what do ismene and euridyce contribute to the play?

Tragedy by Sophocles

Antigone
Antigone in front of the dead Polynices past Nikiforos Lytras 1865
Written by	Sophocles
Chorus	Theban Elders
Characters	Antigone Ismene Creon Eurydice Haemon Tiresias Sentry Leader of the Chorus Showtime Messenger Second Messenger
Mute	2 guards A boy
Engagement premiered	c. 441 BCE
Place premiered	Athens
Original language	Ancient Greek
Genre	Tragedy

Antigone ( ann-TIG-ə-nee; Ancient Greek: Ἀντιγόνη) is a tragedy by Sophocles written in or before 441 BC.

Of the iii Theban plays Antigone is the third in lodge of the events depicted in the plays, but it is the start that was written.^[1] The play expands on the Theban fable that predates it, and information technology picks up where Aeschylus' 7 Against Thebes ends.

Synopsis [edit]

Prior to the outset of the play, the brothers Eteocles and Polynices, leading opposite sides in Thebes' civil war, died fighting each other for the throne. Creon, the new ruler of Thebes and brother of the old Queen Jocasta, has decided that Eteocles will be honored and Polynices volition be in public shame. The insubordinate blood brother's body volition non be sanctified by holy rites and will prevarication unburied on the battlefield, prey for carrion animals like vultures and jackals^{[ according to whom? ]}, the harshest penalization at the fourth dimension. Antigone and Ismene are the sisters of the expressionless Polynices and Eteocles.

Laius

Jocasta

Creon

Oedipus

Eteocles

Polynices

Ismene

Antigone

Haemon

In the opening of the play, Antigone brings Ismene exterior the palace gates tardily at night for a secret coming together: Antigone wants to bury Polynices' trunk, in defiance of Creon'due south edict. Ismene refuses to help her, non believing that it volition actually exist possible to bury their blood brother, who is under guard, just she is unable to cease Antigone from going to bury her blood brother herself.

The chorus enter and bandage the background story of the Seven against Thebes into a mythic and heroic context.

Creon enters, and seeks the support of the chorus of Theban elders in the days to come and in particular, wants them to back his edict regarding the disposal of Polynices' trunk. The leader of the chorus pledges his support out of deference to Creon. A lookout man enters, fearfully reporting that the body has been given funeral rites and a symbolic burial with a thin covering of earth, though no one sees who actually committed the offense. Creon, furious, orders the sentry to observe the culprit or face death himself. The lookout leaves.

The sentry returns, bringing Antigone with him. The sentry explains that the watchmen uncovered Polynices' body so caught Antigone equally she did the funeral rituals. Creon questions her afterwards sending the sentry away, and she does non deny what she has washed. She argues unflinchingly with Creon nearly the immorality of the edict and the morality of her actions. Creon becomes furious, and seeing Ismene upset, thinks she must have known of Antigone'southward program. He summons her. Ismene tries to confess falsely to the crime, wishing to die alongside her sis, only Antigone will non have it. Creon orders that the 2 women exist imprisoned. The chorus sing of the troubles of the house of Oedipus. Haemon, Creon'south son, enters to pledge allegiance to his begetter, even though he is engaged to Antigone. He initially seems willing to forsake Antigone, but when Haemon gently tries to persuade his father to spare Antigone, challenge that "nether cover of darkness the city mourns for the daughter", the word deteriorates, and the two men are presently bitterly insulting each other. When Creon threatens to execute Antigone in front of his son, Haemon leaves, vowing never to see Creon over again.

The chorus sing of the ability of love. Antigone is brought in under guard on her style to execution. She sings a lament. The chorus compares her to the goddess Niobe, who was turned into a rock, and say it is a wonderful thing to be compared to a goddess. Antigone accuses them of mocking her.

Creon decides to spare Ismene and to bury Antigone alive in a cave. By not killing her straight, he hopes to pay minimal respects to the gods. She is brought out of the house, and this time, she is sorrowful instead of defiant. She expresses her regrets at not having married and dying for following the laws of the gods. She is taken away to her living tomb.

The Chorus encourages Antigone by singing of the great women of myth who suffered.

Tiresias, the blind prophet, enters. Tiresias warns Creon that Polynices should now be urgently buried because the gods are displeased, refusing to take any sacrifices or prayers from Thebes. However, Creon accuses Tiresias of being decadent. Tiresias responds that Creon will lose "a son of [his] own loins"^[2] for the crimes of leaving Polynices unburied and putting Antigone into the globe (he does non say that Antigone should non be condemned to death, only that information technology is improper to proceed a living body underneath the earth). Tiresias also prophesies that all of Greece will despise Creon and that the sacrificial offerings of Thebes will not be accepted past the gods. The leader of the chorus, terrified, asks Creon to take Tiresias' communication to free Antigone and bury Polynices. Creon assents, leaving with a retinue of men. The chorus delivers an oral ode to the god Dionysus.

