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Safari Hats for Men

Explore the great outdoors with our safari hats for men. Every safari hat offers the perfect blend of protection and style, ensuring you're adventure-ready.

Crusher | Mens Crushable Leather Outback Hat

4 colors available

Soaker | Mens Breathable Wide Brim Sun Hat

3 colors available

Midnight Rider | Mens Leather Outback Hat

2 colors available

Boondocks | Mens Felt Fedora Hat

Sirocco | Mens Wide Brim Sun Hat

1 color available

Bison | Mens Leather Packable Hat

Roughneck | Mens Buffalo Leather Outback Hat

Rogan | Mens Khaki Crushable Hemp Sun Hat

Backwoods | Mens Leather Outback Hat

Paulo | Mens Wide Brim Straw Safari Sun Hat

Duke | Mens Brown Felt Cowboy Hat

Pathfinder | Mens Wool Felt Outback Hat

Ventura | Mens Leather Outback Hat

Explorer | Mens Outback Hat

Wilderness | Mens Mesh Sun Hat

Related Categories

Mens Sun Hats

Mens Wide Brim Hats

Hiking Hats for Men

Australian Outback Hats

The American Hat Makers Difference

If you're on the hunt for the ideal safari hats for men, look no further than American Hat Makers. Our longstanding commitment to exceptional craftsmanship and quality makes us the top destination for safari hats for men. Our offerings span a variety of classic and contemporary designs, specially curated for the modern man who values style and function. Our collection includes an extensive array of sizes and colors, each meticulously crafted for the hat enthusiast who demands the best. Whether you're prepping for an outdoor adventure or simply want to add a rugged touch to your everyday look, our selection is second to none. Crafted from premium materials, each safari hat for men ensures both long-lasting wear and timeless looks. Choosing a safari hat from American Hat Makers means you're stepping out not just prepared, but also in style.

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HANDMADE SINCE 1972

Since 1972, American Hat Makers has been the go-to source for exceptional mens safari hats. Every hat we craft reflects our unwavering commitment to top-notch craftsmanship, characterized by fine detailing and the use of high-quality materials. Amidst a wide array of hat options, our men's safari hats distinguish themselves uniquely. Opting for a safari hat from American Hat Makers ensures you're wearing a hat that effortlessly combines timeless ruggedness with contemporary fashion.

AMERICAN MADE TO LAST

When you're searching for that ideal addition to complete your adventurous look, a safari hat from American Hat Makers stands out as the go-to option. Our commitment to quality craftsmanship is clear; inferior safari hats can't hold up in comparison. Every hat we offer is crafted to embody the rugged yet stylish nature of the safari aesthetic, delivering both durability and fashion. Choosing a safari hat from American Hat Makers isn't just a style decision; it's an investment in our long-standing tradition of exceptional craftsmanship.

Our Hats Have Been Seen On

Find the Perfect Mens Safari Hat

Shop the Best Mens Safari Hats for Sale Online

Navigating through the abundant choices for mens safari hat options can sometimes feel like you're trekking through a jungle of styles. With so many options available online, the task of selecting the perfect safari hat can become daunting. There's always the risk of buying a hat that doesn't align with your adventure-ready aesthetic or ends up unused. At American Hat Makers, however, we've simplified the process of finding your ideal men's safari hat.

Our carefully curated collection features a broad spectrum of durable and stylish designs, ensuring something for every outdoorsy type. Moreover, our experienced team is always available to guide you in choosing the safari hat that best fits your individual needs.

Embrace Adventure

Navigate the Outdoors with a Hat Built for the Journey

When it comes to trekking through the wilderness or discovering new terrains, a quality men's safari hat offers both comfort and rugged durability. Designed with the adventurous man in mind, these hats are your perfect companions for every expedition, from local trails to distant African safaris.

Each hat offers superior sun protection and features a breathable design to ensure you stay comfortable throughout your adventures. The blend of style and functionality elevates them from mere accessories to essential gear. No matter where you're headed, these hats have got you covered—literally and figuratively.

Built to Last

Durability and Craftsmanship in Every Stitch

Quality often takes a backseat in today's fast-paced world, but not here. Every men's safari hat in this collection is designed to withstand the rigors of the great outdoors.

From safari hats with mesh ventilation to designs featuring resilient materials, each hat is built to last. With a focus on craftsmanship, these hats are not just rugged but also aesthetically pleasing, offering the perfect blend of utility and style.

Shop Safari Hats for Men

Style Meets Comfort

A Versatile Collection That Goes Beyond the Trail

These safari hats are not just for wilderness explorations; they're equally at home in urban settings or casual events. With a timeless style that transcends seasons and occasions, these hats are your go-to for any situation.

Whether you're looking for superior sun protection or a versatile fashion accessory, this collection offers options that suit all your needs. Your style doesn't have to be compromised for the sake of functionality, and these hats prove it.

Venture Further with Confidence and Panache

The definition of adventure varies from person to person, and these men's safari hats are crafted to adapt to your unique sense of adventure. Whether you're trekking in sunny conditions and need a safari sun hat or require added ventilation through a mesh design, there's something for everyone.

Step out with the confidence of being well-equipped for whatever comes your way. The range of options ensures that your adventures are as limitless as your imagination.

The Details Matter

Meticulous Design for the Discerning Adventurer

When it comes to outdoor gear, the devil is in the details. Every safari hat in this collection undergoes a thorough quality check to meet high standards.

From the quality of the stitching to the stability of the brim, each hat is created with meticulous attention to every small element. That means you can trust that your hat won't let you down, even under the most challenging conditions.

Choose Wisely

The Right Hat Makes All the Difference on Your Journey

As a discerning adventurer, the choice of gear plays a crucial role in the quality of your experiences. The safari hats in this collection are not just aesthetically pleasing but also engineered for high performance.

Whether you're choosing an African safari hat or a simple khaki design, each piece in this collection is a testament to commitment to quality, offering you a dependable companion for all your journeys.

Safari Hats for Men FAQ

Men's Safari Hats typically come with wide brims for excellent sun protection, breathable material, and often mesh sides for added ventilation, making them ideal for outdoor adventures.

Our Safari Hats are versatile and can be worn in a variety of climates, but they are especially useful in hot and sunny conditions where sun protection is a priority.

We use a range of durable materials such as cotton, polyester, and mesh to ensure both comfort and longevity of your hat.

Our website offers a detailed sizing guide to help you pick the perfect fit. We offer Men's Safari Hats in various sizes to accommodate different head measurements.

Yes, we have an array of African Safari Hats designed for those seeking authentic style and optimum sun protection.

You can shop for our range of Men's Safari Hats directly from our website, where you will find an array of styles, materials, and sizes to choose from.

Baker Boy Hats and Caps

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• Accessories

Saint Martin

Saint Martin - Wool Safari Fedora

Saint martin wool felt safari hat.

The Saint Martin Wool Felt Safari Hat is the perfect blend of classic style and modern utility. Featuring the sophisticated center-dent crown of a classic fedora and the extended brim of a safari hat, this style offers all-weather protection, making it as useful as it is fashionable.

Trim includes a traditional grosgrain ribbon hat band surrounding its subtly lengthened crown that culminates in a brass Saint Martin pin at the left side.

Interior features include an unlined crown for maximum breathability and an absorbent grosgrain sweatband for comfort. It can be ordered in three practical yet elegant colors: deep chocolate brown, stark black, or rich navy blue.

The Details:

Crown: Front: 3.75" / Sides:  5"

-Breathable

Hat Sizing Chart

Hats offer both style and function. From adding the perfect finishing touch to your outfit to offering sun protection, hats provide endless benefits. However, no matter your favorite style, it's important to make sure a hat fits you correctly before purchasing it.

 *IMPORTANT* It is important to note that these size correspondents are not always exactly matching between brands and styles and every hat is a little bit different.  We are always happy to measure the inside of a hat you see on our site to your head size to ensure a good fit before shipping your order.

Hat Sizing:

Hat sizing comes in three general  sizes. 

• The most commonly used sizing you will see here are SM, MD, LG, XL and occasionally 2 & 3X sizes .
• The second most common sizing that we have on our site is that of half-sizes. Meaning there are usually only two sizes: SM/MD, and LG/XL. Occasionally there are 2X sizes as well.
• The more traditional sizing is that of the exact size in inches and/or in centimeters. You will commonly see these sizes on more expensive hats.

Men's and Women's Hat Sizes 

Some men's hats come in a one-size-fits-all style, but you'll more commonly find specific size ranges such as S to XL or 6 to 8. This wide range of measurements offers men the ability to choose their favorite style then create a comfortable, custom fit.

Women's hats, which usually come in a one-size-fits-all size, typically fit a head circumference of around 21 1/2 to 22 1/4 inches. Most of the time, women's hats will come with either an interior drawstring or adjustable band to help create more of a tailored fit. 

Even though there aren't as many size options, women can — and often do — wear any men's hat style.

How to Measure Your Head 

To  measure your head and figure out your hat size , you'll want to first grab a measuring tape or a 25-inch string and ruler. Once you've gathered your supplies, follow these three quick and easy steps: 

• Measure your head:  Using your measuring tape or piece of string, evenly wrap it all the way around your head until it overlaps. Be sure to keep it about 1 inch above your ears for the most accurate measurement.
• Find your size:  Once you've obtained your head circumference measurement, take your measuring tape or string and measure the length on your ruler. 
• Use the hat size chart:  To find your hat size, take your ruler measurement and find the corresponding size on the chart. Usually, these charts will list the measurements in centimeters and inches. The average adult hat size is between 53 and 58 centimeters. 
• If your measurement falls between two different sizes, we recommend sizing up to the nearest 1/8-inch. You can then use the hat's sizing tape to size your hat down if necessary. 

It is important to keep in mind that even though there is an industry standard, each hat manufacturer is different. There can be variations and inconsistencies in sizing depending on what company created the hat. That's why it's important to measure your head and look at the hat's specific sizing chart to ensure you find the perfect fit. 

Find the Right Hat at Hats Unlimited 

Whether you stop by one of  our seven retail locations  in Southern California or shop over 1,000 styles online, we are dedicated to helping you find the right style and size hat. If there is a hat you are interested in with no sizing information posted, we are more than happy to measure it for you.

