Asian Antigone - Thuy Anh

As for me, to present Antigone, an Ancient Greek play, to a completely different part of the world, Asia, is quite a challenging job to do, though there are some similarities between the two cultures, comparing to the script, there are contrasting traditional aspects that must be changed in order for the play to appear appealing towards the audience. Here, I am going to create a Vietnamese version of Antigone because I was born in Vietnam and have lived here my whole life so hopefully I would be able to portray this play as traditionally as possible.

First of all is the costumes. Antigone being a princess in Sophocles would make her a noble in Vietnam’s society, and nobles at that era would wear a traditional and a upper-class clothing called ao ngu than (later modernized to become ao dai). Ao ngu than have 2 flaps sewn together in the back, two flaps sewn together in the front, and a “baby flap” hidden underneath the main front lap. It has a high collar and is buttoned in the same way as ao dai. The Vietnamese Antigone would be wearing red, pink or yellow as colours like black, white, brown and grey were only worn by the lower-class. For Creon, he would be expected to be in the traditional imperial costumes (the original male-ao dai). The settings would also be different, the play have to occur within a palace (which is similar to China) but rather it is smaller, more simple architecture and less-detailed in decorations.

Moreover, the aspect of culture in Vietnam is one of the important factors in converting Antigone the play to an Asian version. Under that era in Vietnam, women were given no power in any decision, even within the family, they were treated completely differently compared to men, they were not even allowed to go to school. Therefore, the Vietnamese Antigone would have to act in a certain degree of manor in which the way she talks to Creon will have to be respectful, unlike the British version of Antigone, where Antigone appeared to be indifferent and showing no fear at all, especially when she said “do you want anything more than my death?” The Vietnamese Antigone should be showing fear towards Creon, she should appear to be frightened when she is brought to the palace in order to create tension among the audience (because tensity is what Vietnamese people enjoy) Antigone might even beg for Creon’s mercy and forgiveness, not to declare her death. Eventhough Antigone is still a rebel as similar to Sophocles (in burying her brother), her fragile side must be portrayed as well. As for Creon, I suppose this character should stay the same, keeping his hasty in making decision and also his cruelty so that his characteristics would highlight the play even further. More than that, the relationship between Ismene and Antigone should be extended into further details as family bond in Vietnamese culture is very strong, especially when Antigone has just lost her two brothers. Ismene might slightly be agreeable towards Antigone’s decision, however, her fear of death conquers her that leaves Antigone alone (but she does not deeply feel betrayed), rather than in the British version of the play, Antigone seemed to be over-whelmed by the fact that her sister fails to help her.

In conclusion, I would pay the most focus to the character of Antigone, as she is expected to convey a more complex idea rather than just standing up against the rule and not being afraid of the authority as well as death.