Van's essay

Essay: How does the Sophocles foreshadow the tragedy at the end of the play through connecting the play with the citizens’ beliefs?

In the play Antigone, written by Sophocles, the mention of Gods in characters’ speeches as well as in the chorus highlights the strong religious beliefs in Gods within the Greek citizens of Thebes. By connecting the devices of characterisation of Creon and Antigone, and chorus with the beliefs of the citizens of Thebes, Sophocles is able to emphasise the device of prolepsis of the tragedy at the end of the play.

Creon’s characterisation is portrayed as self-motivated and egotistic through his argument with Haemon about Antigone’s action. As the quarrel continues, Creon states, “Am I to rule this land for others – or myself?” The diction of “myself” explicitly clarifies his selfishness as a king is expected to always consider for his citizens, not for himself. The constant use of hyperbole in his speeches such as through the phrase, “she destroys cities” (exaggerating Antigone’s crime) explains that by devaluing people around him, Creon can feel the importance of an authority satisfying his ego. However, the Greek people believe that Gods consider ego along with selfishness as a sin. The chorus implicitly mentions about “delusion, blithe” and “ . . . unaware till he trips and puts his foot into the fire” which implies the result of ego. The words “delusion” and “blithe” demonstrate that ego blinds Creon and hallucinated him with his content in being an absolutely powerful king with all the people of Thebes being under his control. Nevertheless, the use of ellipsis acts as a turning point in the speech as the outcome of ego is revealed within the chorus’s mind. Creon then will then become from “unaware” to aware as “he trips” but the realisation is too late which results to “foot in fire” which implies the punishment Creon will receive which is to lose all of his family members. The punishment by God serves as an irony due to the fact that Creon is also the one who insults Antigone’s family members, her brother, Polynices. Consequently, the belief is illustrated that the payback price is determined by the same degree of sin committed (ego). 

Anitgone is a rebellious woman character against Creon, the king of Thebes, due to her strong beliefs in Gods. She violated Creon’s law being aware that the punishment will certainly be dead. During her conversation with Ismene, she states that, “death will be glory” for her which suggests that Antigone believes that Gods witness everything and will glorify her for actions. The belief of Gods watching everything in Greece can also be the reason leading to democracy as there is no point in hiding the true feelings while God knows everything. Therefore, Antigone bravely admits her action violating the laws with pride. The Greek audience would also agree with Antigone as Greek people believe a mortal human can never be compared or even win over the Gods which devalues Creon in the audience’s eye creating dramatic irony – builds up sympathy towards Antigone. Nonetheless, although the chorus mentions about Antigone’s being the “last root” highlighting her toughness, there is no praise for Antigone in the chorus’s speeches. Even though Haemon reports about the rumours of Antigone deserving glory while the audience may find the source unreliable due to his passionate love with Antigone, there is no real evidence that the Greek citizens praising her actions. On the other hand, the speech after Antigone being escorted out of the palace takes place when Creon is present, which may outline that the chorus’s real thoughts are still locked by fear for Creon as no one dares to taking on Antigone’s side. If that is the real situation, Haemon’s report of the rumours can possibly be true hinting that Creon will change his mind of not killing Antigone. However, because every citizen is overcome by fear except for Haemon, it forebodes that Creon may not be able to save Antigone in time which also foreshadows the following death of Haemon. 

Overall, the device of prolepsis is portrayed successfully by Sophocles by connecting the Greek beliefs with the play. Through the characterisation fo Creon and Antigone, and the use of chorus, every punishment and outcome of the play can be predicted adding dramatic tension to the scenes within the play as the audience may expect something else or proving their predictions are right which attracts the audience’s attention throughout the entire play.

Veronica's Antigone Essay

Q: To what extent is Haemon’s will/stance challenged by the fact that his father is an autocrat in a patriarchal society?

Sophocles’ Antigone, one of his three Theban Plays, vividly tells the story of Antigone’s condemnation to death by her cousin Creon the king of Thebes while carrying out the familial duty of burying her brother. Creon’s overpowering autocracy limits the degree of autonomy among citizens in his State by stretching as far as to suppress his own son in the same way. In the above pages, we see the first encounter between Creon and Haemon. Sophocles chooses to shift Haemon’s superobjecetive noticeably throughout the scene; perhaps the greatest reason why this is so is due to Sophocles’ portrayal of Creon as an absolute autocrat in a primarily male-oriented society (that of ancient Greece). Through employment of various dramatic techniques with emphasis on characterization of male protagonists, Sophocles illustrates the extent of Creon’s absolute power on Haemon’s self expression.

Creon can be classified as the stereotypical tyrant who enjoys (or rather, tries to enjoy) complete domination over his subjects. Creon if often audaciously outspoken almost to the point of blatant brazenness, even to the point of using Zeus, the almighty Greek god of all gods’ name in vain ‘I swear to Zeus as I still believe in Zeus’ (74). As it is often the case with such rulers, Creon’s ego undergoes rapid growth, which is chronicled throughout the play. Creon’s initial decree that banned anyone from burying Antigone’s brother Polynieces (70) is almost on par with the decrees of the gods themselves. Ancient Grecians considered death and the Underworld some of the most powerful religious symbols; the fact that a mere mortal ruler of a small state dares to condemn an ‘offender’ to death by giving the dead proper burial rights is directly representative of hubris. Ancient Greeks also believed that a woman’s holiest duty was arranging and carrying out the burial of her family member following their death, and that all people were rightly deserved of proper burial rights. By condemning Polynieces’ body to be eaten by savages in the wild and forbidding his sister to carry out the proper burial ceremony, Creon is treading on thin ice, as he is purposely going out of his way to defy and upset the gods. It must also be remembered that Ancient Greece was a strictly male-dominated patriarchal society where men sough their ‘rightful’ positions as heads of households and the center of governments. Because of this, it is only natural that Haemon’s willful defiance of his father’s rulings is subject to much graver circumstances than they it would be considered in a more autonomous setting.

