In ancient Greece there were cults for each god of Olympus; one of the most important was that one of Dionysus, god of wine, ecstasy and radiant liberation. It is said that the Bacchae celebrated the god inside caves and woods, dressed in transparent clothes. Their makeshift crowns were made of ivy, oak, or fir, and they held thyrsi in their hands. Intoxicated by the wine, they shouted and danced enthusiastically, in that state in which one is filled with the god, and at the height of ecstasy they fell into a dreadful, Dionysian delirium, abandoning themselves to every excess. The Bacchae were real women, though partly mythologized. They celebrated Dionysus, but at the same time affirmed their independence from the patriarchate. In fact, the Dionysian cult contained a primordial sign of emancipation. 

Bacchae wants to reconstruct in a contemporary vision the dance of Bacchae, supporting at the same time the independence of women. The choreographic research is based on the essay The Maenads: a contribution to the study of the dance in ancient Greece written in 1927 by Lillian B. Lawler, in which she analyzes the details present in a series of ancient Greek vases.

The heels on stage, and their unusual use, symbolize in a contemporary way the social and political discrimination that the Bacchae wanted to get rid of.