Using the metaphor of frenzied religious festival celebration, Socrates compares the poets to Corybantic
dancers and Bacchic revelers.
In fact, such an observation permits the frenzy and the homicidal mania of Heracles to be placed in the context of the portrayal both before, and also after, this corybantic
and delusional insanity.
Aristotle calls the flute orgiastic because it contributes to religious insanity but often refers to drums in bacchic, corybantic
or similar ecstatic worship.
At the height of their devotions, the maenads were seized by violent raptures, to which they surrendered entirely; absorbed in the formless beauty of the god, and tormented by fitful intimations of his presence, they worshipped him with cries of longing and delight, desperate invocations, wild dithyrambs, delirious dance, inebriation, and the throbbing din of corybantic
music; abandoning all sense of themselves, they suffered visions and uttered prophecies, fell ravished and writhing to the earth, or sank into insensibility.
And at a recent revival of his 1999 work Corybantic
Ecstasies at the Boston Ballet, he saw plenty of choreography he would have chucked in retrospect.
This is not to suggest corybantic
blood-lust on the part of the abbot of Clairvaux; as jean Leclercq points out, `Bernard accepted violence as an evil present in the world, inherent in the society in which he and his contemporaries lived.
Schopenhauer once accused the followers of Hegel of celebrating the works of their master "with corybantic
Wheeldon premiered a new Firebird at Boston in October, and he created Corybantic
Ecstasies for the company last season.
In addition to Christopher Wheeldon's new and fascinating Corybantic
Ecstasies, it also included the world premiere of Daniel Pelzig's craftsmanlike, company-useful, and vividly, vibrantly danced Bachianas, set to Villa-Lobos, and the company premiere of Jean Cocteau and Roland Petit's 1946 existential shocker, Le Jeune Homme et la Mort.
At the Brown Theater on March 4, Ben Stevenson's Houston Ballet offered the world premiere of Welch's Indigo, while at the Shubert Theatre on March 9 AnnaMarie Holmes's Boston Ballet mounted the world premiere of Wheeldon's Corybantic
Two more new works were presented in the "Festival of Firsts": Pelzig's Bachianas and Christopher Wheeldon's Corybantic
Ecstasies, along with the company premiere of Le Jeune Homme et La Mort (1946), choreographed by Roland Petit.
For the March series, Christopher Wheeldon, soloist at New York City Ballet, premiers his newest piece of choreography, Corybantic
Ecstasies, set to Leonard Bernstein's Serenade.