Readers’ first reception of the character of Haemon may be negative, as he opens his conversation with Creon with the words ‘I obey you’ (73) obviously directed at his father. His first words do carry an element of surprise: Surely one would do anything to save the life of his fiancée, instead of pledging subordination to his father who also happens to hold the life of said fiancée in his hands? However we soon come to realize that Haemon’s words are carefully chosen with reason. Haemon. with the three words, quickly establishes his standing in this confrontation between his father and himself- that he wishes to avoid a heated altercation in which Creon could respond to emotionally. Even from his opening words, we can see a parallel between Haemon’s and Creon’s characters, Haemon as the more rational, level headed and Creon at the helm of his throne, abusing his powers as a monarch any time he wishes to.

Creon interprets Haemon’s ‘I obey you’ as his dedication to his father, not his bride, and quickly returns his own assent ‘That’s how you ought to feel within your heart, subordinate to your father’s will in every way.’ (93) ‘Subordinate’ insinuates that father-son relationships in ancient Greece were rarely borne of emotion, rather forced. The diction suggests sons’ almost subserving their fathers by carrying out their filial roles, and that they are forced into such a ‘job’. Creon then displays his apparent distaste for women ‘to produce good sons, a household full of them, dutiful and attentive’ (93). Creon’s characterization of women is rather primal, as if women are merely mechanized tools of breeding. Again, expectations of the average ‘dutiful and attentive’ son are highlighted; from this, we can see further how Creon perceives Antigone: ‘a worthless woman’ (93). ‘Spit her out’ (93) To Creon, Antigone is much like an unpleasant taste lingering in the mouth. Creon believes that relationships can be ended as easily as physically getting rid of the ill taste; Creon’s naïvety and myopia are in full display throughout this comment. Creon’s reasonings are quite often thin on logic; we can see that Creon wishes to play on his son’s emotions in order to detach him from his future wife.

Haemon’s next words are carefully chosen following Creon’s explosive monologue. Instead of becoming deterred and altering his argument as Creon obviously intended, Haemon seems to have strengthened his stance and in turn his feelings for Antigone’s deeds. ‘Now don’t, please, be quite so single-minded, self-involved, or assume the world is wrong and you are right’ (95) Haemon tries to approach the subject indirectly and diplomatically by implying that Thebes thinks of Antigone ‘No woman, they say, deserved death less, and such a brutal death for such a glorious action’ (95). This sentiment contrasts deeply with the way Creon views Antigone; Haemon subtly begins to view Antigone’s prior action as heroic and ‘glorious’. Haemon also tries to justify Antigone’s actions instead of taking her side ‘She, with her own dear brother lying in his blood -- she couldn’t bear to leave him dead, unburied, food for the wild dogs or wheeling vultures.’ (95) Instead of letting his emotions get the better of him like they do Creon by linking Antigone’s ‘offense’ to his misogynistic traits, Haemon stays level headed and approaches Creon with logic and justifies her actions. Through Haemon’s monologue readers are provided a glimpse into the mindsets of the ordinary and how, unlike that of their ruler, Creon’s subjects feel that Antigone’s burial of Polynieces is more than justified ‘She deserves a glowing crown of gold!’ (95). ‘... such men, I tell you, spread them open -- you will find them empty!’ (95) Toward the latter half of his monologue, Haemon begins to show glimmers of contesting against Creon; Haemon goes as far as to leave a foreboding message for his father, hinting that the more egotistical Creon becomes, the worse the consequences will be. Somehow Haemon’s ‘warning’ holds more weight than that of the chorus’, as once again the roles of a parent and his son are subverted.

Haemon continues on his argument in a temperate, poised and more controlled manner. This may be so as he realizes the futility of his warnings as Creon is not very likely to heed them, and because of this, Haemon is trying to reason as much as possible with his father; his superobjective becomes a touch more aggressive. Haemon is not afraid to forebode his benighted father of the devastating consequences to his hubris ‘Haul you sheets too taut, never give an inch, you’ll capsize, and go the rest of the voyage keep up and the rowing-benches under’ (96). His emotions are noticeably unaffected even through Creon’s forcible coercions; his objective in the scene, best summarized by ‘Oh give way. Relax you anger -- change!’ (96) remains steadfast despite them. Haemon speaks the pragmatic words of the citizens ‘It’s no city at all, owned by one man alone’ (97) which most directly challenges Creon’s position.

From the above, it can be concluded that Haemon’ will and stance in presenting his argument is challenged by the fact that he is addressing his own father, an autocrat, in a strictly patriarchal environment. This conflicting tension is plainly showcased from the heated arguments taken place between Haemon and Creon, Sophocles’ depiction of Creon as an autocratic character, and Sophocles’ portrayal of Thebes as a male-oriented society. Creon’s challenges prove futile towards Haemon’s achieving his superobjective; Haemon proves ever resolute, determined on vouching for justice, even if it means sacrificing his life for it.

How does Creon’s misogynistic character lead him to a tragic abandonment?

