The National Theater Company of Korea has launched an ambitious theatrical project that asks a fundamental question: why do we still need tragedy in the modern world? Their answer comes in the form of "Anthropolis," a sweeping five-part cycle that explores the enduring tragedies of the royal house of Thebes from ancient Greek mythology, now playing at the Myeongdong Arts Theater in central Seoul.
The monumental production, originally premiered in 2023 by German playwright Roland Schimmelpfennig and director Karin Beier, has been adapted for Korean audiences with a different director helming each installment. The first part, "Prolog/Dionysos," directed by Yoon Han-sol, runs through Sunday and will be followed by "Laios," directed by Kim Su-jung, scheduled for November 6-22. The remaining three installments are planned for next year, making this one of the most ambitious theatrical undertakings in recent Korean theater history.
"Prolog/Dionysos" begins with the mythical founding of Thebes by Cadmus, a Phoenician prince who was searching for his sister Europa after she was abducted by Zeus. The ancient city later becomes the birthplace of Dionysos, the son of Zeus and Semele, and serves as the center of his divine cult. The narrative follows Dionysos as he systematically punishes those who dare to challenge his divinity, setting the stage for the tragic events that will unfold throughout the cycle.
Recognizing the cultural gap between European and Korean audiences, the directors have made deliberate choices to make these ancient stories more accessible to contemporary viewers. "Compared with European audiences, Korean viewers are naturally less familiar with Greek tragedy. We incorporated music and dance to make the story more accessible," explained director Yoon at a press conference last week. This approach has transformed "Prolog/Dionysos" into a grand spectacle featuring 18 actors and five musicians providing live accompaniment.
The production showcases a dramatic range of performance styles throughout its 180-minute runtime. The Prolog section features soft solo singing that establishes an intimate, contemplative tone, while the Dionysos portion explodes with energy as dancers performing as an 11-member chorus move with the dynamic intensity of a musical or K-pop performance. The show cleverly intersperses song, dance, live-camera footage, Korean subtitles projected on screen, and B-movie-style humor to balance the weight of the tragic narrative.
Yoon's directorial vision extends beyond mere entertainment, offering deeper interpretations of these ancient myths. He has interpreted the story of Thebes' founding as representing the spread of civilization itself. To emphasize the theatrical nature of the production and set the tone for the entire cycle, he brought the makeup room directly onto the stage, reflecting his belief that every theater performance truly begins in the dressing room. "We also interpreted Dionysos as a new, foreign civilization, framing the story as a clash between emerging and established powers and cultures," Yoon explained.
True to the tragic genre, the first installment concludes with devastating consequences. Pentheus, who defiantly opposes divine power, meets a horrific fate at the hands of his own mother and aunts, who have been driven to madness by Dionysos. This brutal ending serves as a reminder of the genre's unflinching examination of human nature and divine justice. "I think what we need is a tragedy that confronts wounds openly, rather than offering stories of forgiveness or redemption," Yoon stated, emphasizing the cathartic power of uncompromising tragedy.
The second installment, "Laios," represents a complete departure from the first part's grand scale. This one-person play is an entirely original work by Schimmelpfennig that focuses on the father who was slain by Oedipus. Actor Jeon Hye-jin takes the stage alone in this intimate exploration of desire and fate. "It follows Laios' desires and asks why Oedipus was fated to become the tragic hero," said director Kim. "I wanted to question why certain tragedies or cycles of violence repeat across generations, and whether it is possible for us to break them."
Playwright Schimmelpfennig has provided his own perspective on why these ancient stories remain relevant today. In a statement released for the Korean production, he wrote: "The ancient stories are mirrors in which we can still recognize ourselves today: in our longings, in our fears, in our struggles for justice, in the never fully resolvable contradiction between society and individuality." He emphasized that "Antiquity is not a closed chapter. It is a reservoir of stories that we can read and retell again and again -- especially in a time when we are confronted with upheavals, uncertainties and crises."
The production has been designed with accessibility in mind for international audiences. English subtitles will be provided for both "Prolog/Dionysos" and "Laios" on Thursdays and Sundays, with one exception on November 16, when a barrier-free performance will be offered featuring audio description, Korean sign language interpretation, and Korean subtitles. This commitment to accessibility reflects the theater company's dedication to making these universal stories available to the widest possible audience.