From fascinators to fedoras, you can always expect to find the perfect hat at Hats Unlimited. If you have any questions or need some help with hat sizing, give us a call at 888-997-4287 or email us at [email protected].

Please email us at [email protected] or give us a call at (888) 997-4287 and we'll be happy to assist you!

What Is UPF?

Whether you're out in the sun all day or only on occasion, protection from harmful UV rays is paramount. People are increasingly turning to ultraviolet protection factor clothing, as it helps prevent sunburns and the long-term effects of prolonged sun exposure, including sunspots, premature wrinkles and skin cancer.

In this guide, we'll discuss the definition of UPF and UPF clothing and examine how it compares to the better-known SPF standard. We'll also talk about the benefits of wearing one of the most popular UPF clothing items — hats.

Benefits of UPF

UPF is to clothing what sun protection factor is to sunscreen — it indicates the fraction of UV light that can penetrate a fabric. For instance, a 25 UPF rating means the fabric lets in 1/25, or 4%, of the UV radiation, and a garment with a UPF rating of 50 lets in 1/50, or 2%, of the UV radiation. 

The UPF clothing industry has seen remarkable growth in recent years, expanding from mainly practical items to a wider variety of attractive, everyday clothing styles. UPF clothing is now available in thousands of designs by dozens of companies, all of which use treated fabrics, tighter weaves or both to block UV rays more effectively. Some clothing manufacturers specialize in UPF apparel, including Coolibar, UV Skinz and Mott50. Other well-known brands, like Athleta and Uniqlo, also offer UPF items now.  This surge in popularity is partly due to frustrations with sunscreen, which include its uncomfortable greasy feeling, the need to apply it frequently and the risk it may pose to aquatic life. Over recent decades, consumers have become more aware of the dangers of extended exposure to sunlight, which has also contributed to the growing popularity of SPF clothing. 

UPF protective clothing, like sunscreen, undergoes testing at independent laboratories, but UPF testing is currently not a requirement. Generally, companies that manufacture and sell UPF items in the United States follow complementary standards established by the  American Association of Textile Chemists and Colorists  and  ASTM International , formerly known as the American Society for Testing and Materials. Clothing tags will often say the items have a UPF rating, but will not mention whether they have met those standards specifically.  

If the tag includes a  Seal of Recommendation from the Skin Cancer Foundation , that shows compliance, but not all companies apply for the distinction. 

Laboratories use AATCC and ASTM protocols to gauge the percentage of UV radiation that penetrates a specific fabric. Some UV rays pass through to the skin directly via micro-spaces located between fibers, and the fibers will absorb or deflect other rays. Moisture can also affect a garment's UPF rating, with a dry fabric usually providing more protection than the same piece when it's wet.  

Recommended Ratings

Garments with UPF ratings below 15 are not sun-protective. To get the voluntary Seal of Recommendation from the Skin Cancer Foundation, the item must earn a 30 or higher rating from either the ASTM or AATCC. Any rating above 30 provides sufficient protection, though 50 is the best. While a UPF rating can technically be higher than 50, it won't offer significantly better protection, so garments with ratings above 50 will report it as "50+." 

UPF vs. SPF — What's the Difference?

UPF and SPF are both standards for measuring UV protection. Most everyone is familiar with SPF, which has measured sunscreen effectiveness for decades. In contrast, the UPF standard is relatively new and created specifically for rating UV protection offered by fabrics. Originally, sun-protective materials in the United States used SPF ratings, and the UPF standard didn't come into existence until later. Since applying for a UPF rating is not mandatory, many sun-protective clothing manufacturers continue to use the SPF standard.    

SPF Rating System 

Companies perform SPF testing on humans. SPF measures how long someone can stay under the sun before their skin starts to burn. For instance, if someone starts to get a sunburn after only 10 minutes, if they apply adequate sunscreen with an SPF 15 rating, the sunscreen should give them 150 minutes of sun protection. 

It's essential to note that, while sunblocks with the same SPF ratings will provide identical protection from UVB rays, no sunscreen protects you from all UVA rays. Even if a sunscreen claims to protect against UVA rays, the SPF standard currently doesn't measure protection from UVA rays. 

While researchers still believe UVB rays primarily cause sunlight-induced skin damage, particularly sunburn, many experts hypothesize UVA rays may be involved in other sun damage types, including wrinkles, aging and skin cancers. 

UPF Rating System 

Manufacturers of UPF fabrics don't test their effectiveness on human subjects. Instead, they usually use spectrophotometer tools. The UPF rating shows what percentage of UV radiation the clothing's fabric absorbs. 

For instance, a garment with a 50 UPF rating lets only 1/50th UV radiation from the sun go through it, meaning the garment will reduce your exposure to radiation by 98% in places the fabric protects. 

One advantage the UPF standard has over the SPF standard is that it measures protection against UVB and UVA rays.

Why Get a Hat With UPF Protection?

If you're only going to invest in one clothing item with UPF protection, a hat is perhaps the best choice. Benefits of UPF hats include the following.

• You can still be stylish :  If you're new to UPF, you may not realize UPF hats come in a wide variety of styles, meaning you won't have trouble finding a hat design that suits your tastes. 
• It provides better protection :  UPF hats aren't only an alternative to sunscreen on your face — they offer better protection than sunscreen, as they shield you from UVA and UVB rays. 
• There is no need to reapply :  Put on your UPF hat and you're good to go — no need to reapply every few hours. 
• You won't have to apply sunscreen on your children :  If you're the parent of young children, you know how much of a struggle it can be to put sunscreen on them. Having them wear UPF hats will protect their face, ears and neck from harmful sun rays. 
• There are no annoyances :  By using a UPF hat instead of sunscreen, you don't have to deal with all the irritations associated with sunscreen — your skin won't feel greasy, you'll never have to experience the sting of getting sunscreen in your eyes and you won't have to worry about your protection washing off when you go in the water.   
• They're a great choice if you suffer from photosensitivity :  Sun sensitivity can result from skin care products, medical conditions and some medications. If you struggle with this condition, consider getting a hat with UPF protection next time you go out in the sun.     
• They're more environmentally friendly :  As we mentioned earlier, some  chemicals used in sunscreens threaten marine life . By choosing SPF hats for your sun protection, you're not only benefiting yourself — you're helping Mother Nature. 

Best Hats With UPF Protection

As we mentioned above, UPF hats come in a broad array of styles and designs. Here are some of the most popular items for men. 

• Henschel Aussie Packable Breezer® Safari Sun Hat :  This  high-quality safari sun hat  boasts a UPF rating of 50+, meaning it protects you against 99% of the sun's ultraviolet rays. Its mesh crown is very breathable, and its canvas-wrapped brim is sufficiently wide to offer plenty of shade when doing activities like gardening, fishing, boating and hiking.
• Down Under Leather Outback Hat :  If you like outback hats, you'll love  this durable, stylish hat  made from UPF 50+ buffalo leather. This high-quality hat features a braided leather hatband and comes in black and dark brown color options. It's also easy to travel with, thanks to its crushable structure. Whether you're planning a hike in the mountains or a night on the town, this fashionable outback hat is a great choice. 
• Adams Extreme Condition Hat :  The  Adams Extreme Condition Hat , which features a helpful neck flap, is perfect for extensive activities outdoors. Made from 30% nylon and 70% cotton, this hat provides UPF 50+ protection. It features a crown made of cotton and a three-inch brim.
• Stetson Digger Shantung Straw Outback Hat :  Made from  stiff, durable shantung straw , the Stetson Digger is one of the best hats for spending time outdoors. Featuring a vented crown, this hat has a functional design and provides excellent UPF protection without sacrificing style. It also comes with an attractive leather band. 
• Adams Extreme Performance Cap :  This low-profile, four-panel baseball cap made of lightweight Rayosan UV-protective fabric  boasts a wide array of features  and a stylish baseball-style hat for outdoor enthusiasts. Its elongated bill provides extra shade. Other highlights include an under-brim for deflecting sun rays and glare, a comfortable terrycloth sweatband interior, Velcro closure to help with adjustability and mesh on both sides to make the hat more breathable. This cap is ideal for fishing, hiking or any other activity requiring breathable, lightweight material, sun protection and comfort. 
• Dorfman Pacific Evergreen Supplex Boonie Bucket Hat :  This durable outdoor hat features a  big-brimmed bucket and offers 50+ UPF protection , making it an excellent choice for hiking, fishing, off-roading, boating or relaxing by the ocean.  

Women also have a wide assortment of SPF hat styles to choose from. The most popular women's style hats include the following.

• Kooringal Ladies Poly Stripe :  The  classic Ladies Poly Stripe from Kooringal  has a crushable structure, making it perfect for bringing along on your next vacation. Made from lightweight polyester, this is a great choice if you need a hat that's casual, all-purpose and breathable. With a UPF rating of 50+, this hat also offers top protection against UV rays, and is available in a wide array of colors, allowing you to match it with any outfit.
• Kooringal Ladies Reversible Golf Hat :  This  reversible mid-brim golf hat  from Kooringal is a cute hat for walking outside, going to the beach or, as the name suggests, golf. This hat also features a drawstring, which allows for size reduction if needed. This hat is reversible, crushable and boasts a 50+ UPF rating. 
• Koorginal Bora Bora Straw Fedora Hat :  The  Bora Bora Straw Fedora Hat from Kooringal  is easy to wear and a great item to take on trips, due to its easily crushable structure.  The crown's base features two lines of colorful beads and an extra black string you can use to adjust the size. The inside of the hat, though unlined, has an elasticized sweatband to help with sizing. The Bora Bora has excellent sun protection, with a UPF rating of 50.
• Dorfman Pacific American Flag Rush Lifeguard Sun Hat :   Featuring an American flag under the brim , this straw-woven lifeguard hat provides excellent protection against UV rays. It's also lightweight and features a four-inch-wide brim, making it an ideal choice for a sunny day by the sea or on the water. This hat is a stylish choice for men, too.
• Kooringal Noosa Cotton Canvas Upturn Brim Hat :  This cotton canvas hat, which features an upturned brim, offers a  new take on sun hats . Whereas traditional sun hats are lightweight and made from straw, this hat is 100% cotton, making it exceptionally breathable and cool to wear. It also provides superior protection against UV rays, with a UPF rating of 50+. Its crushable structure also makes it easy to pack and travel with. 