Antigone Essay

Cathy VO

After Haemon’s entrance in the play, Creon’s long speech to him consists of two main things; men are better than women and Antigone must die. In the beginning of the play, we have the sense that Creon is a misogynist but it is only till now that the reader can see the extent to how much he despises women. The first advice that Creon gives to Haemon is to “never lose your sense of judgement over a woman” – this is appointed to all women in general and how Haemon should not be any less self-assured around a woman’s presence or love. Next, Creon says he “caught her in naked rebellion” which’s clearly directed at Antigone only. ‘Naked’ and ‘rebellion’ contrast each other when put in the same sentence because ‘naked’ symbolises fragility and defenceless while ‘rebellion’ has connotations of fearless, bravery and heroic but when put together, Creon shapes what Antigone did to be an embarrassing revolt rather than a courageous one. Though, one might interpret it differently and say that it doesn’t sound embarrassing but more like a triumph because ‘naked’ suggests that Antigone is not afraid to be unprotected and go out there by herself to do what she believes is right. Hence, this thought suggests that Antigone’s sexuality actually intimidates Creon and that she might be braver than he can ever be so in his self-driven motivation to be the strongest and most powerful man in Thebes, he has her killed to eliminate his ‘competitor’. Sophocles’ use of emotive language builds up tension throughout the play and for the reader, it creates an expectation that something tragic will happen to Creon, like the proverb, “A man’s character is his fate” by Heraclitus; hence Creon’s misogynistic character will be the cause of his abandonment.

Moreover, Creon’s determination to have Antigone killed is so strong that he would “let her cry for mercy, sing her hymns to Zeus who defends all bonds of kindred blood”. In Greek beliefs, everyone deserves to have a proper burial and if someone decides to go against it, the Gods will be angry and punish that person. In this case, Creon is doing what exactly is considered to be disrespectful to the Gods, yet he isn’t scared of the consequences. If Zeus is provoked, he would use his lightning to punish Creon but it is as though Creon is challenging him to that and going against his rules. This foreshadows how Creon will be penalised later on. Also, the fact that he would let a princess “cry for mercy” even though what she did was right; it highlights how Antigone’s gender makes her ‘crime’ even worse and her punishment the worst. The mentioning of Zeus here is very significant as it acts as a prophecy to the ending of the play where the ‘bonds’ of Creon’s ‘kindred blood’ are all broken and Zeus as a defender of that should stop it from happening, however, he does not help Creon.

Finally, the extent to how misogynistic Creon is is shown through the phrase “...there are other fields for him to plow.” A misogynist is a person who cultivates a hate for women, usually displayed by their beliefs, actions and use of language hence this quotation has a sexist tone to it and it is ironic how there are actually no other fields for him to ‘plow’ as he died with Antigone. Sophocles’ use of powerful diction increases the dramatic tension between each character and foreshadows how that tension will rupture causing destruction to the noble family.

Rosa's Essay on Antigone

Rosa Chung                                                                                                                                                                                                        2.13.12

Antigone Essay                                                                                                                                                                                            Ms. Basel

Q. How Sophocles develops the POV of how Creon’s tendency to be misogynistic links to his paranoia of damaging his ego, and the effects on the audience.

               

                Within Antigone, (the third tragedy of a Theban trilogy, written by Sophocles), Sophocles explores the link between Creon’s misogynistic mindset and his damaged pride through the use of threatening diction towards Antigone. This creates empathy towards Antigone, contrasting the consequential growing antipathy towards Creon. Sophocles also uses the build-up of tension through structure and anaphora to intensify the conflict between Creon and Haemon, climactically leading to verbal misogynistic outbursts by Creon; this ultimately portrays how the use of hurtful phrases towards the female gender acts as a selfish defence mechanism to protect Creon’s ego.

                A misogynist is one who cultivates hatred for women, shown through his beliefs, actions, and language. From lines 536-554, Creon delivers a lengthy speech admonishing Antigone’s attempt at providing burying rituals for her brother, Polynices. Sophocles amplifies the hateful tone of Creon’s dialogue after Antigone directly recognizes Creon’s faults as a leader to the public, claiming that he is a “mere mortal…a fool….(with) wounded pride”. These words are exchanged in a straight-forward manner, with no hint of respect, as if Sophocles implies that Antigone feels that Creon is not worth her full effort and does not feel that he should be treated as his status suggests he should be. Therefore, it seems as though Antigone is mocking Creon’s rule, rather than attacking him to justify her actions. This “insolence” infuriates Creon in that a woman of lower status has not only disobeyed his rule, but has ridiculed his actions as well. The fact that Antigone has gone against him in public also puts pressure on Creon as his unnatural concern for his portrayal by the Thebes is heightened- especially because Thebes is driven by patriarchal ideals, so the idea of a socially weaker woman challenging a man of power would emasculate the man if no action was taken.

                To avoid this personal humility, Creon shields his vulnerability with anger, as Sophocles begins his counter-attack with a provocative, yet rhetorical question, “No?”, to highlight Creon’s inability to directly respond to Antigone’s speech (in a way, the diction “no” is a filler to veil Creon’s speechlessness-implying that Creon recognizes/feels the power of Antigone’s words). Perhaps this shows that Creon somehow realizes that her words are true, but refuses to believe so, due to his excessive pride. Therefore, the rest of the speech is aimed to accuse Antigone of going against Thebes rather than his private beliefs, explaining to the audience how “this girl…overrode the edicts WE made public…mocking US”. The use of collective pronouns “we” “us” allows Creon to assure himself and the audience that he is not personally offended (that his pride is intact), as showing to the public that one is personally offended/hurt would be considered weak to a man of high rule and believer of patriarchal ideals, Creon.

