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ANTIGONE. Jean Anouilh. Page CHORUS. Well, here we are. These people that you see here are about to act out for you the story of. Antigone. That THIS. Antigone Jean Anouilh Translated Barbara Bray Pdf Creator - Lotus Bicycle Electronic Engineering Books Pdf Free Download -- Electronic. JOURNAL OF EUROPEAN STUDIES REWORKING OF ANTIGONE BY JEAN ANOUILH Sarah Syed Kazmi Reworking of a classic is a means to.

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ANTIGONE by Jean Anouilh translated by Zander Teller REHEARSAL SCRIPT – September 21, Copyright © by Zander Antigone Creon Chorus Ismene Haemon Nurse First Guard Second Guard Third Guard Messenger Page Eurydice. Antigone – uses “tu” with the Nurse, Ismene, and. Read {PDF Epub} Download Antigone by Jean Anouilh (Book Anal by Bright Summaries from the story Billion by sulasantini83 with 0 reads. teach, law, class. Read {PDF Epub} Download Antigone de Jean Anouilh by Pierre Weber & lePet from the story Lot by boserpatchman10 with 2 reads. get, soon, director. Simple.

A classic stands out as it transcends the spatial- temporal plane of existence and lends itself conveniently to modern interpretations. Anouilh reworked and produced Antigone as a protest against the fascist regime in France, imposed by Hitler after his army occupied the country during the Second World War. The play was produced in Paris in and it depicted the plight of the French people under the oppressive, totalitarian regime. In A tigo e s repeated use of o! The Nazis allowed the play to be staged because some of C eo s a gu e ts seemingly favoured autocracy.

And Stephen Townshend plays the nurse as a squawking old chook. All three are chillingly un-heroic as the card-playing guards, with Townshend antigone anouilh analyse the limited concerns of the average person very real. And as the Messenger, Davis paints a vivid picture of the final off stage scene. Having felt less than enthused about his work which predated the absurdists antigone anouilh analyse was eclipsed by them in the s social revolutionmy renewed respect for Anouilh's analysis of political power and resistance is entirely down to the Almost A Bird Collective and this compelling production.

You do not know that antigone anouilh analyse has broken the edict laid down by Creon to begin with, but she seems to be acting out of character, giving an initial indication that she had done something out of the ordinary, coming across extremely romantic and idealistic.

In her opening conversation with her nurse, she seems to be in a daydream, almost reminiscing about her most recent experience that morning. As she talks, she seems unusually aware of her surroundings being especially appreciative of the smallest things that she may not antigone anouilh analyse noticed before.

Then, when the nurse starts to quiz Antigone about where she has been and what she has been doing that morning, Antigone can only answer with idyllic responses with no relevance to what she may have been asked, seemingly antigone anouilh analyse a trance. Her behaviour is obviously completely out of the ordinary, and not surprisingly, the nurse picks up on this, and begins to worry about Antigone. Only the ship has a name, and the storm. Do you understand?


CREON To say yes, you have to sweat, roll up your sleeves, seize life with both hands and plunge into it up to the elbows. You only have to sit and wait. Wait to live, wait for them to kill you. It was invented by men. Can you imagine a world where even the trees had said no to the sap, or the animals had said no to their instinct to hunt or to mate? The animals, they at least are good and simple and strong.

They move together, pushing one after the other, courageously, all on the same road. That would be so simple. Creon looks at her.

He continues, almost to himself. But I never thought it would be with you, over something this stupid He puts his head in his hands. He seems to be near the end of his rope. Listen to me, anyway, for the last time. Only, first, I want you to be absolutely sure of yours. Do you know the whole sordid story? No one in Thebes knows it, except for me. But it seems to me that, today, you have the right to hear it.

He sits lost in thought for a moment, his head in his hands, elbows on his knees. He murmurs First, what do you remember about your brothers? CREON Later, you must have admired them, with their first cigarettes, their first suits; and then they started going out at night, smelling like men, and after that they never noticed you at all.

CREON You heard the doors slamming when they came home, your mother crying, your father shouting, their giggling in the hallways. And they walked right past you, sneering and spineless, smelling of liquor.