Order a UPF Hat From Hats Unlimited

Over 25 years ago in Ventura, Calif., we founded  Hats Unlimited  with the mission to provide hats in as many styles, colors and varieties as possible. We attribute our business' success and longevity to our commitment to high-quality products and superior customer service. Over the years, our reach has expanded to areas throughout Southern California, with retail locations in Ventura, Santa Barbara, Palm Springs, La Jolla, Rancho Mirage, Solvang and Avila Beach. Due to our customers' demand to buy the hats they want from anywhere in the world, we launched hatsunlimited.com. 

All our stores boast more than 10,000 hats in stock, and our site has over 1,000 hat styles — and we're adding more every week. Our wide variety of options will ensure you'll have no trouble finding a hat that matches your needs and tastes. No matter what type of hat you're looking for — sports hats, women's fashion hats, kids' hats, funny hats, fedoras or  Indiana Jones hats  — you'll find it at Hats Unlimited. 

How to Measure Your Head Size

Finding the perfect hat is about more than style and function. It's also about fit. When they fit right, hats can complement an outfit and enhance your face. When hats don't fit right, they may end up hidden in a box in the back of your closet. The most stylish hat in the world won't be much use if it's always sliding down over your eyes or tucked out of sight.

If you're eyeing the perfect headwear, it's important to figure out what size you need before you commit to the purchase. Even hats labeled as "one size fits most" aren't always for everyone.  The first step to finding the right fit for you is to measure your head accurately and consult the sizing chart above.

You'll want to first grab a measuring tape or a 25-inch string and ruler. Once you've gathered your supplies, follow these three quick and easy steps: 

• Measure your head: Using your measuring tape or piece of string, evenly wrap it all the way around your head until it overlaps. Be sure to keep it about 1 inch above your ears for the most accurate measurement.
• Find your size: Once you've obtained your head circumference measurement, take your measuring tape or string and measure the length on your ruler. 
• Use the hat size chart: To find your hat size, take your ruler measurement and find the corresponding size on the chart. Usually, these charts will list the measurements in centimeters and inches. The average adult hat size is between 53 and 58 centimeters. 

It is important to keep in mind that even though there is an industry standard, each hat manufacturer is different. There can be variations and inconsistencies in sizing depending on what company created the hat.  That's why it's important to measure your head and look at the hat's specific sizing chart to ensure you find the perfect fit. 

How to Measure Your Hat Size

To determine your correct size, you first need to understand that hats come in three general sizes:

• The more traditional sizing is that of the exact size in inches and/or in centimeters. You will commonly see these sizes on more expensive hat

Measuring your head and using the hat sizing chart above will give you a general idea of what size hat you should wear. However, it is important to note that these size correspondents are not always exactly matching between brands and styles and every hat is a little bit different. We are always happy to measure the inside of a hat you see on our site to your head size to ensure a good fit before shipping your order.

At Hats Unlimited, we also have a  comprehensive return policy . If you don't get the size quite right or don't like the fit, it's easy to return your hat for a refund or exchange. Our goal is to get you in the right hat for you.

Women's Sizing

When you're choosing a size, you'll also want to consider the differences between a men's hat and a woman's hat.  Women's hats are most commonly designed with a one size fits most approach. In general, a women's hat can comfortably fit a woman with a head circumference between 21 1/2 inches and 22 1/4 inches. The variation in sizing is more commonly addressed by manufacturers today, who increasingly include an adjustable band or interior drawstring into their design.

However, there isn't an industry standard for one size fits most, which means that women's hat sizes can vary between manufacturers. What fits comfortably from one brand may be uncomfortable from another. The best way to avoid this problem is to measure your head's circumference and compare that with the measurements the manufacturer provides for each hat you're considering. 

Luckily, women can also choose any men's style, and often do, and look very fashionable with the right hat.  Since men's hats come in specific sizes, women can measure their heads and use the sizing chart to find a more precise fit.

Men's Sizing 

Men's hats often come in very specific sizes. Men's hat sizes can be measured S-XL or with numerical values ranging between 6 and 8. Men's hats may also come in a one size fits most option, and the range of measurements this can accommodate is typically higher than women's sizing. 

Once you've measured your head, consult the manufacturer's sizing chart to determine what size you'll want to order. If you're considering a hat that claims to be one size fits most, compare the hat's measurements to your own. It's also a good idea to check to see if the hat comes with features that allow you to adjust the sizing, such as an adjustable band.

While it's difficult to get an exact measurement of every hat we have on Hats Unlimited because there are so many, we try to include measurements we've taken of our most popular hats on the product page.

Tips and Tricks for Measuring Your Hat Size 

Measuring for a new hat isn't complicated, but taking an accurate measurement can be crucial to the enjoyment of your new hat. To avoid buying a hat you won't be able to wear, follow these five tips for success. 

1. Measure Twice, Buy Once

The old carpenter's adage rings equally true for measuring hats. It can be risky to use the first measurement you take, especially if this is the first time you've measured your head. If you order a hat based on an incorrect measurement, you may be stuck with a hat that isn't comfortable. Avoid this problem by making a point to measure at least twice before you order.

After the first measurement, write down the circumference in both centimeters and inches. Then measure again. If you get the same measurement a second time, you're probably on track. If the numbers come out differently than the first time, measure a third time. The goal is to get the same numbers every time so you can be confident you're buying the right hat.

2. Size up, Not Down

If you measure your head and the measurement comes out in between numbers, it's a good idea to round up to the next 1/8 inch. It might not seem like a lot of variation, but every fraction of an inch can make a big difference when it comes to a comfortable hat. 

Sizing down may result in a hat that's too tight. We recommend sizing up because you can always size your hat back down using our Hat Sizing Tape , which you can find on our website. It's important for a hat to fit securely, but there's a difference between a secure fit and a fit that leaves you uncomfortable. 

3. Don't Pull the String Tight

If you're using a piece of string or a flexible measuring tape to measure, avoid pulling it too tight once it's wrapped around your head. You don't want it so loose that it's hanging down, but pulling it too tight can also alter your measurements and lead to incorrect sizing. 

A good rule of thumb is to pull the string as tight as you'd want the hat to feel resting around your head. Remember that some hats should fit more loosely than others, so factor that into how tight you pull the string, too.

4. Expect Differences Between Manufacturers

Each hat is as unique as the manufacturer that creates it. Unfortunately, while there is an industry standard for hat sizing, manufacturing inconsistencies and supplier variations occur. This is why it's always important to measure and consult the retailer's sizing chart before you purchase a hat. 

Relying on the sizing chart for the company that made the hat is the best way to ensure a good fit every time. If you fall in between sizes, or you aren't sure how to read the retailer's chart, contact them for help. Hats Unlimited will also gladly double-check the size of a particular style for you. For help, simply reach out to us through email at [email protected] or by phone at 888-997-4287 .

5. Sizing Depends on the Style You Choose

Certain styles of hats are meant to be worn differently. Some hats should fit snugly against your head, while others should be a bit loose. Consider the fit and feel of the hat when you're looking at what size to order. In some cases, this could mean going with a size that's a little bit different than the measurements you took. If you aren't sure, it's a good idea to consult the retailer for advice on sizing.

Common Questions About Hat Sizes

As you measure your head, it's normal to have questions.  We've been in the hat business for a long time, so we're familiar with common questions people have when they're trying to size themselves for a hat. Consider some of the following:

1. What Does "One Size Fits Most" Mean?

Women's hats are often sized as a one size fits most hat. This means that there aren't individual sizes, such as S-XL or a numerical equivalent. Instead, these hats are designed to adapt to a range of head circumferences. Some designs may also come with features such as an adjustable band. 

To ensure a one size fits most hat will fit you, measure the circumference of your head, then compare it with the measurements of the hat you're considering. If the measurements aren't listed with the product information, you can ask us to measure the hat for you.

In some cases, men's hats may also be sized as a one size fits most. Similar to women's hats, this simply means the hat is designed to fit a range of head sizes and may come with features, such as an elasticized sweatband, to make it more flexible for a wider range of sizes.

2. What's the Average Hat Size for Men and Women?

The average head circumference for adults falls between 53 centimeters and 58 centimeters. On average, a man's hat size will be approximately 59 centimeters, while a woman's average hat size will be 57 centimeters. While it's helpful to know the average hat size, be wary of using this size to determine your own measurements.

Remember that an average is a number that is derived from small, medium and large measurements. It does not reflect the size of the entire population, nor does it account for the variations in fit and feel among different hats. 

The only way to ensure an accurate fit when you purchase a hat is to measure your head's circumference and compare it to the available sizes.

3. Can I Guess My Size if I Don't Have a Measuring Tape Handy? 

If you've purchased a hat from the same company before, you might be able to take a guess or rely on past measurements to determine what size to buy. However, if you're buying a hat from a different retailer or a different type of hat than what you've purchased previously, beware of making a sizing guess.

Hats are like clothing in that every brand has a slight variation in sizing, and a small miscalculation can make the difference between a perfect fit and a poor one. Even if you don't have access to a measuring tape, most people can find some string and a ruler lying around the house. 

Gather these items and use them to take accurate measurements prior to making a purchase. Or, if you're debating a purchase in the store, ask a member of the sales staff for help in sizing. 

4. What if I Can't Find My Hat Size?

Most men and women fall somewhere on the hat sizing chart. If you're getting a number that seems off, first make sure your tape measure is correct and isn't twisted. Try measuring again.

If your head is indeed significantly larger or smaller, you may wish to find a hat in the closest size and with an adjustable band or drawstring so you can make the hat fit better. You may also try different manufacturers and styles of hats. Some may fit better, even if you're an atypical size. 

Find the Right Hat for Your Face Shape

It's important to find the right fit, but don't stop there. You can also  find the right hat for your face shape . The perfect hat for you depends on whether you're rocking a round face, heart-shaped face or a long face. Have a diamond or square-shaped face? We've got hats for that too. 

In general, you will want to use these tips to get the right fit for your face shape:

• If your face is long, look for wide brims and brims that cut across the forehead.
• If your face is round, look for angled elements in your hats and hats that reveal more of your face.
• If you have a square-shaped face, floppy hats and wide, straight brims can look very flattering.
• If you have a heart-shaped face, look for hats that aren't too narrow at the crown.
• If you have a diamond face, look for hats that can sit at the back of the head.

