ATΗΣ ΑΤΕΡ. a Note on Sophocles, Antigone 2-6

Total Page:16

File Type:pdf, Size:1020Kb

ATΗΣ ΑΤΕΡ. a Note on Sophocles, Antigone 2-6 Mnemosyne 71 (2018) 958-975 brill.com/mnem ATΗΣ ΑΤΕΡ. A Note on Sophocles, Antigone 2-6 Mauro Agosto Lateran University, Dept. of History of Law [email protected] Received March 2017 | Accepted September 2017 Abstract In this paper the author deals with Sophocles’ Antigone 2-6 suggesting two slight changes in Ant. 3 (ὁμοῖον pro ὁποῖον) and Ant. 4 (οὖσ᾽ ἄτης ἄτερ pro οὔτ᾽ ἄτης ἄτερ) and he argues in defence of the transmitted words ἄτης ἄτερ. He also discusses Earle’s in- terpretation of τῶν ἀπ᾽ Οἰδίπου (l. 2) and the translation of νῷν ἔτι ζώσαιν τελεῖ (l. 3). In addition, he points out the exact attribution of some conjectures. Keywords Sophocles – Antigone 3-4 – textual criticism ὦ κοινὸν αὐτάδελφον Ἰσμήνης κάρα, ἆρ᾽ οἶσθ᾽ ὅ τι Ζεὺς τῶν ἀπ᾽ Οἰδίπου κακῶν ὁποῖον οὐχὶ νῷν ἔτι ζώσαιν τελεῖ; οὐδὲν γὰρ οὔτ᾽ ἀλγεινὸν οὔτ᾽ἄτης ἄτερ οὔτ᾽ αἰσχρὸν οὔτ᾽ ἄτιμόν ἐσθ᾽, ὁποῖον οὐ τῶν σῶν τε κἀμῶν οὐκ ὄπωπ᾽ ἐγὼ κακῶν. S. Ant. 1-61 2. ὅ τι libri : ὅτι Hermann, Lloyd-Jones et Wilson (1997), def. Willink : οἶσθά τι Madvig | post Ζεὺς subdistinctionem ponit Dawe | τῶν ἀπ᾽ Οἰδίπου libri : τῶν τ’ ἀπ᾽ Dawe : τοῖς ἀπ᾽ Οἰδίπου (=τοῖς Οἰδίπου τέκνοις) Earle : τοῖν ἀπ᾽ Οἰδίπου (subaud. τέκνοιν) ausim proponere (de ortu erroris cf. Ant. 911) | 3. ὁποῖον libri : ὁμοῖον ego : ὅμοιον Krüger, Bury : ἆ, ποῖον 1 Text of the paradosis. © koninklijke brill nv, leiden, 2018 | doi:10.1163/1568525X-12342442Downloaded from Brill.com09/28/2021 05:06:38AM via free access ATΗΣ ΑΤΕΡ. A Note on Sophocles 959 Lloyd-Jones et Wilson : inter cruces Willink : ἐπεῖγον Toti (GIF n.s. III, 2012, 9-28) | 4.-6. del. Paley, 5. del. Dawe, 6 del. Nauck | 4. οὔτ᾽ … οὔτ᾽ libri : οὔτ᾽… οὖσ’ ego : οὐκ … οὐδ᾽ Hermann ap. Erfurdt, Dawe : οὐκ … οὔτ᾽ Wex (qui post ἄτερ fortiter interpungit), Lehrs : οὖν … οὐδ᾽ Willink | ἄτης ἄτερ libri, inter cruces ponunt Dawe, Lloyd-Jones et Wilson : οὔτ᾽ ἀτήριον Brunck, dubitanter probat Griffith : ἄγης ἄτερ Korais | verba iam Didymus in quaestionem vocaverat. Several problems of both textual and non-textual (interpretative) nature are involved in these lines. As some aspects of these problems are entangled with one another we prefer to begin from some interpretative uncertainties raised by the sense of τῶν ἀπ᾽ Οἰδίπου (l. 2) and ἔτι ζώσαιν (l. 3). Some Problems of Interpretation (Ant. 2-3) 1. Doubts were raised by Dawe about the real sense of ll. 2-3: “If the ills in ques- tion stemmed from Oedipus, and were transmitted to the next generation in the ordinary way familiar to all students of Greek Tragedy, the words ‘while we live’ would be at best languid, and superfluous, for there is no point in trans- mitting ills to a generation that is already dead. There ought to be a contrast between ἔτι ζώσαιν and something else.”2 All the same, Dawe “notes a further difficulty, that in τῶν ἀπ᾽ Οἰδίπου κακῶν the preposition is surprising”3 and asks: “Would ἐπ᾽ Οἰδίπου help?