Asian Antigone by Khanh

Speaking from a Vietnamese point of view, the central elements to a Vietnamese' Antigone would be: setting, characterisation and costumes.

1. Setting:

Outdoor: The scene needs to be filmed in a traditional temple-like palace, with the roof in ancient looking bricks, frames and pillars made from polished wood. Especially the platform of the entrance to the palace (where the Creon's chair is situated when he wants his meetings outdoors) is high up above the front landscape (as if situated on top of a hill), and that hillside carved in stone with flying dragons and mystical designs to heighten the King's power,  so when Antigone sees Creon, she has to kneel in front of him, which reinforces the patriarchal society and represents the noble blood that Antigone has, similar to Creon's (regardless of them being enemies, they still have common ties by her mother's blood). 

The palace should be situated as far from the citizens' villages and community as possible, surrounded by protective mountains and forest (but not in the forest!) with a view looking towards a lake. This gives audience a sense of tranquility (what the king want his people to think, and a beautiful landscape he can enjoy) and also seclusion (what Creon is actually scheming)from a remote place. It also heightens Creon's superiority as an established elite of authority, which needs to be differentiated from the common people.

Indoor: The same idea that Antigone needs to kneel before Creon on the ground below him. The chorus are placed alongside the King, with the Leader being closest to the King as he is the King's advisor and considered 'the wisest man of Thebes'. Creon would need to have 2 maids standing behind him to fan him (from the Vietnamese' heat). 

2. Characterisation: Although Creon is seen as a leader with a 'set-in-stone' appearance and attitudes, in the Asian version, the film needs to show his free time (add a 'soft' side to the seriousness of the tragedy), surrounded by feasts and women (can be his concubines) for his own pleasure. This highlights his utmost corruption that signifies his downfall later in the play.

Women in this adaptation are not allowed to speak directly to men. Antigone have to kneel in front of Creon, but her messages would be given to the Sentry who will deliver them to Creon. Also, the Vietnamese' Antigone has to show fear to Creon, but remains a 'brave face' in her heart. She cannot comment "I don't fear death" or make direct insults to Creon like "I am accused of a folly by a fool"(she can insult Creon, but in a more subtle, ironic and poetic way). Moreover, the relationship between Antigone and Ismene needs to be explored, as Vietnamese culture puts emphasis on inseparable familial ties, especially when Antigone has just lost her two brothers. Ismene will help Antigone to bury Polyneices, but she has to carefully weigh up consequences of their actions first, and will support Antigone with a reasoned rationale (Ismene is more rational than Antigone, who seems to be more reckless than her sister).

3. Costumes: The royal family would be dressed in extravagant and voluminous robes for both men and women, with prominent colours of red and yellow to highlight the royal blood.The chorus would only have the colour of either green/blue and yellow (no red), however the Leader may wear a red & yellow costume, but much simpler than the king. All the men in the court has dragons on their costumes (big one for the kings, small ones for the chorus) , also have to wear hats (show respect for the king) and the only the royal family's women will have peacock-like giant birds (phuong - with accent marks on - not a name!). The male servants will be dressed in brown/blue with hats and female servants either pink or orange with flowing and thinner garments. All costumes are made of silk (royal family, chorus and female servants - mostly concubines), except male servants' costumes are made of cloth (!) - as they're of equal rank to the lower common people.