Transcript Antigone - Dr. Chavez's Site-

Antigone
By Sophocles
Guiding Questions
How does Greek drama compare to
our modern theater?
 How do the themes in plays from
other times and cultures relate to
issues of today?
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TSWBAT
Appreciate ancient Greek drama
through study of a play by Sophocles
 Evaluate the cultural and historical
context of Greek drama and its role in
Greek society
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The Author- Sophocles
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The Pinnacle of Greek
Tragedy
Born in Athens
496BCE
Born in the town of
Colonus
Lived to be 90
Witnessed the rise and
fall of the Greek
Golden Age
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Grew up during
Persian Wars
Exceptionally talented
Actor
Greek Theater- Use the lecture to
answer these questions:
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Where were Greek tragedies staged?
What did the stage look like?
What kinds of props and scenery were used?
When during the year were plays performed? When
during the day?
Who performed in them? What costumes did they
wear?
Who came to the plays? How did they behave? What
were they looking for -- entertainment, knowledge,
enlightenment?
What kinds of issues were addressed in plays?
What was the playwright's role in the performance?
The Theatre of Dionysos
http://www.didaskalia.net/studyarea/recreatingdionysus.html
Location of The Theatre of Dionysos
Ariel View of Theatre of Dionysos
The Players
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Greek tragedy and comedy originated with the
chorus
the most important part of the performance
space was the orchestra
A tragic chorus consisted of 12 or 15 dancers
(choreuts),
Athenians were taught to sing and dance from a
very early age.
The effort of dancing and singing through three
tragedies and a satyr play was likened to that of
competing in the Olympic Games.
Actors
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In contrast with the chorus of 12 or 15, there were
only three actors in fifth-century Athenian tragedy.
The original word for 'actor' was hypokrites, meaning
'answerer,' for the actor answered the chorus.
Thespis is said to have introduced (and been) the first
actor, later called protagonistes (literally 'first
competitor').
The introduction of a second actor (deuteragonistes)
is attributed to Aeschylus and
the third (tritagonistes) to Sophocles.
Actors continued
Each actor would undertake to play
several different roles
 It is possible to divide the speaking parts
in a Greek tragedy up by determining
which characters were in the same scene.
 Often the division of roles had some
thematic significance relevant to the play.
Very occasionally a single role might be
divided between two or more actors, as in
Sophocles' Oedipus at Colonus
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Masks
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The large size of the theatre (in its final form it seated
20,000 people) and
the distance of even the nearest spectators from the
performers (more than 10 meters)
dictated a non-naturalistic approach to acting.
All gestures had to be large and definite so as to 'read' from
the back rows.
Facial expression would have been invisible to all but the
closest members of the audience; the masks worn by the
actors looked more 'natural' than bare faces in the Theatre
of Dionysos.
The masks of tragedy were of an ordinary, face-fitting size,
with wigs attached, and open mouths to allow clear speech.
Structure of Greek Play- Know and be
able to identify the following:
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The Greek Chorus
and its various
functions (with an
example of each)
Greek Theater, its
structure and layout
Episode
Anagnorisis
Catharsis
Deus ex Machina
Peripeteia
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Stichomythia
Dramatic Irony
Pathos (2
examples)
Tragedy, its
characteristics
Tragedy
Tragic hero, his/her
characteristics
Hamartia
Hubris
Reflect on the underlying themes of the
drama:
the interlocking conflicts between men and
women,
age and youth,
society and the individual,
human justice and divine law,
the obligations we owe to the living and the
dead
Setting
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The drama begins at dawn, after a night in
which there has been a war in Thebes
between armies led by the two sons of
Oedipus. Keep in mind that the Greek
theater was in the open air, and that the
first performances of the day would begin
at daybreak. Thus, imagine that the time
of day of the setting would be identical to
the performance time.
1-116
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As you read the first scene, consider the gravity of the
city's condition and how aware Antigone seems of it.
Throughout the play, Antigone and Creon will talk much
about friends and enemies. Think about what each means
by these terms. In general, Antigone and Creon tend to use
the same words but mean different things by them. For
example, consider Antigone's reference to being a "traitor"
(57). This is a political term; does Antigone mean a traitor
to the city, or to something else? Compare with Creon
(580).
Why does Antigone assume that Creon's order is directed
against her and Ismene? When Creon appears later,
consider whether his conduct and language in fact supports
her assumption.
Do you sympathize at all with Ismene's caution? Does
Antigone treat her fairly?