                Perhaps the use of Thebes’ power along with his own is to show that Creon himself cannot go against Antigone alone, but Sophocles hides this weakness with strong, hurtful diction, as Creon highlights Antigone’s stereotype in a patriarchal society by calling her a “slave…” (line 534). This word is very strong and shows the contempt Creon holds for Antigone not only as a woman, but a sub-servant human, purposely assuring that she is not a risk to his ego (however this excessive concern suggests Antigone IS somewhat of a risk). This personal threat is further implied when Creon’s character shames Antigone, “I am not the man, not now: she is the man”. This phrase isolates Antigone from the norm of society, entailing that she cannot even be classified as a woman-that she does not belong in this social order and therefore should be eradicated as a threat from his ego. Because Antigone does not fit the woman’s stereotype, Creon may not know how to handle someone who goes against his patriarchal thought process, and therefore responds in anger to hide his helplessness. Her crime is also emphasized as it is compared to a crime capable by a man, inferring that men are able to commit harsher offenses and can therefore achieve further goals than the average woman in Ancient Greek culture, as woman are not only stereotypically weaker, but restricted by LAW from carrying out certain tasks. Therefore, Creon once again stresses Antigone’s failure to comply with his rule, treating her like a criminal for going against her womanly stereotype.

                However, the reference of Antigone’s crime being “man(ly)” may hint at the growing threat Antigone is becoming to Creon. Sophocles’ intentions of giving the title of man to Antigone and not Creon may be to depict the true power she holds over Creon in a patriarchal society, as what Antigone has done is stronger and more intimidating than what Creon wants Thebes to think of his actions. To specify, Antigone has broken Creon’s very first law of banning Polynice’s burial, and this may cause Creon to fear Thebans questioning the legitimacy of his rule if a woman has broken his first edict, as the first ruling is equivalent to a first impression-Thebans could forever view Creon as an unsuccessful leader. Therefore, Antigone as a threat to Creon’s pride increases the paranoia Creon holds of maintaining his status.

                The growing paranoia is paralleled with Creon’s misogyny and anger towards Antigone through the structure of the continuous dialogue between his character and hers. As the argument progresses, dialogue between the two becomes shorter, intensifying the stress of the situation and Creon’s attentiveness to “win” over Antigone’s responses, as he believes them to be attacks to his ego rather than valid answers (“brother, yes…) to Creon’s rhetorical questions (Wasn’t Eteocles a brother too-cut down…?”). Creon’s arguments seem more alert and without any wholesome meaning (“so disloyal!”), acting as devices to protect his pride from Antigone’s replies, which are only aimed to consistently argue her own belief (“not ashamed…to honor my brother…”). Therefore, Creon does not directly answer Antigone’s questions, but shifts her meaning to an offense at Creon, responding with misogynistic insults, “no woman is going to lord…over me”, implying that these insults are only used when Creon feels that he is threatened and needs to maintain his ego. This contrast of purposeless anger with passionate resoluteness allows the audience to feel empathy towards Antigone and antipathy towards Creon.

                Creon’s paranoia is heightened in lines 724-848, when Sophocles creates a dialogue between father and son (Haemon). At this point, Creon seems desperate in trying to regain his pride by attempting to persuade his son to follow his father’s ideals, advising Haemon to “never lose (his) sense of judgement over a woman….it all goes cold…a worthless woman…” This advice has no clear justification to it, and is quite biased and illogical. Sophocles may have implied that Creon becomes more illogical to contrast with the notion that Ancient Greeks founded the term “logic” and its basis. To go against one of the frames of Ancient Greek society, Creon’s illogical behaviour suggests that HE does not belong in his position, much like how he believes Antigone does not fit in the female stereotype (his pride is hurt by being compared to someone Creon despises) Therefore, Creon’s paranoia has caused him to become misogynistic without clear reason, other than to selfishly protect his deteriorating ego (and not, to simply help his son succeed in his future), leading to a distortion of what aspects to prioritize (such as family or ego).

                However, Creon’s attempt at influencing Haemon to side against Antigone seems to fail, as the intensity of misogynistic insults increases as Creon helplessly tries to make the opposite sex as undesirable as possible, describing Antigone “a misery in bed…spit her out, like a mortal enemy...I’m going to kill her!” These words portray women in general as pests rather than people, only providing ephemeral bouts of pleasure before “it all goes cold”. To call Antigone a “mortal enemy” implies that Creon is not actually speaking TO his son, but outwardly confirming his own beliefs-to motivate himself to “kill her” and eradicate his threat. The use of anaphora “she she… never…never” emphasizes the contempt Creon holds for Antigone, as if his character is meant to be stuttering out of anger. The stuttering could also symbolize Creon’s fears, as he personifies “anarchy”, something Creon thinks of as the “greate(st) crime in all the earth”, or something he hates and fears, as a “she”. This links the idea of Creon’s contempt or fear for something with his hatred of women.

                 The rest of the conversation’s structure resembles the argument between Antigone in Creon, suggesting that father and son disagree as much as Creon and Antigone, in that Haemon eventually declares his loyalty to his fiancé (Antigone) and threatens Creon that “her death will kill another”, or Haemon himself. As a response, Creon breaks all family connections and accuses Haemon of being a “woman’s slave”, putting his own son below what Creon believes is “worthless” (a woman). This accusation is linked to the devastation that Creon feels in realizing that his own son, a MAN, has sided with the “mortal enemy”, a woman. This implies that Antigone has overtaken Creon’s control by winning over his son, a symbol of a father’s pride in Ancient Greece (therefore at this point, Creon’s pride has been hurt). The repetition of “slave” (line 534 and line 848) portrays the unwavering misogynistic behaviour Creon portrays when his ego, in which he is willing to prioritize his pride over his family.

