KS4 KS5

In Search of Greek Theatre: Bacchae (1973) and Bacchai (2002)

Directing Drama Performing Arts Production Arts

A group of people are arranged in a circle around a central, intense flame that emits a strong red light, illuminating the scene. They appear to be engaged in a dramatic, possibly ritualistic, performance. The background is dark, heightening the fiery atmosphere.

Overview

This resource for the In Search of Greek Theatre series focuses on two different productions of Euripides’ Bacchae.

Dr Lucy Jackson (Assistant Professor Greek Literature, Durham University) and Erin Lee (Head of Archive, National Theatre) compare Wole Soyinka’s adaptation of Bacchae, staged at the Old Vic Theatre in 1973, and Bacchai directed by Peter Hall and staged in the Olivier Theatre in 2002.

Jackson and Lee explore the design elements of the productions, the use of masks, and the role of the chorus in Greek plays.

Taking you on a virtual visit to the National Theatre Archive, the film follows their exploration and discovery of how the work of ancient Greek dramatists can be communicated effectively through performance.

Learning outcomes

This film is designed to support students who are studying Greek drama as part of a Drama or Classics course at A Level or above, but can also offer useful insights for younger students.

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In Search of Greek Theatre #7: Bacchae (1973) and Bacchai (2002)

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In Search of Greek Theatre #7: Bacchae (1973) and Bacchai (2002)

Production information

The Bacchae

The Old Vic, 1973. The Bacchae by Euripides; adapted by Wole Soyinka; directed by Roland Joffe; designed by Nadine Baylis; lighting design by Leonard Tucker; music and sound design by Marc Wilkinson; movement direction by Malcolm Goddard.

Bacchai

Theatre Royal, Newcastle, 2002. Bacchai by Euripides; in a new version by Colin Teevan with music by Harrison Birtwistle; directed by Peter Hall; designed by Alison Chitty; lighting design by Peter Mumford; sound design by Paul Groothuis; movement direction by Marie-Gabrielle Rotie.

Photo © Manuel Harlan