{"id":147,"date":"2022-11-05T14:48:11","date_gmt":"2022-11-05T14:48:11","guid":{"rendered":"https:\/\/www.critical-stages.org\/26\/?p=147"},"modified":"2022-12-14T21:21:26","modified_gmt":"2022-12-14T21:21:26","slug":"looking-into-the-ecological-footprints-of-michail-marmarinoss-trackers-by-sophocles","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/26\/looking-into-the-ecological-footprints-of-michail-marmarinoss-trackers-by-sophocles\/","title":{"rendered":"Looking into the Ecological Footprints of Michail Marmarinos\u2019s Trackers<\/em> by Sophocles"},"content":{"rendered":"\n

Vicky Manteli<\/strong>*<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

In this paper, I discuss the phenomenology and aesthetics of Michail Marmarinos\u2019s Trackers<\/font>, Summer 2021; in particular, I analyze the director\u2019s stage approach to Sophocles\u2019 drama as an ecologically driven revision of Sophocles\u2019 non-extant satyr play. The director explores the borderline between nature and culture, inspired by a myth of the Satyrs and Apollo, who were mystified by music. The imaginative stage interpretation of the theogony of music, central to the myth of Trackers<\/font>, resonates with experience of contemporary audiences affected by COVID-19. In the discussion below, I focus on the performances at the ancient theatre of Epidaurus, July 24\u201326, 2021, and on the plateau of Mount Ziria, July 31, 2021, both of which highlight the director\u2019s talent for open space management.

Keywords<\/strong>: Sophocles, Trackers<\/font>, Michail Marmarinos, environmental\/eco-theatre, site-specific performance, music, Epidaurus, Ziria, COVID-19<\/p>\n\n\n

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Trackers<\/em> by Sophocles, director Michail Marmarinos, Ancient Theatre of Epidaurus. 24 July 2021. \u0397lektra Nikolouzou, Manos Petrakis, Angelos Neratzis, Christos Kragiopoulos, Andromachi Fountoulidou, Alexandra Kazazou, Adrian Frieling, Tasos Karachalios, Theodora Tzimou, Charis Frangoulis (centre stage). Photo: Thomas Daskalakis<\/figcaption><\/figure>\n<\/div>\n\n\n
Production Details of Michail Marmarinos\u2019s Trackers<\/em><\/strong><\/h5>\n\n\n\n

In the midst of the COVID-19 pandemic, acclaimed Greek theatre director Michail Marmarinos revisited ancient Greek drama, focusing on satyr drama, he directed Sophocles\u2019 fragmented play Trackers<\/em>. Originally scheduled to open in the 2020 Athens\/Epidaurus Festival but postponed due to the pandemic, the production was finally staged in Summer 2021 at three different venues.<\/p>\n\n\n\n

Trackers <\/em>premiered at Epidaurus theatre on July 24, 2021, with additional performances on the following two nights. A subsequent performance was staged on the plateau of Mount Ziria, i.e., Mount Cyllene of ancient Arcadia, the dramatic setting of Sophocles\u2019 drama; on September 16, 2021, the performance was staged at the Odeon of Herodes Atticus, Athens. My analysis, however, is based solely on performances staged at Epidaurus and Ziria.[1]<\/sup><\/a><\/p>\n\n\n

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Trackers<\/em> by Michail Marmarinos, Ancient Theatre of Epidaurus, 23\u201325 July 2021. Official website Athens\/Epidaurus Festival<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n
Sophocles\u2019 Trackers <\/em>(Greek title Ichneutai<\/em>)<\/strong><\/h5>\n\n\n\n

I believe it would be useful to begin with a brief plot summary of this lesser-known play by Sophocles. The main characters are the god Apollo, Silenus the father of Satyrs, the Chorus of Satyrs, the mountain nymph Cyllene and the prodigy Hermes. The story is set in Mount Cyllene, Arcadia, and the cave of Hermes. The play opens as Apollo, displaying signs of distress, informs the audience that he has lost his beloved cattle, and he promises a reward to anyone who can recover them. Eager to win a quantity of gold as well as freedom for himself and his sons, Silenus, assisted by his sons, offers to help.<\/p>\n\n\n\n

In the next scene, the Chorus begin searching for the cattle. They discover confused tracks \u201cas though the cattle had been dragged backward into the nearby cave to fool pursuers\u201d (Walton 66). Suddenly, a strange sound from underground frightens the Satyrs, but Silenus helps them track the cattle.  The Nymph Cyllene enters from the cave and informs Silenus and the Chorus that she is nursing the son of Zeus and Maia. She also explains how the baby Hermes \u201chas fashioned an instrument of music from the shell of a tortoise\u201d (Lloyd-Jones 142) which he called a \u201clyre.\u201d Although they have limited knowledge of the tortoise and its shell, the Chorus recognize the sound they have heard. They also suspect that the cowhide stretched over the tortoise shell may well prove that Hermes is the thief of Apollo\u2019s cattle.<\/p>\n\n\n\n

The extant fragment ends at about line 404 \u201cwith an altercation between Cyllene and the Chorus, she denying and they insisting that Hermes must be the thief\u201d (Lloyd-Jones 143). The climax of the dramatic situation most likely occurs when the thief is discovered and a confrontation between Apollo and Hermes follows (143). <\/p>\n\n\n\n

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