The BacchaeThe Bacchae

EN302: European TheatreEN302: European Theatre

Euripides (c.480-406 BC)Euripides (c.480-406 BC) Wrote 92 plays, of Wrote 92 plays, of

which 19 survivewhich 19 survive Often revisionistOften revisionist Political and religious Political and religious

scepticism scepticism Rarely won first prizeRarely won first prize Prosecuted Prosecuted

(unsuccessfully) for (unsuccessfully) for impietyimpiety

Fled Athens towards Fled Athens towards the end of his lifethe end of his life

The BacchaeThe Bacchae

First performed 405 BC (posthumously)First performed 405 BC (posthumously) Uneasy combination of tragic and comic Uneasy combination of tragic and comic

elementselements Peloponnesian War: Athens under siege Peloponnesian War: Athens under siege

(until 404 BC)(until 404 BC) Euripides had used drama to critique Euripides had used drama to critique

war (war (Women of TroyWomen of Troy)) Athens’ defeat in 404 BC brought the Athens’ defeat in 404 BC brought the

‘golden age’ of tragedy (and ‘golden age’ of tragedy (and democracy) to an enddemocracy) to an end

DionysosDionysos Dionysos’ birth (twice Dionysos’ birth (twice

born)born) Zeus’ ‘male womb’Zeus’ ‘male womb’ Half human (‘My Half human (‘My

daughter had a son who’s daughter had a son who’s now a god’, p. 377)now a god’, p. 377)

Ambiguous identity:Ambiguous identity: both foreign and Greekboth foreign and Greek androgynousandrogynous deceptivedeceptive

Representation of Representation of wildness, irrationality, wildness, irrationality, impulse?impulse?

DionysosDionysos

God of wineGod of wine Wine and theatre:Wine and theatre:

Tiresias says it Tiresias says it ‘stops grief’: ‘How ‘stops grief’: ‘How else could we ease else could we ease the ache of living?’ the ache of living?’ (p. 381)(p. 381)

The The thyrsosthyrsos:: Fennel/pine/ivyFennel/pine/ivy Symbol of fertility Symbol of fertility

and abundanceand abundance

Images of DionysosImages of Dionysos

Images of DionysosImages of Dionysos

Images of DionysosImages of Dionysos

Images of DionysosImages of Dionysos

Dionysos worshipDionysos worship OreibasiaOreibasia (nighttime mountain dancing, (nighttime mountain dancing,

drinking)drinking) SparagmosSparagmos (tearing apart of animal) (tearing apart of animal) OmophagiaOmophagia (eating of raw flesh) (eating of raw flesh) Surrender of self: Surrender of self: ekstasisekstasis (‘standing (‘standing

outside of ourselves’)outside of ourselves’) ‘‘I’ll run them / wild with ecstasy!’ (p. 372)I’ll run them / wild with ecstasy!’ (p. 372) ‘‘Participation mystique’? Participation mystique’?

Coined by French ethnologist Lucien Lévy-Bruhl Coined by French ethnologist Lucien Lévy-Bruhl and made famous by Jung, this term describes a and made famous by Jung, this term describes a state of mind in which no differentiation is made state of mind in which no differentiation is made between the self and things outside the self. between the self and things outside the self.

Dionysos worship in Dionysos worship in The The BacchaeBacchae

Never seen, only describedNever seen, only described By Dionysos, pp. 370-2: By Dionysos, pp. 370-2:

‘‘barbarian joy’, ‘battle’, ‘suffer’, revengebarbarian joy’, ‘battle’, ‘suffer’, revenge By Chorus, pp. 375-6: By Chorus, pp. 375-6:

‘‘sweet’, ‘joy’, ecstasysweet’, ‘joy’, ecstasy By Pentheus (imagined throughout): By Pentheus (imagined throughout):

‘‘lewd’, ‘lusty’ (p. 379 – though Tiresias refutes lewd’, ‘lusty’ (p. 379 – though Tiresias refutes this)this)

By Herdsman, pp. 397-401: By Herdsman, pp. 397-401: ‘‘so strange, so horrible’, ‘great holy cry’, so strange, so horrible’, ‘great holy cry’,

‘eerie’, monstrous, miraculous, graphic violence‘eerie’, monstrous, miraculous, graphic violence sexual undercurrent?sexual undercurrent?