                In that sense, Sophocles’ descriptions of Antigone and women in general, as told by Creon, seem to become more exaggerated as dramatic tension within the scene increases, between Creon and Antigone, Creon and Haemon. This tension is depicted through the use of harsh diction and anaphora, providing stark contrasts between the characterization of Creon and his opposers (Haemon & Antigone). Perhaps the use of misogyny not only acts as an artificial and superficial assurance of an unscathed ego, but also reveals the fragility of such a supposedly powerful leader, too consumed in his own pride to understand the harm he commits his own behalf.

Asian Antigone

As a Vietnamese, I can see that constructing Antigone into an Asian version is not that easy because Asian cultures are very different from foreign cultures. If I was to construct Antigone Asian-ly, I would focus on speech, costumes and settings

Speech: First of all, Asians generally are more reserved in their actions and speech (they don't straightforwardly speak up their opinions no matter how upset they are, especially women). Most Asian films and dramas allow characters to express their thoughts and expressions through extremely metaphoric, symbolic speech. This way, although the character shows no expressions, the audience can still understand very clearly their intentions. So this means I will focus very closely on the speeches of each character and use many symbols throughout the whole play.

Costumes: Since I want to focus this play on ancient Asian society, the characters will be dressed as ancient Chinese people. The costumes can show how each character is treated by society . For example, Antigone is a princess but as her father is not a king anymore, people don't really treat her like a real princess. So in this case, her costume will be quite princess-like but at the same time, it will be same same as the costume the maids have. etc....

Settings: the props can be used to foreshadow the future events in the play ,express the feelings of the character. Certain props can be used as a symbolic device. The environmental factors on stage (e.g: storm to convey the expression of anger) can help the audience understand more about a certain scene or certain situation

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.

Van's Antigone Asian movie adaptation

Antigone is based on Greek culture but now it is to be adapted into Asian culture for another Asian movie version. The country within Asia I choose is Vietnam. The cultural aspects of Vietnam are influenced by the Chinese culture a lot due to the 1000 years of Chinese invasion. Therefore, the adaptation is to be likely a mixture of both Chinese and Vietnamese which the Vietnamese audience might find it quite different.

The king is considered to be the son of God, the ‘Sun’ in Vietnamese and Chinese culture which shows that the importance of the king is as a god.  Therefore, there are no other characters to have raised voices while talking to the king. The costume is all yellow, not necessarily with a crown though. The chair and background would be in golden colour because gold shows wealth within the tradition, thus the king is associated with gold. His stance would always have his two hands crossed at the back with two legs apart as shoulders as though he is a very stable man to increase the appearance of a reliability king. His speeches will be more of conversational rather than the original script and what contradicts himself would also be the speech with hasty decisions and the use of words that lower other people around him. This shows his emptiness inside so there is only appearance that he cares for. The religion is mainly Buddhism but the mention of God would not affect a king’s decision. The people around him would have to address him as “dear King” before any speeches or information allowed due to tradition of absolute power of the king. For example, the sentry is not allowed to talk about his background in front of the king but only to inform what the bad news is. It depends on the king to make the decisions so the sentry speech only involves the problem. The punishment for Polynices would not be left unburied but hanging him in front of public to remind citizens the prices needed to pay for going against the king. This is extreme humiliation for Polynices.

There would be no chorus but just rumours spreading around the citizens through conversation because there are no representation of normal citizens within the political system.

Antigone and Ismene would have gone to solve the problem of their brother rather than just Antigone because the bond between biological sisters is really strong even though Ismene is a weak person.  This is because the king is able to have many wives in the society so the most treasured siblings are blood-related. The costumes for both of them would be in bright colours and with many patterns on them. They will have to wear small shoes due to the tradition of: the smaller the feet, the prettier it is. They are never to be allowed to raise their voices if talking to the king. Their punishment would be cutting off their heads instead of locking in the cage, which is a traditional punishment for severe crime in China. They have to act as feminine as possible.

All the characters would speak in a Middle Region of Vietnam’s dialect because this is where the king system really ever started in Vietnam. The dialect sounds very elegant and smoothing which suits how the king system should work.

There are many aspects to be considered within a production. However, if Antigone is made in an Asian version, it would be very different to the original Antigone.

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.

The Asian Antigone- Annette

My Asian "Antigone" would be set in dynastic China because of the political schism that divided the country into 3 kingdoms. I also think it would be interesting because society was primarily male dominated like in most Asian cultures and I think the recalcitrance of Antigone would be of stark contrast to the contextual setting. I'd like to think of her as the alter-ego Hua Mulan, (the legendary female warrior of Chinese folklore made famous by the Disney adaptation). Hua Mulan took her fathers place in the war and fought valiantly for 12 years, her morality prevented her from ever receiving special rewards and after her duty was done she retired to a quiet life in the countryside as many women in her era would have, instead of being celebrated like men or like Mulan in Walt Disney's version. She was born into a middle class household however Antigone, is a princess. Antigone like Mulan shall be valiant and have a strong sense of morality but I think she'd approach her objectives more stealthily than the Greek Antigone and instead of using physical strength like Mulan, Antigone would use her mind, her charm and her influence rather than sacrifice herself. As a princess, living within the forbidden city she would employ her ladies in waiting or even hire Chinese ninja's (they did exist) as her link to the outside world. Any deeds would be carried out by them and so Antigone would be the mastermind not the laborer. This Antigone would speak poetically, in riddles which in the Chinese context adds to her charm but more importantly, shows her status and her education. Her charm is also important as it makes up for her recalcitrant ways and sometimes saves her from being punished.
Many Chinese emperors are notorious for their cruelty but also their extremely lavish lifestyles. Like Creon this Chinese emperor would expect respect rather than earn it, as well as instill it through fear rather than purely good deeds. To better fit with the theme of many Chinese historical movies however, the emperor himself would be the one contemplating marriage with his niece- perhaps due to the lack of a male heir. Perhaps this would add on to the Chinese Antigone's motivation to act against her uncle/ prospective husbands wishes out of spite, contempt and in her need to fulfill familial duties. Many films on dynastic China however are tragedies, most probably due to its downfall and the emergence of modern civil war and the notion of democracy. Therefore to heighten the tragedy, I would not only have Antigone die at the mercy of her callous uncle, I would even weave suspicion of the Uncle's involvement in the parents demise. Supposedly next in line to the throne, the uncle must have been enraged when a "valiant young prince" from another kingdom claimed the throne and even married Jocasta who would have been passed on to the uncle as his first wife! "Oedipus" hit two birds with one stone- leading to his gradual death. Perhaps he even tormented the couple before their deaths instead of having them commit suicide (suicide banishes people to hell, preventing reincarnation or at- one-ment with the Buddha. Because of all these bad deeds, the (uncle) emperor's reign will be short lived. Perhaps Antigone had a beau from another kingdom who comes to avenge her death, reenacting the battle of Thebes where this time the invaders win and the emperor is removed from his ill-fated reign at last.

