Belgium’s Ghent Is Being Transformed Into Ancient Greece

For eight weeks in May and June, the quiet Flemish city of Ghent is being transformed into the buzzing cultural metropolis of ancient Greece, with a total of 32 Greek tragedies being performed across the town.

The idea for the ‘All Greeks Festival’ was conceived by the former artistic director of NTGent city theatre, Milo Rau. While walking in a park in Paris, Rau spotted Shakespeare being performed by amateur actors and decided he wanted to replicate the experience in Ghent – but with Greek tragedies.

Rau’s revelation is now finally being realised, as 32 plays will be performed over the city from 1 May to 23 June, under the aegis of curators Matthias Velle and Benoît Vanraes.

“The goal of the festival is not only artistic but also to have many inter-sectoral collaborations, for example with care hospitals, youth organisations and civil society,” Velle told The Brussels Times, adding that he wants to bring together as many people as possible.

“In ancient Athens, theatre had a far more crucial place in the city. Going to the theatre was a civil act during the Great Dionysia [ed. a large theatrical festival in ancient Athens in honour of the god of tragedy, Dionysus]. We don’t have that anymore. But over the eight weeks we will put theatre and the questions posed in these tragedies in the spotlight.”

Festival in Ghent on Ancient Greece to draw parallels with modern life

The curator aims to highlight intersections between Greek tragedy and modern life, both in terms of content and also in the public space.

For instance, Euripides‘ meta tragedy ‘The Bacchae’ (performed by Villa Voortman, Het Scheldeoffensief and Comp. Marius on 23 June) leads viewers to think of the increased surveillance during the Covid crisis and in response to the agression of young people from Brussels and elsewhere at the Blaarmeersen (a recreation area on the outskirts of Ghent).

“What is interesting is the dynamic between liberty and law and order, as seen in Euripides’ tragedy,” Velle explained to The Brussels Times. “There is a Trumpian fence at the Blaarmeersen during summer now. There are very few places for public swimming when it’s hot, you have to show your ID and people coming from outside the city have to pay; the atmosphere has completely changed.”

Although this is a local phenomenon, restrictions on freedom represent a wider issue in society. “We have to strike a balance between liberty and safety.”

Each location was carefully chosen by Velle. The historic centre was essential for its political significance while other neighbourhoods, such as the Bloemekenswijk (week seven) and the Watersportbaan (week eight), he feels need a greater cultural offering. Velle hopes that the festival will address this.

Highlights include canonical tragedies in week two (the “classic week”) at the amphitheatre in the Citadel Park, which will give visitors a real flavour of Ancient Greece. ‘Klytaimnestra’, a razor-sharp dissection of misogyny, toxic hunger for power and unbridled wariness, will be performed by Toneel Antwerp City Theatre outside in Belgium for the very first time in English, Dutch and Greek.

For English speakers, Velle recommends ‘Women in Troy, as told by our mothers’ (week four) with English subtitles, written by renowned Portuguese playwright Tiago Rodrigues.

Falling one week before the European election, ‘Supplication!’ (week five) will be “both a Greek chorus and a political manifesto inspired by the tragedy of Aeschylos.” It highlights the often invisible and undervalued social position of women, especially those from migrant backgrounds.