identities 91
Chapter 4: On the Strangeness and Inaccessibility of the Past 93
- The Antiquity Project at the Schaubuhne Berlin (1974) -
Chapter 5: Performing or Contaminating Greekness? 116
- Theodoros Terzopoulos' The Bacchae in Delphi (1986) -
Chapter 6: In Search of New Identities 136
- Krzysztof Warlikowski's The Bacchae in Warsaw (2001) -
Part III: Productive Encounter or Destructive Clash of Cultures? 157
Chapter 7: Dismemberment and the Quest for Wholeness 159
- Suzuki Tadashi's The Bacchae in Japan and on World Tour (1978-2008) -
Chapter 8: Transforming Kathakali 186
- The Bacchae by Guru Sadanam P. V. Balakrishnan in Delphi and New Delhi (1998) -
Chapter 9: Beijing Opera Dismembered 206
- Peter Steadman and Chen Shi-zheng's The Bacchae in Beijing (1996) -
Epilogue 225
Name Index 231
Subject Index 236
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