A messenger enters to tell the leader of the chorus that Haemon has killed himself. Eurydice, Creon'south wife and Haemon'due south mother, enters and asks the messenger to tell her everything. The messenger reports that Creon saw to the burial of Polynices. When Creon arrived at Antigone's cave, he found Haemon lamenting over Antigone, who had hanged herself. Haemon unsuccessfully attempted to stab Creon, and so stabbed himself. Having listened to the messenger'due south account, Eurydice silently disappears into the palace.

Creon enters, carrying Haemon's torso. He understands that his own actions have caused these events and blames himself. A second messenger arrives to tell Creon and the chorus that Eurydice has killed herself. With her last breath, she cursed her hubby for the deaths of her sons, Haemon and Megareus. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to assistance him within. The gild he valued so much has been protected, and he is still the male monarch, but he has acted against the gods and lost his children and his wife equally a result. After Creon condemns himself, the leader of the chorus closes past saying that although the gods punish the proud, punishment brings wisdom.

Characters [edit]

Antigone, compared to her beautiful and docile sister, is portrayed equally a heroine who recognizes her familial duty. Her dialogues with Ismene reveal her to exist as stubborn every bit her uncle.^[iii] In her, the ideal of the female person grapheme is boldly outlined.^[4] She defies Creon'south decree despite the consequences she may face, in order to award her deceased brother.
Ismene serves as a foil for Antigone, presenting the contrast in their respective responses to the regal decree.^[three] Considered the cute ane, she is more lawful and obedient to authority. She hesitates to bury Polynices because she fears Creon.
Creon is the electric current Rex of Thebes, who views constabulary as the guarantor of personal happiness. He tin can also be seen as a tragic hero, losing everything for upholding what he believed was right. Even when he is forced to amend his prescript to please the gods, he first tends to the dead Polynices before releasing Antigone.^[3]
Eurydice of Thebes is the Queen of Thebes and Creon'due south married woman. She appears towards the end and simply to hear confirmation of her son Haemon's decease. In her grief, she commits suicide, cursing Creon whom she blames for her son's decease.
Haemon is the son of Creon and Eurydice, betrothed to Antigone. Proved to be more than reasonable than Creon, he attempts to reason with his father for the sake of Antigone. However, when Creon refuses to listen to him, Haemon leaves angrily and shouts he will never come across him again. He commits suicide after finding Antigone dead.
Koryphaios is the assistant to the King (Creon) and the leader of the Chorus. He is often interpreted every bit a close advisor to the Male monarch, and therefore a shut family friend. This function is highlighted in the end when Creon chooses to heed to Koryphaios' advice.
Tiresias is the blind prophet whose prediction brings most the eventual proper burial of Polynices. Portrayed as wise and total of reason, Tiresias attempts to warn Creon of his foolishness and tells him the gods are angry. He manages to convince Creon, but is as well late to save the impetuous Antigone.
The Chorus, a group of elderly Theban men, is at first deferential to the king.^[4] Their purpose is to annotate on the activeness in the play and add to the suspense and emotions, likewise as connecting the story to myths. As the play progresses they counsel Creon to exist more than moderate. Their pleading persuades Creon to spare Ismene. They also advise Creon to take Tiresias'south advice.

Historical context [edit]

Antigone was written at a time of national fervor. In 441 BCE, shortly later the play was performed, Sophocles was appointed as ane of the ten generals to pb a war machine trek against Samos. Information technology is striking that a prominent play in a time of such imperialism contains little political propaganda, no impassioned apostrophe, and—with the exception of the epiklerate (the correct of the daughter to proceed her dead begetter's lineage)^[5] and arguments confronting anarchy—makes no contemporary allusion or passing reference to Athens.^[6] Rather than become sidetracked with the issues of the fourth dimension, Antigone remains focused on the characters and themes within the play. It does, notwithstanding, expose the dangers of the absolute ruler, or tyrant, in the person of Creon, a king to whom few will speak freely and openly their true opinions, and who therefore makes the grievous error of condemning Antigone, an act which he pitifully regrets in the play'south final lines. Athenians, proud of their democratic tradition, would have identified his error in the many lines of dialogue which emphasize that the people of Thebes believe he is wrong, but have no voice to tell him so. Athenians would identify the folly of tyranny.

