Constructing a Hellenic modernism: Aeschylus at the ancient theatre of Syracuse (1914–30)

Abstract

Abstract This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well as Max Reinhardt’s early engagements with ancient Greek drama and his vision of theatre (particularly his Theatre of the Five Thousand). It then discusses the aesthetic trajectory that productions of ancient Greek drama, and more specifically those of Aeschylus’ plays, underwent from INDA’s beginnings in 1914–30, when an all-fascist governing body was installed at its helm.