BACCHAI | 1986

by Euripides



A’ performance: 17 June 1986, Delphi Ancient stadium, Delphi, Greece


Translation: Leonidas Zenakos
Direction: Theodoros Terzopoulos
Stage/ Costumes design: Giorgos Patsas
Music: Nikos Philippidis


Dionysus: Akis Sakellariou
Teiresias: Sophia Michopoulou/ Tasos Dimas
Agaue: Sophia Michopoulou/ Eurykleia Sofroniadou
Messengers A & B: Giorgos Symeonidis
Pentheus: Dimitris Siakaras
Cadmus: Theodoros Polyzonis/ Stelios Penteridis
Chorus: Kalliope Tachtsoglou/ Eurykleia Sofroniadou



17 June, Ancient Stadium of Delphi, 2nd International Meeting of Ancient Drama, Delphi, Greece
15, 16, 17 July, Amfiteatro Romano, Festival de Teatro Clasico, Merida, Spain
23, 24 July, Teatro Romano, Festival International de Teatro, Malaga, Spain
1 August, Open Air Theatre, Toga International Arts Festival, Toga, Japan
7 August, Kintetsu Theatre, Arts Festival ’86, Ozaka, Japan
15, 16 October, Theatre C.Μ.S., Demetria, Thessaloniki


23 January, Berliner Ensample, 750 Jahre Berlin, Berlin, Germany
21, 22 March, Fairfield Theatre Melbourne, The Antipodes Festival,Melbourne, Australia
23 – 28 March, Athenaeum Theatre, The Antipodes Festival, Melbourne, Australia
31 March, N.S.W. Teachers Federation Theatre, Sidney, Australia
18, 19, 20 May, Messepalast, Wiener Festwochen 1987, Vienna, Austria
2, 3, 4 June, Schaubuhne am Lehniner Platz, 750 Jahre Berlin- Transit 1987, Berlin, Germany
23 June, Pafos Ancient Odeon, Pafos 2300 years anniversary, Pafos, Cyprus
4 July, Ihnenhof Alte Uni, Internationales Freiburger Theatre Festival, Freiburg, Germany
6 July, Patio de C.M. Fonseca, Kursos Internacionales de Universitad de Salamanca, Salamanka, Spain
11, 12 July, Placa de Manises, Festival Fira de Valencia, Valencia, Spain
18 July, C.P. Paus Sans, L’ Estiu a Ciutat, L’ Hospitalet, Barcelona, Spain
1 August, Atrio de Sto. Domingo, Mostra Internacional de Teatro, Rimbantova, Spain
8 August, Castello Olite, Festivales de Navara, Navara, Spain
11 August, Plaza Porticada, Festival Internacional de Santander, Santander, Spain
16, 17 October, Warren Theatre, University of California, San Diego, California, U.S.A.


17, 18, 19, 20 November, Factory, Athens


29 March, Deutsches Theater, Munich, Germany
13 – 17 May, Theatre of the Army, Kiev, Ukraine, U.S.S.R.
20, 21 May, Taganka Theatre, Moscow, U.S.S.R.
23, 24, 25 May, Sokhumi State Theatre, Abkhazia, U.S.S.R.
27 May, Poti State Theatre, (Ancient Colchis), Georgia, U.S.S.R.
29, Telavi State Theatre, Kakheti, U.S.S.R.
30, 31, Tbilisi Opera, Georgia,  U.S.S.R.
1 June, Tbilisi Opera, Georgia,  U.S.S.R.
3 June, Rathaus Theater, Essen, Germany
6 June, Theater im Pumpenhaus, Münster, Germany
10 June, L.T.T., Tübingen, Germany
7 August,Nicopolis Ancient Odeon, Nicopoleia ’89, Preveza, Greece
26 August, Kalamata Castle, Kalamata International Festival, Kalamata, Greece
28, 29 August, Garden theatre N. Kazantzakis, «Heraklion- Summer‘89», Heraklion, Greece
25 September, Corfu Municipal theatre, Corfu Festival, Corfu, Greece
1, 2, 3 December, Teatro Maria Matos, Festivals de Lisbon, 1989, Lisbon, Portugal


