Where else, other than a stage, can you find a fog-emitting fountain, a path leading straight up to the sky and a Greek chorus of modern dancers moving to a live drum beat?
All of this can be found in the Drama Department's production of Sophocles' Oedipus Tyrannus. The classical Greek play, translated by Peter Meineck and Paul Woodruff, will run in the Helms Theatre March 22-24 and 27-31.
Oedipus Tyrannus, arguably the most famous Greek tragedy, tells the story of Oedipus, a young prince of Thebes fated to kill his father and marry his mother. Oedipus, after unknowingly fulfilling his fate, vows to find his father's killer, which carries the added bonus of ridding Thebes of its plagues. As the truth unravels, Oedipus must confront his prophetic destiny. The play thereby deals with human struggle against one's own fate, a timeless conflict that has played a large part in the play's survival and ongoing popularity.
In this production, director Betsy Tucker, an assistant professor in the Drama Department, chose to emphasize the role of the chorus.
"Greek tragedies were not called tragedies; they were called choruses," Tucker said. "The chorus was central to the audience's emotional experience. It helps make the production the multi-sensual experience that a Greek tragedy is supposed to be. It's not just about Oedipus and his problems. It's about how a group of actors is affected by his problems."
Tucker enlisted the help of Rose Pasquarello Beauchamp, a new dance professor in the Drama Department, to choreograph the chorus's movement. Tucker believes the dance helps the audience engage in the production in a ritualistic and profound way.
Matt Wyatt, a University graduate, wrote the percussion score and performs during the play. The dance and costumes combine to provide an aesthetic and modern experience for the audience.
Fourth-year College student Will Gatlin, who plays Oedipus, feels that the play raises questions about knowledge and truth.
"How important is truth?" Gatlin remarked. "Should we seek it out? Or leave it undisturbed?"
Gatlin did research concerning the impact of fate and illusion that included some works by psychologist Sigmund Freud. In reference to the Freud's theory of Oedipus complex, Gatlin said Freud should have called it the "Prometheus complex;" Oedipus struggles to escape his parents and his fate, but fails.
Tucker has directed many productions at the University, and Gatlin credits the success of this production to Tucker's leadership.
"Betsy's fantastic," Gatlin said. "[With her], there's a real focus on language."
The stage is surrounded on three sides by the audience, which further lends a feeling of immersion to the performance. The set is deeply symbolic; painted on the ground is a path that leads up to a misshapen city wall. The set seemingly mirrors the contortion of Oedipus's destiny.
This production posed many challenges to cast members.
"We have no idea of what traditional Greek theatre was," Tucker said. "Our play is not a reproduction, rather we try to take [the audience] on an equivalent emotional and aesthetic experience."
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