Concordia’s Theatre department revives Euripides’ The Bacchae in its end-of-year production. This antique tale set in Thebes, Greece, which discusses the perpetual tragedy of human condition, is brought back to life under the direction of Harry Standjofski, a veteran of Montreal’s theatre scene who graduated from Concordia.
The story goes that Agave’s sister bedded Zeus, the King of gods and gave birth to a son, Dionysus alias Bacchus in Latin. The play focuses on the dispute on whether Dionysus exists or not. The followers of Dionysus come to Thebes. But Pentheus, the king of Thebes and son of Agave, refutes the existence of Dionysus.
The play is a clash between the believers and the opponents, a struggle where there can be no winner, for the ways of the gods are beyond the scope of mortal theatre goers.
Mindy Parfitt, who plays the role of Agave, gives us a few hints on how to approach the play. “The Bacchae brings up some very interesting themes about super-natural powers or God, and how we relate to it, how we deal with it and how we can work with it.”
Dionysus is the god of theatre, of wine, and of debauchery. He is a very sexual figure, yet maintains an ambiguity on his own sex. In order to represent this ambiguity, Dionysus will be played alternatively by an actor and an actress, thus creating the illusion and questioning his (a)sexuality.
In the context of tragedy, Dionysus is an element of joy and a relief of grief.
Initially, the theatre was created around the celebration of Dionysus. The Bacchae is part of our theatrical canon and few have the opportunities to see and revisit it.
Standjofski had to deal with a number of stylistic challenges facing the play.
How do we make it approachable for a contemporary audience? How do we restore the philosophical and social relevance of a play written 2,500 years ago? How does the play carry its meaningful horror?
“Ultimately The Bacchae is Euripides’ call for tolerance against fundamentalism of any kind,” said Standjofski. “While we search for this truth – if it is there for us to understand at all – let us not beat down, through our arrogance, those who do not believe what we believe.
“Witness the on-going struggles in the Middle East and the Balkans, as well as our own racism and intolerance here at home to see how absolutely contemporary this play still is,” he added.
“The interesting twist to this play is that everyone gets punished for their actions, even those who believed in [Dionysus],” said Parfitt. But isn’t that the essence of tragedy?
The Bacchae enacts the perpetual tension between the righteousness of the established order and the characters’ good intentions. But how can we in this
context take responsibility for our deeds?
At any rate, Standjofski promises “a feast for the eyes” All our senses will be honoured. A student from the music department has composed the music.
Standjofski insists on the importance of an arts community. The Bacchae acted, designed, run by students will give us a good opportunity to evaluate Concordia’s performance on the theatrical scene.
The story goes that Agave’s sister bedded Zeus, the King of gods and gave birth to a son, Dionysus alias Bacchus in Latin. The play focuses on the dispute on whether Dionysus exists or not. The followers of Dionysus come to Thebes. But Pentheus, the king of Thebes and son of Agave, refutes the existence of Dionysus.
The play is a clash between the believers and the opponents, a struggle where there can be no winner, for the ways of the gods are beyond the scope of mortal theatre goers.
Mindy Parfitt, who plays the role of Agave, gives us a few hints on how to approach the play. “The Bacchae brings up some very interesting themes about super-natural powers or God, and how we relate to it, how we deal with it and how we can work with it.”
Dionysus is the god of theatre, of wine, and of debauchery. He is a very sexual figure, yet maintains an ambiguity on his own sex. In order to represent this ambiguity, Dionysus will be played alternatively by an actor and an actress, thus creating the illusion and questioning his (a)sexuality.
In the context of tragedy, Dionysus is an element of joy and a relief of grief.
Initially, the theatre was created around the celebration of Dionysus. The Bacchae is part of our theatrical canon and few have the opportunities to see and revisit it.
Standjofski had to deal with a number of stylistic challenges facing the play.
How do we make it approachable for a contemporary audience? How do we restore the philosophical and social relevance of a play written 2,500 years ago? How does the play carry its meaningful horror?
“Ultimately The Bacchae is Euripides’ call for tolerance against fundamentalism of any kind,” said Standjofski. “While we search for this truth – if it is there for us to understand at all – let us not beat down, through our arrogance, those who do not believe what we believe.
“Witness the on-going struggles in the Middle East and the Balkans, as well as our own racism and intolerance here at home to see how absolutely contemporary this play still is,” he added.
“The interesting twist to this play is that everyone gets punished for their actions, even those who believed in [Dionysus],” said Parfitt. But isn’t that the essence of tragedy?
The Bacchae enacts the perpetual tension between the righteousness of the established order and the characters’ good intentions. But how can we in this
context take responsibility for our deeds?
At any rate, Standjofski promises “a feast for the eyes” All our senses will be honoured. A student from the music department has composed the music.
Standjofski insists on the importance of an arts community. The Bacchae acted, designed, run by students will give us a good opportunity to evaluate Concordia’s performance on the theatrical scene.
The Bacchae by Euripides is playing at the D.B. Clarke Theatre on March 30, 31,
April 1,5,6,7 at 8:00 pm, and a Matin
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