Notable features [edit]

The Chorus in Antigone departs significantly from the chorus in Aeschylus' 7 Against Thebes, the play of which Antigone is a continuation. The chorus in Seven Confronting Thebes is largely supportive of Antigone'south decision to bury her brother. Hither, the chorus is composed of old men who are largely unwilling to encounter civil disobedience in a positive calorie-free. The chorus as well represents a typical departure in Sophocles' plays from those of both Aeschylus and Euripides. A chorus of Aeschylus' most always continues or intensifies the moral nature of the play, while one of Euripides' frequently strays far from the primary moral theme. The chorus in Antigone lies somewhere in betwixt; information technology remains inside the general moral in the immediate scene, but allows itself to exist carried away from the occasion or the initial reason for speaking.^[7]

Significance and interpretation [edit]

One time Creon has discovered that Antigone cached her brother against his orders, the ensuing give-and-take of her fate is devoid of arguments for mercy considering of youth or sisterly love from the Chorus, Haemon or Antigone herself. Nearly of the arguments to save her centre on a debate over which course adheres best to strict justice.^[eight] ^[9]

Both Antigone and Creon claim divine sanction for their actions; but Tiresias the prophet supports Antigone's merits that the gods demand Polynices' burial. It is not until the interview with Tiresias that Creon transgresses and is guilty of sin. He had no divine intimation that his edict would be displeasing to the Gods and against their will. He is hither warned that information technology is, but he defends information technology and insults the prophet of the Gods. This is his sin, and it is this which leads to his punishment. The terrible calamities that overtake Creon are not the result of his exalting the law of the state over the unwritten and divine law which Antigone vindicates, just are his intemperance which led him to disregard the warnings of Tiresias until information technology was too late. This is emphasized by the Chorus in the lines that conclude the play.^[ten]

The German poet Friedrich Hölderlin, whose translation had a potent touch on the philosopher Martin Heidegger, brings out a more subtle reading of the play: he focuses on Antigone's legal and political status inside the palace, her privilege to be the hearth (co-ordinate to the legal instrument of the epiklerate) and thus protected by Zeus. According to the legal practice of classical Athens, Creon is obliged to marry his closest relative (Haemon) to the belatedly king'south daughter in an inverted marriage rite, which would oblige Haemon to produce a son and heir for his dead father in law. Creon would be deprived of grandchildren and heirs to his lineage – a fact which provides a potent realistic motive for his hatred against Antigone. This modern perspective has remained submerged for a long time.^[11]

Heidegger, in his essay, The Ode on Human in Sophocles' Antigone, focuses on the chorus' sequence of stophe and antistrophe that begins on line 278. His interpretation is in three phases: beginning to consider the essential meaning of the verse, and then to movement through the sequence with that understanding, and finally to discern what was nature of humankind that Sophocles was expressing in this verse form. In the first ii lines of the get-go strophe, in the translation Heidegger used, the chorus says that there are many foreign things on earth, only there is zilch stranger than human being. Beginnings are important to Heidegger, and he considered those two lines to draw the primary trait of the essence of humanity within which all other aspects must find their essence. Those two lines are then key that the rest of the poetry is spent catching upward with them. The authentic Greek definition of humankind is the 1 who is strangest of all. Heidegger's interpretation of the text describes humankind in one discussion that captures the extremes — deinotaton. Human being is deinon in the sense that he is the terrible, vehement one, and also in the sense that he uses violence against the overpowering. Man is twice deinon. In a series of lectures in 1942, Hölderlin'southward Hymn, The Ister, Heidegger goes further in interpreting this play, and considers that Antigone takes on the destiny she has been given, only does not follow a path that is opposed to that of the humankind described in the choral ode. When Antigone opposes Creon, her suffering the uncanny, is her supreme activity.^[12] ^[xiii]

The problem of the 2d burying [edit]

An important issue even so debated regarding Sophocles' Antigone is the trouble of the 2d burial. When she poured dust over her brother's trunk, Antigone completed the burial rituals and thus fulfilled her duty to him. Having been properly buried, Polynices' soul could go along to the underworld whether or not the dust was removed from his body. However, Antigone went back later his body was uncovered and performed the ritual once again, an act that seems to be completely unmotivated past anything other than a plot necessity and then that she could be caught in the act of disobedience, leaving no dubiousness of her guilt. More than one commentator has suggested that information technology was the gods, not Antigone, who performed the first burying, citing both the baby-sit'due south description of the scene and the chorus's observation.^[14]