The movie ends in blood-shed and tears, "Haemon" is left spouse-less and flashbacks of their time together plays on screen whilst nostalgic music fills the cinema.

Isn't this how they all end? I think it's important in a movie to build on pathos so there is a new level of understanding between the audience and the characters. Sure the movie may seem to be a story of star crossed lovers, revenge and redemption but also a montage of the modern woman, smart, cunning -maybe repressed all the same who is willing to sacrifice to make herself and her cause heard.

Cathy's Asian Antigone

As a Vietnamese person, I've been brought up in an Asian environment and taught/experienced many traditional cultures.

So for my Asian Antigone, the changes I would make are in the areas of:

• Personality
• Speech
• Appearance

Asian culture has always been of a male-dominance rather than female. Although I am aware that this norm applies to western culture in the earlier years (WWI from the book Regeneration) though in my opinion, Asia is more extreme. Domestic abuse was usual and it wasn't considered to be wrong because of the generic thought that if the man is the person who provides for the family then he has the right to do anything he wants.

Even till now, in most western countries, female have over-powered and made great impacts due to their rights but in some asian countries, there is no such thing.

Hence, if the asian Antigone acted the way the Greek one did, she surely would recieve more than what she earned.

So for my asian Antigone, firstly, I would make her to be more secretive rather than having her meet her sister in the city where they're surrounded by many people. Perhaps, a more-asian approach is to have them meet in her bedroom with no guards or maids waiting outside. In Asia, if you were a princess, then you would have guards/maids follows you everywhere you go so meeting someone outside the palace is out of place.

Also, my asian version of Antigone wouldn't be able to do the burial herself as her strength is no match to carry her brother who's theoretically much larger than she is. And hoping not to be so stereotypical, asian women are known to have a much smaller frame than western woman due to our nutrition, climate, exercises, genes etc. So in order to move the body, the asian Antigone must have some help, perhaps from her trusted servant.

Moreover, the Antigone portrayed in the Greek version sounds very fearful and courageous which are two things that are rarely found in an asian princess as they are raised to be subtle and intricate. If she had a problem, she would find a way to get around it rather than straight to the point which is what the Greek Antigone does. This subtle-ness then reflects on her speech for example, if the asian Antigone were to talk to her sister, she would not be allowed to call her a coward or anything to that effect, she would find a nicer way to say it but still try to emphasise the point she wants to make.

So in general, I would have my asian Antigone be more subtle in her speech and action, but intricate in her attitude and mind as well as small in size to create an irony that someone so little can be so complex and brave.

Asian Version of Antigone by Rosa

To convert Antigone, an ancient Greek play, to an Asian audience would seem like a difficult task to do, noting all the changes the play would need to carry out. However, most of the internal elements (themes, relationships, etc.) are quite similar to Asian culture (from what I've watched- forgive me if I'm not so accurate. I've lived in America for 10 years and never actually lived in an Asian country until now :S).

Speaking from a traditional Asian point of view, changes to the exterior of the play would be required, such as costumes and scenery (and the actors of course- Asian audiences would prefer watching a show adapted to an Asian audience ... to be performed by Asian actors!) Looking at Korean dramas, costuming seems to be key when trying to represent a certain traditional era- to capture the time of imperialism and dynasty. Ancient Greeks wore loose fitting clothes with drapes and folds, while Koreans from their "ancient era" wore big, voluminous skirts and blouses with many colors (Hanbok for women), along with hair tied tightly covered by hats, baggy pants and jackets (for men). Therefore, heavy costume adaptations would have to take place. Scenery would have to be converted to early Asian architecture- think slide-open doors with wooden floors, roofs made of tile or hay, stone steps.

Like the cultural system in Ancient Greece, there would have to be an obvious class hierarchy between citizens of the village, town, etc. as there were in early Korean civilizations. Class in early Korea was based on family wealth and royal blood, shown by house size and quality, along with quality of clothing worn by civilians. Those in upper classes would not speak regularly to lower class citizens and the level of respect would vary depending on the class one was in.

Women in this adaptation would not be able to speak out directly to men, who possessed more power than their female counterparts, much like how the women in Antigone are subjected to a patriarchal governing system. Dire action would have to be done in secret, much like how Antigone tells no one about her plans for her brother's burial (except for her sister, in private) and carries out her mission discreetly. Asian audiences enjoy the sense of limited power in a main character, as it builds tension and drama when that character chooses to rebel. Therefore, I believe in terms of characterization and motivation, Antigone would not have to be changed immensely if converted to an Asian alternative.