Polynices saw me behind the door, he was all pale, his eyes shining, so handsome in his evening clothes! And yesterday, before you went out, you opened the drawer where you keep it and you looked at it, for a long time, to give yourself courage. Do you know who your brother was?

CREON A mindless party animal, a vicious, soulless little carnivore who only knew how to drive his cars faster than the rest, and spend more money in the bars. Once, when I was there, your 40 father had just refused to pay off one of his huge gambling debts. His face went white, and he raised his fist, spitting foul words at your father. It was pitiful. Your father was sitting at his desk, his head in his hands. His nose was bleeding. He was crying. And, leaning against the wall, Polynices sneered and lit up a cigarette.

None of you saw him for a long time after that. So he left. He enlisted in the Argive army. But not only by him. Yesterday I saw to it that Eteocles was given a grand funeral. Eteocles is now a hero and a saint for Thebes. The whole city was there. Schoolchildren emptied their piggy banks to buy the wreaths; old men, pretending to be moved, with trembling voices glorified the good brother, the faithful son of Oedipus, the loyal prince.

I also gave a speech.

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And every priest in Thebes in all their finery, with an air of such solemnity. And the stirring music, and the military honors It had to be done.

The good brother also tried to have his father assassinated, the loyal prince also decided to sell Thebes to the highest bidder. Only, I had to make a hero out of one of them. So, I had their bodies located out on the battlefield, in the midst of all the others. They were mashed to a pulp, Antigone, unrecognizable. I had one of the bodies brought in, the less mangled of the two, for my national funeral, and I gave the order to let the other one rot where it was.

There is a long silence, neither one moving, not looking at each other. Then Antigone speaks softly. Creon gets up, puts on his jacket. I believed. Creon approaches her. Go see Haemon this morning. Have the wedding soon. All this arguing was just a lot of empty talk, I promise you. You have the real treasure — you have yourself, your life. And you were going to throw it away!

I was listening, from the depths of time, to a little Creon, thin and pale, who was ready to sacrifice everything, just like you Get married quickly, Antigone, be happy. Life is not what you think it is. Close your fingers, close your hands, quickly. Hold on to it. What kind of a happy woman will she become, little Antigone? What ugly little things will she have to do, day after day, to get her teeth into life and tear off her little shred of happiness? Tell me, who will she have to flatter, who will she have to lie to, who will she have to sell herself to?

Who will she have to let die as she looks away? I want to know what I have to do to be happy. Right now, because I have to decide right now. You say that life is so beautiful.


I want to know what I have to do to live. I love a Haemon who is young and unyielding, demanding and faithful, like me. Be quiet.

She laughs. With the same look of helplessness, clinging to your belief that you can do anything. Life has only added the lines on your face and the flab around your middle. With your life that you have to love, at all costs. Looking every day for that little chance at happiness, if you don't ask for too much I want everything, here and now, whole and complete — or else I want nothing! I want to be sure of everything, today, everything as precious and beautiful and perfect as when I was young — or else I want to die.

We ask questions all the way through to the end. Until there's truly not a chance of hope left alive, not the smallest chance of hope left to strangle. We stamp it out wherever we find it, your hope, your precious hope, your filthy hope! If you could see yourself shouting those words, how ugly you are!

It's demeaning, isn't it, the shouting, the fighting over scraps? Papa only became beautiful afterwards, when he was really sure, in the end, that he had killed his father, that he had slept with his mother, and that nothing, absolutely nothing, could save him.

Then he grew calm, very suddenly, almost smiling, and he became beautiful. It was finished. He only had to close his eyes to never see any of you again! Oh, your faces, your sorry-looking faces, all candidates for happiness! You are the ugly ones, even the most beautiful of you.

You all have something ugly in the corner of your eye, or clinging to your mouth. You said it so well just now, Creon, the kitchen. You all look like cooks! You think you can order me to do anything?

The antechamber is full of people. They'll hear you! Let them hear me! Call your guards! You see, I came, I have courage. I'll go with you now. Now it's me, it's me alone. You're not going to come die with me now. That would be too easy! Spare me your whining. Her too. Why are you waiting to shut me up, why are you waiting to call your guards?