Richard C. Jebb suggests that the but reason for Antigone'due south return to the burying site is that the get-go fourth dimension she forgot the Choaí (libations), and "perhaps the rite was considered completed only if the Choaí were poured while the dust yet covered the corpse."^[15]

Gilbert Norwood explains Antigone's performance of the 2d burial in terms of her stubbornness. His argument says that had Antigone non been so obsessed with the idea of keeping her brother covered, none of the deaths of the play would accept happened. This statement states that if nothing had happened, nothing would accept happened, and doesn't take much of a stand up in explaining why Antigone returned for the second burial when the first would have fulfilled her religious obligation, regardless of how stubborn she was. This leaves that she acted only in passionate disobedience of Creon and respect to her brother's earthly vessel.^[16]

Tycho von Wilamowitz-Moellendorff justifies the need for the 2nd burial past comparing Sophocles' Antigone to a theoretical version where Antigone is apprehended during the first burying. In this situation, news of the illegal burial and Antigone's arrest would go far at the same time and there would exist no catamenia of time in which Antigone'due south defiance and victory could be appreciated.

J. Fifty. Rose maintains that the solution to the problem of the 2nd burial is solved past close examination of Antigone as a tragic character. Being a tragic character, she is completely obsessed by one idea, and for her this is giving her blood brother his due respect in death and demonstrating her honey for him and for what is right. When she sees her brother's torso uncovered, therefore, she is overcome by emotion and acts impulsively to cover him again, with no regards to the necessity of the activeness or its consequences for her safety.^[xvi]

Bonnie Honig uses the problem of the 2d burial as the ground for her claim that Ismene performs the beginning burial, and that her pseudo-confession before Creon is actually an honest access of guilt.^[17]

Themes [edit]

Civil defiance [edit]

A well established theme in Antigone is the right of the private to reject order'south infringement on her freedom to perform a personal obligation.^[xviii] Antigone comments to Ismene, regarding Creon's edict, that "He has no right to proceed me from my own."^[19] Related to this theme is the question of whether Antigone's will to coffin her brother is based on rational thought or instinct, a debate whose contributors include Goethe.^[18]

The contrasting views of Creon and Antigone with regard to laws higher than those of state inform their different conclusions about civil disobedience. Creon demands obedience to the law above all else, correct or incorrect. He says that "there is nothing worse than defiance to authority" (An. 671). Antigone responds with the idea that state police is non absolute, and that it can exist broken in ceremonious disobedience in extreme cases, such every bit honoring the gods, whose rule and authority outweigh Creon's.

Natural law and contemporary legal institutions [edit]

Creon's prescript to leave Polynices unburied in itself makes a bold statement about what it means to be a citizen, and what constitutes abdication of citizenship. It was the firmly kept custom of the Greeks that each city was responsible for the burying of its citizens. Herodotus discussed how members of each urban center would collect their own dead later a large battle to bury them.^[twenty] In Antigone, information technology is therefore natural that the people of Thebes did not bury the Argives, but very striking that Creon prohibited the burying of Polynices. Since he is a denizen of Thebes, it would have been natural for the Thebans to coffin him. Creon is telling his people that Polynices has distanced himself from them, and that they are prohibited from treating him as a boyfriend-citizen and burying him equally is the custom for citizens.

In prohibiting the people of Thebes from burying Polynices, Creon is essentially placing him on the level of the other attackers—the foreign Argives. For Creon, the fact that Polynices has attacked the city effectively revokes his citizenship and makes him a foreigner. As defined by this decree, citizenship is based on loyalty. It is revoked when Polynices commits what in Creon's optics amounts to treason. When pitted against Antigone's view, this understanding of citizenship creates a new centrality of disharmonize. Antigone does not deny that Polynices has betrayed the country, she merely acts as if this betrayal does not rob him of the connectedness that he would take otherwise had with the metropolis. Creon, on the other hand, believes that citizenship is a contract; it is non absolute or inalienable, and can be lost in certain circumstances. These two opposing views – that citizenship is absolute and undeniable and alternatively that citizenship is based on certain behavior – are known respectively as citizenship 'past nature' and citizenship 'by law.'^[20]

Fidelity [edit]

Antigone's determination to bury Polynices arises from a desire to bring honor to her family, and to honor the college law of the gods. She repeatedly declares that she must human activity to please "those that are dead" (An. 77), because they hold more weight than any ruler, that is the weight of divine law. In the opening scene, she makes an emotional entreatment to her sister Ismene maxim that they must protect their brother out of sisterly love, even if he did betray their country. Antigone believes that at that place are rights that are inalienable considering they come from the highest authorization, or authority itself, that is the divine police force.