While these are good guidelines, don't get too caught up in rules.  Ultimately, the key to finding and rocking the perfect hat is confidence. There's no greater feeling than wearing a beautiful hat that feels like it was made for you. That's exactly what you can achieve when you pick the right hat and fit.

Shop Hats Unlimited for the Styles You Love

With more than 1,000 styles to choose from, shopping for the perfect hat from Hats Unlimited is fun. Our stores are always stocked with the latest and greatest in hats for men, women, children and babies. 

We also carry a variety of styles, including  baseball caps ,  fedoras  and  cowboy hats . We're always adding new, on-trend styles to our inventory to keep you styling no matter what look you're going for.

Whether you're shopping online or at one of our  Southern California-based retail locations , our experienced sales staff are committed to helping you find the right look and size. Our sales staff is available to help you navigate our extensive collection and order the right hat at the right price. Don't see what you're looking for? We can help with that too!

If you're shopping online, you can order with confidence. We include manufacturer sizing and other key information on our site. You can measure yourself for your hat from the comfort of your home and know that what you get will be the right size. 

Many of our hats have adjustable bands or other features. Those details are listed on our site, too, as are your choices of colors. You can even zoom in on fabric texture and other features, giving you everything you need to know before you place your order.

Our stores have more than 10,000 hats in stock, so we're sure to have a style and size for you. We know how to fit your hat correctly and how to help you find a style you'll love. If you've figured out how to measure your head size but have found out you have a less-common hat size, contact us. We can often track down hard-to-find sizes and styles. If you can describe it to us, our team can usually find it.

Browse our inventory  today and  use this handy sizing page and chart to  find the right hat for you.

We do everything we can to fulfill orders as quickly as possible. However, please feel free to give us a call at (888) 997-4287 and we will do everything we can to change it if the order has not been shipped. These changes include removing or adding products and/or changing the delivery address.

Quick Links:

International shipping policy.

• Return Policy
• Damaged or Incorrect Items
• Additional Shipping Information
• Start a Return/Exchange

What is a Dropship Item?

Many of our items on the website are "Dropship Items" and we understand this can be confusing to the customer. A Dropship item is something we do not keep a physical inventory of in any of our warehouses or stores; These items are handled, picked and shipped directly from the manufacturer. This does not allow us to process and ship the order based on our time standards and are, instead, up to the mercy of the Dropship company. With over 4,000 unique styles all of which feature different sizes and colors it would be close to impossible for Hats Unlimited to keep physical stock to allow for the most comprehensive catalog on the internet.  Dropship items are annotated with a "DS" in the SKU of the item to indicate to both us and the customer that the item is handled by the manufacturer. The availability of the item also indicates the typical turn around time based off the manufacturer, most manufacturers ship the item the same day it is ordered, however there are some that can take up two weeks to get the item to the customer. Please keep this in mind when placing your order and selecting your shipping options. If you need a dropship item expedited, a call will need to be placed to our customer service line at 888-997-4287 and we will do our best to accommodate your needs.

Coupon Codes

Coupon codes including free shipping may not be combined with any other offer. Only one coupon code can be used at checkout. We apologize but free shipping cannot be used on international orders.

Domestic Shipping Policy

HatsUnlimited.com currently ships exclusively through USPS. We offer two different shipping options, USPS Ground 5-7 day shipping and USPS Priority 2-4 day shipping. If you need to have a package out overnight please contact customer service at 888-997-4287 and we may be able to accommodate your needs. Turn-around time can take anywhere from 24-48 hours before the item is shipped, although often items are shipped out sooner; Items ordered prior to 9 A.M. (PST) typically leave our warehouse that day. The Following are our two shipping options:  

USPS Ground 5-7 Day: $8.99

USPS Priority 2-4 Day: $10.99

Our International packages ship through USPS, Global Post, or UPS, and are bound to the price points below. Please understand that this does not include your country's customs costs and you should calculate these before completing your order. Should you decide not to pay customs costs and instead request a refund, you must wait for customs to send the package back to us before we can complete the refund. Any international refunds will not include any shipping costs. (*Disclaimer* First Class packages will not be tracked by the USPS tracking number once the item is received by the local postal service. To find out where your package is once it has arrived in your country, contact your local postal service.)

Global Post International or USPS First Class International: $29.99 (Can Take 1-3 Weeks to Arrive)  USPS Priority Mail or UPS International: $54.99 (Typically between 7-10 Days)

What is the Return Policy?

Hats Unlimited is committed to your satisfaction and understands how hard it is to find just the right hat. If you are unsatisfied with your purchase in any way, please feel free to return/exchange your item within 30 days of delivery. To ease the worry of purchasing a hat online, we now offer Re-Do. This service enables you to spend $2.98 at the time of checkout to get free returns and exchanges! PLEASE READ: ***IN-STORE PURCHASE DISCLAIMER***** For Items purchased in our physical retail locations, our return policy is exchange or store credit ONLY . The reason for the difference in policy is due to the fact that our in-store customers have the physical product in their hands to see, touch, and get the right size before purchase whereas our online patrons do not. 

To return or exchange your item, please follow the steps below.

-Your item needs to be unworn , unwashed , and with the original tags attached  to be elligible for a return/exchange. If you send your item back to us without meeting these criteria, you will not receive a refund and will have to pay shipping again if you want the item back. Please note that if you have received free shipping through any coupon codes or other means, this amount will be deducted from your refund  only  in the case of a return. 

Please click the following link to start a return/exchange: Start Return / Exchange

If you purchased the $2.98 free returns for store credit + exchange protection at the original time of checkout, there is no cost to return the package. You will be able to submit a return for store credit or exchange and receive a pre-paid label through our  returns center . If you did not purchase the $2.98 free return + exchange protection at the original time of checkout, you will be responsible for returning the product and will have an opportunity to buy a label during the return process.

-Unless we have made an error in shipping your item to you, (shipped the wrong item, or shipped a damaged/defective item), you will be responsible for shipping the items back to us if you did not purchase Redo coverage for $2.98. We recommend you insure the package as we cannot accept any items damaged in shipping. Original shipping costs are non-refundable.  

-If you are requesting an exchange, as stated above you will be responsible for shipping the original item back to us if Redo coverage was not purchased. We however will ship your new item free of charge (within the contiguous USA). International customers are responsible for all shipping charges. 

-We do our best to process your refunds & exchanges as quickly as possible. Typically this process will take no longer than 2 weeks from the date of your return shipment but often it will be much quicker.

For Damaged or Incorrect Items:

If you have received a damaged or incorrect item, please submit a return via our returns page here and select the appropriate option for damaged item. You will be required to send us 2-3 pictures and a description. Alternatively you may call us at  1-888-997-4287(HATS) or email [email protected]  and we will correct the situation.

Additional Shipping Instructions:

 Mail your merchandise back to our Customer Service Department by following the steps below: 

• Pack the item securely in the original package, if possible.  • All merchandise must be returned in new condition (unwashed and unworn), in the original boxes (whenever possible), and with all paperwork and tags attached to ensure full credit.  • Please do not return any merchandise in envelopes. Packaging in this manner may damage the merchandise during the shipping process. If the merchandise is damaged, a refund or exchange may not be issued.  • All return shipping charges must be prepaid. We cannot accept C.O.D. deliveries.  •Due to carrier transit times, please allow up to 3 weeks from the date you mail your package for your return to be processed completely.

For your protection, we recommend that you use UPS, Fedex or USPS Insured Parcel Post for your return. Ship the package to:

Hat's Unlimited ATTN: Returns Department 1363 Donlon St. #16 Ventura, CA 93003

For any additional questions, please do not hesitate to call us Toll Free at 1-888-997-4287(HATS) or email  [email protected]

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• Indiana Jones Timary Crushable Safari Fedora

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• Customer Reviews
• Shipping + Returns

The Timary, from the officially licensed Indiana Jones hat brand, is a crushable, packable safari fedora made from soft, wrinkle free ProvatoKnit. On your next adventure, just toss this hat in your bag and it will pop back out in shape on the other side, ready for the trip! The Timary features a 3" brim and is finished with a wide grosgrain ribbon hat band, a cotton twill sweatband for your comfort, and an signature Indiana Jones hat pin.

• Material: 100% PravatoKnit
• Crushable/Packable
• Wrinkle-Free
• Grosgrain Ribbon Hat Band
• Indiana Jones Hat Pin
• Cotton Twill Sweatband

Returns Policy

You may return most new, unopened items within 30 days of delivery for a full refund. We'll also pay the return shipping costs if the return is a result of our error (you received an incorrect or defective item, etc.).

You should expect to receive your refund within four weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days).

If you need to return an item, simply login to your account, view the order using the "Complete Orders" link under the My Account menu and click the Return Item(s) button. We'll notify you via e-mail of your refund once we've received and processed the returned item.

We can ship to virtually any address in the world. Note that there are restrictions on some products, and some products cannot be shipped to international destinations.

When you place an order, we will estimate shipping and delivery dates for you based on the availability of your items and the shipping options you choose. Depending on the shipping provider you choose, shipping date estimates may appear on the shipping quotes page.

Please also note that the shipping rates for many items we sell are weight-based. The weight of any such item can be found on its detail page. To reflect the policies of the shipping companies we use, all weights will be rounded up to the next full pound.

Bailey of Hollywood Curtis Indy Fedora

Bailey of hollywood billy stingy brim, stetson john wayne the fort crushable wool western hat, stetson reward shantung straw panama fedora hat, indiana jones indy fedora, indiana jones last crusader fedora, conner detroit wool fedora hat, bailey of hollywood crushable litefelt fedora, bailey of hollywood tino crushable fedora, country gentleman frederick wool felt fedora hat, recently viewed products.

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Cotton Oilcloth Safari Fedora Hat

Product details, about this item.

