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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.
Dionysus in 69 is an example of Richard Schechner's theories of environmental theater in terms of the uses of the performing space, deconstruction of classic texts, and audience participation. In his book, Schechner describes participation as the opening up of a play so that the audience/spectators can enter into the action—they are included ...
The Bacchae tells the story of Agave killing her young adult son Pentheus. [5] Similarly, Alcmaeon in Corinth incorporated the story of a parent's relationship with a youth. [5] Hall suggests that Alcmaeon in Corinth may have used at least a partially comic tone. [5] This theory is based on a fragmentary dialogue exchange.
As source material, Mee would use Greek tragedy, Shakespeare, Molière, Anton Chekhov, René Magritte paintings, Bollywood musicals, and his own writing. He is the only resident playwright of the theatre ensemble SITI Company, for whom he wrote Orestes, bobrauschenbergamerica, Hotel Cassiopeia, Under Construction, and soot and spit (the musical).
An "unspoken" sparagmos may have been the central element underlying the very genre of Greek tragedy. [1] [2] Maenads and Pentheus, House of the VettiiSparagmos (Ancient Greek: σπαραγμός, from σπαράσσω sparasso, "tear, rend, pull to pieces") is an act of rending, tearing apart, or mangling, [3] usually in a Dionysian context.
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.
[3] [1] In this poem the father describes the slaying of Pentheus by his mother, and takes credit to himself for following her example. [1] Edmonds notes, "The slaying of the boy is the bringing of him to Dionysus, even as the eagles made Ganymede immortal by bringing him to Zeus."
[18] In Shakespeare's Sonnets: The Problems Solved, A. L. Rowse notes that Sonnet 138 shows the "uncompromising realism with which he [Shakespeare] describes it all: it has been said -- rightly-- that there is no woman like Shakespeare's in all the sonnet-literature of the Renaissance. Most of them are abstractions or wraiths; this one is of ...