Dionysos worship in Dionysos worship in The The BacchaeBacchae

The The thyrsosthyrsos in in The BacchaeThe Bacchae:: ‘‘armed them all with my green fennel armed them all with my green fennel

wand – in battle it’s an ivied spear’ (p. wand – in battle it’s an ivied spear’ (p. 370)370)

‘‘Guard the violence in your green wand, / Guard the violence in your green wand, / respect its holy power’ (p. 374)respect its holy power’ (p. 374)

At one point, all on stage hold it (Chorus, At one point, all on stage hold it (Chorus, Tiresias, Kadmos) – Pentheus is the only Tiresias, Kadmos) – Pentheus is the only one without. one without.

He grabs Dionysos’ own He grabs Dionysos’ own thyrsosthyrsos later… later…

The Apollonian and the The Apollonian and the DionysianDionysian

From Friedrich Nietzsche, From Friedrich Nietzsche, The Birth of The Birth of TragedyTragedy (1872) (1872) ApollonianApollonian: form, structure, control, rational : form, structure, control, rational

thought, reason, beauty, protection from the thought, reason, beauty, protection from the DionysianDionysian

DionysianDionysian: wildness, irrationality, intoxication, : wildness, irrationality, intoxication, loss of self, animalism, sexuality, lust, crueltyloss of self, animalism, sexuality, lust, cruelty

Nietzsche describes Euripides as ‘a poet who Nietzsche describes Euripides as ‘a poet who fought throughout his long life against fought throughout his long life against Dionysus with heroic force – only to conclude Dionysus with heroic force – only to conclude his life with a glorification of his opponent…’his life with a glorification of his opponent…’

The Apollonian and the The Apollonian and the DionysianDionysian

City vs. mountainCity vs. mountain Pentheus and the repressed Dionysian:Pentheus and the repressed Dionysian:

Pentheus’ descriptions of Dionysos: ‘the stranger with Pentheus’ descriptions of Dionysos: ‘the stranger with the girlish body’ (p. 383); the girlish body’ (p. 383);

cutting of Dionysos’ curls; cutting of Dionysos’ curls; Dionysos’ tucking back of Pentheus’ curls laterDionysos’ tucking back of Pentheus’ curls later

Pentheus draws attention to choice between order Pentheus draws attention to choice between order and chaos: ‘When I come out, I’ll either be and chaos: ‘When I come out, I’ll either be fighting, or I’ll put myself in your hands.’ (p. 405)fighting, or I’ll put myself in your hands.’ (p. 405)

Chorus: ‘A reckless mouth and a mad / defiant Chorus: ‘A reckless mouth and a mad / defiant mind / ruin a man – / but restraint and good mind / ruin a man – / but restraint and good sense / protect him’ (p. 384)sense / protect him’ (p. 384)

Tiresias shows appropriate balance of Apollonian Tiresias shows appropriate balance of Apollonian and Dionysian? He is Apollo’s prophet, but and Dionysian? He is Apollo’s prophet, but worships Dionysos equally…worships Dionysos equally…

The Bacchae and the The Bacchae and the femininefeminine

Bacchae as representatives of Bacchae as representatives of unrestrained femininity (compare unrestrained femininity (compare Furies/Clytemnestra)?Furies/Clytemnestra)?

