Dionysus in '69
Dionysus in'69 is a 1970 film by Brian De Palma. The film records a performance of The Performance Group's stage play of the same name, an adaptation of The Bacchae, it was entered into the 20th Berlin International Film Festival. Remi Barclay as Roy Samuel Blazer as Raymond Jason Bosseau as Jackson Richard Dia as Johnson William Finley as Dyonysus Joan MacIntosh as Jessica Vicki May as Joan Patrick McDermott as Patrick Margaret Ryan as Margaret Will Shepherd as Pentheus Ciel Smith as Mandy The film records and merges the final two performances of the 1968 stage play, the final one having been staged as extra with more lightning for better recording quality. In contrast to the previous non-recorded performances, actors are not naked during central scenes so to ensure distribution to movie theatres; the film makes use of split screen to show both actors and audience involvement in parallel. List of American films of 1970 Dionysus on IMDb Dionysus in'69 at Rotten Tomatoes Dionysus in'69 viewable online at the Hemispheric Institute Digital Video Library
Dionysos (French band)
Dionysos is a French pop band formed in 1993 in Valence, Drôme. They perform songs in both French and English, have released six studio albums, they are well known in France for their eccentricity. Their first album, Happening Songs, was self-produced and with English lyrics. With their second album The sun is blue. In 1999, they signed to a major label and released Haïku which brought the band in to the public eye thanks to the success of the single "Coccinelle"; the name of the band comes from the ancient Greek god Dionysus. There are strong non-musical influences from Roald Dahl. A lot of the songs are many feature nonsense lyrics; the albums Monsters in Love and La mécanique du cœur are set in a surreal world full of whimsical monsters and other fantastic characters which Mathias Malzieu has used as a setting for two original comic books. Joann Sfar illustrated the cover art for the comic books as well as the two albums. Sfar's eccentric and humorous brand of fantasy fiction as displayed in the Donjon comic books lends itself to the band's fantasy-humor albums.
The lead singer, Mathias Malzieu, is working on other projects such as the career of Olivia Ruiz, his other hobby: writing. His second book is based on the same world as the album Monsters in Love, his third book on the same world as the album La mécanique du cœur. In the same way, there will be connections between his fourth book, Métamorphose en bord du ciel, but not to the same extent as La mécanique du cœur. Mathias Malzieu – vocals, folk guitar, harmonica, glockenspielMathias is the main songwriter and frontman, he has written three books - 38 mini westerns, Maintenant qu'il fait tout le temps nuit sur toi et La mécanique du cœur - with inspiration drawing between the albums and the novels. Éric Serra Tosio a.k.a. Rico – drums, whistle Michaël Ponton a.k.a. Miky Biky – lead guitar, phonograph turntable, lapsteel, programmingThe Miky Biky co-produced La mécanique du cœur with Mathias. Guillaume Garidel a.k.a. Guillermo – bass guitar, synthesizer Élisabeth Maistre a.k.a. Babet – vocal, keys, theremin Babet has begun a solo career and released two albums: Drôle d'oiseau and Piano Monstre.
Stéphan Bertholio a.k.a. Stéphano – banjo, bass, ukulele, baritone guitar, musical saw, melodica Stéphan worked as the band's backliner on tour, but joined during the recording of Monsters in Love. Happening Songs The sun is blue like the eggs in Winter Haïku Western sous la neige Monsters in Love La Mécanique du Cœur Bird'n' Roll Vampire en pyjama Whatever the Weather - Concert Électrique Whatever the Weather - Concert Acoustique Monsters in Live Whatever the Weather – recorded 30 May 2003 at'La Laiterie' in Strasbourg Monsters in Live – recorded 28 October 2006 at Le Zénith in Paris with the Synfonietta de Belfort orchestra Yoghurt session – rare vinyl Soon, on your radio – a CD featuring Dionysos alongside Mary's Child and Despondents Old School Recordings – a collection of rare recordings Eats Music – another collection of rare recordings and alternative or live versions of previous released tracks Official website - discography and information Official MySpace RFI's review of Monsters in Love
Dionysus is the god of the grape-harvest and wine, of fertility, ritual madness, religious ecstasy, theatre in ancient Greek religion and myth. Wine played an important role in Greek culture, the cult of Dionysus was the main religious focus for its unrestrained consumption, his worship became established in the seventh century BC. He may have been worshipped as early as c. 1500–1100 BC by Mycenaean Greeks. His origins are uncertain, his cults took many forms. In some cults, he arrives as an Asiatic foreigner; some scholars believe that Dionysus is a syncretism of a local Greek nature deity and a more powerful god from Thrace or Phrygia such as Sabazios or Zalmoxis. He is a god of epiphany, "the god that comes", his "foreignness" as an arriving outsider-god may be inherent and essential to his cults, he is a major, popular figure of Greek mythology and religion, becoming important over time, included in some lists of the twelve Olympians, as the last of their number, the only god born from a mortal mother.