While he rejects Antigone'south deportment based on family honor, Creon appears to value family unit himself. When talking to Haemon, Creon demands of him non only obedience every bit a denizen, but also equally a son. Creon says "everything else shall be second to your father's conclusion" ("An." 640–641). His accent on beingness Haemon's father rather than his king may seem odd, especially in light of the fact that Creon elsewhere advocates obedience to the state in a higher place all else. It is non clear how he would personally handle these two values in conflict, simply it is a moot point in the play, for, as absolute ruler of Thebes, Creon is the state, and the state is Creon. It is clear how he feels about these two values in disharmonize when encountered in another person, Antigone: loyalty to the state comes before family fealty, and he sentences her to death.

Portrayal of the gods [edit]

In Antigone as well as the other Theban Plays, there are very few references to the gods. Hades is the god who is nigh commonly referred to, simply he is referred to more than every bit a personification of Decease. Zeus is referenced a total of thirteen times by proper name in the entire play, and Apollo is referenced simply as a personification of prophecy. This lack of mention portrays the tragic events that occur as the issue of human error, and not divine intervention. The gods are portrayed as chthonic, every bit near the beginning there is a reference to "Justice who dwells with the gods beneath the earth." Sophocles references Olympus twice in Antigone. This contrasts with the other Athenian tragedians, who reference Olympus often.

Love for family [edit]

Antigone's dearest for family unit is shown when she buries her brother, Polynices. Haemon was deeply in love with his cousin and fiancée Antigone, and he killed himself in grief when he found out that his beloved Antigone had hanged herself.

Modernistic adaptations [edit]

Drama [edit]

Felix Mendelssohn composed a suite of incidental music for Ludwig Tieck'south staging of the play in 1841. Information technology includes an overture and 7 choruses.
Walter Hasenclever wrote an adaptation in 1917, inspired by the events of World War I.
Jean Cocteau created an adaptation of Sophocles' Antigone at Théâtre de fifty'Atelier in Paris on December 22nd, 1922.
French playwright Jean Anouilh's tragedy Antigone was inspired by both Sophocles' play and the myth itself. Anouilh'due south play premièred in Paris at the Théâtre de l'Atelier in February 1944, during the Nazi occupation of French republic.
Right after Earth War II, Bertolt Brecht composed an accommodation, Antigone, which was based on a translation by Friedrich Hölderlin and was published under the title Antigonemodell 1948.
The Haitian writer and playwright Félix Morisseau-Leroy translated and adjusted Antigone into Haitian Creole under the title, Antigòn (1953). Antigòn is noteworthy in its attempts to insert the lived religious experience of many Haitians into the content of the play through the introduction of several Loa from the pantheon of Haitian Vodou as voiced entities throughout the performance.
Antigone inspired the 1967 Spanish-language novel La tumba de Antígona (English title: Antigone's Tomb) by María Zambrano.
Puerto Rican playwright Luis Rafael Sánchez's 1968 play La Pasión según Antígona Pérez sets Sophocles' play in a contemporary world where Creon is the dictator of a fictional Latin American nation, and Antígona and her 'brothers' are dissident liberty fighters.
The Island, a 1973 apartheid-era play by the South African playwrights Athol Fugard, John Kani, and Winston Nthsona, features two cellmates who rehearse and ultimately perform Antigone for the other prisoners, cartoon parallels between Antigone herself and black political prisoners held in Robben Island prison.
In 1977, Antigone was translated into Papiamento for an Aruban production by director Burny Every together with Pedro Velásquez and Ramon Todd Dandaré. This translation retains the original iambic verse past Sophocles.
In 2004, theatre companies Crossing Jamaica Avenue and The Women's Projection in New York City co-produced the Antigone Project written past Tanya Barfield, Karen Hartman, Chiori Miyagawa, Pulitzer Prize winner Lynn Nottage and Caridad Svich, a v-part response to Sophocles' text and to the U.s.a. Patriot Act. The text was published by NoPassport Printing every bit a single edition in 2009 with introductions by classics scholar Marianne McDonald and playwright Lisa Schlesinger.
Bangladeshi managing director Tanvir Mokammel in his 2008 movie Rabeya (The Sister) also draws inspiration from Antigone to parallel the story to the martyrs of the 1971 Bangladeshi Liberation State of war who were denied a proper burial.^[21]
In 2000, Peruvian theatre group Yuyachkani and poet José Watanabe adapted the play into a one-actor piece which remains as function of the group's repertoire.^[22]
An Iranian absurdist adaptation of Antigone was written and directed past Homayoun Ghanizadeh and staged at the Metropolis Theatre in Tehran in 2011.^[23]
In 2012, the Royal National Theatre adapted Antigone to modern times. Directed by Polly Findlay,^[24] the production transformed the dead Polynices into a terrorist threat and Antigone into a "dangerous subversive."^[25]
Roy Williams's 2014 accommodation of Antigone for the Airplane pilot Theatre relocates the setting to contemporary street culture.^[26]
Syrian playwright Mohammad Al-Attar adapted Antigone for a 2014 production at Beirut, performed by Syrian refugee women.^[27]
"Antigone in Ferguson" is an adaptation conceived in the wake of Michael Brownish's death in 2014, through a collaboration between Theater of State of war Productions and community members from Ferguson, Missouri. Translated and directed past Theater of War Productions Creative Managing director Bryan Doerries and composed past Phil Woodmore.^[28]