Come on, Creon, a little courage, it'll only hurt for a second. Come on, cook, you don't have any choice! Take her away. The Guards grab Antigone and lead her away. Ismene follows them, calling after her. Creon is left alone. The Chorus enters and goes to him. What have you done? We will carry the scar with us for centuries. None of us was strong enough to make her want to live.

I understand it now — Antigone was made for death. She may not have known it herself, but Polynices was only a pretext. When she had to give that one up, she found other reasons soon enough. The important thing for her was to say no and to die. Condemn her to live? Haemon enters. Creon goes to Haemon and embraces him. Let me go! I tried everything, I swear to you. She doesn't love you. She could have lived. Father, don't let those men take her away! All of Thebes knows what she did.

I have no choice but to have her put to death. They stand facing each other. That I'm sparing her because she's going to marry my son. I can't. You are the master. Not above it.

Be brave. Antigone has ended her life. Antigone has already forsaken us all. Every day, from morning to night, without her. And all your petty problems, and all your mindless chattering — all that emptiness, without her.

We all have a day — more painful for some than for others, it comes sooner or later, but it comes — when we finally have to accept the fact that we are men. For you, that day is today. And I see the tears in your eyes and the pain in your heart — my little boy, for the last time When you turn and walk away from me, when you cross the threshold as you leave, in a moment, it will be over.

Not you. HAEMON after a pause All that strength and courage, that giant god who lifted me in his arms and saved me from the monsters and the shadows, was that you? That smell of old paper, in the glow of the lamp at night in your library, when you showed me the secrets of all your old books, was that you?

To be a man, like you said, and so happy just to be alive? The world is bare. Haemon exits, running. Poor boy, he loves her. The Guards brace themselves against the door, with a howling mob outside. Empty the palace! You stay here with her. Exit all but Antigone and the Guard.

Antigone looks at him in silence for a moment. Did I look like I wanted to escape? A pause. He begins to pace. For a moment, all we hear is the sound of his footsteps. I was a sergeant. I re-enlisted. That or assignment in a special unit. But if you become a guard as a sergeant, you lose your rank. Of course, generally, he does. Privates know that a guard is an officer.

Only, as a guard, there are other advantages: housing, utilities, benefits When you add it up, a married guard with two kids brings in more than a sergeant on active duty. Their big argument is advancement. Advancement in the guards is harder and takes longer than in the army.

He paces. After a moment, he continues. In the war, guys who were wounded in the stomach, they had it pretty bad. I think I heard them say that in order not to defile the city with your blood, they were going to wall you up in a cave.

The Guard pulls out his chewing tobacco, starts to make himself a plug. My final resting place. My eternal home beneath the earth. She sits, small and alone in the middle of the big empty room.

She seems to be a little cold. She wraps her arms around herself. She murmurs All alone In the middle of the day, out there in the sun. Really a great time for whoever gets the detail. At first, they decided to give it to the army.

Give it to the guards — they can take anything! I can send out for it. A letter? Are you kidding? He looks at the ring again.

She shudders slightly. Keep the ring and write. But hurry up Only now do I understand how simple it was to live Come on! How do you expect me to write it all down? It takes time, you know She stops suddenly. Cross that out. Forgive me, my darling. Without little Antigone, you all would have had such peace.

I love you At that moment, the door opens.

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The other Guards appear. Antigone gets up, looks at them, then looks back at the first Guard, who has stood up behind her as he pockets the ring and closes his notebook, with an air of importance He sees Antigone looking at him. Flustered, he shouts to regain his composure. Antigone smiles sadly. She lowers her head. She goes to the other Guards without a word. They all exit. We all have to face the same moment, in the end.

Where is the Queen? What do you have to tell her? Antigone had just been thrown into her cave. They were rolling in the last blocks of stone when suddenly we heard wailing coming from the tomb. Take away the stones! The stones finally move enough for the smallest man to squeeze through the opening. Another stone is moved and finally Creon can enter. We can see his white hair in the shadows, at the back of the cave. He tries to lift Haemon up, he pleads with him.

