Dionysus in '69 (theatrical production)

Dionysus in '69 was a theatrical production by The Performance Group, a New York based experimental theater group. Dionysus in '69 was directed and conceived by TPG’s founder and long-time artistic director Richard Schechner. The stage play was an adaptation of Euripides' The Bacchae.[1] Dionysus in '69 is an example of Richard Schechner’s practice of Environmental Theatre (see Schechner's book, "Environmental Theater" (1973), utilizing space and the audience in such ways as to bring them in close contact with each other. Dionysus in '69 challenged notions of the orthodox theater by deconstructing Euripides' text, interpolating text and action devised by the performers, and involving the spectators in an active and sensory artistic experience.[2] Brian de Palma, Bruce Rubin, and Robert Fiore made a film of Dionysus in 1970. The film records and merges the final two performances of the 1968 stage play.[3][4]

Cast

The Bacchae

The Bacchae is a play written by the Greek playwright Euripides. The play opened at the City Dionysia Festival in Athens in 405 B.C. and won first prize. It follows the God Dionysus on his return to the city of Thebes to avenge his mother’s reputation and the God’s own rejection as the bastard child of Zeus. The title refers to the groups of female followers of the God, who serve as the chorus in the play, and would engage in ecstatic rituals to the point of euphoric delirium motivated by the God’s association with wine, sexuality, celebration and the theater. The play deals with the themes of religion, sexuality, sacrifice and devotion.[6]

Project details

Dionysus in '69 is an example of Richard Schechner’s theories of Environmental Theater in terms of the uses of the performing space, deconstruction of classic texts, and audience participation. In his book, Schechner describes participation as the opening up of a play so that the audience/spectators can enter into the action—they are included in the world of the drama which is made all the more actual by their participation. As Schechner writes in Environmental Theater (1973): “The transformation of an aesthetic event into a social event—or shifting the focus from art-and-illusion to the formation of a potential or actual solidarity among everyone in the theater, performers and spectators alike.” Dionysus in 69 created an atmosphere in which participation ranged from clapping and singing to spectators stripping and joining in the ritual celebrations and dances.[7] After working on Dionysus in '69, Schechner composed three rules regarding participation:

1. The audience is a in a living space and a living situation. Things may happen to and with them as well as “in front” of them.

2. When a performer invites participation, he must be prepared to accept and deal with the spectator’s reactions.

3. Participation should not be gratuitous.

Schechner also notes that the key to participation is that it fundamentally changes the nature of the performance, its rhythms and outcomes. He states that, “Without this potential for change participation is just one more ornamental, illusionistic device.”[8]

Previous to Dionysus in '69, Schechner practiced and theorized "Six Axioms for Environmental Theater". These axioms were enacted in Dionysus in '69 (as well as in other of Schechner's theatre pieces): 1. The theatrical event is a set of related transactions 2. All the space is used for performance; all the space is used for audience. 3. The theatrical event can take place either in a totally transformed space or in found space. 4. Focus is flexible and variable. 5. All production elements speak in their own language. 6. The text need be neither the starting point nor the goal of a production. There may be no text at all.

Critical reception and influence

Dionysus in 69 was widely considered to be Schechner's seminal work. It is often looked to as the piece that broke ground on the movement of Happenings in American theatre and performance art. Jill Dolan, of Princeton University, says of Schechner's work on Dionysus: "Schechner [made environmental staging] famous, in which the audience is interspersed with the actors, in a way that refuses the conventional separation between spectators and performers.”[9] The production also gained something of a cult following, with audiences who returned to see (or participate in) the show again and again. This was so much the case that when, during a performance in which the audience held a revolt of sorts and several students "rescued" the actor playing Pentheus, removing him from the performance over the objections of other cast members. Schechner then asked the audience for a volunteer to replace the actor playing Pentheus in order to complete the performance, and a spectator who had been many times before and was familiar with the piece volunteered to fill in the role.[10] Although wrought with controversy, the New York Times called Dionysus in 69 "a production of extraordinary grace and power."[11]

References

  1. ↑ Euripides, and G. S. Kirk 1970
  2. ↑ Schechner 1973
  3. ↑ Brian De Palma: interviews - Brian De Palma, Laurence F. Knapp - Google Books. Books.google.com. Retrieved 2012-03-27.
  4. ↑ Greenspun, Roger (1970-03-23). "Movie Review - Dionysus in 69 - Screen::De Palma's 'Dionysus in 69' - NYTimes.com". Movies.nytimes.com. Retrieved 2012-03-27.
  5. ↑ IMDB "Dionysus"
  6. ↑ Euripides, and G. S. Kirk 1970
  7. ↑ Schechner 1973
  8. ↑ Schechner 1973
  9. ↑ Dolan, Performance Studies Symposium
  10. ↑ Schechner 1973
  11. ↑ New York Times 1970

External links

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