Opera [edit]

Antigone, opera by Arthur Honegger, premiered on December 28, 1927 at Théâtre de la Monnaie in Bruxelles.
Antigonae, opera by Carl Orff, a Literaturoper which uses Friedrich Hölderlin's translation of Sophokles' drama (1805), premiered on August eight, 1949 at the Felsenreitschule in the context of Salzburg Festival.
Antigone (1977) past Dinos Constantinides, on an English libretto past Fitts and Fitzgerald
Antigone (1986) by Marjorie S. Merryman
Antigone oder dice Stadt (1988) by Georg Katzer with a libretto past Gerhard Müller, premiered at the Komische Oper Berlin in 1991, staged by Harry Kupfer and conducted past Jörg-Peter Weigle
The Burying at Thebes (2007–2008) by Dominique Le Gendre and libretto past Seamus Heaney, based on his translation for spoken theatre. The product features conductor William Lumpkin, stage managing director Jim Petosa, and six singers and x instrumentalists.^[29]

Literature [edit]

In 2017 Kamila Shamsie published Home Fire, which transposes some of the moral and political questions in Antigone into the context of Islam, ISIS and modern-day Britain.

Cinema [edit]

Yorgos Tzavellas adapted the play into a 1961 film which he likewise directed. It featured Irene Papas as Antigone.

Liliana Cavani'due south 1970 I Cannibali is a contemporary political fantasy based upon the Sophocles play, with Britt Ekland every bit Antigone and Pierre Clémenti as Tiresias.

The 1978 omnibus picture show Deutschland in Fall features a segment by Heinrich Böll entitled "The Deferred Antigone"^[30] where a fictional production of Antigone is presented to television executives who reject it every bit "too topical".^[31]

A 2019 Canadian picture adaption transposed the story into i of a modern twenty-four hour period immigrant family in Montreal. It was adjusted and directed by Sophie Deraspe, with additional inspiration from the Death of Fredy Villanueva. Antigone was played past Nahéma Ricci.

Tv set [edit]

Information technology was filmed for Australian Television receiver in 1966.

In 1986, Juliet Stevenson starred as Antigone, with John Shrapnel as Creon and John Gielgud equally Tiresias in the BBC'south The Theban Plays.

Antigone at the Barbican was a 2015 filmed-for-TV version of a production at the Barbican directed past Ivo van Hove; the translation was by Anne Carson and the film starred Juliette Binoche every bit Antigone and Patrick O'Kane as Kreon.

Other Tv set adaptations of Antigone have starred Irene Worth (1949) and Dorothy Tutin (1959), both broadcast by the BBC.

Translations and adaptations [edit]

