Dionysus Resurrected: Performances of Euripides' The Bacchae in a Globalizing WorldDionysus Resurrected analyzes the global resurgence since the late 1960s of Euripides’ The Bacchae. By analyzing and contextualizing these modern day performances, the author reveals striking parallels between transformational events taking place during the era of the play’s revival and events within the play itself.
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Contents
Introduction | 1 |
Festivals of Liberation Celebrating Communality 25 | 27 |
Celebrating a Communion Rite? | 48 |
Sparagmos and Omophagia | 72 |
Renegotiating Cultural Identities | 91 |
Performing or Contaminating Greekness? | 116 |
In Search of New Identities | 136 |
CONTENTS | 157 |
Transforming Kathakali | 186 |
Beijing Opera Dismembered | 206 |
Epilogue | 225 |
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According acting actions actors adaptation Aeschylus aesthetic Agave allowed American ancient Greek appeared artists audience Bacchae bacchants began beginning Beijing opera birth body bring brought Cadmus celebrated changes character Chinese chorus cited clash continued critic culture dance DIONYSUS RESURRECTED director discussed dismemberment Drama dressed Edited elements encounter Erika Euripides experience festival Fischer-Lichte followed globalization Greece Greek tragedy hand happened head human idea identity images important included individual interpreted Japanese Kathakali kind language later liberation means movements opening original participation particular Pentheus performance play political possible present Press production question quoted reading referred regarded relationship remained represented rite ritual role sacrificial scene Schechner seems sense social society Soyinka space spectators stage Suzuki theatre Tiresias took traditional transformation Translated turned United University Western whole women York