• Made of 100% Cotton Oilcloth - Water Resistant!
• Approx. 4" to 4-1/8" Pinch Crown, 2-5/8" to 2-3/4" Down Brim
• Self-Fabric Hat Band, Removable Jaxon Side Pin
• Cotton Sweatband, Satin Lining
• (2) Ventilation Grommets per Side - For added ventilation

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• Is Discontinued By Manufacturer ‏ : ‎ No
• Department ‏ : ‎ mens
• Date First Available ‏ : ‎ July 17, 2018
• ASIN ‏ : ‎ B07FN9N1Q9
• #5,451 in Men's Fedoras

Product Description

Jaxon Hats presents the stylish and water resistant Cotton Oilcloth Safari Fedora Hat, a new addition to our growing collection of timeless hat styles. Crafted of famously hardy cotton oilcloth, this style boasts a classic safari fedora design including a pinch crown and a slightly downturned brim for added protection from the elements. Two ventilation grommets are embedded on either side of the crown to help provide air flow while a sleek, self-fabric hat band adorns the crown finished with a removable Jaxon "J" side pin. Keep dry without sacrificing personal style, the Cotton Oilcloth Safari Fedora by Jaxon Hats is the one you've been searching for! | Sizes: S, M, L and XL

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Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

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A stylish hat associated with rockstars, the classic fedora hat is a timeless accessory that has its own place in the closet of every stylish gentleman who is a cut above. Our online collection of fedora hats for men offers trend-forward pieces that can easily elevate even the most casual outfits as well as add a touch of fun and play to a formal look. Wear one to your next garden party, Sunday brunch, or even a summer picnic to stand out in the crowd.

A Wide Range of Fedora Hats  

The traditional silhouette of a pinched center is available in our collection of men’s fedora hats in plenty of variations with different types of brims, interesting plaids, and details. Pick a design that can accommodate your personal style and add interest to your look. 

Wide-brim fedora hats in straw are picture-perfect accessories to take on a beach or safari holiday. The more sophisticated options in felt look great when worn with a casual shirt , chinos, and canvas loafers for a city-smart look. Options with a smaller brim in wool are must-have accessories for your winter wardrobe.

Styling Your Fedora Hat  

Fedora hats can be worn in a number of ways to effortlessly enhance your style. Wear them with your plain t-shirt and jeans combination, or team a felt number with dress shirts and a stylish pair of pants to make a style statement at evening parties. Team a short-brimmed fedora in a neutral color with a chambray shirt and a leather jacket for a simple yet polished look.

These fedora hats also look great with cashmere sweaters in bold colors for those winter months and just as stylish when worn with double-breasted blazers and a pair of dress shoes. Add a statement watch to elevate the outfit.

FAQs  

Can I Wear Fedora Hats Casually?  

While initially intended for formal occasions, fedora hats are now being increasingly worn by men in casual settings as well. Team them with shorts and a Hawaiian shirt at sundowners with friends, or pair them with a denim jacket for a casual coffee meet.

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The outdoorsman's work-ready essential provides maximum protection from the elements with these all-weather styles

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Flight Deck Beanie, Flight Deck Helmet, Moscow Hat

• Thread starter Username Hidden
• Start date 9/19/11
• Username Hidden

The Oakley Review - Apparel The Oakley Review - Apparel The Oakley Review - Apparel Anyone got any for sale?  

Check EBay for the Moscow hat. I think I saw one on their the other day.  

Oooh. That's a first gen one right? I was hoping for the skull one but that one would do, I think.  

Were you the winning bidder?  

Nope, I overslept. LOL It's okay though. It was something that would've been cool to have but not absolutely needed. Especially since I like the skull one better. Hopefully one will turn up sometime.  

Ha! That has happened to me. I stay up late waiting for a bid to nearly end. The next thing I know....I wake up reclined on the couch with my laptop "hibernating" while on my chest, and the bid ended an hour or two ago.  

Yeah if it were the beanie or the helmet I would've made sure I had sirens going off before the auctions ended. LOL  

PM sent  

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15 men brought to military enlistment office after mass brawl in Moscow Oblast

Local security forces brought 15 men to a military enlistment office after a mass brawl at a warehouse of the Russian Wildberries company in Elektrostal, Moscow Oblast on Feb. 8, Russian Telegram channel Shot reported .

29 people were also taken to police stations. Among the arrested were citizens of Kyrgyzstan.

A mass brawl involving over 100 employees and security personnel broke out at the Wildberries warehouse in Elektrostal on Dec. 8.

Read also: Moscow recruits ‘construction brigades’ from Russian students, Ukraine says

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A Reminder About Catharsis: Oedipus Rex by Rimas Tuminas, A Co-production of the Vakhtangov Theatre and the National Theatre of Greece

The Russian-language press thoroughly covered Oedipus Rex by Rimas Tuminas after it opened in the ancient Greek city of Epidaurus (29 July 2016), and after its Russian premiere at the Vakhtangov Theatre in Moscow on the day of the company’s 95th anniversary (13 November 2016). Almost a similar “boom” in newspaper publications occurred in November 2013 after the opening of Eugene Onegin at the Vakhtangov; it seems that almost every Moscow periodical with an arts section published an article dedicated to this production.

Most recently the critics’ attention was once again drawn to Oedipus; the Vakhtangov Theatre revived this play—the last production by Tuminas in the 2016-7 season—to open its new season on 6 September 2017. Apparently, the life of this production is still very dynamic; from one performance to another, Oedipus changes tangibly and still has a strong impact on the audience, including those who saw it a number of times. The life of this production is worth remembering, discussing, and covering in the press, today and in the future. The goal of this article is modest: to share some of the impressions of a witness and participant of the creative process, from the emergence of the concept of Oedipus Rex to its performances in Russia.  

In fact, there were two productions of Oedipus Rex by Tuminas in 2016. The first one opened in July in ancient Epidaurus, and played there only twice, in compliance with the rules of the Summer Festival in Greece, then once in September, at the Odeon of Herodes Atticus in Athens (the second performance had to be cancelled because of the heavy rain). That Oedipus remained in Greece, preserved only in a video made by the National Theatre of Greece: it was shot on the day of the first premiere—29 July—with multiple cameras and edited by Greek filmmakers. This production might be revived in the future if the decision is made to show it again on the open stage of an ancient theatre, be it in Greece, Italy, Israel, or some other country. Within the orchestra of the theatre in Epidaurus, the production can be performed only twice: there have been almost no exceptions to this rule throughout the history of the Summer Festival in Greece. Perhaps the only exception was the legendary production of The Birds by Aristophanes directed by Karolos Koun: it was performed several times—in Epidaurus, and within the orchestra of the Odeon of Herodes Atticus in Athens—because of its exceptional importance to the theatre culture of Greece.

The second Oedipus was created specifically for the stage of the Vakhtangov Theatre in the fall of 2016, prior to the Moscow premiere. It was this production that the Moscow and St. Petersburg audiences saw. Lots of things were added to the first Oedipus which opened in Epidaurus. Firstly, never before had a Russian theatre company opened a production within the ancient orchestra in order to perform the premiere there, in Greece, in front of an audience of thousands. Before 2016, the most notable performance by Russian actors on the stage of an ancient theatre was the Russian production of The Oresteia directed by Peter Stein which toured Epidaurus in 1994. However, The Oresteia was produced within the framework of the Chekhov International Festival at the Theatre of the Russian Army in Moscow; the ancient theatre space was not its essential element, but only an episode of its existence.

Secondly, never before had a production with Russian actors featured a Greek chorus. In the past, slightly different things happened; in 1961, in the Mayakovsky Theatre’s production of Medea directed by Nikolai Okhlopkov on the stage of Tchaikovsky Concert Hall, the role of Medea was several times performed by Greek actress Aspasia Papathanasiou, who came to Moscow specifically for that purpose. The current production of The Bacchae at the Electrotheatre Stanislavsky in Moscow is performed by Russian actors with the participation of the Greek director, Theodoros Terzopoulos, who in the final scene performs a Greek lament song.

Oedipus at the Ancient Theatre of Epidaurus, Greece . Photo: Vahktangov Theatre.

The idea to invite a Greek chorus to participate in the production and to make Oedipus a joint project of the Vakhtangov Theatre and the National Theatre of Greece emerged immediately, during the initial discussions of the production in the winter of 2016. Of course, it certainly helped that 2016 was the year of Russia in Greece, and Greece in Russia. However, the main reason for bringing the Greeks and Russians together was different; Greek culture is the only one to be endowed with practical knowledge about the chorus in drama, and theatre in Russia or Lithuania has no source from which to draw this knowledge.

European drama actors started to perform within ancient orchestras as early as the late nineteenth century. The Comédie-Française actors were the first to try their hand at performing in an ancient Roman theatre at Orange in the South of France. Then, in 1911, at the arena of Circus Schumann in Berlin, Max Reinhardt produced his famous Oedipus, featuring a chorus of several hundred people. Later, in Italy and Greece they would hold festivals on ancient stages. However, regular work with the chorus within the orchestra started no earlier than in 1938 when celebrated Greek director Dimitris Rontiris, assistant and student of Max Reinhardt, was the first in Greece to direct a production in Epidaurus with actors of the Royal Theatre, which became the National Theatre of Greece. Performances by Greek actors in Epidaurus and Athens happened more and more often, and in 1954 they grew into a regular Summer Festival, where Greek companies would annually present ancient plays, and every year the chorus would perform within the orchestra.

Actually, what is the chorus? What is this group of 12 people who are collectively referring to themselves as “I,” not “we,” who are constantly present on stage—from time to time reacting to the actions of solo actors—and who in the breaks between episodes perform collective parts, sometimes taking the form of recitatives, songs, or even ecstatic exclamations?

That has been thoroughly discussed by the 20 th century scholars; however, in the National Theatre of Greece there is a practical concept of the chorus, drawn from ancient texts and tested in practice multiple times. The concept is passed from one director to another; actors are also familiar with it.  I learned about it from director and composer Thodoris Abazis, deputy artistic director of the theatre and creator of the choral parts in Oedipus Rex.

The chorus, according to this concept (and the chorus, in accordance with ancient rules, consisted of 12 or 15 people), is the audience, the members of which are allowed to go to the orchestra and act in compliance with the tradition, embodied in the text of the drama: to comment, evaluate, agree or disagree, answer, or actively react to every element of action. That is why the chorus’s conventional location during the work of solo actors is close to the seats of the audience, often along the orchestra’s curve, becoming, so to say, the first row of the auditorium. That is how the union of the chorus and the audience was marked.