1550 – Georgio Rotallero: text in Latin
1729 – George Adams, prose: full text
1782 – Vittorio Alfieri, in hendecasyllables: text in Italian
1839 – Johann Jakob Christian Donner, High german verse
1865 – Edward H. Plumptre, poetry (Harvard Classics Vol. 8, Part 6. New York: P.F. Collier & Son, 1909–14); full text
1888 – Sir George Young, poetry (Dover, 2006; ISBN 978-0-486-45049-0)
1899 – 1000. H. Palmer, verse (Boston: Houghton and Mifflin, 1899)
1904 – Richard C. Jebb, prose: full text
1911 – Joseph Edward Harry, verse (Cincinnati: Robert Clarke, 1911)
1912 – F. Storr, verse: total text
1926 – Ettore Romagnoli, in hendecasyllables, text in Italian
1931 – Shaemas O'Sheel, prose
1938 – Dudley Fitts and Robert Fitzgerald, verse: full text
1946 – Jean Anouilh, (modernistic French translation)
1947 – E. F. Watling, verse (Penguin classics)
1949 – Robert Whitelaw, verse (Rinehart Editions)
1950 – Theodore Howard Banks, verse
1950 – West. J. Gruffydd (translation into Welsh)
1953 – Félix Morisseau-Leroy (translated and adjusted into Haitian Creole)
1954 – Elizabeth Wyckoff, poetry
1954 – F. L. Lucas, verse translation
1956 – Shahrokh Meskoob (into Western farsi)
1958 – Paul Roche, verse
1962 – H. D. F. Kitto, verse
1962 – Michael Townsend, (Longman, 1997; ISBN 978-0-8102-0214-six)
1973 – Richard Emil Braun, verse
1982 – Robert Fagles, poesy with introduction and notes by Bernard Knox
1986 – Don Taylor, prose (The Theban Plays, Methuen Drama; ISBN 978-0-413-42460-0)
1991 – David Grene, verse
1994 – Hugh Lloyd-Jones, verse (Sophocles, Volume Two: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus, Loeb Classical Library No. 21, 1994; ISBN 978-0-674-99558-one)
1997 – George Judy, accommodation for children (Pioneer Drama, 1997)
1998 – Ruby Blondell, prose with introduction and interpretive essay (Focus Classical Library, Focus Publishing/R Pullins Visitor; ISBN 0-941051-25-0)
1999 – Declan Donnellan, with introduction by Nicholas Dromgoole (Oberon Books, 1999; ISBN 978-i-840-02136-3)
2000 – Marianne MacDonald, (Nick Hern Books, 2000; ISBN 978-1-85459-200-2)
2001 – Paul Woodruff, poesy (Hackett, 2001; ISBN 978-0-87220-571-0)
2003 – Reginald Gibbons and Charles Segal, poetry (Oxford Upwardly, 2007; ISBN 978-0-19-514310-ii)
2004 – Seamus Heaney, The Burial at Thebes – verse adaptation (Farrar, Straus and Giroux, 2005; ISBN 978-0-374-53007-five), also adapted as an opera in 2008
2005 – Ian C. Johnston, verse (mod English): full text
2006 – George Theodoridis, prose: full text
2006 – A. F. Th. van der Heijden, 'Drijfzand koloniseren' ("Colonizing quicksand"), prose, adapting Antigone's story using characters from the author's 'Man Duplex' saga.
2009 – Tanya Barfield, Karen Hartman, Lynn Nottage, Chiori Miyagawa, Caridad Svich, play adaptation (NoPassport Press, 2009; ISBN 978-0-578-03150-7)
2011 - Diane Rayor, Sophocles' Antigone: A New Translation. Cambridge Academy Press.
2012 – Anne Carson, play adaptation (Antigonick, New Directions Printing; ISBN 978-0-811-21957-0)
2013 – George Porter, poetry ("Black Antigone: Sophocles' tragedy meets the heartbeat of Africa", ISBN 978-i-909-18323-0)
2014 – Marie Slaight and Terrence Tasker, poetry and art ('"The Antigone Poems, Altaire Productions; ISBN 978-0-9806447-0-eight)
2016 – Frank Nisetich
2016 – Slavoj Žižek, with introduction by Hanif Kureishi, Bloomsbury, New York
2017 – Kamila Shamsie, Dwelling Fire, novel. An adaptation in a gimmicky context, London: Bloomsbury Circus. ISBN 978-1-4088-8677-9
2017 – Brad Poer, Antigone: Closure, play adaptation (contemporary American prose adaptation set post-fall of United States government)
2017 – Griff Bludworth, ANTIGONE (born against). A contemporary play accommodation that addresses the theme of racial discrimination.
2017 – Seonjae Kim, Riot Antigone. A punk rock musical adaptation inspired by the Anarchism grrrl movement that focuses on Antigone'southward coming of historic period.
2019 – Niloy Roy, Antigone: Antibody, play accommodation (contemporary Indian adaptation set in postal service- anarchic context of conflict between land and individual )
2019 - Sophie Deraspe, Antigone

Notes [edit]

