Cult Of Dionysus 'By Euripides' The Bacchae

The evolution of society has necessitated that theatre, ever since 6th century Greece, (Foundation, 2016) had to have been developed for modern audiences and this is also attributable to the emergence of contemporary dramatic practitioners. Heritage texts are being re-envisioned by directors to captivate modern audiences, which is illustrated in physical theatre company Zen Zen Zo’s reinterpretation of The Cult of Dionysus (Zen Zen Zo Physical Theatre Company, 1992). This play, adapted from famous Greek playwright Euripides’ original play ‘The Bacchae’, was reinterpreted by director Simon Wood whilst still sustaining the pertinent ideologies and the relevant themes of this era: control, revenge and power. The performance effectively utilises
Employing these methods of movement creates specific mood and tension with the aid of lighting and music. Traditional aspects of Greek theatre such as chorus work, live music and grand gestures, coupled with non-traditional aspects such as actresses, were exploited so the audience could clearly understand the scene (University Press Inc, 2003). Live music is used to build tension as when Dionysus enters the drumming becomes faster. The Bacchic women perform a ritualistic dance routine paired with live music to create tension and an eerie mood. Their dancing is Suzuki inspired therefore being very strong , animalistic and sexual showing Dionysus is controlling the women as he is the god of fertility (Tadashi Suzuki, 1986). Dionysus himself draws on both Butoh and Suzuki styles as his lower body is strong, whereas his upper body movements are floaty and angelic to show that he is a god so he can seduce and control Pentheus whilst still having self-control: a symbol of his half-god, half-human status. The green lighting projected on the Maenads creates an eerie and mystical mood as Dionysus is controlling the women in a trace. Green is often associated with peace which juxtapositions how animalistic the women usually act, with all the Maenads moving softly and utilising Bogart’s viewpoint of tempo to move slowly. Pentheus’ Suzuki
Traditional costuming would not complement this modern adaptation of the script and therefore Japanese inspired costuming was introduced instead of the habitual robes and masks (University Press Inc, 2003). Body paint in theatre, a Butoh influenced method, is applied with Dionysus’ gold body and phallus with grapevine belt to show his role of the god of wine, pleasure and fertility (Dionysus, 1997). The gold colour is associated with gods and power thus showing symbolically his role and value in society. The partial nudity of the bacchic women and Dionysus, influenced by Butoh, alludes that there is a relationship between them as they are his worshipers (Butoh, 2010). Pentheus’ clothes symbolically show he has no power to the women as although he is their king, by disallowing them to worship Dionysus, they do not follow him. This is complemented by the way he is dressed in armour to cover his body, also making himself feel powerful as he is insecure, which can be seen by the use of armour despite a lack of conflict. Pentheus’ blue face paint signifies his regal blood line as blue is associated with sovereignty and authority. The red blood on his neck foreshadows his death therefore losing his role as king and the power that comes with this. Pentheus’ one costume change is a modern dress which is used