—the ills that were current in time of [emphasis original] Oedipus, with perhaps the secondary sense of weighing upon him.”4 2. Consequent upon this, Kovacs maintains that “the reference must be to the curse of Oedipus against his sons. The surprising fact to which Antigone 2 Dawe 1978, 99. 3 So Kovacs 1992, 11. Kühner and Gerth 1898, 458 (malorum ab O. profectorum) fails to persuade, as the other quotations in the same section have to do with feelings inspired by (ἀπό) some- thing/someone (fear, beauty inspiring war), not with states of things caused by someone else. 4 Dawe 1978, 99. I find less persuasive the argument of Dawe 1978, 99 that the transmitted ἔτι ζώσαιν hardly could mean ‘still living’ (i.e. not yet dead), as “[a]t this stage a contrast between the live sisters Antigone and Ismene, and the dead brothers Polyneices and Eteocles, cannot be intended, for the exposition of the plot has not yet progressed beyond line 3”. The words are placed in such a thrilling way that Willink 2000, 668 n. 26, is perhaps right when he says that “we may surely allow the anticipation, as an allusiveness of a kind appropriate to a con- versation between two sisters aware of being the sole survivors of a disaster-afflicted family.… There may, however, be a certain ambivalence in this phrase.” It would be an example of fore- shadowing and suspense (on which see Stuart 1918) and “distributed exposition” (as called by Harsh 1944, 93), a favorite device of Sophocles. Mnemosyne 71 (2018) 958-975 Downloaded from Brill.com09/28/2021 05:06:38AM via free access 960 Agosto alludes here is that this curse, designed by Oedipus for the destruction of his ungrateful and unfilial sons, works on those who are still alive as well.”5 This statement has a good chance of being right, but Kovacs gives no reason for his supposition. 3. An argument in favor of Kovacs’ statement could be found in the repeat- edly affirmed principle that Oedipus was innocent (OC 521ff.; 960). Antigone speaks of ‘unintended deeds’ of her father, who could not escape his fate be- cause ‘the gods were leading him to ruin’ (OC 240-254). In OC 548, Oedipus proclaims, ‘I am innocent before the law’.6 Founded upon such considerations, I am inclined to believe that Zehlicke was not wrong when writing: “Non igitur tam fuerit invenustus atque inverecundus Sophocles, ut, qui numquam nisi de invitis Oedipi delictis loquatur, hoc loco filiam, et piam illam, nulla cogente necessitate de patris flagitiis querentem inducat.”7 Earle’s Proposal 1. At this point, an almost forgotten comment of Earle is very interesting and it strongly affects the present understanding of Ant. 2-3 (not to say of a good deal of the plot). In l. 2 Earle8 makes a case for understanding the words τῶν ἀπ᾽ Οἰδίπου as ‘of Oedipus’ sons’ instead of the conventional interpretation ‘bequeathed by Oedipus’. He maintains that οἱ ἀπό with the genitive of the patronymic is a Greek idiom9 meaning ‘the sons of’ and as he noticed, “[w]e find the phrase used in the natural sense and in the same position in the verse Ant. 193 (ἀστοῖσι παίδων τῶν ἀπ᾽ Οἰδίπου πέρι)”.10 After all, it is impossible to escape from genetic ἄτη (Ant. 597),11 and it would be much easier to under- stand Antigone’s complaint, if she were speaking of ‘collateral’ calamities, which though not capable of being transmitted horizontally (from brothers to sisters), yet withal can hurt with no less violence because of the strong feel- ings of attachment and affection that one person (for instance, the sisters) has 5 Kovacs 1992, 11-12. 