Only women induced to madness in Only women induced to madness in the playthe play

‘‘We are humiliated / when we let We are humiliated / when we let women act like this’ (p. 401-2)women act like this’ (p. 401-2)

Think about all-male audienceThink about all-male audience

Music and the DionysianMusic and the Dionysian

Music is the most Dionysian of the arts, Music is the most Dionysian of the arts, according to Nietzscheaccording to Nietzsche

Choral odesChoral odes Chorus equate dancing with music, wine and Chorus equate dancing with music, wine and

joy / joy / ekstasisekstasis Ritual element to repetitionRitual element to repetition Suggestion that chorus are drumming (p. 391)Suggestion that chorus are drumming (p. 391)

National Theatre of Scotland production: National Theatre of Scotland production: http://www.youtube.com/watch?v=LnHm3IPmpuU

Dionysos and the theatreDionysos and the theatre Theatre of DionysosTheatre of Dionysos Tiresias on Dionysos: ‘his future power throughout Tiresias on Dionysos: ‘his future power throughout

Greece will be vast’ (p. 381)Greece will be vast’ (p. 381) Chorus as Dionysos-worshippers, calling audience to Chorus as Dionysos-worshippers, calling audience to

join in:join in: they bless those who ‘give body and soul to Bacchus’ (p. they bless those who ‘give body and soul to Bacchus’ (p.

373)373) they condemn Pentheusthey condemn Pentheus

Voice of Dionysos calling (probably singing) from Voice of Dionysos calling (probably singing) from within stage building:within stage building: Supernatural frisson? Supernatural frisson? Literal invocation? Literal invocation? Special effects? Special effects?

Acting as ritual / transubstantiation Acting as ritual / transubstantiation

CommunitasCommunitas From the work of anthropologist Victor Turner (1920-From the work of anthropologist Victor Turner (1920-

83)83) Intense feelings of solidarity and togetherness amongst Intense feelings of solidarity and togetherness amongst

members of a group of people: ‘a direct, immediate and members of a group of people: ‘a direct, immediate and total confrontation of human identities’ (1969: 132) total confrontation of human identities’ (1969: 132)

‘‘Spontaneous communitas has something “magical” Spontaneous communitas has something “magical” about it. Subjectively there is in it the feeling of about it. Subjectively there is in it the feeling of endless power. … It is almost everywhere held to be endless power. … It is almost everywhere held to be sacred or “holy,” possibly because it transgresses or sacred or “holy,” possibly because it transgresses or dissolves the norms that govern structured and dissolves the norms that govern structured and institutionalised relationships and is accompanied by institutionalised relationships and is accompanied by experiences of unprecedented potency.’ (1969: 128-39)experiences of unprecedented potency.’ (1969: 128-39)

Turner, V. W. (1969) Turner, V. W. (1969) The Ritual Process: Structure and Anti-StructureThe Ritual Process: Structure and Anti-Structure, New , New York: Aldine.York: Aldine.

CommunitasCommunitas, ritual and , ritual and performanceperformance

Three phases in a rite of passage: Three phases in a rite of passage: separationseparation, , transitiontransition (‘limen’), and (‘limen’), and incorporationincorporation (‘reaggregation’) (‘reaggregation’)

In liminality, argues Turner, ‘people “play” with In liminality, argues Turner, ‘people “play” with the elements of the familiar and defamiliarise the elements of the familiar and defamiliarise them’ (1982: 27), and where it is ‘socially them’ (1982: 27), and where it is ‘socially positive’, positive’, ‘‘it presents, directly or by implication, a model of it presents, directly or by implication, a model of

human society as a homogenous, unstructured human society as a homogenous, unstructured communitascommunitas, whose boundaries are ideally coterminous , whose boundaries are ideally coterminous with those of the human species. When even two with those of the human species. When even two people believe they experience unity, all people are felt people believe they experience unity, all people are felt by those two, even if only for a flash, to be one.’ (1982: by those two, even if only for a flash, to be one.’ (1982: 47) 47)

Turner, V. W. (1982) Turner, V. W. (1982) From Ritual to Theatre: The Human Seriousness of PlayFrom Ritual to Theatre: The Human Seriousness of Play , , New York: PAJ.New York: PAJ.

