I was in Group Four for the Antigone short play we performed in class. Through the process of creating this production, we had to make several crucial decisions that impacted how everything turned out. Many of these things involved how we would represent each character. We made decisions based on how each character was feeling in that moment and what caused them to feel that way in the previous scene. We made many vital choices that brought our whole performance together. First, we decided on music, for we thought it was vital to add emotion to the production. We decided on Lily’s Theme from “The Deathly Hallows” when Antigone and Ismene have dialogue. Then we decided on playing The Imperial March song from “Star Wars” when Creon enters. …show more content…
I decided on a pink toga and crown for Ismene, a ragged patterned draped shawl for the chorus, and a policemen hat for the guard. For Antigone, she will wear a brown toga and a blue flower crown because of her outdoorsy character. Creon and Haemon will look quite regal with gold crowns and some sort of draped toga. Creon, being the most powerful character, will wear the biggest crown to show the audience his importance.
We also had to decide on what to do for the set. We will build a jail cell for
Antigone to have the dialogue with the guard in, which will be built out of scarves and chairs. We will have some sort of barrier built out of furniture as well, for the two opposite arches.
We then worked on our emotion to finish it off. We decided that Antigone would be sweet and innocent through most of it until she talks to the guard at the very end. Creon will be angered most of the time while Haemon’s anger gradually grows. Ismene will be more confident than she would normally be, to show that she is ready to be brave. The guard is simply going to be manly and fierce in his dialogue. Lastly, we added stage directions and lights to bring it all together and we
The opening events of the play Antigone, written by Sophocles, quickly establish the central conflict between Antigone and Creon. Creon has decreed that the traitor Polynices, who tried to burn down the temple of gods in Thebes, must not be given proper burial. Antigone is the only one who will speak against this decree and insists on the sacredness of family and a symbolic burial for her brother. Whereas Antigone sees no validity in a law that disregards the duty family members owe one another, Creon's point of view is exactly opposite. He has no use for anyone who places private ties above the common good, as he proclaims firmly to the Chorus and the audience as he revels in his victory over Polynices. He sees Polynices as an enemy to the state because he attacked his brother. Creon's first speech, which is dominated by words such as "authority” and "law”, shows the extent to which Creon fixates on government and law as the supreme authority. Between Antigone and Creon there can be no compromise—they both find absolute validity in the respective loyalties they uphold.
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.
...ho in this modern day situation would be the President or Governor, and makes all of the laws governing business owners, makes his move against Antigone and the others including his own son Haemon. Creon wants to keep everything in order and wants to keep up his positive political image. Finally, Ismene the other sister, she is very compassionate about her brother but does not go as far as Antigone. She stays back just enough to conform to the laws of Creon, because she does not want to get into trouble and possible exiled and put to death just like Antigone. When Ismene finds out that someone is trying to sneak into her restaurant, she does not want to put them off just yet. She waits a little bit longer than gives the final “no”. Ismene will do everything she can to be on the good side of the law.
After her mother committed suicide, her father died and her brothers fought until they killed each other, Antigone projects her strong character with interesting ways of showing it. As the main character with strong values and a stubborn way, she follows the laws of god, without minding the consequences. Antigone is a strong willed woman who wins the respect of the audience by the inner strength and resistance of manipulation she has, showing the potential of human kind. She becomes a heroine with noble qualities of mind, heart and soul because she is willing to sacrifice her life, doing what she believes it is right. With a sense of family ties, she is an ideal for humanity, the issue is that she must burry her brother Polynices with an appropriate ceremony since she believes it is the last right for every human being.
Designing the Set for William Shakespeare' s Romeo and Juliet I am going to look at each scene in which Romeo and Juliet appear
The purpose of this short essay is to justify Antigone’s position during the story and to conduct an analysis from the other readings to defend my interpretation. I will take in consideration the similarities and differences of all three other readings Civil Disobedience, Machiavelli and Socrates.
Polynices, however, is not done. He goes to Argos and recruits an army to take Thebes. The plan backfires though and Eteocles and Polynices end up killing each other, and the army is driven off. With no male heir to the throne, Creon, Oedipus' brother, takes the throne. This may be a lot for one person to handle, but Antigone's grief has just begun.
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...
Justice is a word we hear today all the time. Left and right we hear of judges and citizens demanding justice. Is justice always the right way? It seems that justice is not always the correct solution to a problem, but a solution that is the easiest to make. The classic play Antigone is a perfect example of this. Antigone is classic tragedy at its finest. A simple civilized and humane right of burying a loved one is turned into a great loss. Creon’s inapt decision to hold his power and sentence Antigone to death causes him to lose the people he loves most. The “justice” of the play is simply Creon’s punishment for his cruelty to Antigone.
Antigone believes that a woman should be intrepid and strong, even at the risk of challenging men’s authority. When she proposes to bury Polynices, Ismene answers, “we’re not born to contend with men”. (75) Antigone’s response, “that death will be a glory” (86), does not directly address gender issues, but it expresses her fury at Ismene’s passivity. After the burial of Polynices, Antigone defiantly states, “I did it. I don’t deny a thing,” while being interrogated by Creon (492) and later comments that she was “not ashamed for a moment, not to honor my brother”. (572-3) Antigone’s gallant speech and defiance toward traditional gender identities audaciously shows her revolutionary desire for gender equality.
From her tenacity and personal strength in defying the law to her tragic death, Antigone captures the audience’s pity and sympathy. She is the tragic hero.
Antigone remains a static character at stage five throughout the story. Faced with people who do not agree with her decision, Antigone stands tall with what is morally right to her. Kohlberg’s Theory is not only universal but also helps readers understand a character morally. Choosing whether or not to bury her brother, Polyneices, or to follow the law given by Creon, does not derail her moral
...lty. A new Creon is reborn in the eyes of the audience. He is the victim of ironic fate.
Antigone if she is caught. As the play moves on there is a building of this fear and pity that is felt for many of the characters that finally is resolved at the catastrophe. At that point the reader learns that Creon, the king, has lost his wife, his son, and his niece Antigone, all because he was too stubborn to give in as well as to afraid that if he did give in that he would be judged as an easy king. In a way this ending brings the two emotions together. The reader feels pity for Creon because of his great loss, but at the same time he feels a bit of fear because he wouldn’t want this type of tragedy to ever occur in his life.
Ultimately, I find that Antigone is a play that can be interpreted in many different ways. Through the examination of characters, events and scholarly arguments I have attempted to show that the catalyst for Antigone’s tragic end stems from the edict of Creon, an edict that as a ruler he is within his rights to make – but which Sophocles ultimately forces Creon to acknowledge as wrong. However, whilst the actions and events leading up to this event cause Antigone to disregard the law in order to pay burial rites to her brother, her treatment of Creon and acceptance of her fate must show that she herself accounts for a decent share in the responsibility for her own death.