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Informationen zum Autor Erika Fischer-Lichte is Professor of Theatre Studies at the Institut für Theaterwissenschaft at the Freie Universitaet of Berlin and Director of the International Research Centre "Interweaving Performance Cultures". She has published extensively on the history of the theatre and on the reception of Greek tragedy. Her most recent publications include Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (2005), The Transformative Power of Performance: A New Aesthetics (2008), and Performance and the Politics of Space: Theatre and Topology (edited with Benjamin Wihstutz, 2012). Klappentext Dionysus 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.* Puts forward a lively discussion of the parallels between transformational eventsduring the era of the play's revival and events within the play itself* The first comparative study to analyse and contextualize performances of The Bacchae that took place between 1968 and 2009 from the United States, Africa, Latin America, Europe and Asia* Argues that presentations of the play not only represent liminal states but also transfer the spectators into such states* Contends that the play's reflection on various stages of globalization render the tragedy a contemporary play* Establishes the importance of The Bacchae within Euripides' work as the only extant tragedy in which the god Dionysus himself appears, not just as a character but as the protagonist Zusammenfassung Before the late 1960s, Euripides The Bacchae had almost no performance record on modern stages. Since then, the tragedy has been staged worldwide. Inhaltsverzeichnis Preface viiAcknowledgments xviiIntroduction 1-Rediscovering The Bacchae -Part I: Festivals of Liberation: Celebrating Communality 25Chapter 1: The Birth Ritual of a New Theatre 27- Richard Schechner's Dionysus in 69in New York (1968) -Chapter 2: Celebrating a Communion Rite? 48- Wole Soyinka's The Bacchae of Euripidesat London's National Theatre (1973) -Chapter 3: Sparagmos and Omophagia 72- Teat(r)o Oficina's Bacantes in São Paulo (1996) -Part II: Renegotiating Cultural Identities 91Chapter 4: On the Strangeness and Inaccessibility of the Past 93- The Antiquity Project at the SchaubühneBerlin (1974) -Chapter 5: Performing or Contaminating Greekness? 116- Theodoros Terzopoulos' The Bacchae inDelphi (1986) -Chapter 6: In Search of New Identities 136- Krzysztof Warlikowski's The Bacchaein Warsaw (2001) -Part III: Productive Encounter or Destructive Clash of Cultures? 157Chapter 7: Dismemberment and the Quest for Wholeness 159- Suzuki Tadashi's The Bacchae in Japan and onWorld Tour (1978-2006) -Chapter 8: Transforming Kathakali 186- The Bacchae by Guru Sadanam P. V. Balakrishnanin Delphi and New Delhi (1998) -Chapter 9: Beijing Opera Dismembered 206- Peter Steadman and Chen Shi-zheng's The Bacchaein Beijing (1996) -Epilogue 225Index of names 00Index of subjects 0...