Haemon ignores him — but then suddenly he turns, his eyes black, his face so much like the young boy he once was; he looks at his father in silence, and then suddenly he spits in his face, and draws his sword.

Creon springs back out of reach. Haemon stands looking at this old man trembling at the other end of the cave, and then, without a word, he plunges his sword into his own stomach and collapses against Antigone, embracing her in a giant pool of blood. Creon enters with his Page. A little pale, but so calm. Two lovers the morning after their first night. Their story is over. Eurydice, the queen, your wife CREON A good woman, always talking about her garden, her jams, her sweaters, her eternal sweaters for the poor.

When she heard about the death of her son, the Queen finished her row of knitting, and then she put down her needles, carefully, deliberately, like everything she does, maybe a little more calmly than usual. And she went back to her room — her lavender-scented room, with all its cushions and embroidered lace — and she cut her throat, Creon.

Young man PAGE Sir? The real trick is never to know. Are you in a hurry to grow up? PAGE Oh yes, sir! You should never grow up. A clock strikes the hour in the distance. He murmurs. And not for your brother himself? For whom, then? Antigone: no one. Even Creon has been portrayed as more human in Anouilh than in Sophocles.

It is most unbearable for this grey-haired, old man to live with the terrible stench that issues from the decaying body of Polynices. Yet he does that to pa a p i e fo la a d o de , as the Nazis did with regard to the Jews. Interestingly, it is Antigone who challenges Creon to put her to death and Creon delays it. This foresight on the part of A ouilh s C eo forms the undertone of his advice to Antigone and not 21 Sophocles, Antigone, So Haemon does not come out as a major character.

He egi s p o isi g defe e e to his fathe , a d late utilizes arguments based on cause-and-effect relationship to defend Antigone. In Anouilh, Haemon s ha a te has not been developed as such. This makes Antigone stand out in death alone. The dilemma that Creon faces in this case is crucial; he already knows that A tigo e s u de ould p o e u fa ou a le for his regime, whereas Antigone is leading him to murder her.

It is not owing to his recklessness as in Antigone by Sophocles, but because she publicly declares that she would bury her brother, thus leaving Creon with no other choice. The notion of Polynices body being dead and decomposed brings to light the theory of the u a F eud. The onli e a ti le, The Uncanny F eud elu idates: Dismembered limbs, a severed head, a hand cut off at the ist, as i a fai tale of Haufi s all these have something peculiarly uncanny about them To some people the idea of being buried alive by mistake is the most uncanny thing of all.

And yet psychoanalysis has taught us that this terrifying phantasy is only a transformation of another phantasy which had originally nothing terrifying about it at all but was qualified by a certain lasciviousness — the phantsay, I mean, of intra-uterine existence Creon leaving Polynices unburied is an example of the castration complex, as discussed in the Little Dictionary by Charles Rycroft.

Men develop this complex as a result of Oedipal rivalry with their fathers. Hence by mutilating the dead bodies, they derive a perverted pleasure for the ast atio the ha e u de go e as i posed thei fathe s In Anouilh, Creon only refers to Oedipus when he finds Antigone intractable.

The latter part of the uotatio e plai s A tigo e s pha tas. A tigo e s d i i g fo e is tha atos as is evident in Sophocles and Anouilh espe ti el. A ouilh s A tigo e says to Ismene ou ha e hose life, I e hose death. Creon says to chorus, She was born to die. She may not have known it herself, but Polynices was only an excuse.

And when that excuse ould t o k a o e she hose a othe. All that mattered to her was to refuse everything and to die The death -wish has been developed in Anouilh on an amplified scale. Even in the love scene between Antigone and Haemon, she says Oh, I am making myself blush.

But this morning I must know. When you think how I m going to Be yours, do you feel a great void growing inside you, As if something were dying Thanatos here has been linked with eros, — the pleasure principle in Freud, as the book Introducing Freud: a Graphic Guide to the father of Psychoanalysis highlights: Since all living matter is made up of non-living, inorganic matter, then perhaps there is an instinct beyond the pleasure principle which aims to return to a state of inorganic inertia That is why F eud postulated, the ai of all life is death and Antigone by Anouilh is an embodiment of Thanatos.

