‘Theatre of the present is not as exciting as theatre of the past’ (30 Marks)
Title of the Play: The BacchaePlaywright: EuripidesDate Seen: 31st July 2016Venue of the Production: Osterley Park I would argue that theatre of the present is more exciting than theatre of the past. Throughout time, theatre has progressed through Greek, Renaissance, Jacobean, Restoration, Naturalism, Realism, Surrealism, Modernism and Post-Modernism with the experimentation of styles and theories in order to create more effective ways of storytelling. However, theatre of the present is hugely influenced by theatre of the past, specifically Greek Theatre, of which the Greeks set out many of the modern day theatrical conventions. For example, the Actors of Dionysus’ performance of ‘The Bacchae’ occurred outside on the grounds of a National park with an end-on configuration. This sought influence from Greek theatre, as they performed in Amphitheatres, which were large venues built into hillsides, with an elevated orchestra, as to carry the acoustics, in a thrust configuration. Alternatively, this performance was very intimate and the acoustics of were quite poor, due in part for it occurring in open air, but also due to the noises of industrialisation in the modern world, such as cars and planes. Greek performances occurred in rural areas as to prevent distractions and fully immerse ones self in the world of the play. This design influenced the creation of the Olivier Theatre at the National today. This shows that theatre of the past could be more exciting than theatre of the present because it set out a grandiose and spectacular performance that was more exciting to audiences of the day than the performance of ‘The Bacchae’ was. On the stage, there also been huge developments and inspiration taken from the Greeks. For example, the use of Greek chorus to explain situations, employing narration and exposition, would now be seen as not exciting because audiences today require stimulation of multiple senses in order for good theatre to occur. However, Greek Chorus was used in Ancient Greece as to influence the audience’s opinion, and originally with a group of up to 50 men, this speaking in unison could affect the opinions of the audience, and would encourage them to believe in the God, Dionysus. Greek Theatre’s excitement comes from the fact that it led 12 to 15 members and finally 3 Thespians (worshipping the God Thespis), would step out and multi-role all parts. Multi-rolling has become a large part of theatre of the present, especially in Grotowskian Poor Theatre companies, such as the origins of John Godber’s Hull Truck Theatre. This also occurred in this performance of ‘The Bacchae’ with costume employed to show this change. This could suggest that theatre of today is more exciting than theatre of the past because it can use the ideas of the Greeks and improve them to make them more interesting and engaging to a modern audience. The development of costume through time also influences how exciting theatre is. In original performances of ‘The Bacchae’, and Greek-inspired productions such as the National Theatre’s, as directed by Peter Hall in 2004, used masks as to dehumanise the Bacchic chorus. Masks were not used in the Actors of Dionysus’ performance as it is more exciting to a modern audience to see the emotions of the actor and sympathise and empathise with them. This non-verbal body language also helps in conveying the meaning and storyline of archaic words in ‘The Bacchae’. It is important to remember that no women were allowed to perform until the 4th century BC. This meant that the Bacchic chorus had to be played by men. However, in the modern production, Pentheus is tricked into wearing female satin dress as to meet with the Gods. This would be potentially a less effective and comedic dramatic device in Greek Theatre as all the Bacchic women would be played by men. This perhaps suggests that the humour of men dressed as women would be more exciting to a modern audience. Also, in the modern adaptation, the character of Tiresus is multi-rolled by a woman. This is an effective device that reverses the Greek convention, implying that theatre of the present is more exciting than theatre of the past. Both performances, past and present, do place huge emphasis on the God of fertility, Dionysus. Where as the Greek festival, Dionysia was a huge, near week long event that everyone attended, the modern performance was neither sacrificial (like the “animal” sacrificed by Agave) nor ritualistic, and instead a small event in a day out at the National Trust Osterley Park. This seems to support the idea that theatre of the past was more exciting than theatre of the present as it was more of a spectacle, proven further by the competitions between playwrights. They would write plays that would be performed, all in worship to Dionysus. These plays were generally a battle between the will of the Gods versus the ambitions of men, with them trying, but failing, to reach the Greek heaven of Elysium. However, as all plays followed this pattern, one may determine that theatre today is more exciting than theatre of the past because the storyline and themes discussed are somewhat of a mystery depending on the play you go to see. The reduction on the length of the play from multiple hours to 1 hour 20 minutes in this version creates a more digestible and exciting performance for modern audiences. It is difficult to remain concentrated and excited for multiple hours, therefore suggesting that theatre of the present is more exciting. Although design elements have come along way since the Ancient Greeks, we do have them to thank for the basic elements, which at the time would have been more exciting than they are now. Paraskenia (or side wings), eccyclema (wheeled platforms) and periaktoi (three flats) were all introduced, as ways of playwrights trying to outdo others in competition. These were exciting ways of engaging the audience. For example, in the modern version, Agave killing her son, Pentheus, is done offstage and reported, whereas in Ancient Greece, this could be done onstage and then an eccyclema could wheel the “body” off. This suggests that theatre of the past is more exciting than theatre of the present as these ideas were new at the time and completely juxtaposed to the Greek way of life. Vomitoria used to get Greek actors on and off stage were replaced by a back wing and the use of acrobatics as to plant the God on a literal higher status than the people. This shows that theatre of today is more exciting than theatre of the past because it can incorporate different art forms into performance including aerial acrobatics. Overall, I believe that the theatre of the present is more exciting than theatre of the past. Though theatre itself was more of a spectacle than it is now, and served more religious significance, theatre is more exciting today because companies are always aiming to change and adapt convention, as to make theatre more immersive and exciting, and surprise audiences. Greek theatre conventions, though sometimes challenged by writer such as the satirist, Aristophanes, were generally similar for each performance. This, combined with the excessive use of narration without visual representation of this storytelling, shows that theatre of the past could often be considered as predictable and unexciting. Therefore, I believe that theatre of the past was not more exciting than theatre of the present.
