Bakkhai Variations:
Villanova Theatre
Nietzsche & The Birth of Tragedy
Photo portrait of Friedrich Nietzsche
Bakkhai depicts the clash and possible dissolution of many perceived binaries, and this production will explore many of them, including dichotomies built around gender and religion. Another important binary to consider when examining any Greek tragedy, but especially for Bakkhai, is Friedrich Nietzsche’s Apollonian/Dionysian paradigm as discussed in his treatise The Birth of Tragedy (1872). Named after the Greek deities Apollo and Dionysos, Nietzsche distinguishes these two aspects dozens of different ways and describes them as the pairing that “generate[s] the equally Dionysian and Apollonian art-work of Attic tragedy” (21).
The historical basis of Nietzsche’s argument stems from the two distinct artistic styles that had to come together in order to create the Greek tragic plays that we still study to this day. First was ancient ritual hymns dedicated to Dionysos, usually called dithyrambs, that relied on a cavalcade of dancers, singers, musicians to perform. They tapped into primordial artistic outlets like drum circles and chanting. From this practice arose the tragic (and comic) chorus. Second was the aoidos, the poet/musicians that told entire epic tales by themselves. These bards prayed to Apollo and were the orators who delivered stories like Homer’s Iliad and Odyssey to the masses. From this practice came the masked actor who played the named characters in tragedies. Nietzsche describes these stylings as two “separate art-worlds of dreamland and drunkenness,” ascribing these realms to Apollo and Dionysos, respectively (22).
Adjectives ascribed to the Apollonian and Dionysian/Dionysiac (Source: Craig White at University of Houston Clear Lake)
The German philosopher considers the “rapt repose” of the Apollonian while acknowledging that the Dionysian emerges “without the mediation of the human artist” (xviii, 28). Conceptualizing Greek tragedy, and perhaps the entirety of theatre altogether, as a tightrope walk between the composed and the instinctual may seem compelling on its face, but are these aspects entirely mutually exclusive? Does theatre have to be a battle between the bodily and the psychological? That said, striking balance is key to successful art because too much of anything leads to over-saturation. Pure Apollonianism begets ungrounded individualism — a disregard of any concerns beyond one’s personal aesthetic. An overdose of the Dionysian creates unbounded chaos with no regard for the possible impact of
disregarding an individual. So how does one achieve a concord between these two seemingly opposite approaches?
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Perhaps, to the Greeks and hopefully to us, these two gods were not enemies of one another but two divine forces striving toward the same goal: artistic pleasure. Employing the aoidos-style oration at a festival entirely dedicated to Dionysos certainly indicates that Apollo’s tactics enhanced rather than competed with Dionysian worship. Moreover, Athens’ literal bacchanalia concluded with a competition that rewarded artistic form and precision. So, instead of painting a moment, character, stage picture, etc. as purely Apollonian or Dionysian, become curious how one can inform the other. What does it look like for an ensemble member to create structure within their collective? How could a singular actor make room for spontaneity and connection in their performance? When can the stage blur together into a balanced union and when can an individual design element be highlighted for its distinct beauty? As with many of these kinds of questions, no singular answer exists, but transforming Nietzsche’s binary into a spectrum opens up boundless possibilities for creating impactful art.
Famous sketch of logos (logic) and pathos (pity) speaking; many theorize that these abstractions are modeled after Apollo and Dionysos due to their similar appearances.