His festivals were the driving force behind the development of Greek theatre. He is known as Bacchus, the name adopted by the Romans and the frenzy he induces is bakkheia, his thyrsus, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. As Eleutherios, his wine and ecstatic dance free his followers from self-conscious fear and care, subvert the oppressive restraints of the powerful; those who partake of his mysteries are empowered by the god himself. The cult of Dionysus is a "cult of the souls", he is sometimes categorised as a dying-and-rising god. Dionysus is depicted in myth as the son of Zeus and the mortal Semele, although in the Orphic tradition, he was identified as the son of Zeus and Persephone. In the Eleusinian Mysteries he was identified with the son of Demeter; the dio- element has been associated since antiquity with Zeus. The earliest attested form of the name is Mycenaean Greek, di-wo-nu-so, written in Linear B syllabic script for /Diwonūsoio/.
This is attested on two tablets, found at Mycenaean Pylos and dated to the 12th or 13th century BC, but at the time, there could be no certainty on whether this was indeed a theonym. But the 1989–90 Greek-Swedish Excavations at Kastelli Hill, unearthed, inter alia, four artefacts bearing Linear B inscriptions. Variants include Dionūsos and Diōnūsos in Boeotia. A Dio- prefix is found in other names, such as that of the Dioscures, may derive from Dios, the genitive of the name of Zeus; the second element -nūsos is associated with Mount Nysa, the birthplace of the god in Greek mythology, where he was nursed by nymphs, but according to Pherecydes of Syros, nũsa was an archaic word for "tree". Nonnus, in his Dionysiaca, writes that the name Dionysus means "Zeus-limp" and that Hermes named the new born Dionysus this, "because Zeus while he carried his burden lifted one foot with a limp from the weight of his thigh, nysos in Syracusan language means limping". In his note to these lines, W. H. D. Rouse writes "It need hardly be said that these etymologies are wrong".
The Suda, a Byzantine encyclopedia based on classical sources, states that Dionysus was so named "from accomplishing for each of those who live the wild life. Or from providing everything for those who live the wild life."R. S. P. Beekes has suggested a Pre-Greek origin of the name; the cult of Dionysus was associated with trees the fig tree, some of his bynames exhibit this, such as Endendros "he in the tree" or Dendritēs, "he of the tree". Peters suggests the original meaning as "he who runs among the trees", or that of a "runner in the woods". Janda accepts the etymology but proposes the more cosmological interpretation of "he who impels the tree"; this interpretation explains how Nysa could have been re-interpreted from a meaning of "tree" to the name of a mountain: the axis mundi of Indo-European mythology is represented both as a world-tree and as a world-mountain. The earliest cult images of Dionysus show a mature male and robed, he holds a fennel staff, known as a thyrsus. Images show him as a beardless, naked or half-naked androgynous youth: the literature describes him as womanly or "man-womanish".