Creon's current characterization would also suit Asian audiences in that he is cold-hearted, sinister, and looks down upon his people. This presents a nice contrast with Antigone's character that would draw the audience into the drama that unfolds later on.

Perhaps the sentry would be more respectful to Creon in the Asian version, only expressing any negative feelings or opinions towards Creon in secret (unlike in Sophocles' version "the one who does the judging judges all wrong". This would increase drama in that Creon would only see the sentry as a lowly, insignificant loyal servant.

Relationships between characters should be stronger in the Asian version, where bonds (stable or broken) are incredibly enticing to Asian audiences, to whom family is an ideal aspect of their lives. These relationships include Antigone and Ismene, Creon and Haemon.

Other than that, I believe the adaptation should be a film/ TV series rather than a play, as Asian audiences enjoy watching on the screen more than on the stage ( I think ), and that the adaptation should be in color, to highlight the colorful wardrobe and scenery.

Veronica's thoughts on 'Asian Antigone'

I just watched the film stills video clip Ms. Basel embedded in the last post, and I have to say I wasn't expecting anything like it at all. With that said, here is my take on the Asian rendition of Antigone by Sophocles. I haven't watched much Asian movies and dramas so ... bear with me if some of my musings don't correspond exactly with how you guys had imagined it. I won't specify my ideas to a certain country just because I don't think I have the level of knowledge required to comment on country specifics. Instead, I will try to focus on Chinese, Japanese and Korean theater because those are the three that I feel somewhat (more) familiar with.

To preserve the script, I belive the movie should be in black and white. The effect of this was apparent through the two adaptations we saw - the BBC adaptation, while truer to the script, seemed (at least to me) too modernized due to the costumes and employment of the latest filming techniques of the eighties. However as I type this I realize that the script may be adapted completely so that it takes place in the modern era. If this is so, colored would most definitely be more accurate.

I also realize there are two ways to go about this. The rendition can be wholly adapted like Throne of Blood so it corresponds more accurately with the culture of the country (Asian steel armor, old savants instead of the Three Witches, bows and arrows instead of spears and cannons). Conversely, the director may choose to preserve the Western characteristics in the original script and go about shaping his screenplay in that manner. Although I believe the latter would be more 'accurate' in the sense that it would be more faithful to the play, it would definitely be of more use and interest to us if Antigone were wholly adapted within the Asian culture.

As I previously mentioned in class, I believe relationships would need to be highlighted in the Asian version, such as the sibling relationship between Antigone and Ismene, spousal understanding between Antigone and Haemon, filial duties between Haemon and Creon and the like. From what I've seen in Asian dramas thus far, relationships serve a key part in unraveling the storyline and in enticing viewers to watch. Pauses would also have to be used effectively within the dramatization, as I find much is left unsaid in Asian drama; this allows room for viewers' interpretations and greater sympathy/attachment between the viewer and characters. It would be interesting to see the character and relationship development between Antigone and Ismene. Antigone's 'rebellion' would be considered more scandalous than ever in an Asian adaptation due to the amount of patriarchy ingrained within the society. Even in modern context, I find that masculinity and partriarchy is held at a higher degree as opposed to femininity and matriarchy (... or so at least in my family). Creon's characterization in Sophocles' original would mostly be apt for the Asian version; I don't think his personality has to undergo such drastic changes, because his profile fits the stereotypical role and personality of an Asian autocrat quite well. As for Haemon, Antigone's doomed husband, I would personally like to see the relationship between his betrothed and himself develop just a little more especially for the Asian rendition. Such development would have a positive impact on Asian viewers (like I mentioned, the more complex their relationship situation the better) - it would also greatly increase sympathy from viewers and heighten the tragedy in the play.

Staging Antigone in an Asian context

What are your ideas for how you could use your cultural knowledge of either being from or living in an Asian country to adapt Sophocles' Antigone to be relatable to an Asian audience. You may be specific about the country you choose.

Your justifications should explain very clearly what aspect of culture and beliefs you are trying to highlight.

Consider aspects such as setting, characterisation of the main characters, costumes, dialogue, motivations for the characters.

Please post your responses.

For an example, click on the red font to see Japanese director Akira Kurosawa's adaptation of Macbeth, Throne of Blood (still shots from the film) and Banquo and Macbeth's first meeting with the witch. http://www.youtube.com/watch?v=44Sfn2iFAjo&feature=related

Van's answer to Antigone's Q2 & Q3

Q2: What themes does each version choose to highlight more and what effect does it have?
The English version chose to highlight the theme of anger more through the tone of speeches of characters. For example, when Antigone talks to Creon, they are shouting and their voices are often raised to emphasise their anger such as how Antigone is angry about Creon's law of forbidden burial. The raised voice and shouting also depict the theme of power as well as we can see Creon is the one who always raises his voice whenever there is something goes wrong, not as he wants such as how he disapproves with Haemon about the idea of the people approving Antigone's actions. This shows that Creon is towards absolute power - dictatorship. The evidence from the big picture hang in the hall also outlines as if Creon should be worshiped by the citizens. As a result, the audience is also encouraged to feel angry at Creon and at the end, Creon deserves the punishment of losing all important people around him.
The Greek version chose to highlight the theme of tragedy more because all the events occurring are shown vividly through characters' actions such as how Antigone buries Polynices and how Haemon committed suicide. The audience are encouraged to feel sympathy towards Haemon and Antigone more. We can see how every main character is disappearing including Creon as well (at the end of the film) which hightlights tragedy as at the end, all characters die.

