DIONYSIS

• Cast
• Awards
• Photo Gallery
• Reviews

"Bacchantes" is considered the best tragedy written by Euripides and one of the most valuable ever written, either in antiquity or modernity. It is highlighted by the fact that it introduces a collective character, the bacchanal choir, and the god is no longer a distant presence, became the main character. The tragedy is based on the myth of King Pentheus of Thebes and his mother Agave, punished by the god Dionysus for denying him the status of god, claiming that his mother, Semele, did not conceive him with Zeus, as she claimed, but with a man. Dionysus, a cousin of Pentheus, comes to Thebes to introduce the Dionysian rites into the city and to prove that he is indeed the son of Zeus. His revenge takes on crazy proportions, Penteu becoming cannibalized by his own mother, gripped by the Dionysian delirium of the bacchanals. Dionysus is, in Greek mythology, the god of vegetation, fruit growing, wine, ecstasy and fertility, called in Roman Bacchus or Liber.

Cast

• Dionysos: Marius Bodochi
• Penteu: Andu Axente
• Cadmos: Iulian Enache
• Tiresias: Alexandru Mereuță
• Primul Mesager: Dorin C. Zachei
• Al Doilea Mesager: Ionuţ Rusu
• Paznicul: Marian Adochiţei
• Agave: Dana Trifan Enache
• BACANTE: Georgiana Mazilescu, Maria Lupu, Laura Iordan, Lana Moscaliuc, Mirela Pana, Cristina Oprean, Turchian Nasurla, Ana Maria Ştefan, Luiza Martinescu, Florina Stănculeţ, Georgiana Rusu, Arina Cojocaru

Awards

• Premiul „Gheorghe Dinu“, pentru imagine scenică la Festivalul Internațional de Teatru „Atelier“ din Baia Mare, Ediția 25, 1-9 iunie 2018

Reviews

Even though Daniele Salvo’s directorial vision entails a return to the original text and intent—a vision supported by the haunting music conceived by vocal specialist Marco Podda and the video projections created by Aquamicans/Paride Donatelli—we can also discern a secondary intention in the staging. The confrontation between Dionysus and Pentheus can be interpreted as a clash between ancient Greek civilization, with its truth and intensity, and modern civilization, characterized by pride, numbed emotions, and a detachment from essence. (Alina Vasiliu - "Dionysus – An Awakening from Anesthesia in the Ancient World of Gods and Bacchantes")

Alina Vasiliu / Constanța noastră

https://constantanoastra.ro/dionysos-o-trezire-din-anestezie-lumea-antica-zeilor-si-bacantelor/

We are blinded daily by images broadcast by the mass media. The law of the market is unforgiving: corpses, social status, jobs, weapons, sex, childhood, and organs are sold. We remain indifferent. The bourgeois dimension suffocates our best instincts, stifles our sensitivity (a word now considered almost scandalous), sincerity, and distances us from any form of creativity, any flight of the imagination. Our irrational dimension is completely destroyed. The pursuit of asserting the self devours our days. Art is stripped of its spirituality. The mass media, covert provocateurs, manipulate our hearts and minds, taming even the most rebellious spirits, sealing even the keenest eyes. The spiritual dimension is forever lost. The sense of the tragic is unknown to us. Our bodies are annulled. We are definitively transformed into consumers and, simultaneously, into products, stirred by an unprecedented media war in the history of humanity. We believe we are unique, particular, but in reality, we all think the same way, say the same words, have the same needs, the same hopes, the same anxieties, the same mass-produced daily lives. We believe we are free. (Daniele Salvo - "DIONYSOS - The God Born Twice / A Performance "Born" in Two Versions, From the Collaboration of Two Theaters: Teatrul Vascello in Rome and the Constanța State Theater.")

Daniele Salvo / Medeea și mandarinele ei

https://medeeasimandarineleei.wordpress.com/2016/10/30/dionysos-zeul-nascut-de-doua-ori-regia-daniele-salvo/

For the Italian director, "Bacchantes" serves as a window into the irrational, where through their bodies and voices, Dionysos acts, transforming them into instruments of delirium, sensuality, death, and demonic ambiguity, oscillating between mental automatism and the joy of living. In his outstanding scenic approach—beyond the splendid set design by his fellow countryman Michele Ciacciofera and the music of Marco Podda, occasionally evoking a theater-within-theater performance—the Italian director benefited from a superb collective character of 13 women: the Bacchae, clad in white and adorned with snake horns. Especially notable was the presence of a phenomenal actor, Marius Bodochi, seemingly crafted by the gods for his encounter with the Myths of Olympus. I applauded Marius Bodochi in "Bacchantes" at Bucharest’s National Theater (director: Mihai Măniuțiu) in 1977, but his latest stage creation is astonishing. Evolving from the tragic tone of the Bucharest production, Bodochi brought to the seaside breeze a more complex, human Dionysos—at times harsh, playful, at others lucid or even cynical, his playful spirit ennobling the stage, captivating the audience, and inspiring his fellow cast members (Dana Trifan Enache, Andu Axente, Alexandru Mereuță, Iulian Enache, Dorin C. Zachei, Marian Adochiței, Ionuț Alexandru). "Dionysos" is an exceptional production that must be brought to the capital! ("Mircea M. Ionescu – Dionysos, in the Astonishing Guise of Marius Bodochi")

Mircea M. Ionescu / Taifasuri

http://www.taifasuri.ro/editoriale/mircea-mionescu/12688-dionysos-sub-chipul-uluitorului-marius-bodochi-nr585-sapt14-20-iul-2016