Bakkhai: Given Circumstances

Here are the given circumstances for the character Agave within the play Bakkhai. In this I will detail,
Stanislavski’s 5 W’s and also include Agave’s personalisation.

Who?

This refers to the basic, physical and external qualities of my character, such as:

1. Age – Though Agave’s age isn’t explicitly stated in the play, we do know that she has an adult
son - Pentheus - but also that her father (Kadmos) is still alive, though elderly. Researching
ancient Greek culture, I have learned of the custom in which girls at the age of 12 or 13,
when they start puberty, discard their childhood toys at a temple or alter; signifying that
they are ready for marriage. Taking this into account, I have placed Agave’s age at
approximately 35.

2. Physical Traits - Again, nothing is specified by Euripides, though after contemplating the
other given circumstances I may choose physical traits such as (when under Dionysus’
influence) to make her posture bent and animalistic, which would juxtapose her usual
straight and tall posture.

3. Culture and Time Period – As this is set in ancient Greece, there is a completely different
culture to that of contemporary Britain, the main difference being the expectations for and
attituded towards women – this will become significant later as it plays into Agave’s deep
seated objectives and needs.

4. Social and Economic Class – Agave is the daughter of the former king, Kadmos, and mother
of the play’s current king Pentheus. She’s a princess with extremely high status – at this
point in the play, she has not been known to partake in anything ‘uncivil’ or ‘immoral’ by
ancient Greek standards and thus is extremely respected. In addition to this, she can be
assumed to be extremely wealthy with bounties of resources.

5. Educational Background – Most ancient Greek women were uneducated academically,

though they were taught to sew, wash clothes etc. No hunting whatsoever.

6. Familial Relationships – Agave is devoted to her son, he fuels her pride as she was able to
conceive the king of Thebes. Pentheus is completely coddled by her and was clearly
influenced by her values. Alternatively, Semele – Agave’s late sister - was scorned and
despised by her, this I presume was due to jealousy of her relationship with Zeus and the
potential to have a demi-God heir to the throne of Thebes. Agave holds little regard for her
father, her respect for him had already shattered when he chose to believe Semele as
opposed to her and her sisters – this has further broken down as he is no longer king of
Thebes, holding no power and subsequently has nothing of value to offer her. She frequently
mocks his age and the fact that he is more vulnerable than her.

Where?

This refers to not only the time period, or time of day (the physical aspects) but also the social
aspects and atmosphere that accompany them.
 1. Place – This play is explicitly said to be set in Thebes – a Greek city and major competitor to
the city of Athens. It is a very humid and moderately warm, with vast mountain ranges.

2. Social Environment – 405 BC marked the end of a huge war between Athens and Sparta –
Sparta, a place in Greece in which women were more empowered; hunting and fighting like
their male counterparts, was winning this war. Subsequently, their values were becoming
more widely accepted as opposed to those of Athens, in which academics were pushed and
there were still gender based roles. This may have influenced Euripides, and definitely
affects the characters, who question their own roles within society and frequently explore
becoming the opposite gender.

When?

This in terms of the time period, and season.

1. Time – I know the time period as the Bakkhai was written in 405 BC Ancient Greece – it is set
within this time period, serving as a warning to the people of Greece. The season it is set in
is not stated, however through my research I have found out that Dionysus was worshipped
during the winter months, and thus, would set the play in winter season.

What?

Referring to what significant thing is happening in the scene, before the scene and how it impacts
the rest of the play.

1. This Scene – within my scene, the most significant things that are happening is the conflict
between Kadmos, representing logic, ad Agave, representing intoxication, as he tries to
make her see sense – ultimately this leads to the climax in which she finds out she has
brutally murdered her son, ruining her reputation and perception of Dionysus and Kadmos.

2. The Previous Scene – In the scene previous to this, a guard details how whilst he was
present, Agave and her sisters ripped Pentheus apart in a Bakkhaic craze – this influences my
scene as it tells me that Agave is not in her right mind, she feels empowered and is incredibly
hyperactive.

3. Rest of the Play – this scene marks Agave’s fall from grace – it is revealed that not only
Pentheus was being punished by Dionysus, but also Agave as she is stripped of her child, her
pride, her reputation and eventually her home.

Personalisation: Agave
Personalisation is how an actor chooses to portray what makes their characters three dimensional
people – their desires, objectives and their drive/ means of achieving those things.

Agave’s Deep-Seated Desires and Needs:

I think Agave, as a woman who has been surrounded her entire life by revered men (such as the
kings Kadmos and Pentheus) and alluring women (such as her beautiful sister Semele) has a deep
desire to be acknowledged – to be recognised for her own actions – she had already attempted this
and succeeded with the birth of Pentheus, however, this was momentary as the new king would be
soon to outshine her. She’s a prideful woman who believes that she is superior to all other people
and thus, believes that she is capable of things that would earn people’s respect. Though she is not
allowed to do due to her gender. She doesn’t fight against this, because she also has a crippling fear
of losing her reputation, which drives her to be the perfect woman.

How this Need Manifests Within the Scene:

Within my scene, this need is manifested through Agave’s boasts to her father. She shows off to
Kadmos, ecstatic and rambling about how there was no need for his guards or men at all with her
and her sisters present – it is emphasised as she further elaborates that she has done most of the
killing of this ‘mountain Lion’ by herself.

Immediate, Specifi c Needs:

In this scene, Agave’s immediate need is recognition. She runs all the way to Thebes to boast about
her kill of this ‘mountain lion’ – she is unperturbed by her bloodied clothing, not exhausted in the
slightest and shows no remorse, She only strives for people to celebrate her.

Confl icti ng Needs:

Agave’s need for recognition within this scene differs exponentially from Kadmos’ need to be hidden
and unnoticed so as not to bring attention to the blasphemous Thebes, whose people refuse to
worship Dionysus. This is shown through Kadmos’ reserved and kind nature – it’s significant, because
most people, facing the abuse and arrogance that Agave provides, would meet this with anger and
shouting – high volume. Kadmos’ refusal to do this, staying calm and quiet exaggerates his need to
stay hidden.

My Needs Versus Agave’s:

I think that my needs are actually very similar to Agave’s – I am someone who desires attention and
feels a deep compulsion to prove myself to others, though similar to Agave I have many inhibitions,
such as my reputation and self-image that can limit me from this. Thus, to have those things
removed would make my behaviour similar to Agave’s – ecstatic, boastful and prideful.