Euripides’ «The Bacchae», written in 406 B.C., is regarded as one of the greatest and also one of the most mysterious Greek tragedies. Dionysus, the god of intoxication, ecstasy and fertility, descends on the city of Thebes. However, the King, Pentheus, refuses to acknowledge Dionysus as the son of Zeus and a god. He embarks on utterly futile campaign against the cult of Dionysus for which he suffers the most grievous punishment – because the gods are not forgiving. Two irreconcilable principles collide: cool, rational, questioning thought and statesmanship on the one hand and the demand for unconditional faith on the other. Two extreme positions battle for social dominance. Ultimately Dionysus, who will tolerate no dissent, permits his followers, the Bacchae, to take revenge on the King. Because the omnipotence of the gods must not be called into question. Mankind will suffer the consequences in the person of the victim but also in those of the perpetrators once their intoxication has passed. The anti-civilized barbarism of the Bacchae seems more current than ever now as it remains uncertain whether a Europe which sadly commemorates the principles of the enlightenment will win the ideological fight against the self-proclaimed avengers of god.
In Roland Schimmelpfennig one of the most relevant contemporary playwrights has taken on this cruel tragedy and created a precise, unfussy and all the more pitiless new translation, which will be given its world premiere by Robert Borgmann, who was invited to the Berlin Theatertreffen for the second consecutive year in 2015.
- Lili Anschütz
- Philipp Weber
- Lianne van de Laar
- Constanze Kargl
Preisstufe IV Schauspielhaus (von 30.– bis 60.–)