In its developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession is made up of bearded satyrs with erect penises; the god himself is drawn in a chariot by exotic beasts such as lions or tigers, is sometimes attended by a bearded, drunken Silenus. This procession is presumed to be the cult model for the followers of his Dionysian Mysteries. Dionysus is represented by city religions as the protector of those who do not belong to conventional society and he thus symbolizes the chaotic and unexpected
Dionysos is an opera by Wolfgang Rihm based on Friedrich Nietzsche's Dionysian-Dithyrambs. The composer wrote the libretto and subtitled his work: "Opernphantasie nach Texten von Friedrich Nietzsche / Szenen und Dithyramben", it premiered at the Salzburg Festival on 27 July 2010. Dionysos is Rihm's eleventh work for the stage, he considered an opera around Dionysos for 15 years and realized it when he received a commission from the Salzburg Festival, the Staatsoper Unter den Linden Berlin and De Nederlandse Opera. Rihm wrote the libretto, based on Nietzsche's late work, which he fragmented and arranged in a different order, he chose the passages according to his plans for the music. Rihm said in an interview that opera needed more Magic Flute, "Mehr Machwerk.", citing the opening scene with three ladies coming to the rescue of the prince attacked by a snake. Rihm said; the opera is in a way his first comic opera. Rihm dedicated the work "in friendship" to the conductor Ingo Metzmacher. Rihm composed between December 2009 and May 2010, sending it in batches to the conductor.
He finished the finale last minute. The opera premiered at the Haus für Mozart in Salzburg on 27 Juli 2010. Johannes Martin Kränzle performed the title role, with Mojca Erdmann, Elin Rombo and Matthias Klink in leading roles, the Deutsches Symphonie-Orchester Berlin and the Vienna State Opera Chorus, conducted by Metzmacher and staged by Pierre Audi; the magazine Opernwelt chose the performance as the premiere of the year, Kränzle as singer of the year. A live recording was published as DVD; the production was repeated from 8 June 2011 from 8 July 2012 in Berlin. A new production was staged on 8 February 2013 at the Theater Heidelberg by Ingo Kerkhof; the main character is called N. a symbol for both the poet Nietzsche, but for Dionysos whose name Nietzsche used as his pen name for the dithyrambs. Some scenes relate to events in others with the Dionysos myth; the action shows different views on life. A review of the premiere in Opernwelt notes the overwhelming echos of late-romantic sensuality of sound, reminiscent of Richard Strauss and Johannes Brahms.
Ivanka Stoianova: Wolfgang Rihm – Dionysos: a writing on inner spaces in: Art Research Journal V. 2, n. 1, Januar/Juni 2015, p.36–52 Claus Spahn: So schnell schluckt uns die Tiefe! Die Zeit, 5 August 2010 Roberto Becker: Aus der schönen alten Welt. Online Musik Magazin Joachim Lange: Musik als Ausbruch. Online Musik Magazin 2013
Dionysos is a town and a municipality in northeastern Attica, Greece. The seat of the municipality is the town Agios Stefanos. Dionysos is situated on the northeastern slopes of the forested Penteliko Mountains, it is 5 km south of Agios Stefanos, 9 km west of Nea Makri, on the Aegean Sea coast, 18 km northeast of Athens city centre. Its built-up area is continuous with those of the neighbouring suburbs Drosia and Rodopoli to the northwest. Though the town is located only 20 Kilometres away from central Athens, it has a different climate, with weather being cooler, including frequent snowfall during the winter. Motorway 1 and the railway from Athens to Thessaloniki pass through the western part of the municipality, near Agios Stefanos. There is a railway station at Agios Stefanos. Dionysos is connected to Kifisia by the 536 Dionysos-Kifisia bus service; the town was known by the Arvanitika name Tzamali up until 1928. Dionysos hosts an annual open summer festival every July, featuring art exhibitions, theatrical performances, musical shows, sculpture painting and other arts.
The public library of Dionysos is located in the town hall, includes over 3500 books available to registered residents to borrow for free. It is run by local volunteers; the municipality Dionysos was formed at the 2011 local government reform by the merger of the following 7 former municipalities, that became municipal units: Agios Stefanos Anoixi Dionysos Drosia Kryoneri Rodopoli StamataThe municipality has an area of 69.360 km2, the municipal unit 21.410 km2. Thespis actor List of municipalities of Attica Municipality of Dionysos White Marble of Dionissos-Penteli - greekmarble.com "White Marble of Dionissos-Penteli - marbleguide.gr". Archived from the original on 2005-02-09. Dionyssomarble group Dionissos White
Theatre of Dionysus
The Theatre of Dionysus Eleuthereus is a major theatre in Athens, considered to be the world's first theatre, built at the foot of the Athenian Acropolis. Dedicated to Dionysus, the god of plays and wine, the theatre could seat as many as 17,000 people with excellent acoustics, making it an ideal location for ancient Athens' biggest theatrical celebration, the Dionysia, it was the first theatre built, cut into the southern cliff face of the Acropolis, the birthplace of Greek tragedy. The remains of a restored and redesigned Roman version can still be seen at the site today, it is sometimes confused with the smaller, better-preserved Odeon of Herodes Atticus, located nearby on the southwest slope of the Acropolis. The site has been used as a theatre since the sixth century BC; the existing structure dates back to the fourth century BC but it has had many other remodellings. On November 24, 2009 the Greek government announced that they would restore the Theatre of Dionysus; the site of the Theatre of Dionysus Eleuthereus, on the south slope of the Athenian Acropolis, has been known since the 1700s.