Ritual and performanceRitual and performance

Dir. Richard Schechner, Dir. Richard Schechner, Dionysus in Dionysus in 6969:: http://ubu.com/film/depalma_dionysus.h

tml

(Clip played in lecture begins around 14 (Clip played in lecture begins around 14 minutes in)minutes in)

A sceptical A sceptical undercurrent?undercurrent?

Dangers of loss of self / Dangers of loss of self / ekstasisekstasis?? Second messenger describes ‘One hand / made of Second messenger describes ‘One hand / made of

thousands’ contributing to Pentheus’ death (p. 416); thousands’ contributing to Pentheus’ death (p. 416); Agave is ‘empty’ and ‘senseless’, ‘totally possessed by Agave is ‘empty’ and ‘senseless’, ‘totally possessed by

Bakkhos’ (p. 417)Bakkhos’ (p. 417) Cynical presentation of worship?Cynical presentation of worship?

Tiresias (in Bacchic garb): ‘You won’t hear me asking Tiresias (in Bacchic garb): ‘You won’t hear me asking which gods exist / or cross-examining their actions. … The which gods exist / or cross-examining their actions. … The wisest man living, though he brings / to bear his keenest wisest man living, though he brings / to bear his keenest logic, / will never break their grip on our lives.’ (p. 378)logic, / will never break their grip on our lives.’ (p. 378)

Kadmos’s advice to Pentheus to lie: ‘Suppose it’s true / Kadmos’s advice to Pentheus to lie: ‘Suppose it’s true / that Bakkhos is no real god – / proclaim him one. It’s a fine that Bakkhos is no real god – / proclaim him one. It’s a fine distinguished lie!’ (p. 382)distinguished lie!’ (p. 382)

Messenger: ‘The best wisdom is knowing what the gods Messenger: ‘The best wisdom is knowing what the gods want’ (p. 418) – how easy is this?want’ (p. 418) – how easy is this?

Audience’s sympathies?Audience’s sympathies? Is the chorus’ viewpoint a model for ours? Is the chorus’ viewpoint a model for ours?

Do we approve of their bloodlust? Do we approve of their bloodlust? Do we share their rejoicing in the revelation Do we share their rejoicing in the revelation

of Pentheus’ death? of Pentheus’ death? Appearance of Agave late in the play:Appearance of Agave late in the play:

Chorus express pity for her (‘poor woman’, p. Chorus express pity for her (‘poor woman’, p. 420) and for Kadmos (p. 427)420) and for Kadmos (p. 427)

Pentheus’ Pentheus’ hamartiahamartia, Agave’s , Agave’s anagnorisisanagnorisis?? Agave ends by Agave ends by rejectingrejecting Dionysos Dionysos

Dionysos: a capricious Dionysos: a capricious god?god?

Chorus’ presentation of Dionysos as peace-loving: a god Chorus’ presentation of Dionysos as peace-loving: a god who ‘makes men rich / and saves the young men’s lives’ (p. who ‘makes men rich / and saves the young men’s lives’ (p. 386).386).

He says he’s there to teach: ‘this town must learn to He says he’s there to teach: ‘this town must learn to perfection / all my mysteries have to teach’ (p. 371)perfection / all my mysteries have to teach’ (p. 371)

Does Dionysos manipulate Pentheus into committing Does Dionysos manipulate Pentheus into committing blasphemy?blasphemy?

Dionysos’ evident enjoyment of irony:Dionysos’ evident enjoyment of irony: ‘‘it could be it could be youryour face to which the blood will come’ face to which the blood will come’ ‘‘You’ll make me go all to pieces!’ ‘I’d have it no other way’ (p. You’ll make me go all to pieces!’ ‘I’d have it no other way’ (p.

410)410) Smiling mask throughout playSmiling mask throughout play

Cruel?Cruel? Terrifying?Terrifying? Unknowable?Unknowable?

Kadmos recognises Dionysos: ‘You are / Vengeance – Kadmos recognises Dionysos: ‘You are / Vengeance – without feeling or limit’ (p. 429).without feeling or limit’ (p. 429).