Eva Palmer Sikelianos, along with her husband, the poet Angehlos Sikelianos, founded the first modern Delphic Festival in 1927 in an effort to revive the ancient Greek rites that had taken place on that spot more than twenty-five hundred years before. This chapter explores Palmer Sikelianos’s choreography, rituals, music, and dramaturgy for her reconstructed Prometheus Bound by Aeschylus in light of her research on ancient Greek culture, conducted in both Paris and modern Greece. Based on silent film records of Palmer Sikelianos’s 1930 festival, her autobiography, her collaborations with Natalie Clifford Barney on Greek-themed theatricals in the early 1900s, and comparisons to the movement vocabulary and other contemporary stagings of ancient Greek festivals and sport, the chapter demonstrates how Palmer Sikelianos navigated between the needs and methods of the archaeologist and those of the performer. She blended the oldest sources on ancient Greek ritual music and dance that she could find with what she saw as an authentic “spirit” of Greek culture that she observed in modern Greek society. Her performances drew from archival/archaeological courses (ancient treatises, dance iconography) and lived practices (folk song, modern dance, Byzantine chant traditions). Like the Ballets Russes’s re-enactment of ancient Greece in Daphnis et Cholé and L’Après-midi d’un Fauné and pagan Rus’s in Le Sacre du printemps [The Rite of Spring], Palmer Sikelianos’s project to re-enact “authentic” Greek theater and choreography illustrates that theories of theatrical historical reconstruction in the early twentieth century were heavily influence by contemporary theatrical, political, and social events.
Musik Dewa-Dewa Dalam Upacara Erau Pelas Benua di Guntung Kota Bontang Kalimantan Timur
