A hand, an elbow, a foot crushing a human face to impose its will is an image that shows us in relief the cruel face of power and the result of oppression. What does it change if it really shines on the face of the oppressed? She will also be lost with justice.
Hercules raging is a tragedy written by Euripides and taught (performed) in 416 BC. The plot unfolds with Hercules missing his final labor in Hades, leaving his family vulnerable and in dire straits. His father, Amphitryon, and his wife, Megara, along with their children, are exiled and face imminent execution under the tyrannical rule of Lycus. The Chorus, once free citizens, are now enslaved under this cruel regime, embodying the loss of freedom and hope among the people of Thebes.
Euripides’ play Heracles Raging, the poet’s darkest and most human work, dissects the complexity of human existence, the divine caprice and the fragility of human reason through the myth of Heracles, one of the most revered heroes of Greek mythology. This dark and tragic tale takes place in Thebes, a city under the oppressive rule of the tyrant Lycus. The setting heightens the sense of despair and chaos that pervades the play, reflecting the instability both within the city and within Hercules himself.
In a dramatic turn of events, Hercules returns from Hades just in time to overthrow the Wolf, restoring a glimmer of hope for a happy resolution. This moment of triumph, however, is fleeting. As Hercules prepares to celebrate his victory and the rescue of his family, the gods intervene with a cruel twist. Hera, who harbors a long-standing grudge against Hercules, sends the goddess Lyssa (Madness – Mania) to drive him into a rage. Under this divine madness, Heracles is driven to commit the unthinkable: he murders his wife Megara and his three children.
The play’s climax is shocking and poignant, as Hercules awakens from his madness and becomes horrifyingly aware of his actions. This moment marks the nadir of his fall from a brilliant demigod to a broken human, crushed by the consequences of divine caprice. The transformation of the hero from a figure of immense strength and courage to a figure of utter despair and guilt underlines the tragic dimensions of the narrative.
Through this cataclysmic sequence, Euripides explores issues of authority, both human and divine, and the weakness of mortals in the face of higher powers. The play questions the justice and morality of the gods, presenting them as capricious beings whose interventions in human affairs often lead to senseless suffering. Hercules, once a symbol of human excellence and heroism, is transformed into a tragic figure whose greatness is nullified by forces beyond his control.
The political implications in “Heracles the Raging” are multiple and important. The tyranny of the Wolf in Thebes reflects the larger theme of oppressive regimes and the fragile nature of human freedom. The brief moment of liberation brought by the return of Hercules is quickly overshadowed by the tyrannical influence of the gods, suggesting a parallel between human and divine despotism. Euripides uses this narrative to reflect on the limitations of human agency and the often insurmountable obstacles imposed by external forces, whether earthly rulers or deities.
With the play “Heracles Raging”, Euripides plunges us into the bowels of a tragic human condition. The hero’s deafening fall serves as a parable for the inherent inadequacy of human existence when faced with the arbitrary will of the gods. The play’s exploration of reason, heroism and humanity’s vulnerability to divine and tyrannical forces remains a powerful and timely narrative, resonating in contemporary societies through its portrayal of pain, injustice and the fragile nature of human triumphs. .
The confusion, darkness and mourning that covers the city runs through the entire performance of Dimitris Karantzas. Heracles’ family, his earthly father Amphitryon and Megara are presented as two raki, two tragic figures who mourn the loss of the demigod Heracles and together prepare for total annihilation since the Tyrant Lykos has many reasons to want to kill them and together destroy everything on earth that reminds of the brave and invincible Hercules. And the friends where are the friends to help the family of Hercules? The whole show is enveloped by the dark certainty that in calamity friends are lost, disappear.
Heracles’ loved ones are not allowed to enter the palace. The old men of the dance sympathize with the sufferings of the demigod’s familiars but there is not much they can do. The Wolf arrives to taunt and again threaten the old Amphitryon and Megara, get ready he tells them your time is up don’t delay the execution any longer hugging the altar don’t hope for help Hercules is lost in Hades Cerberus will finish him off. He justifies the slaughter he is planning by arguing that Heracles’ children, if they live, will attempt to avenge their grandfather by killing the Wolf when they grow up. The direction of Dimitris Karantzas spreads the darkness from one end to the other on the stage, slowly pushing the madness and the fury, the logic out of it. The dance of the show, a company that electrifies, works and acts as one body, spreads across the stage under the guidance of Tasos Karahalios. The music of Fotis Siotas is particularly important, it comes to underline, emphasize and sharpen what is happening on stage. The Dance of the five men (Yiannis Klinis, Gal Robisa, Babis Galiatsatos, Thanasis Raftopoulos, Antonis Antonopoulos, together with Fotis Siotas and Dimitris Hatzizisis) develops and covers every inch of the stage, the action and the twists and turns of the show.
While everything is going well in the show and things have taken their course, everything turns upside down, perhaps in the show’s climax, when Irida (Iro Bezou) and Lyssa (Anna Kalaitzidou) invade the stage. Every balance is upset, the destructive fury of the gods spreads across the scene. Iris and especially Lyssa despite their hesitations will complete their horrible task and Heracles will take the path of destruction and annihilation. Iro Bezou and Anna Kalaitzidou seduce us with their wonderful performances into the world of erevus, horror and the destructive power of the gods.
George Gallos in the role of the old Amphitryon is impressive, he surprises us in his first appearance because the man is too young to play the old father of Herakles, but after the first contact, the actor without any auxiliary face, make-up, hair, bowing the body, closing the joints, throwing the shoulders forward becomes a convincing magnificent Amphitryon with the mellow rendering of the poet’s verses. His last words at the end of the performance echoed like a painful complaint that swallowed the entire performance.
Dadakarides, taking on the iconic role of Hercules, opted for a different interpretation, shedding the traditional image of the hero as invincible in favor of a more humanized, vulnerable portrayal. While this approach brought out the tragic elements of Hercules’ fate, Dadakarides’ performance came across as overly sensitive throughout, failing to adequately capture the character’s innate strength and cruelty, particularly in moments of familial threat. This constant tenderness weakened the dramatic impact of Hercules’ struggle and resilience. The contemplative approach to the role worked positively in the transition between his heroic arrival and the family tragedy.
Goulioti, known for her strong and direct acting, brought depth and intensity to the role. Her performance was rich with emotion, effectively conveying the anguish and despair of a mother who sees her family in great danger.
Aeneas Tsamatis as Lykos is as ironic as it should be, as cruel as it needs to be and as much as it shouldn’t be, but what can we do, a spiteful tom who feeds on the power he wields and the terror he spreads around him, since he can’t even inspire respect but certainly not any other tender feeling either.
Meticulously maintaining the intensity and emotional depth of the original text, Karantzas successfully bridges ancient themes with contemporary concerns. His direction is characterized by an acute awareness of the play’s tragic elements, ensuring that the raw, provocative nature of Euripides’ message is delivered with clarity and impact. The set design, lighting and soundscape under his direction, collectively create a powerful atmosphere of doom and inevitability, mirroring the tragic life of Hercules. Careful and attention-to-detail direction ensures that every gesture and phrase contributes to the overall tragic narrative, creating a coherent and compelling portrayal of human suffering and resilience.
Heracles is precipitated and of necessity endures the wild desires of the gods and their counsels, because he knows that tyranny does not tolerate questioning and doubt, he shows respect for divine authority even though he knows that every authority is the greatest enemy of truth and freedom.
#Hercules #Raging #Fury #power #tyranny