6 On the legal implications of the wording καθαρòς νόμῳ, see Giordano 2009. 7 Zehlicke 1826, 14. 8 Earle 1902, 3 = Earle 1912, 66. 9 See for instance X. HG 3.1.6, 7.8.18 and Montanari 2004, 282. 10 Earle 1902, 3 = Earle 1912, 66. Far from running counter to Earle’s interpretation, the pres- ence of παίδων (S. Ant. 193) actually enhances it by ensuring that the verb understood is γεννηθέντων or anything like that. This may hold true also when παίδων is not expressed. 11 See Giordano 2009. MnemosyneDownloaded from71 (2018) Brill.com09/28/2021 958-975 05:06:38AM via free access ATΗΣ ΑΤΕΡ. A Note on Sophocles 961 towards another (e.g., the brothers). Sophocles shows interest in this matter also elsewhere (for instance in Aj. 496-524, especially 512-513) and in our case reference should be made to those τοῖν [σοῖν] δυσμόροιν παίδοιν κακά (OC 365) originating from the curses (ἀραί) ἃς Οἰδίπους ἐφθέγξατ’ εἰς ἡμᾶς ποτε, to use Euripides words in Ph. 475 (and cf. S. OC 421-430; 951f.).12 The curses of Oedipus have now been fulfilled, but they directly affect the innocent Antigone as well as her unhappy brothers.13 2. These cases were traditional and well known to people at large and they were part of that “audience’s omniscience”14 which was inherent to Attic 12 In OC 360-384, which ideally (not chronologically, of course) comes before Antigone’s plot, the evils of the two brothers are presented as being of so serious a nature, that they cause Ismene to pass over in silence the sufferings that she went through because of her own father (and see also OC 594-601). What are, then, those evils? The clash with Creon (OC 367-370), the fratricidal struggle (371-373), the ensuing war between the two brothers (374), Polyneices’ dethronization and exile (375), his alliance with Argos (378) threaten- ing to destroy the Cadmean plain (380-381), the trouble of finding a dwelling-place for Oedipus (383-384), the hatred of the father towards his sons (418-419), Antigone’s effort to restore peace (1275-1279), the curses launched by Oedipus (1383-1396), the promise that Antigone would bury Polyneices with all due funeral rites (1408-1410), further complicat- ed by Creon’s edict (in Antigone), whence the plot of our tragedy is taken. There’s enough to rationalize Antigone’s complaint in the opening scene of the drama named after her. 13 This implies νῷν ζώσαιν is to be read as a dative depending on τελεῖ, but this point is highly controversial and cannot be accepted without discussion. The whole issue is summed up by Wex 1829, 97: “God. Hermannus (the reference is to Hermann and Erfurdt 1830, 12) cum scholiasta dativos tuetur, dicens: Hic ut potuerint genitivi poni, aptiores sunt dativi. Nos contra dixerimus, debebant genitivi poni, quia non locus erat dativis.
