Hercules and the Augean Stables

Author - Friedrich Dürrenmatt

Director - Giorgi Trapaidze

Scenography by - Teko Archvadze, Kesane Babunashvili, Nana Gabelaia

Costumes Designer - Teko Archvadze, Kesane Babunashvili, Nana Gabelaia

Choreographer - Hicham El Bouhdmidi

Composer / musical adaptation  - Irakli Areshidze

Assistant to the director - Giorgi Elijarashvili

 

Cast:

Hercules – Zaza Tagoshvili

Polybius – Temo Firtskhalashvili

Deianira – Rusa Arabuli

Augeas, Tantalus – Davit Aspanidze

Phileos – Nika Grinevski

Stage Technician, Scene I – Giorgi Elijarashvili

Stage Technician, Scene II – Nika Grinevski

Journalist – Meri Pkhovelishvili, Nini Tsintsadze

Pianist – Natuka Esakia

Chorus – Nini Tsintsadze, Natalia Charkviani, Mariam Kapanadze, Nina Kasrelashvili, Mariam Nergadze, Mashiko Makalatia, Kato Ekseulidze

 

 

Duration  90 min; no intermission

Genre -  Satirical Allegory

In case of travel : 19 people

 

 

Hercules and the Augean Stables is a satirical allegory and a creative exploration of contemporary social, political, and ethical issues through the lens of an ancient Greek myth.

Themes such as the conflict between individual and society, the absurdity of bureaucracy and institutional systems as well as the clash between lofty ideals and earthly realities are just a few of the provocations this play offers to its audience.

Written in 1952 by the renowned Swiss playwright Friedrich Dürrenmatt, the play remains strikingly relevant today.

One of the artistic challenges in our production was integration of Bertolt Brecht’s poems — presented as songs (Zongs) — within Dürrenmatt’s narrative. These feature original music composed specifically for this staging.

We incorporated Brecht’s texts as Zongs to build a bridge to his tradition of epic theatre, merging his politically charged writing with Dürrenmatt’s sharp satire.

The Zongs serve to heighten the Verfremdungseffekt (distancing effect), not only helping the audience maintain a critical perspective on the action but also allowing the actors to remain consciously detached from their characters — thus inviting a more analytical engagement with the events on stage.