Even with Haemon while referring to love-making, she employs metaphors of path. Closely related to this is the theme of ou i g o ela holia discussed in Introducing Freud. In Antigone by Sophocles the role of mourning is p edo i a t. I A ouilh s Antigone we are faced with a situation beyond melancholia. As Appignanesi puts it, 26 Ibid. But in Psychotic dep essio , the patie t s grief conceals unconscious feelings of hate.

Since these feelings cannot be admitted, the lost love object becomes identified with the patie t s own ego The sense of loss is pronounced in Antigone by Sophocles. Anouilh dramatizes the aftermath of this loss. In Sophoclean Antigone the Sentry epo ts that so eo e had o e ed the od ith a la e of ea th , he eas A ouilh s gua d, Jo as poi ts out, just a sp i kli g of ea th.

This difference seems deliberate on the part of Anouilh, as it shows that the emphasis is not on covering the body, but on the consequences of the gestu e. It fu the gets di e ted agai st he o self i the fo of tha atos , he despite loving Haemon, she prefers death to life. A ouilh also i t odu es e iste tialist questions confronted by man. Almost like Sartre, Creon says to Haemo , o de he to li e? As Sartre laid, man is condemned to be free, condemned to choose and that e iste e p e edes esse e Each character in this play is involved in the search for a meaningful existence.

This is further evident in Hae o s dialogues ith C eo i A ouilh s Antigone. Haemon has been shown as a weak character in his play. In Sophocles, in his arguments, based on ratiocination and political acumen he directs his father, not to kill Antigone, for it would only yield results, opposite to what Creon as a despot expected.

In Anouilh, his ea tio to C eo s de isio ste s f o his helplessness. Haemon does not employ any arguments, for Creon is already convinced that Antigone s life should e spa ed. Haemon thus, voices concerns, which invite for an existentialist reading. Creon, becomes the embodiment of higher forces, which man in the scheme of this universe is o de ed to su u to.

That great strength and courage He further says, And all that pride, those books — were they only leading upto this? To becoming a man, as you call it — a man whose supposed to consider himself lucky just to be alive?

You e still st o g like he I as s all.

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I eg ou, let e ad i e ou still! I too alo e, the orld s e pt , if I have to stop looking up to you C eo s eplies to Hae o s uestio s a e also significant in this regard. We are alone. The world is empty The conflict in Antigone by Sophocles is between written and unwritten laws.

A d hat akes A tigo e he oi is he sidi g ith the u itte yet divine laws, as she says, By what stern laws condemned, I go to that strong dungeon of the tomb.

Her choice of death signifies her search 30 Jean Anouilh, Antigone, E e pts f o Jea A ouilh s Adaptation of Antigone, available at 32 teacherweb. Mary Ann Frese Witt , poses the following uestio s, Was it possible for Anouilh, one of the most frequently staged playwrights during the Occupation, to remain, as he claimed, a ete de theat e completely unconcerned with politics?

Is his Antigone a drama of resistance, a fascist- lea i g pie e oi e or an example of modern tragedy removed from political actuality? She is not sure if she is dying out of rebellion against C eo s egi e, I do t k o a o e… hat I a d i g fo.

We are understood by analogy to artefacts which are made with a pre-existing idea or concept of what they will be and what they will be good for A tigo e s headlo g plu ge i to death in Anouilh is neither motivated by her devotion to Polynices nor by melancholia, as in Sophocles. It is an attempt to eate a e ealit.

In a passionate effusion of feelings, A tigo e sa s to Hae o , Her maternal instinct is linked to her dreams. The aura of freedom that characterizes the world of dreams is what she is searching fo , not that man is o de ed to e f ee , in the existentialist sense in a laust opho i form in this world.

Hence death offers her that latitude hi h is e uisite to create. Antigone in Anouilh becomes a medium for connecting life and death on a single plane.