^ Sophocles (1986). The Three Theban Plays: Antigone, Oedipus the Male monarch, Oedipus at Colonus. Translated by Robert Fagles. New York: Penguin. p. 35.
^ Sophocles (1947). Sophocles: The Theban Plays (Penguin Classics). Translated past E.F. Watling. The Penguin Group.
^ ^a ^b ^c McDonald, Marianne (2002), Sophocles' Antigone (PDF), Nick Hern Books
^ ^a ^b Bates, Alfred, ed. (1906). The Drama: Its History, Literature and Influence on Civilization, Vol. ane. London: Historical Publishing Visitor. pp. 112–123.
^ Rosenfield, Kathrin H. (2010). Antigone: Sophocles' Art, Hölderlin'due south Insight. Translated by Charles B. Duff. Aurora, Colorado: The Davies Group, Publishers. pp. one–22. ISBN978-1934542224.
^ Letters, F. J. H. (1953). The Life and Work of Sophocles. London: Sheed and Ward. pp. 147–148.
^ Letters 1953, p. 156.
^ Letters 1953, p. 147.
^ Chiara Casi (Jan 2018). "L'immoralità della Giustizia". L'Immoralità della Giustizia . Retrieved 6 October 2019.
^ Collins, J. Churtin (1906). "The Ethics of Antigone". Sophocles' Antigone. Translated by Robert Whitelaw. Oxford: Clarendon Printing.
^ Rosenfield, p. 99–121. sfn error: no target: CITEREFRosenfield (assist)
^ Ward, James F. Heidegger's Political Thinking. Univ of Massachusetts Press, 1995. p. 190. ISBN 9780870239700
^ Keenan, Dennis King. The Question of Sacrifice. Indiana University Press, 2005. p. 118. ISBN 9780253110565
^ Ferguson, John (2013). A Companion to Greek Tragedy. Academy of Texas Printing. p. 173. ISBN9780292759701.
^ Jebb, Sir Richard C. (1900). "Verse 429". Sophocles: The Plays and Fragments, with disquisitional notes, commentary, and translation in English prose. Office Three: The Antigone. Cambridge: Cambridge University Printing.
^ ^a ^b Rose, J. Fifty. (March 1952). "The Problem of the Second Burial in Sophocles' Antigone". The Classical Periodical. 47 (6): 220–221. JSTOR 3293220.
^ Honig, Bonnie (2011). "ISMENE'Due south FORCED CHOICE: SACRIFICE AND SORORITY IN SOPHOCLES' ANTIGONE" (PDF). Arethusa. The Johns Hopkins University Press. 44: 29–68.
^ ^a ^b Levy, Charles S. (1963). "Antigone'south Motives: A Suggested Interpretation". Transactions of the American Philological Association. 94: 137–44. doi:10.2307/283641. JSTOR 283641.
^ Sophocles (1991). Sophocles: Oedipus the King, Oedipus at Colonus, Antigone. Translated past David Grene. Academy of Chicago Publishers. p. Line 48. ISBN978-0-226-30792-3.
^ ^a ^b MacKay, Fifty. (1962). "Antigone, Coriolanus, and Hegel". Transactions and Proceedings of the American Philological Association. 93: 178–179. doi:ten.2307/283759. JSTOR 283759.
^ Press Trust of India (March 11, 2010). "Bangla director dedicates new moving picture to 1971 war martyrs". NDTV Movies. New Delhi: NDTV Convergence Limited. Archived from the original on 14 July 2011.
^ Grupo Cultural Yuyachkani: Antígona [Yuyachkani Cultural Group: Antigone]. Scalar (in Spanish). eleven March 2011. Retrieved 24 March 2018.
^ "نگاهی به نمایش "آنتیگونه" نوشته و کار "همایون غنی‌زاده"" [Take a look at the "Antigone" brandish of Homayoun Ghanizadeh]. Irani Art (in Western farsi). February 1389. Retrieved 24 March 2018.
^ "Antigone: Cast & creative". National Theatre. The Royal National Theatre. Archived from the original on 31 August 2012. Retrieved 23 July 2018.
^ Billington, Michael (31 May 2012). "Antigone – review". The Guardian . Retrieved 5 December 2015.
^ Hickling, Alfred (September 23, 2014). "Antigone Review – engaging Gangland Sophocles". The Guardian.
^ Fordham, Alice (Dec xiii, 2014). "Syrian Women Displaced By War Brand Tragedy Of 'Antigone' Their Ain". National Public Radio.
^ "Antigone in Ferguson". Theater of War.
^ Medrek, T.J. (November 6, 1999). "BU Opera fest's 'Antigone' is a lesson in excellence". Boston Herald. p. 22. Retrieved March 8, 2010.
^ Archived at Ghostarchive and the Wayback Motorcar: "The Deferred Antigone (Germany in Autumn, 1978)". YouTube . Retrieved 30 June 2018.
^ Gillespie, Jill. "Deutschland Im Herbst - Film (Moving-picture show) Plot and Review". FilmReference . Retrieved 30 June 2018.

External links [edit]

manifoldscerfumfor57.blogspot.com

Source: https://en.wikipedia.org/wiki/Antigone_%28Sophocles_play%29