Directing the Confrontation Between Creon and Haemon
As a director, I would direct this scene to express the immediate
arrogance of Creon and the noble and loving nature of Haemon. I would
show this with light, space, and sound.
At the start of the scene, Creon is in the throne room with his
advisors and Haemon enters, immediately Creon questions Haemon's
intent as he knows of the controversy that Haemon might (and does)
object to. Creon at this point would be seated in his throne above
Haemon this would show his authority over him, not just as a father
but also as a king. This use of space and staging overpowers Haemon
and he is submissive. This effect would be reinforced with lighting as
Creon is bathed with a bright sharp light and Haemon with only a
meagre fresnel. This should help the audience to see that his father
dominates Haemon, but not just because of his tyrannical nature,
Haemon is patriotic to both his country and father, he would have
obeyed the former king Oedipus with the same loyalty.
I would have Creon always above Haemon, again symbolising the
authority and also how Creon imposes upon Haemon, I would heighten
this effect to the audience by having Creon and some point, preferably
in his rhesis where is talks about the obedience of children to step
down lower to Haemon and stand close to him a overpower him. This
should show to the audience Creon's power over him.
This same power is also be inflicted upon the chorus, whom I shall
make interact with the characters as advisors to Creon, they are
however not in favour of his tyranny, and I would have them try to
waiver his actions away from sentencing Antigone to death. They are
however trying to do this and preserve their own lives and so are not
overt in their beliefs; they hint on it and merely reinforce Haemon's
intentions. They back him up without appearing to be on his side.
I would also have the actors show their characters qualities with
Within lines 813-814, Creon says, “So, men our age, we’re to be lectured, are we?- schooled by a boy your age,” to his son. Before this Creon’s son said that he should take some good advice, temporarily angering his father, Creon. Creon does not hold back the words to his own son. He lets lose and shows no fear to his own son who is attempting to give words of wisdom. Haemon...
“So don't let your mind dwell on just one thought, that what you say is right and nothing else.” (lines 799-800) These were just some of the many words from Haemon to his father (Creon) describing the action that he isn't taking. Haemon's contrasting ideas led to the development of Creon as a tragic hero while also advancing the plot and developing the theme.
The design of the set is the most essential element of the production because it serves as the backdrop for the entire play. When the film starts, there is a wide shot of the Theban palace. There are two very large portraits of Creon hanging from the ceiling; this instantly establishes that Creon is the ruler of the state. The set depicts the castle’s massive foyer which contains a large staircase. Either than that there are hardly any props; this is advantageous because the presence of props and ornate decorations would divert the audience’s attention away from the dialogue and happenings of the play. Furthermore, the ambience in the palace becomes dark and bleak the moment Antigone commits suicide. This reflects the despondent mood and foreshadows Haemon’s suicide. The set of the play is successful in generating a suitable atmosphere and is reflective of the chaos that will occur.
" This indicates Creon’s decision to punish Antigone was not taken kindly by the gods, but his ego wouldn't allow him to solve that as shown by Haemon, which, again, contribute to his nemesis. This proves by how Creon’s stubbornness isn't liked by the gods establishing him as a tragic
The hubris resonating throughout the play, ‘Antigone’ is seen in the characters of Creon and Antigone. Their pride causes them to act impulsively, resulting in their individual downfalls. In his opening speech, Creon makes his motives clear, that “no man who is his country’s enemy shall call himself my friend.” This part of his declaration was kept to the letter, as he refused burial for his nephew, Polynices. However, when the situation arises where it is crucial that Creon takes advice, he neglects the part of the speech where he says “a king... unwilling to seek advice is damned.” This results in Creon’s tragic undoing.
Since Creon has a tragic flaw of hubris and comes to an increased awareness about his wrongdoings, it is clear that he perfectly fits the characteristics of a tragic hero. Many readers may not be able to visualize how difficult it is for someone who loses something very important to them, unless they have experienced it firsthand. Creon's choices in the story are an example that signifies the use of the brain instead of emotions that could interfere with the decision. When given the choice of different paths, one should make compromises to satisfy not only themselves, but others around them when needed. Without doing this, it can lead to several disputes and severe devastation in life.
