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|Título: ||Participant theatre: Soyinka’s version of a Greek classic, the Bacchae of Euripides|
|Autores: ||Figueiredo, Rosa Branca|
|Data: ||2015 |
|Editora: ||Dedalus – Revista Portuguesa de Literatura Comparada|
|Resumo: ||When the National Theatre in 1972 commissioned from Wole Soyinka (Nobel laureate, 1986) a new version of The Bacchae of Euripides it was in the fully realized expectation that the distance between ancient Greece and modern world (African and European) would be readily diminished; the resulting play still belongs to ancient Greece and to us.
Both Euripides and Soyinka honour the old stories and the old pieties while exposing them to fresh experiential tests of their validity, and both put authority, order and regiment upon trial. But Soyinka’s play shows that the old turbulent energies, delight and excitements, instinctual aspirations and malignancies have assumed new disguises, put on new masks.
Having had the benefit of both African and European theatrical traditions, Soyinka forges a unique brand of theatre. This essay investigates certain political and mythic elements, which, though present in much of Soyinka’s writing are highlighted in their explicit juxtaposition to Greek tradition. We intend to show that the term participant theatre has especially real significance in Soyinka’s adaptation of this Greek play and that it is not only an intellectual construct. In rewriting The Bacchae of Euripides, Soyinka has made Euripides’ treatment of oppression and religious conflict “relevant” to a new context. This transformation may lead readers to look at both, the original and new version of this play with revived intensit|
|Aparece nas Colecções:||Artigos em Revista Nacional (ESECD)|
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