In the myths of Mycenaean Greece, gods still frequented the earth while heroic, near-invincible mortals defeated foes with strength and valor.

But on Nov. 15, SF State’s theatre arts department will dig below the gritty battlefields of the Homeric age with “Troy: The Gates of Hell” a modernized account of the victims who fell to the glory of the Trojan War in a sweltering place of scorching fires, sorrow, torment, and cruel punishments.

Breaking from traditional interpretations of Homer’s classic myth “The Illiad” which details the fall of Troy from Greek and Trojan perspectives, theatre arts professor Mohammad Kowsar has created a modernized adaptation that touches on the chaos of contemporary political and military issues, while also focusing on Trojan women Cassandra and Clytemnestra and their struggle to find strength during calamitous times.

“[I wanted to focus on] political corruption, deceit, ambition, and xenophobia, including the recognition of the ill effects of violence and revenge [that] can be found in the great literature of all cultures, past and present,” said Kowsar, 63.

Kowsar said he made substantial changes to the epic poem’s content, took parts of the story that were aimed towards patriarchal ideologies and re-shaped them to be focused on feminist and pacifist issues.

“It’s been really fun to see how [Professor] Kowsar balances his own ideas and the ideas of the greats before him,” said Margaux Hodges, 20, a classic theatre literature major.

In addition to re-framing the story, the new version will include more gory, gut-wrenching moments juxtaposed with humor, Hodges said.

To prepare for these scenes, the acting cast was trained by professional choreographer Travis Rowland, who helped students focus on body movement, vocal projection, and control.

“Ten minutes into rehearsal and [we were] already dripping with sweat,” said theater major Shay Wisniewski, 18. “[Rowland and Kowsar] would make us jump rope and knife-fight, which helped us build up our stamina.”

Nicole Roxanne Odell, 19, who plays a prostitute in the production, said the cast had to endure intense vocal exercises, breathing techniques and speech training to expand their stamina when it came to long speeches and monologues.

Although Kowsar’s vision deviates from traditional Homeric renditions, he said he hopes “Gates of Hell” will be applicable to contemporary standards.

“The myth of Troy, in its re-telling and re-envisioning, remains universal and timely model for all wars that waste lives and devastate foundations of entire cultures,” he said. “After all is said and done, people ought to know that we have worked with great enthusiasm to put on a ‘bloody good show.'"