And the second performance in Patras gave us an unforgettable experience, as the ancient drama “Hercules Raging” brought to life on stage in a way that only theater can achieve. Directed by Dimitris Karantzas at the Patras International Festival, comes again Euripidesthrough his words, to convey the tragedy and internal struggle of Hercules, setting up a collective climate of suffering.
The specific production starring the actors Pygmalion Dadakaridis, George Gallos and Stefania Gouliotis, managed to capture this complexity of our mortal nature with unique precision. Hercules is presented as a hero fighting against the tyranny of the Wolf. The performance highlights the contrasts between the god-fighting foolishness of Heracles and the piety of Theseus, as well as the search for revenge and justice by Hercules for the injustices committed against his family.
The public justifies the one and the other is divided between the dual status of the demigod or the ultimately mortal man. He wonders and struggles to restore justice in a moment of insanity. At the same time that Karantzas clearly chooses to narrate the human dimension of Heracles, kinesiology emphatically dresses the aesthetics since the pretenders “farsi” imitate the ancient language and especially that of their bodies.
The performances were truly captivating. THE Dadakarides who embodied Hercules with a deep understanding of his inner conflict and tragic fate, succeeds in conveying to us the fragile nature of the human condition confessed with cynicism and anguish. Just before witnessing the brink of madness, we witnessed a modern direction that brought a new dimension to the play. Bringing out the human side of the characters and creating an atmosphere of empathy and reflection.
The sets and costumes, although modern, masterfully transported us to antiquity, creating a timeless framework that allowed the effortless connection of the tragic past with the present. Of particular note is the use of lighting, which was not just functional, but artistic and symbolic. The light of Fotis Siotas, sometimes soft and sometimes blinding, played an important role in the intensity of emotions, creating a chilling atmosphere. Of course, the Dance, made up of five men, acted not only as a narrator but also as an emotional conduit for the audience, offering them an impetuous and syncopated voice that reflects anxiety, fear, but also long-term hope.
In particular, in the moments when the situation was critical, they commented on the hideous actions of Lykos, as their voice reflected the truth directly, as they expressed the despair they themselves feel as spectators of the (self)destruction that unfolded before them. The only minor misstep was the scene with Lyssa and Iris, where the acoustics presented some problems as the initial aim was probably not achieved. However, this technical issue was not able to detract from the overall strength and quality of the show.
This production of “Hercules Raging” was not just a reenactment, but a living proof of the eternal fascination of the ancient drama. Anyway, the first of all to write the epimyth for mortals was Euripides himself… saying that “Whoever manages to escape the wrath of the vengeful demon is considered the happiest”.
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