Recommended publications
  • Carl Orffs Hesperische Musik
    MATTHIAS JOHANNES PERNERSTORFER / WIEN Carl Orffs hesperische Musik Carl Orffs ‚Antigonae‘ (1940–49) und ‚Oedi pus der Tyrann‘ (1951– 58) nach Sophokles in der Übersetzung von Friedrich Hölderlin sowie der aischyleische ‚Prometheus‘ (1963–67) in der Originalsprache gehören zu den bedeutendsten Beiträgen zur musikalischen Rezeption der Antike im 20. Jahrhundert. Ich folge Stefan Kunze im Gebrauch der Bezeichnung Tragödien-Bearbeitungen für die genannten Bühnenwerke, da „kein musi- kalisches Werk (Vertonung) auf der Grundlage eines Tragödientextes … das Ziel [ist] …, sondern die [interpretative, Anm. d. A.1 ] Darstellung der Tragödie mit musikalischen Mitteln“.2 Es handelt sich um eine Form des Musiktheaters ganz eigener Art – „gleich weit entfernt vom Sprechtheater herkömmlicher Prägung wie von der Oper und von der … Bühnenmusik“.3 Auch wenn der Musikhistoriker Werner Schubert vor einigen Jahren dia- gnostizierte: „Daß es [Orff] … nicht um eine Rekonstruktion antiker Aufführungspraxis ging, muß man heute nicht mehr eigens betonen“,4 so möchte ich anmerken, daß die Tragödien-Bearbeitungen Orffs von vielen Philologen wie Theaterwissenschaftlern, die die musikwissenschaftliche Diskussion nicht mitverfolgen, wohl noch immer – sei es zustimmend oder ablehnend – als Rekonstruktionsversuche rezipiert werden. Der Grund dafür liegt in der zum Teil euphorischen Reaktion von zeitgenössischen Philologen, durch die Orffs Werke den Stellenwert von authentischen Wie- dergaben der altgriechischen Tragödien erreichten. Jahrzehntelang widmete sich Carl Orff den Tragödien-Bearbeitungen, wobei nicht von einem Weg des Komponisten in die Geistes- oder Musik- welt der Antike gesprochen werden kann. DieAntike diente ihm in Form —————————— 1 Zum Interpretationscharakter dieser „Darstellung der Tragödie“ s.u. 2 Kunze 1998, 547. 3 Schubert 1998, 405. 4 Schubert 1998, 403. 122 Matthias Johannes Pernerstorfer ihrer Texte als Medium, das er im Sinne von Höl derlins Antikerezeption mit Blick auf eine abendländische Gegenwart – deshalb ‚hesperisch‘ – gestaltete.
    [Show full text]
  • Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith
    Photo: Chris Bennion Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith Antigona is full of breathtaking, powerful moments. A collaboration between Soledad Barrio & Noche Flamenca and theater director Lee Breuer, the production is based on Sophocles’ heroine Antigone, who is sentenced to be buried alive in a cave after fulfilling the sacred duty of burying her brother, who died a rebel. The story is told equally through the music, the song, and the dance, as is traditional in the flamenco form. In this interpretation of the Greek tragedy, the chorus wears masks, obscuring the performers’ identities and yet intensifying the expression of each emotion. As in an opera, translations are projected onto a scrim upstage to help convey the narrative to those who don’t understand Spanish. However, I hardly glance at them; my eyes never stray from the dancers, and I understand without reading the text the raw emotion within la canción. Our first vision of this Spanish/Greek universe is black silk pouring down towards the stage, silk held in place by a man standing on a tall platform obscured by the darkness. He ripples the fabric in time with the strumming of the guitar, catching the light like glimmers on a river. Slowly we see shapes pressing into the silk, the crouched bodies of the chorus emerging from the darkness one arm at a time. Then we see the masks—blindingly white against the black river—demons that crawl, reach, and writhe in a clump of faces. Typically, one wouldn’t see movement so close to the ground in a flamenco production, but I am enthralled by the eeriness of this image.
    [Show full text]
  • Brecht's Antigone in Performance
    PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948.
    [Show full text]
  • Kodály and Orff: a Comparison of Two Approaches in Early Music Education
    ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir.
    [Show full text]
  • In the Realm of Politics, Nonsense, and the Absurd: the Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century
    DOI: https://doi.org/10.4312/keria.20.3.95-108 Alenka Jensterle-Doležal In the Realm of Politics, Nonsense, and the Absurd: The Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century Throughout history humans have always felt the need to create myths and legends to explain and interpret human existence. One of the classical mythi- cal figures is ancient Antigone in her torment over whether to obey human or divine law. This myth is one of the most influential myths in European literary history. In the creation of literature based on this myth there have always been different methods and styles of interpretation. Literary scholars always emphasised its philosophical and anthropological dimensions.1 The first variants of the myth of Antigone are of ancient origin: the playAntigone by Sophocles (written around 441 BC) was a model for others throughout cultural and literary history.2 There are various approaches to the play, but the well-established central theme deals with one question: the heroine Antigone is deeply convinced that she has the right to reject society’s infringement on her freedom and to act, to recognise her familial duty, and not to leave her brother’s body unburied on the battlefield. She has a personal obligation: she must bury her brother Polyneikes against the law of Creon, who represents the state. In Sophocles’ play it is Antigone’s stubbornness transmitted into action 1 Cf. also: Simone Fraisse, Le mythe d’Antigone (Paris: A. Colin, 1974); Cesare Molinari, Storia di Antigone da Sofocle al Living theatre: un mito nel teatro occidentale (Bari: De Donato, 1977); George Steiner, Antigones (Oxford: Clarendon Press, 1984); Elisabeth Frenzel, Stoffe der Weltlitera- tur: Ein Lexikon Dichtungsgeschichtlicher Längsschnitte, 5.