The Greek Chorus. Photo: Valery Myasnikov.

The chorus’s words sound like statements, anticipating the audience’s reaction; the chorus “orchestrates” the audience’s mood and emotional experience, directing and amplifying them, plotting the vector of the their emotions, and harmonizing (i.e. putting into words and music) strong feelings, inspired by the action. In order to perform their parts between the episodes, the choreuts enter the orchestra, thus breaking away from the audience and facing it. Now the chorus talks to the audience directly, contemplating in front of it through songs and, of course, appealing to gods; in ancient times tragedy was performed only during sacred rituals, therefore the sacred images of gods (Dionysus, in the first place) were placed near the orchestra.

Of course, some skeptics might have reservations about this interpretation of the chorus as an audience member acting on stage. For instance, in the works of Euripides the majority of choruses are women whose origin is far from aristocratic (as well as in The Choephori by Aeschylus); it is hard to imagine that the Council of 500 in Athens, as well as other male audience members, could have been able to identify with these women. However, the fact that this concept is understood by the actors, accepted by the audience, and may be applied in practice in a variety of ways, has been proved many times by the productions of Greek companies on ancient stages.

In Oedipus the chorus, according to Sophocles, consists of male citizens of Thebes, feeling all the hardships of the terrible pestilence which befell the city. Therefore, in the production by Tuminas, during their first entrance they trudge, exhausted and holding onto each other; someone falls to the ground, breaking this sad row, but others instantly help him to get up, because the Thebans are used to such fainting.

For the costumes Tuminas drew on the aesthetic of “gangster” world, as if borrowed from the movies about the 1930s Chicago: black suits, waistcoats, white shirts, and fedora hats. All the choreuts are undoubtedly devoid of any gloss not only because there is pestilence in the city; for them these costumes are, so to say, casual. They are used to wearing them in everyday life.

“Chicago” as the aesthetic reference point for the chorus is a sudden insight of Tuminas which has proven itself totally right. First of all, the Greeks—bearded and emotional in a southern way—look very colorful in these costumes. Secondly, the aesthetic is justified by action; the chorus consists of Oedipus’s confidants, witnesses of all of his conversations, interrogations, meetings, as well as Oedipus himself—played by Victor Dobronravov. The King’s hot temper, fury, demands for absolute submission, and readiness to begin shouting at any minute to start a fight or sentence someone to death, sometimes resembles the “kings” of gangster world. However, the chorus can never serve as an instrument for the hero to realize his intentions; that is impossible in ancient tragedy.

Thus, on the one hand, the chorus is a part of Oedipus’s world; Coryphaeus, the character created by Vitalys Semenovs, is his constant confidant, often rather bold and straightforward. However, the concept of the chorus as a part of the bulk of the audience was also realized in the production; this was especially noticeable at the opening in Epidaurus.

When Oedipus appeared in his royal attire, the choreuts, shocked, would fall on the ground and listen to their king, sitting with their backs to the audience and forming a semicircle (similar to the semicircle of the orchestra), as if the first row of the auditorium had been transferred onto the stage. Prior to the final episode, the choreuts exited the stage, went towards the audience, and sat just a step from the first row, right on the stone floor of the theatre, following the curve of the orchestra, with small gaps between one another, to watch the final scenes.

Lyudmila Maksakova as Iokasta. Photo: Valery Myasnikov.

In the Moscow production of Oedipus this aspect of the chorus’s existence was less noticeable. Raised stage and portal arch divide the stage from the auditorium, therefore when the chorus falls on the floor in order to listen to the king’s solemn address to the city, this mise-en-scène no longer gives the audience a chance to feel the visual and emotional proximity to the chorus as fully as it did in Epidaurus. Prior to the final episode, the chorus went backstage, and not to the auditorium. This is the only way it could happen, because on the black box stage the laws for tragedy are different than on the open stage; here the action has to be more autonomous, wholesome, and condensed.

However, recalling the open and free interaction between the performers of the tragedy and its viewers in the ancient, open-air theatre, Tuminas begins the production at the Vakhtangov with house lights on. When the chorus enters the stage, some actors sit on the chairs, placed on the left and right along the wings, and look intently and curiously at the audience, as if making it clear that the portal arch is fully transparent and permeable, so that the look from the stage enters the auditorium as freely as the returned gaze. And when the lights in the house slowly dim, the actors continue hypnotizing the audience, appealing to its members as if they were “the citizens of Thebes,” so the members of the audience have a role in the production anyway.

Still, given the circumstances of the black box stage, instead of visually bringing together the chorus and the audience, the creators of the production put more effort into emotionally gripping the audience through the action of the chorus, which descends very easily from the stage to perform from the auditorium. We should admit that at the Vakhtangov Theatre this worked even better than within the orchestra in Epidaurus.

The strong emotional impact of the chorus in Oedipus is first of all determined by the fact that very powerful Greek actors have participated in it from the very beginning. It is not a secret that in Greek theatre culture, as once in the ancient world, the choreuts were never placed on the same level with solo actors; at that time the tragic contests (and awards) were only for solo actors and never for the chorus.

When in the National Theatre of Greece there was a casting call for the chorus of Oedipus, there were over 150 candidates for only 11 places. Eventually, the majority of the chorus participants could have been promoted to principal roles because of their maturity, high professional reputation, and enviable resume. However, they were motivated only by their enthusiasm for this joint Russian-Greek production, the Vakhtangov Theatre, and, of course, the director, Tuminas. (By the way, 4 of the 11 actors even spoke Russian because of their connection with Russian theatre schools). Many theatre people in Greece admitted that this was by far the strongest performance of the chorus in a tragedy that they could remember.

Rehearsal of Oedipus at the Vakhtangov Theatre, Moscow. Photo: Vahktangov Theatre.

The first time that the Russian actors could feel the impact of the choral parts in all its strength, was in Moscow, at the very beginning of the rehearsals on the small stage of the Vakhtangov Theatre in spring 2016, when Thodoris Abazis arrived and played a record that the chorus made during the rehearsals in Athens. And when in July joint rehearsals of the chorus and actors at the arena of the summer stadium in Athens started (where the National Theatre of Greece normally rehearses before opening a production on the open stage), Liudmila Maksakova said, half joking and half serious, “No doubt they will surpass us!”

Thodoris Abazis, who wrote the chorus’s parts, created a complex combination of declamation, recitation, melo-declamation, and singing (unisonant and part-singing) without using musical instruments or a sound record. This combination is based on the pace, set, first of all, by breathing. The impact of a rhythmic sound, in which one can distinctly hear the energetic and powerful breathing of a group, turned out to be very impressive; the phonetics and melodics of the Greek language helped a lot. The composer, similarly to the director, interpreted the tragedy as the place where all kinds of emotions manifested themselves: not only fear, sadness, and anxiety, but also joy, enlightenment, and triumph. The promise of the unilateral exultation is heard in the third choral song, in which the choreuts, praising Oedipus, are waiting for the prompt revealing of his birth; they have no doubts that he was born to one of the immortals.

That is how the genuinely Greek chorus of Oedipus Rex was born, the first Greek chorus in Russian theatre whose presence in the tragedy was instantly perceived by the Russian audience as a necessary, naturally legitimate, and integral element of the stage action—from the very first performances in Moscow.

Starting the rehearsals in Moscow, Tuminas suggested that the Vakhtangov actors should create interactions between one another through fight and exchange of “blows”—in words, gestures, and the state of mind—hence the particular emotional tension and overexcitement of almost every dialogue in Oedipus.

As early as in the first monologue of the Priest (Evgeny Kosyrev), when there is a plea to Oedipus to save Thebes, we can distinctly hear the notes of reproach addressed to Oedipus—where are you and why haven’t you yet done anything? And the first line of Oedipus after coming to the Priest: “Known, ah, known too well…” also reveals dissatisfaction and irritation. Anger, headiness, and propensity towards conflict have led him to kill his own father, to feud with the prophet Teiresias, and later with Creon.

As the famous saying of the ancient Greek philosopher Heraclitus goes, “Character is destiny.” It probably means that, when man goes through the crucible of life, when the mind isn’t fast enough to follow statements and actions, then character takes over man (which also means passions, imposed by nature). Character sends the strongest life impulses; it leads man through life, thus mapping the line of fate. Victor Dobronravov captures this characteristic feature of Oedipus very precisely; an angry and heady temper has got the hold of his soul and adds belligerence to every conversation. That is how Sophocles saw Oedipus and that is the basis of his character in the production by Tuminas.

That is why, whenever Oedipus enters the stage (as he does in every episode), there is a collision, confrontation, or fight. His first opponent is the blind prophet Teiresias, who doesn’t want to reveal the truth about Oedipus instilled by Apollo. In this production, the role of Teiresias belongs to Evgeny Knyazev. I noticed that in the majority of performances of Oedipus Rex (in Epidaurus, Athens, Moscow, and St. Petersburg) the first applause of the audience is heard exactly after the first episode, when the confrontation between Oedipus and Teiresias reaches the boiling point; Oedipus is ready to stomp the rebellious prophet to death, in response drawing his ire, and is especially fearsome because the gods side with him. In fact, in Epidaurus it is uncommon to applaud before the end of the show. However, the audience inevitably applauded after the episode with Oedipus and Teiresias, and again after every episode, and after several appearances of the chorus.

The farther from Epidaurus, the more the character of Teiresias, created by Evgeny Knyazev, is filled with cunning, irony with a smirk, and pinch of madness—often present in depitions of prophets. This prophet managed to confuse everyone. At first he said that he was going to keep mum, and then suddenly he declared Oedipus the main culprit; at first he declared that he wanted to leave soon, and then, getting angry with Oedipus, delivered a long monologue in which one could hear either prophecy or condemnation. Eventually, he went away with a smirk, leaving Oedipus alone with the news, which may have come either from Apollo or from an insane old man.

The next confrontation is between Oedipus and Creon. The role of Creon is performed by Eldar Tramov, a young actor of the Vakhtangov Theatre studio. Tuminas is the first director to see in Creon not as a grown man or as a revered old man, but as a young man—a peer of Oedipus or someone even younger. Thus the potential for conflict has been maximized, as collision between peers, whose positions in the royal house are relatively equal, with fewer moderating forces than struggles between people with big age differences.