To begin with, an in depth analysis and understanding of Creon's intents and actions must be established in order to evaluate the reactions of Antigone and Ismene. The central conflict of Antigone derives from Polyneices' betrayal to the city of Thebes. As the ruler, Creon naturally feels compelled to exert his authority by refusing Polyneices a proper burial "for the birds that see him, for their feast's delight" (162). The grotesque imagery evoked not only illustrates Creon's endeavor to discourage further rebellion, but also portrays a personal defense to protect his pride; this need to reassert his pride significantly heightens with Antigone's involvement. From Creon's perspective, leniency represents vulnerability within a leader "if he does not reach for the best counsel for [Thebes], but through some fear, keeps his tongue under lock and key"(167). Throughout the play, the symbol of "tongue" frequently recurs, illustrating how society cond...
Creon wants to be respected and feared as a king because this will prove him to be the
It is important for citizens of the modern world to read Antigone because it acts as a cautionary tale to help people today avoid excessive pride causing suffering.
In conclusion, the gods and the love of her family rule Antigone’s life. Creon’s life is ruled by what he thinks is good for his country and pride. Creon did not change his mind to free Antigone until a prophet told him he would suffer horribly for his actions. However, because Creon was so stubborn for so long and did not take heed to anyone’s advice sooner, he ultimately suffers in the end, as does everyone else in the play. This was all due to a man’s lack of good judgment, his selfish pride and his stubbornness.
According to Aristotle, tragedy requires an admirable hero with power and in a high state, but more importantly, he or she possesses a tragic flaw that leads to their downfall. This tragic flaw most closely relates to a character’s hubris, excessive pride in themselves or their judgment. But sometimes a character cannot be categorized as tragic, and one can argue whether or not the tragic character violates the requirements. In Sophocles’ Antigone Creon and Antigone serve as tragic characters in the play; however, Creon’s character exemplifies Aristotle’s theory of tragedy.
A key factor in the power of her speech is Antigone’s consideration for her audiences. The first of these audiences is Creon the king of Thebes. Creon is receiving this argument as an explanation for Antigone’s defiance of his law. Creon’s statement, “And yet you dared defy the law,” evokes this response, in which Antigone says, “Your edict, King, was strong,” (“Antigone” 1035 Line 56-59). This confirms that her argument is directed towards the king. The second audience is the people of Thebes. In the play, the chorus represents the citizens of Thebes. They are almost always present when the king speaks, and this scene is no exception. Anitgone forms her argument to appeal to the thoughts and emotions of the citizens.
In these lines of the play Antigone, Haemon tries to free Antigone by reasoning with his father and the king, Creon. Creon in turn reacted poorly to this by harshly threatening to kill Antigone right in front of him- “Bring out the hateful creature; she shall die full in his sight, close at her bridegroom’s side.” (Line 760). Haemon exits the room, and Creon ends up admitting to The Chorus that they are right- Ismene did no wrong and he will let her go free, but not Antigone.
Sophocles, following the Greek standard of tragedy, casts Creon as the tragic hero plagued by his own pride, inflexibility and power. Creon believes his authority to be twofold, both as the king and as the head of his family. He claims that the throne is the source of all power, saying ?whoever is chosen to govern should be obeyed ? must be obeyed, in all things, great and small, just and unjust? (Sophocles 217), and he demands the utmost allegiance from his son, bidding him to ?subordinate everything else?to [his] father?s will? (Sophocles 216). Creon is filled with hubris, and he rejects any solution that might compromise his image. For instance, when the guards escort Antigone to the palace, he demands of the Choragos, ?Who is the man...
In this paper I will be making 3 major points about Creon. First I will explain the role Creon plays in this drama. Next I will explain some of the values Creon represents in this story. And for the last I will be examining how essential Creon is to the way this situation plays itself out.