9, 10 March, Volos Municipal Theatre, Volos, Greece
16 March, Scott Τheatre, Adelaide Festival, Adelaide, Australia
23 March, Erindale Theatre, Greek Festival 1990, Kambera, Australia
31 March, Teatro Coliseo, Festival De Teatro del Mediterraneo, Motrill, Spain
23, 24 May, Opera Kemal Ataturk, International Istanbul Theatre Festival, Istanbul, Turkey
12 July, Mytilene Castle, Summer at Lesvos ’90, Mytilene, Greece
2, 3 August, Veakeio Theatre, Cultural Presences, Piraeus, Greece
6 August, Leffada Castle, Festival of Speech and Art, Lefkada, Greece
14, 15 August, Philippi ancient theatre, Philippi-Thasos Festival, Philippi, Greece
2 September, Xanthi Amphitheatre, Xanthi
3 September, Doxato Gymnasium, Doxato, Drama, Greece
5 September, Dion Ancient Theatre, Olympus Festival, Pieria, Greece


“Dionysus came to Thebes at night”

This title is part of the answer provided by Theodoros Terzopoulos to my question: why now the Bacchae by Euripides – this two thousand year old play? And he went on to tell me about something that had happened during his childhood in his village (Pydna, if I remember right, where Euripides wrote the Bacchae). Towards the end of the German occupation, under the clouds of the Greek civil war, the women gathered one evening on the beach of Pydna to have some wine and dance. Some drunken Germans with the fear of defeat looming over them, raped and killed three women. Celebration and death.

In Terzopoulos’ theatre myth is not fairytale, it is condensed experience; the process of rehearsal is not the performance of a dramatic concept, it is an adventure on a journey to the landscape of memory, a search for the lost kys of unity between body and speech, the word as natural entity, a topic which Hőlderlin has mentioned in his notes on the translations of Sophocles’ works. I saw the performance twice and both times I saw something new.
Heiner Müller, Berlin, June 1987

The actors perform as if incarnating a god. The conflict between Dionysus and Pentheus takes place in a magic universe, where death and fear are dominant.
Umberto Albini, l’ Unita, Rome, July 1986

This scenic composition, ancient and contemporary at the same time, travels us to this kind of authentic theatre, where the director has turned into of wizard, a master of ancient ceremonies.
Pilar Fernandez, Extremadura, Merida, Spain, August 1986

The actors achieved to communicate to a stunned audience so much energy and internal tension that is seldom to contemporary theatre.
Jackues Hayer, Handelsblatt, Amsterdam, July 1986

The audience, enthusiastic and awed from this contemporary approach on the ancient Greek drama, gave a standing ovation to the actors.
Kasiro Masumoto, Engekibuke, Tokyo, September 1986

This is a new dynamic approach on the Bacchae by Euripides, in which the unity of body and speech is expressed with an exciting way. This performance has definitely been the most significant event of Antipodes Festival.
Leonard Randigue, Australian, Melburne, April 1987

In a flow dominated by the greatest possible abstraction, the director takes us to an area of ​​archetypal recognition and religious mysticism, in which the actors are slowly and ritually raised into the sacred ecstasy.
Iro Vakalopoulou, Thessaloniki, November 1986

What differentiates Terzopoulos’ view from all the others is the incredible energy that the actors emit.
Heider Pregler, Wienershaitug, May 1987

It seems that the director knows Castaneta very well and has researched the world of Bosch and Goya, to lead us to such deep religious events which, while at first surprise us, then they stun us.
Helmut Kozenroiter, Tagesspiegel, June 1987

Unexpectedly, a Greek approach to the Bacchae that found us unprepared.
Gerhard Pintsch, Theater der zeit, January 1987

An unusual, unique, dynamic approach on ancient drama.
Anna Maria Wells, Los Angeles, Times 

This is approach is absolutely functional and disarming.…
Ernst Soumaher, Berliner Tsaitung, East Berlin, January 1987