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The Bacchae (/ ˈ b æ k iː /; Ancient Greek: Βάκχαι, Bakkhai; also known as The Bacchantes / ˈ b æ k ə n t s, b ə ˈ k æ n t s,-ˈ k ɑː n t s /) is an ancient Greek tragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon.
Polychrates' soldiers free him and Manto and join the Bacchae, fighting against the army of Pentheus. Lacdamos defeats Pentheus in a duel and becomes the new king of Thebes; Dionysus finally ascends to god, while Dirce will lead the Bacchae.
The Bacchae is an independent film adaptation of Euripides' play The Bacchae, produced by Lorenda Starfelt and John Morrissey, and directed by Brad Mays. Production [ edit ]
The Bacchae opened the City Dionysia Festival in Athens in 405 BC and won first prize. The action follows the god Dionysus on his return to the city of Thebes to avenge his mother's reputation and the god's own rejection as the bastard child of Zeus. The title refers to the groups of devoted female followers of the god, who serve as the chorus ...
The Bacchae of Euripides: A Communion Rite is an adaptation by Wole Soyinka of the ancient Greek tragedy The Bacchae by Euripides. Soyinka wrote the play during his exile in Britain. It was first performed on 2 August 1973 by the National Theatre company at the Old Vic in London. [1]
Dionysus in '69 [1] is a 1970 film directed by Brian De Palma, Robert Fiore and Bruce Rubin. The film records a performance of The Performance Group's stage play of the same name, an adaptation of The Bacchae. [2] [3] It was entered into the 20th Berlin International Film Festival. [4]
The Bacchae, also simply known as Bacchae, is a classical Meitei language play, based on an ancient Greek tragedy of the same name, written by Euripides (480-406 B.C.), one of the three tragedians of classical Athens. Directed by Thawai Thiyam, son of Ratan Thiyam, it is based on the story of king Pentheus of Thebes and Olympian god Dionysus ...
Bacchae is an occasion when some women revolted against male authority and broke the bonds tying them to their clear and narrowly defined domestic sphere within a patriarchal society. The Theater as the Other. To be gazed upon by the mask of Dionysus is to cross the threshold between sanity and madness, between the real and unreal.