At the beginning of the play, Tramov’s Creon is the total opposite of Oedipus; he is lenient, weak-willed, enthusiastic, affectionate towards everybody and everything, and in adoration of his place in the royal house next to his sister Jocasta. Without lifting a finger, Creon can rule the city and enjoy the benefits of the royal house, and therefore is quite self-sufficient. That is how he looks when we first see him, on his way from Delphi, in the prologue. Here we can sense the brewing confrontation between him and Oedipus, which is not obvious but implied. Creon is laid-back and self-assured (Tuminas gave Tramov a clue that in Delphi they had already promised Creon that he would soon ascend to the throne); Oedipus is irritated by Creon’s mannerisms and even by the sheer presence of his wife’s brother. Like many kings, Oedipus suspects that his brother-in-law covets the throne.

In the second episode, Tramov conveys a sharp change in the manner of Creon’s behavior. It seems that for the first time the royal son does not look laid-back anymore, but rather fears that he is going to lose not only his position, but his life. He both believes and does not believe that he can die. Here he looks a bit like a holy fool; by hook or by crook he is holding onto his life, looking for support from everyone around him (the chorus, the audience) so that they could also persuade Oedipus that Creon is good and not guilty.

In the second to last episode, there is another collision, this time between the messenger from Corinth and the herdsman from Thebes. In Epidaurus and Athens, the Corinthian was performed by Valery Ushakov, and the Theban by Artur Ivanov; in Moscow, the cast of Oedipus was joined by Oleg Forostenko (the Corinthian) and Ruben Simonov (the Theban). I do not remember any other production where the director managed to reveal the war between the two messengers of Sophocles so convincingly, or where the actors conveyed it so impressively. The Theban wants to hide the truth about the baby with broken ankles, which the Corinthian is trying to reveal. The Theban knows that the truth will bring woe, the Corinthian is, on the contrary, positive that the truth will bring happiness to everyone and an award to him. The Theban has forever blamed himself for not being able to kill the baby (when asked why, he shouts in despair: “Through pity…”); the Corinthian, on the contrary, has always been happy as a result of his giving the baby to the house of the Corinthian king and deserving an award.

Only one character of the tragedy remains outside the battle: Jocasta, the wife and mother of Oedipus, a character created by Lyudmila Maksakova. When she first appears on stage (in the second and longest episode), Jocasta tries not to wage war, but to make peace between Oedipus and Creon.

In a conversation, Tuminas confessed that it is Jocasta who is the main character of his story. Jocasta is depicted as a strong and wise woman, mother, queen and patroness of the royal house, and the closest friend and advisor to her young husband and her young brother. Indeed, it is in Jocasta that Oedipus and Creon find strength and confidence; it is she who is the pillar of the kingdom.

Jocasta, in this production, is never happy, for she has suffered the utmost hardships which can befall a woman: the loss of a newborn child, the loss of her husband, the fatal disbelief in the justice of gods, and the suffering that from that disbelief. Only once does she utter an exclamation which sounds like an expression of happiness, when she hears that Polybus (whom Oedipus considered his father) died, which means that the prophecy about patricide failed. Yet even this exclamation is mixed with bitterness, for what can be joyful in the fact that the gods lie? Their lies put into question the very existence of truth in the human world. The conversation with the Corinthian herdsman has led her (earlier than Oedipus, because she is wiser) to the discovery of the terrible incestuous relationship—her marriage to a young husband which gave her temporary hope. This discovery was followed by the verdict—“Put to death!”—which she pronounced to herself. In listening to the ending of the herdsman’s monologue and bidding farewell to Oedipus by promising to be “silent evermore,” she immediately enforced the verdict without hesitation.

The composer for the production, Faustas Latenas, composed a splendid musical theme for Jocasta. It has beauty and yearning for flight, but at the same time, deep sadness and hopelessness, as if a man inhaled, flapped his wings and started towards the sky, but this was instantly followed by an exhale, accompanied by the understanding that the wings refused to fly, for there was not enough strength. One more flap—again no strength. Once in the performance this melody is performed by Oedipus; at the end of the chorus’s part following the second episode, he paces the stage, playing the saxophone, and the chorus picks up the tune. This happens right after a statement by the chorus that both in the royal house and Thebes there is disbelief in gods: “Apollo is forsook and faith grows cold.” Soon we will learn from Jocasta that it is Oedipus who is restless because he anticipates woe. Jocasta’s theme serves as the musical symbol of this premonition and becomes the theme for Oedipus, and the leitmotif of the entire production.  

Rehearsal of Oedipus at the Vahktangov Theatre, Moscow. Photo: Vahktangov Theatre.

Before singing along with Oedipus, the chorus members put on military helmets, covering their faces. The chorus’s helmets and their action of singing with Oedipus’s saxophone were both introduced specifically for the Moscow production. Helmets replace masks, behind which the choreuts seem to be hiding from their own disbelief and shame, from their own unwillingness to stay in the chorus and sing, addressing the gods, who, according to the kings, lie. A few seconds before the saxophone, the chorus angrily reproaches the tyrants for their pride in front of the gods, and the choreuts are almost ready to dissolve and leave the stage in order not to praise the proud men—a witty reaction by Tuminas to the line: “If sin like this to honor can aspire, why dance I still and lead the sacred choir?”. Then they sadly get back together, and in order not to become proud men themselves, put on their helmet-masks and start singing along with the tune played by Oedipus. The choreuts see disbelief in themselves; through them the whole city is filled with the mood of despair, anticipation of woe, shame, and a desire to hide from the gaze of heaven. The beautiful tune of Latenas reminds more of a former beauty of a life which will never return.

The music and sounds created by Latenas deserve special mention; they play an important part in the success of Oedipus Rex. It was noted long ago that Tuminas’s productions are musical, and musicality is their inner, essential feature. Director Tuminas and composer Latenas share this musicality of thinking; their long-term co-creation in theatre is not accidental. In Oedipus, as in their previous productions, all their meaningful accents are musical, the periods of stage action are similar to musical phrases, the dynamic of action is picked up by music, and the dramatic turning points are accentuated with the intrusion of a sound composition. Almost every sound on stage becomes an element of the show’s monolithic musical palette.

Two musical themes define Oedipus : first, the aforementioned theme for Jocasta, and second, the theme of the loud, “beastly” breathing of fate, taking an active part in the life of Oedipus and the members of his household.

The set designer of the production, Adomas Jacovskis, created an impressive physical embodiment of “the machine of fate,” a topic thoroughly covered by critics and journalists. It is a giant cylinder with small square holes along its surface, relating to a huge clock mechanism, a mammoth music box, or probably an execution machine that will crush flat everyone who is doomed to lie under it. The “beastly” breathing and heartbeat of this machine was shaped by Latenas into a powerful musical and rhythmic theme—exhaling smoke, restlessly swinging and at the end rolling towards the auditorium and almost reaching the footlights—which is heard more and more often as the show approaches its conclusion.

The image of an object of fate that rolls over the people is highly characteristic of the artistic world of Tuminas and Jacovskis. In 1997, in The Masquerade of the Small Theatre of Vilnius, the image of a growing snowball was introduced. It was supposed to crush the main character at the end. In 1998 in Oedipus in Vilnius that very “machine of fate” was also in action—a cylindrical pipe with square holes, but of a slightly different shape and smaller size than what was needed for the orchestra of Epidaurus and stage of the Vakhtangov Theatre, which are much larger spaces. In 2001, in Vilnius, at the National Theatre of Lithuania, Inspector General opened, in which a giant “church” with a small cupola flew over the stage. It was made in a simplified manner and therefore resembled blind pagan dolls; it was swiping away every trouble the people stirred, and moved towards them as a giant ghost, but they still failed to notice it.

Therefore, Oedipus Rex, from the scenographic point of view, is on one hand a reminiscence of the productions by Tuminas and Jacovskis from the turn of the twenty-first century. On the other hand, “the machine of fate,” embodied by a pipe, rolling towards the actors and audience, is an impressive symbol of doom in our time, as well as an object that fits into both the open stage and the black box stage.

In both Epidaurus and Athens, the technical conditions of the stages did not allow for the giant pipe “roll over” the first row of the audience, so that the whole auditorium could feel the doom heavily hanging over it. However, this worked marvelously on the Vakhtangov stage. Therefore, the ending of Oedipus became famous and already left a mark in the history of contemporary theatre: two girls in white dresses—Oedipus’s daughters, Antigone and Ismene—are trying to escape the terrifying roll, running towards the footlights and attempt to roll it in the direction of the backdrop, but it advances anyway. When the girls run away in fear, “the machine of fate” goes fully into effect; it freely rolls over the audience, swings, emanates smoke, breathes loudly, and one could hear a giant heart beating, which sounds either like a threat or like the guarantee of life.

This ending is the result of a wise insight that Tuminas had during the final rehearsals. According to the initial concept, the production was supposed to end with the famous moralizing speculation of Sophocles’s chorus:

Look ye, countrymen and Thebans, this is Oedipus the great, He who knew the Sphinx’s riddle and was mightiest in our state. Who of all our townsmen gazed not on his fame with envious eyes? Now, in what a sea of troubles sunk and overwhelmed he lies! Therefore wait to see life’s ending ere thou count one mortal blest; Wait till free from pain and sorrow he has gained his final rest.

During the rehearsals in Athens two last lines of this chorus part were edited out; eventually, before the very departure for Epidaurus, this whole chorus part was edited out. Our age does not accept direct moralizing, and Tuminas decided that a visual and sound image would do a much better job for the ending; the subsequent performances fully proved that. The last words before the ending of the Vakhtangov Oedipus are the king’s words about his daughters, addressed to Creon:

O leave them not to wander poor, unwed, Thy kin, nor let them share my low estate. O pity them so young…

The “machine of fate” brought Oedipus to stage twice: in the first episode, when he, solemnly put his hand on a staff and gave a loud promise to spare the city of abomination, and in the last episode, when Oedipus, broken by woe and turned into an old man, with both hands on the staff as his only support, delivered his farewell monologue before exile. Victor Dobronravov splendidly conveyed this change in Oedipus through the means of acting: from the stately king in full attire at the beginning (who seemed huge), to the frail old man in a canvas robe at the end. It seems that he has downsized two times, lost body volume, slumped and “shrunk” because of the hardships befalling him.