Why is Antigone so concerned with glory (113)? Should she
be?
How old do you think Antigone is?
117-178
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After the initial dialogue the Chorus emerges for
their first choral ode, which concerns the
previous night's battle. Contrast the picture of
Polynices drawn there with Antigone's earlier
discussion of her brother; does your opinion of
him, and of Antigone's position, change at all?
The chorus evokes Dionysus (171), the first of
several times this god is mentioned. Why should
the chorus call upon Dionysus? Look up the name
if you need to.
179-376
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Creon enters. It is very important that you do not
project Creon's later conduct back into his first
speech. Read this speech carefully, consider his
values and beliefs, and ask yourself whether
there is anything wrong with his principles,
whether in Greek terms or your own. Later,
compare Creon's subsequent actions with the
principles he articulates here.
Throughout this scene, pay close attention to the
assumptions Creon makes about gender.
When Creon talks about the gods and the law
(317), is he talking about the same types of gods
as Antigone does?
377-416
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This is perhaps the most famous choral ode in
Greek tragedy. What image of man does this ode
present? In this vision, what is human greatness?
What are the limits of human ability and action?
When can a daring man get into trouble?
Choral odes often generalize a given problem
specific to the play's action into a statement
about human life as a whole. Is that the case
here? If so, then is the chorus alluding to
Antigone, or to Creon, or to both?
417-655
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Why is Creon so surprised when the Sentry
brings in Antigone?
Antigone is compared to a mother bird (471), not
the last time she is referred to as maternal in this
play. Is there anything strange or ironic about
Antigone being represented as a mother?
Antigone's defense to Creon (499-524) is very
important, so read it carefully.
Ismene defends Antigone and asks Creon how he
could kill his own son's bride (641). Has there
been any reference to this relationship before?
656-700
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Contrast this stasimon with the previous
one. Is this ode's thought and tone similar
or different? What, if anything, has
changed?
701-878
Compare the Creon in this scene with the
one who first entered the play. Has he
changed at all in language or conduct?
 To what does Haemon appeal in his
attempt to save Antigone?
 Does Haemon threaten his father, as
Creon thinks (842)?
 Why does Creon chose the particular
method of execution that he does (8708)? What does it say about him?
879-94
The ancient Greeks had two words for
"love"; philia, meaning something like
"friendship", and eros, which has more to
do with passion. When the chorus talks
about "love" in the ode, which of the two
do they mean? And why is the chorus
generalizing about love here?
895-1034
Note the chorus' reference to Antigone's "bridal
vault" (899). What do they mean by referring to
a wedding chamber? This will be an important
image in the last part of the play. Antigone
becomes a "Bride of Death" (or "Bride of Hades“
Demeter and Hades).
How would you characterize the chorus' exchange
with Antigone here?
 Consider Antigone's speech which begins at line
978. Is this speech consistent with what she has
argued before?
 Is Antigone's faith in the gods wavering here?
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1035-1089
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Consider what these myths have in
common with each other, and with the
story of the play at this point.
1090-1237
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What does the failure of Tiresias' sacrifice
have to do with Polynices and Antigone?
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What, specifically, in Tiresias' warnings
leads Creon to change his mind?
1238-72
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Why does the chorus call on Dionysus in
this ode?
1273-End
Why does Antigone chose to commit
suicide? Does it suggest her mother's
death, or is there an important difference?
 Creon's wife is only on stage momentarily,
yet she plays a key role in Creon's
disaster. What does her suicide mean to
him?
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Is Creon a tragic figure?
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Is Creon a tragic figure? Do you feel
sympathy for him at the end as someone
who initially tried to do good yet was
overwhelmed by circumstance, or do you
believe that he is a bullying, misogynistic
control-freak who gets what he deserves?
Try to come up with arguments for both
sides. Could the play have been called
Creon, instead?
Antigone
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Conversely, what, specifically, makes
Antigone a tragic figure? Think about
what, exactly, you mean by such words as
"tragedy" and "tragic".
What do you think?
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Debate Antigone's choice, whether it
betrays a tragic pride and inflexibility or
demonstrates an heroic dedication to
virtue.
Contemporary links
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Comment on the relevance of this ancient
play to contemporary life. When in recent
history have individuals been forced to
choose between the law and human
rights?
Your life
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When in your own life have you faced a
choice like Antigone's, a choice between
obedience to authority and remaining true
to your conscience?