Ancient Mediterranean Sea in Modern Visual and Performing Arts: Sailing in Troubled Waters by Rosario Rovira Guardiola

Author:Rosario Rovira Guardiola [Guardiola, Rosario Rovira]
Language: eng
Format: epub
Tags: art, Criticism & Theory, history, Ancient & Classical, Ancient, General, Literary Criticism
ISBN: 9781474298605
Google: ip4-DwAAQBAJ
Publisher: Bloomsbury Publishing
Published: 2017-12-14T23:52:16.230747+00:00

Notes

1This research was carried out as part of the project Representation of the past and dynamics of performance in ancient Greece (FFI2015-68548-P MINECO/FEDER UE).

2The only available version on DVD is EuroArts 2072608, from the 2010 Salzburg premiere, conducted by Ingo Metzmacher. Some pictures and information can be found on the Salzburg Festival’s website: www.salzburgerfestspiele.at (accessed 17 March 2017).

3Rihm had already put Nietzsche’s poem to music in the form of a solo aria, Aria/Ariadne (2001). For a comparative analysis of Rihm’s two renderings of the text from the musical point of view, see Zenck 2012. Another study of the opera that focuses on the analysis of the music is Stoianova 2015.

4Everett 2015.

5For a commentary on Nietzsche’s Dithyramben, see Groddeck 1991 and Skowron 2007.

6On the Greek dithyramb, see Ieranò 1997 (the ancient testimonia edition); Kowalzig and Wilson 2013 (a collection of studies on specific aspects of the genre).

7See, for instance, Günzel 2003, especially 83–5, on the sea metaphor and the Übermensch.

8D5, 17–21.

9D4, 3; 8–14.

10Thus spoke Zarathustra (henceforth Z) IV, ‘The cry of Distress’.

11Z II, ‘Great Events’.

12Z, ‘Prologue’, 3; Z II, ‘The Sublime Ones and Poets’.

13All the references are collected by Kaufmann 1950, 32–4.

14Middleton 1996, 346–8. For a complete edition of the letters, see Colli, Montinari, Miller and Pieper 1975–.

15This way of presenting Dionysus could perhaps be based on K. H. Grüber’s Bacchae of 1974.

16The identification with the dolphins is in the libretto, not in the staging, which highlights the aspect of mermaids. For the ancient myth, see Homeric Hymn to Dionysus VII and Ov. Met. 3. 582–691.

17Zarathustra is the Dionysian fiend in Attempt at a Self-Criticism 22, a revision of The Birth of Tragedy.

18These are the dithyrambs used in the second part (with the numbering in Nietzsche’s book): ‘Only Fool! Only Poet!’ (1), ‘Among Daughters of the Desert’ (2), ‘Ariadne’s Lament’ (7), ‘On the Poverty of the Richest’ (9), with the addition of the poem ‘A Wanderer’ (W).

19Cf. Will to Power 1067: ‘This world: a monster of energy, without beginning, without end … as force throughout, as a play of forces and waves of forces … a sea of forces flowing and rushing together, eternally changing and eternally flooding back with tremendous years of recurrence … this my Dionysian world of the eternally self-creating, the eternally self-destroying, this mystery world of the two-fold voluptuous delight, my beyond good and evil, without goal, unless the joy of the circle is itself a goal … This world is the will to power – and nothing besides!’

20Though Pentheus is surely the main reference for the sparagmos scene, due to the importance of Euripides’ Bacchae in Dionysian literature, the allusion to Orpheus’ dismemberment by the Thracian maidens could also be relevant in this context, with the presence of a harp on stage, the appearance of Apollo and Marsyas later on and, more generally, the importance of the theme of the artist.

21For the iconography of these goddesses, see Marinatos 2000.

22‘What I Owe the Ancients’, 5.

23Cf. Attic krater black-figure, 520 BC, inv. 310, Metropolitan Museum of New York; Attic black-figure cup, from Vulci, by Exekias, c.

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