This very “machine of fate” brought towards the backdrop the characters who held onto it with one hand, as on a rack: Oedipus before the final monologue and the member of Oedipus’s household telling what happened in the house after Oedipus discovered Jocasta who had hanged herself.

Viktor Dobronravov as Oedipus. Photo: Valery Myasnikov.

Maksim Sevrinovsky, an actor of the Vakhtangov Theatre studio, plays Sophocles’ Messenger, interpreted by Tuminas as a member of Oedipus’s household. Normally, directors bring the Messenger to stage precisely at the moment when the audience needs to be told how Jocasta hanged herself and Oedipus stabbed out his eyes. In this production, the Messenger, who delivers the monologue at the end, appears at the very beginning of the show as a silent character. As the majority of Thebans, he is fatally ill, his face is covered with a bandage; he is a reminder of the pestilence that befell the city and is inevitably getting to the royal house. Sevrinovsky’s monologue, permeated with the feeling of horror caused by current events, is handled through the physical conveying of visual images that were witnessed by the Messenger; in describing how Jocasta hanged herself, he tightens the band near his neck; in speaking about the blinding of Oedipus he uses powerful and energetic gestures to show how Oedipus stabbed himself in the eyes multiple times. Closer to the ending of the monologue he removes the bandage and reveals huge, blind eyes in black caves. We can hear the loud, intermittent breathing of a man, who is inhaling for the last time before his death. This is an impressive precursor to the final monologue of blinded Oedipus.

Tuminas, as it is customary, introduced a number of characters, who were not among the original dramatis personae. Those include the Soldier (Pavel Yudin, actor of the Vakhtangov Theatre studio) and the Lady with the Wings (Ekaterina Simonova), who both live on the stage from the first moments of the production.

The Soldier is the instrument of Oedipus’s vindictive plans and threats: his endlessly faithful dog; the guard of his house, tirelessly running in circles (this running around the orchestra marked the beginning of the performance in Epidaurus); a threat to the enemies of Oedipus and participant in his bullying of Creon (Oedipus jokingly crowns the Soldier with Creon’s golden wreath when he wants to execute his brother in law); and eventually, the king’s most loyal subject, crying more than others, when the entire truth about Oedipus is revealed.

The director and actress created the character of the Lady with the Wings, inspired by the image of the Sphinx, which was defeated by Oedipus. According to the myth, Oedipus solved her riddle, thus facing deflecting threats from Thebes, and the Sphinx ended her life by jumping off a cliff. Tuminas, true to his manner of posing non-conventional questions to traditional tales (“and what if it did not happen this way…”), made an assumption that Sphinx had not died, instead becoming a captive and servant in Oedipus’s house, always accompanying the queen, Jocasta. As a result, they came up with an image of a girl with huge wings: raven-haired, with deep black eyes, and beautiful in a strange, exquisite way. She flaps her wings—at times black, at times white—but it is understood that she will never take off again. Because of that, her beauty is combined with sadness, as in Jocasta’s musical theme. Ekaterina Simonova’s movements are smooth and harmonious, as a ritual dance, but she often bends down in a gesture of submission, folding her wings behind the back. Here we see the image of power and beauty, going beyond all human capabilities, and yet defeated by man, living joylessly like the rest of the people in Oedipus’s house.

In Oedipus of the Small Theatre in Vilnius (1998) there was also a winged maiden. However, she was more like a small white angel and her image was more ironic than filled with sadness caused by beauty in captivity. Generally, in the Lithuanian production there was much more irony, laughter, and more props; they had a big figure of a tiger, and the manner of communication between the characters was closer to prose than to poetry.

The Lithuanian production had success, and performed in Russia, too, where it played at the Baltic House festival. This makes it especially interesting to compare the two versions of Oedipus in Vilnius and Moscow.

Firstly, the scenography of the Moscow production was “cleaner” and more reserved. Secondly (and perhaps most importantly), in Oedipus at the Vakhtangov there was much less irony than in the Lithuanian version; its structure has become simpler, it is now much more serious, in the tradition of classical tragedy.

Of course, even in this version there were moments when the director and actors found humor appropriate. For instance, for some reason Creon is late on his way back from Delphi, and the audience feels some kind of a funny fear—how long is the delay going to be? (They do not have to wait for long.) During the second episode, Creon, maddened by anticipation of execution, which Oedipus threatened him with, suddenly and desperately bursts into singing a popular Greek song about love “Eim’ aetos choris ftera / Choris agapi kai chara” (“I am an eagle without wings/ without love and joy”). Or the moment, when the chorus, condemning the tyrants and flying into a rage caused by righteous anger, suddenly leaves the stage, refusing to continue its performance. After hearing that, the audience in Epidaurus burst into laughter, because for a moment it seemed that the performance, which had sold 7000 tickets, could be suddenly interrupted before the ending.

These moments, however, do not distract from the most important thing: creators of the production managed to achieve the incredible seriousness and acuteness of tragedy—a seriousness unheard of and forgotten these days. In the era of the “post-” (postmodernism, postdramatism, postculture, metatheatre, etc.), it sometimes seems impossible to hold the audience’s attention without tricks, jokes, and laughs. The ancient tragedy of Oedipus, with its themes of human dignity, responsibility for crime, crisis of belief in the divine, helplessness of royal power in the face of conscience, frightening discoveries of truth about oneself, and heroism in self-knowledge, arouses compassion and fear, as Aristotle would put it, in an auditorium with 1100 seats.

Evgeny Knyazev as Tiresias. Photo: Valery Myasnikov.

Of course, a lot in the Moscow Oedipus was determined by the venue of the first performance in Epidaurus. The Moscow audience might get a sense that all the Vakhtangov actors play “with memory” of the magical land named the Argolis, with its sea, mixed with healing springs, the best oranges and olives in Greece, and with the thousands of audience members in the ancient theatre at twilight during the premiere. The Moscow Oedipus resonates far beyond the Vakhtangov theatre. The words of the actors leave the stage and go above beyond the walls, balconies, and gallery, in the direction of the place dedicated to the cult of Asclepius and Apollo, connected in our mind with material and spiritual catharsis. They play with memory of the most beautiful theatre in the world—the first theatre with an ideally round orchestra, erected in the sanctuary of Asclepius, it seems, specifically for the purpose of healing through visual harmony and magical energy.

And I will remember how, at the beginning of the performance in ancient Epidaurus, two laughing girls in white dresses were running against the background of the black forest—how, accompanied by the rumbling theme of fate, huge shadows of birds, carried on high poles by the choreuts, were flying above the ground and branches of trees—how the grove surrounding the theatre in Epidaurus, was alive with sound, because Tuminas and Latenas made a witty decision to put the speakers close to the trees behind the orchestra—and finally, how at the very end of Oedipus a complete blackout occurred. The only light reaching the people, was coming from the stars in the night skies: therefore all the thousands of people in the audience—in those several seconds of silence before the final applause—raised their heads up to the sky.

English translation by Anna Shulgat.

Dmitry Trubotchkin (Moscow, Russia) is Doctor of Sciences in Art Studies; Head of Department at the State Institute for Art Studies; Vice-rector and Chair of Art Studies and Humanities at the Higher School of Performing Arts; Professor of Theatre Studies at the Russian Institute of Theatre Arts (GITIS). He has published extensively (in Russian, English and Italian) and presented at conferences around the world on European classical theatre and on contemporary Russian theatre. His most recent monographs, in Russian, include: Ancient Greek Theatre (Moscow, 2016); Rimas Tuminas: Moscow Productions (Moscow, 2015).

European Stages, vol. 10, no. 1 (Fall 2017)

Editorial Board:

Marvin Carlson, Senior Editor, Founder

Krystyna Illakowicz, Co-Editor

Dominika Laster, Co-Editor

Kalina Stefanova, Co-Editor

Editorial Staff:

Taylor Culbert, Managing Editor

Nick Benacerraf, Editorial Assistant

Advisory Board:

Joshua Abrams Christopher Balme Maria Delgado Allen Kuharsky Bryce Lease Jennifer Parker-Starbuck Magda Romańska Laurence Senelick Daniele Vianello Phyllis Zatlin

Table of Contents:

• The 2017 Avignon Festival: July 6 – 26, Witnessing Loss, Displacement, and Tears by Philippa Wehle
• A Reminder About Catharsis: Oedipus Rex by Rimas Tuminas, A Co-Production of the Vakhtangov Theatre and the National Theatre of Greece by Dmitry Trubochkin
• The Kunstenfestivaldesarts 2017 in Brussels by Manuel Garcia Martinez
• A Female Psychodrama as Kitchen Sink Drama: Long Live Regina! in Budapest by Gabriella Schuller
• Madrid’s Theatre Takes Inspiration from the Greeks by Maria Delgado
• A (Self)Ironic Portrait of the Artist as a Present-Day Man by Maria Zărnescu
• Throw The Baby Away With the Bath Water?: Lila, The Child Monster of The B*easts by Shastri Akella
• Report from Switzerland by Marvin Carlson
• A Cruel Theatricality: An Essay on Kjersti Horn’s Staging of the Kaos er Nabo Til Gud ( Chaos is the Neighbour of God ) by Eylem Ejder
• Szabolcs Hajdu & the Theatre of Midlife Crisis: Self-Ironic Auto-Bio Aesthetics on Hungarian Stages by Herczog Noémi
• Love Will Tear Us Apart (Again): Katie Mitchell Directs Genet’s Maids by Tom Cornford
• 24th Edition of Sibiu International Theatre Festival: Spectacular and Memorable by Emiliya Ilieva
• Almagro International Theatre Festival: Blending the Local, the National and the International by Maria Delgado
• Jess Thom’s Not I & the Accessibility of Silence by Zoe Rose Kriegler-Wenk
• Theatertreffen 2017: Days of Loops and Fog by Lily Kelting
• War Remembered Onstage at Reims Stages Europe: Festival Report by Dominic Glynn

www.EuropeanStages.org

[email protected]

Martin E. Segal Theatre Center:

Frank Hentschker, Executive Director

Marvin Carlson, Director of Publications

Rebecca Sheahan, Managing Director

©2016 by Martin E. Segal Theatre Center

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