The Greek Archaeological Society excavated the remains of the theatre beginning in 1846 and throughout most of the 19th century. Early remains in the area relating to the cult of Dionysus Eleuthereus have been dated to the 6th century BC, during the rule of Peisistratus and his successors, but a theatre was not built on the site until a century later; the only certain evidence of this early theatre consists of a few stone blocks that were reused in the 100 century BC. During the sixth century BC performances associated with the festivals of Dionysus were held in the Athenian agora, with spectators seated on wooden bleachers set up around a flat circular area, the orchestra, until the ikria collapsed in the early fifth century BC, an event attested in ancient sources. After the collapse of the stands, the dramatic and musical contests were moved to the precinct of Dionysus on the slope of the Acropolis; the early theatre must have been simple, comprising a flat orchestra, with a few rows of wooden or stone benches set into the hill.
The oldest orchestra in the theatre precinct is thought to have been square, although there is some debate as to its original size and shape. A wooden scene building was introduced at the back of the orchestra, serving for the display of artificial scenery and to enhance the acoustics, it was in this unpretentious setting that the plays of the great fifth century BC Attic tragedians were performed. By the end of the fifth century BC, some of the wooden constructions had been replaced with stone; the Theatre of Dionysus in its present general state dates to the period of the Athenian statesman Lycurgus, who, as overseer of the city's finances and building program, refurbished the theatre with stone in monumental form. The fourth century theatre had a permanent stage extending in front of the orchestra and a three-tiered seating area that stretched up the slope; the scene building had projecting wings at both ends, which might have accommodated stairways or movable scenery. According to Margarete Bieber, the earliest stone skene with remains surviving is that of the Theatre of Dionysus.
Alterations to the stage were made in the subsequent Hellenistic period, 67 marble thrones were added around the periphery of the orchestra, inscribed with the names of the dignitaries that occupied them. The marble thrones that can be seen today in the theatre take the form of klismos chairs, are thought to be Roman copies of earlier versions. At the center of this row of seats was a grand marble throne reserved for the priest of Dionysus; the Theatre of Dionysus underwent a modernization in the Roman period, although the Greek theatre retained much of its integrity and general form. An new stage was built in the first century CE, was dedicated to Dionysus and the Roman emperor Nero. By this time, the floor of the orchestra had been paved with marble slabs, new seats of honor were constructed around the edge of the orchestra. Late alterations carried out in the third century AD by the archon Phaedrus included the re-use of earlier Hadrianic reliefs, which were built into the front of the stage building.
The remains of a restored and redesigned Roman version of the theatre can still be seen at the site today. The theatre was dedicated to the god of wine and the patron of drama. Among those who competed were the dramatists of the classical era whose works have survived: Aeschylus, Euripides and Menander; the advent of tragedy, in particular, is credited to the Athenians with festivals staged during specific times of year. These dramatic festivals were competitive among playwrights and involved the production of four plays, three tragedies and one satyr play featuring lighter themes. Early on, the subject matter of the four plays was linked, with the three tragedies forming a trilogy, such as the Oresteia of Aeschylus; this famous trilogy won the competition of 458 BC held in the Theatre of Dionysus Eleuthereus. The plays tell the story of the curse on the House of Atreus: Agamemnon’s murder by his wife, the revenge of their son, upon his mother, Orestes’ trial in Athens. By the time of the Oresteia, dramatists would have had a skene and also a wheeled platform for special effects and a lifting device available for their productions, as well as the use of a third actor.
In the late fourth century exaggerated masks were worn and considered important for character identification to an audience consisting of thousand