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pa čak i veselosti tragedije, što samo ukazuje na kompleksno pitanje pojma katarze. U dve trećine svog remek-dela Bahantkinje, Euripid kao da se vratio samim korenima tragedije - satirskoj igri koja je izvođena na svečanostima u cast boga Dionisa i nije sadržavala kasniju tragičku ozbiljnost. U Bahantkinjama se, uostalom, na više mesta, pominju muzika i pozorište, kojih bez dioniskih misterija ne bi ni bilo. Pozorište je glavna tema i glavni lik ove predstave. Pozorište svedeno na osnovne elemente glumu i poeziju. Na prvu probu Bahantkinja, Bente Like Meier je donela maketu i skice kostima. Scenografija: jedan zid, klupa i crna kugla koja visi u vazduhu; kostimi: savremena odeća, pomalo podseća na stil šezdesetih godina. Duhovito je prokomentarisala svoju minimalističku likovnost: „Scenografija i kostimi treba da budu dosadni, glumci treba da ostvare ono scenski uzbudljivo". Uostalom, poznato je da su i u antičkom teatru, na primer efekat zemljotresa u Bahantkinjama kada Dionis ruši Pentejevu palatu, dočaravali glumci koji su igrali hor. Od prvog satirskog ditiramba sve do naših dana, scenska poezija ostvarivana je pokretima glumčevog tela, u kojem je uvek bio„deo Dionisa". Slavko Milanović THE TRAGIC BLITHENESS OF THE BACCHAE "None of the preserved Greek tragedies is so saturated with religious images," as The Bacchae by Euripides," says Jan Kott in The Eating of the Gods, one of the most comprehensive studies of this play. Kott adds that in it Euripides "shows off" his erudition and demonstrates once again that he was one of the best-educated Greeks of his time. According to Jan Kott, aside from the basic myth about Dionysus as the child of Zeus and Cadmus' daughter, Semele, directly associated with the action in this tragedy, Euripides also alluded to numerous other versions of the myth and even the historical information about the way in which the Dionysian cult arrived in Greece. Since, according to Plutarch, Dionysus is a god who is "subject to constant changes of his beings" (thus a whole list of his different names), things get even more complicated. The director Staffan Valdemar Holm purged the text of a large part of the mythological material. This is easy to understand as modern audiences lack the required knowledge of the complex mythological material. The director's decision was helped by the myth itself not only because of its countless variations, but also because of Dionysus'"kinship" with humankind. In Euripides'words, "men like this god best and fear most" because he is in the human nature." "The Dionysian myth is both genetic and cosmic... The myth speaks of man's dual nature. Men rose from theTitans'ashes. But the Titans ate Dionysus before they turned into ashes. The soul imprisoned in the body is the Dionysian substance that has survived in man.”( Jan Kott). AsTiresias says in The Bacchae, "much of (this) god has come into men." We can also see it today. The 1960 s showed "the sweetest" side of man's Dionysian nature. As if in a prolonged Dionysian festival (they lasted six days in ancient Greece), for a decade the world danced and sang, led by the "flower children" as modern bacchants. His other, fearsome face Dionysus showed in the