    [Show full text]
  • Wolf-Dieter Narr Niemands-Herrschaft
    Wolf-Dieter Narr Niemands-Herrschaft Eine Einführung in Schwierigkeiten, Herrschaft zu begreifen Herausgegeben von Uta v. Winterfeld V VS Wolf-Dieter Narr Niemands-Herrschaft Wolf-Dieter Narr, Politikwissenschaftler, war von 1971 bis 2002 Professor am Otto-Suhr-Institut der Freien Universität Berlin, Mitgründer und Mitsprecher des Komitees für Grundrechte und Demokratie. Uta von Winterfeld, Politikwissenschaftlerin, ist Projektleiterin am Wuppertal Institut für Klima, Umwelt, Energie und Privatdozentin am Otto-Suhr-Institut der Freien Universität Berlin. Wolf-Dieter Narr Niemands-Herrschaft Eine Einführung in Schwierigkeiten, Herrschaft zu begreifen Herausgegeben von Uta v. Winterfeld VSA: Verlag Hamburg www.vsa-verlag.de Die Drucklegung wird finanziell gefördert von der Rosa-Luxemburg-Stiftung. © VSA: Verlag 2015, St. Georgs Kirchhof 6, 20099 Hamburg Alle Rechte vorbehalten Umschlaggestaltung unter Verwendung eines Bildes von Johann Heinrich Wilhelm Tischbein (1751-1829) mit dem Motiv »Odysseus flieht mit seinen Gefährten im Schiff vor Polyphem« Druck- und Buchbindearbeiten: CPI Books GmbH, Leck ISBN 978-3-89965-600-8 Inhalt Prolog ........................................................................................................................ 9 Kapitel I Jeder und Jedem ihre oder seine »Theorie« ? ................................................. 13 Theorie und Wirklichkeit ...................................................................................... 13 Theorie und Praxis ................................................................................................
    [Show full text]
  • Of Music PROGRAM
    SHEPHERD SCHOOL SYMPHONY ORCHESTRA RICE CHORALE HOUSTON CHILDREN'S CHORUS CHAMBER CHOIR Larry Rachleff, conductor Friday, April23, 1993 8:00p.m. Stude Concert Hall "-' sfkteherd RICE UNIVERSITY Sc~ol Of Music PROGRAM Fanfare for a Great City Arthur Gottschalk (b. 1952) Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (1833-1897) INTERMISSION Carmina Burana Carl Orff ( 1895-1982) Rice Chorale Houston Children's Chorus Chamber Choir Kelley Cooksey, soprano Francisco Almanza, tenor Robert Ames, baritone In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin I Viola (cont.) Oboe Trumpet (cont.) Julie Savignon, Erwin Foubert Margaret Butler Troy Rowley concertmaster Patrick Horn Kyle Bruckmann David Workman Claudia Harrison Stephanie Griffin Jeffrey Champion Trombone Barbara Wittenberg Bin Sun Dione Chandler Wade Demmert Jeanine Tiemeyer Andrew Weaver Karen Friedman David Ford Kristin Lacey Sharon Neufeld ~ Brent Phillips Mihaela Oancea English Horn Cello Kyle Bruckmann Inga Ingver Tuba Katherine de Bethune, Yenn Chwen Er Clarinet Jeffrey Tomberg principal Yoong-han Chan Benjamin Brady Danny Urban ~ Jeanne Jaubert Magdalena Villegas Joanne Court Scott Brady Timpani and Tanya Schreiber Kelly Cramm Mary Ellen Morris Percussion Rebecca Ansel Martin van Maanen Robin Creighton Douglas Cardwell Eitan Ornoy X in-Yang Zhou Amy
    [Show full text]
  • Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht
    Muziektheater Transparant Antigona van Tommaso Traetta wo 2, do 3 april 2003 Om dramaturgische redenen zijn in de partituur enige coupures aangebracht. redactie programmaboekje deSingel en Janine Brogt druk Tegendruk duur van de voorstelling: deel 1 1 uur pauze 25 minuten deel 2 1 uur spreektaal Italiaans . boventiteling Nederlands bediening boventiteling Bart Boone gelieve uw GSM uit te schakelen! Muziektheater Transparant Antigona van Tommaso Traetta dirigent Paul Dombrecht assistent-dirigent Ewald Demeyere regie Gerardjan Rijnders regieassistent en voorstellingsleider Remi Beelprez muzikale uitvoering orkest Il Fondamento repetente Noémi Biro koor La Sfera del Canto verantwoordelijke dramaturgie Janine Brogt licht- en standenplan Tom Verheijen decor Paul Gallis verantwoordelijke belichting Luc De Vreese kostuums Rien Bekkers productieleiding Veerle Francke licht Reinier Tweebeeke technische leiding Roel Ghesquière beweging Bambi Uden lichttechnici Koen Ghesquière, Dag Jennes podiumtechnici Anton Devilder, Koen Ghesquière, rolverdeling Maarten Streefland Antigona, prinses van Thebe Raffaella Milanesi rigging Jan Hooyberghs Ismene, haar zuster Giorgia Milanesi coördinatie orkest en koor Philippe Severyns Creonte, haar oom Markus Brutscher vertaling libretto Janine Brogt Emone, Creonte’s zoon Maartje de Lint assistentie dramaturgie Bart Boone Adrasto, een Thebaans edelman David-Erich Fankhauser kleedsters Viviane Coubergs, Reintje Daens orkest kap en grime Sylvia Hiel, Leen Samyn viool Dirk Van Daele, Marianne Herssens, Maia Silberstein,
    [Show full text]
  • ATINER's Conference Paper Series MDT2016-1961
    ATINER CONFERENCE PAPER SERIES No: LNG2014-1176 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series MDT2016-1961 Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T. S. Marović and M. Gavran Helena Peričić Professor University of Zadar Croatia 1 ATINER CONFERENCE PAPER SERIES No: MDT2016-1961 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. This paper has been peer reviewed by at least two academic members of ATINER. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Peričić, H. (2016). "Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T. S. Marović and M. Gavran", Athens: ATINER'S Conference Paper Series, No: MDT2016-1961. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN: 2241-2891 06/09/2016 2 ATINER CONFERENCE PAPER SERIES No: MDT2016-1961 Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T.
    [Show full text]
  • Technology Fa Ct Or
    Art.Id Artist Title Units Media Price Origin Label Genre Release 056030 V/A Soulshine's Soulful...2 1 Cd € 20 Nld Cstar 2st 8/01/2003 029148 Adler, Larry Great Larry Adler 1 Cd € 19 Eu Flapp A/R 26/02/1996 076013 Aurelie Desde Que Naci 1 Cd € 16 Eu Swim A/R 21/12/2004 076478 Catching Flies Just a Phase 1 Cd € 19 Eu Arts A/R 31/12/1999 070884 City City City Dawn and the Blue Light D 1 Cd € 25 Imp Senpr A/R 29/03/2004 010387 For.Mat Media Circus 1 Cd € 18 Usa Setan A/R 30/06/1990 045097 Half Hour To Go Items For the Full Outfit 1 Cd € 21 Usa Grass A/R 18/06/1996 028140 Hurlements D'leo Ouest Terne 1 Cd € 25 Nld Wagra A/R 12/09/2008 053085 La Crus Dentro Me 1 Cd € 21 Eu Warne A/R 10/02/2000 064901 La Crus Dentro Me 1 Cd € 22 Eu Wealo A/R 10/02/2000 064921 La Crus Dietro La Curva Del Cuore 1 Cd € 22 Eu Warne A/R 9/02/1999 056224 Lawn Backspace 1 Cd € 20 Nld My Fi A/R 23/10/2003 036508 Maple It's My Last Night 1 Cd € 20 Usa Slab A/R 26/02/1996 015227 Modest Mouse This is a Long Drive 1 Cd € 20 Usa Up Re A/R 26/03/1996 040539 More Dogs Never Let Them Catch 1 Cd € 20 Usa Monit A/R 3/05/2005 051289 Nein Wrath of Circuits 1 Cd € 19 Usa So.Un A/R 17/05/2005 075942 Pee Now More Charm and More.