Q3: Which version did you like the most and for what specific reasons?
I prefer the Greek version because I felt at Greece due to the setting and costumes. The conversation involves fewer and shortened speeches which is understandable as it is adapted to be a movie version rather than a theatre version of the English Antigone. I also prefer how Antigone has to look up to Creon to speak and she could not raise her voice at Creon showing that women are powerless beings at that time. I like how time is also outlined clearly in the Greek version so that a series of events is created.

http://http://www2.cnr.edu/home/bmcmanus/tragedyassign.html

Click for links for detailed research on Ancient Greece

Q2. What themes does each version choose to highlight more and what effect does it have?

The British version of Antigone highlights out the theme of feminism (shown through the characters Antigone and Ismene), how it was over-powered by men, more specifically, by the character Creon. 

When Antigone first enters the scene, we can see clearly that she was in a rush and was very nervous. However, as soon as her plan of going against the rule was brought across, we immediately see that she changes from being a fear-dominated character to a brave one. 

The character of Ismene was then brought into the scene. Unlike Antigone, Ismene stands for how feminism was dominated by males. Through her speech, we understand that she has absolutely no intention of helping in her brother's burial (although it was the duty of the women to do so at that time). The conversation between Antigone and Ismene was successful in portraying how powerless women was.

Also, we see several portraits of Creon being put up in different angles and different corners of a room. This immediately create a sense of ultimate power and dominance to this character. While Antigone and Ismene were having their conversation on the burial of Polynices, portraits of Creon were in the background staring down on both of them, making Antigone's plan seems so weak, which again highlights out power and dominance of men at that time.

The Greek version of Antigone highlights out the theme of tragedy using scenes of death, war, ruined city. To have the secret conversation between the sisters carried out in the middle of all that, the audience can sense the rush and the danger of Antigone's burial plan. This version is less symbolic then the British one as it doesn't have the portraits of Creon watching over the sisters.

Q3. Which version did you like the most and for what specific reasons?

I personally like the Greek version more because to me, the character of Antigone in this version is much stronger than the British Antigone. Irine Papas' facial expressions and speech was much more slow, firm and stable while Juliet Stephenson's expressions was shifting very quickly. This makes the audience feel like she somehow still isn't strong enough. Also, the use of props and costume in the Greek version was more "Greek-like" so it seems more dramatic and real.  

Cathy's Answers to Antigone Movies Questions 2 & 3

Q2) What themes does each version choose to highlight more and what effect does it have?

In my opinion, the British version of Antigone (1974) focuses on the theme of feminism and how it is over-powered by power and dominance through the characters of Creon, Antigone and Ismene.

When Antigone enters the room, anxiety is clearly visible on her face however, when the audience first hears her speak up about her plan, our first impression of her changes from a nervous/anxious woman to a fearless character who is determined to fulfill her responsibility as a daughter (since back then in ancient times, the daughters or women in general are responsible for the burial and funeral of their family members and a person who is not buried properly into the ground is considered to be a sin to the Gods). Antigone is the only character in the play that is willing to go against the rules given by the King to do what is right and this shows how Antigone stands up for herself and does not care about the consequences she will face if she gets caught.

On the other hand, we have Ismene, who is the opposite of Antigone. Unlike her sister, Ismene obeys Creon's rules of forbidding anyone to bury the 'betrayer', Polynices, as she does not want to be charged and punished (by death).

It is Ismene's character that displays how feminism is over-powered by power because in the play, we know that Ismene promised Antigone that her secret will be safe and that Ismene will not tell a soul however, this makes Ismene seem like a ...coward compared to her sister. Not only that, it highlights the extent to which the power and dominance of King Creon stops one from not committing a sin to the Gods.

Creon is portrayed as a domineering king who has the absolute power over the city and people of Thebes. In the beginning of the show, the audience can sense that Creon is a powerful ruler due to the background setting where we can see that there are about 6 portraits of hims with his eyebrows squinting together making him seem like the type of person who is not easily pleased. While Antigone and Ismene were having their secret conversation, the camera zooms out to show the whole view of the room where we can see a portrait of Creon staring directly at the sisters as if he was watching over them and furious by Antigone's plan which is shown through his squinting eyebrows. Although Creon has not appeared in this scene yet, the audience already has an idea of how Creon is going to react when he finds out about Antigone's 'crime'.

Q3) Which version did you like the most and for what specific reasons?

hhOverall, the Greek version was able to capture my attention as I was more intrigued and entertained by the show due to its language, because I had to keep reading the subtitles, I could not take my eyes away from the screen as I was scared that if I did, I wouldn't be able to understand what's happening/going to happen. The Greek language itself had that suspense to it and I really enjoyed just listening to it whereas for the English version, the costumes of all characters were plain and simple and definitely not suitable for that time period so after the first part, I found myself just listening to the audio and only shifting back to the video every now and then. The language in the English version was modern and un-Greek like even if it was translation since it had many phrases that were appalling to me because it felt like they were mocking how tragic the story was and thought that their use of comic relief would be suitable. Another reason why I preferred the Greek version is their costumes and the actual main character of Antigone. Eventhough the costumes looked more like space time than the Greek time, it was aspiring to see the cultural aspect of Greek being brought into the show and as for the actress who played Antigone, Irene Papas showed more emotion and kept the audience hanging on to her to see what she's going to say or do next whereas Juliet Stephenson's facial expressions were stiff and emotionless. I think the only emotion I got from her was anger hence there was no personal connection and it became quite dull to watch.