    [Show full text]
  • FALL 1975 19 Marechafs Antígona: More Greek Than French
    FALL 1975 19 MarechaFs Antígona: More Greek than French ALYCE DE KUEHNE The influence of classical Greek tragedy has been incalculable on universal literature. French dramatists have been especially receptive to the ancient tragedians and some writers, such as Gide, Cocteau, Giraudoux, Sartre and Anouilh, have in turn been a source of classical inspiration to dramatists of other nations. A comparative analysis of the Antigone theme in two contemporary versions—the well known play of Anouilh and the lesser known tragedy of the Argentine Leopoldo Marechal—will suffice to show why the Sophoclean myth has survived, and how it has been brought up to date in order to confront the perennial controversy over politics, religion and the dictates of man's conscience. Ravaged by two World Wars, the twentieth century has thus far offered a propitious medium for tragedy, similar to fifth century Periclean Athens, like­ wise plagued by warfare and injustice. The disorientation caused by accelerated social change with its new set of values, as well as anguish in the face of possible nuclear destruction, engender tragedy, the dramatic vehicle which in true Greek tradition performs a social and moral function. This ethical purpose is what distinguishes the present-day approach to tragedy from the attitude of the nineteenth century, for example, when despair of the present and future pro­ duced hundreds of French tragedies, designed merely to entertain the spirit with classical reminiscences of antiquity.1 Sophocles' Antigone treats a problem of universal magnitude: divine law vs. human law.2 Anouilh, in his pessimistic political satire, emphasizes fatalism by deliberately retelling the archetypal myth with its action already predetermined.
    [Show full text]
  • Antigona at Schloss Rheinsberg Il
    19 Antigona at Schloss Rheinsberg 22 andz3 JulY. 2006 'Le ni which Until Magdalena Kozen6' s 2001 CD album bel le immagi ( to the ;.a'iiJ tfl,.E of Us oDeratic arias, drew Josef Myslivecek l-87-81)" ;ffiffi ;f ;;i;;-p-r[,tii rt",,^ .omposer knbwn mainly to enthrsiasts il;;;;;,I, *;ilri Cr"ih .u.i" "und tl'iose with some inteiest in Mozart's brought to wittr an'almost equally shon life span, -an -untrmely earifveats. was .ii'r,i, uut iniudicious delight iD lh; female sex' M-yslivecek me pifted'with"*-r,iru"i*, a melodic inientiveness thought by many tro-,qave Deen was Enual of Mozart's. He was a friend of lroPold Mozafl - wougan8 iri.n* u"urt ttit iunior - but appears to have inJluenced the boy composer il;il;'"iHi,h?ffi *..*ii *oo"lia tome compositions.on those or man. tt is no accident, therefore. that several oi s the older Yy$lveceKwere comoosi(ions were IonP regarded as works by Mozafi' and. several as the can[ata erroneouslv iocludedln Kiichel's catalogue' such . rn composmg "veriAhramo e lsaccb (orieinally as K 24Ia) Although proliltc oPera composer - -usic of atl eeor.i. hi wai e"pecially prominent as an dptt" to'nposer before smetarn -. and :'HiJ; il"..-.ii;;;;il{r""rt penoo or^ prod'uced at least tweoly six autbenticated oDere sene wluuD a he exist His seventeen vears. nol to mentlon ,"ra*ioth",t ibout which doubts was il;i';;; f,ielili;;led uy bi eumev. ana auring this brief span he amongst the beit-known half-dozen opera composers ln trurope' Arsuments continue abour which was his first opera - aMelea,-oJ.a1 i.t i*tro Regib at Parma in 1764 there is ^i1r," no record: or a "i:,?;';;;;";'il;;.i*tt acc"ordi'ne to the New Crove Dictionary of OPera) \"miramide tlo a lext bv Melastasio) first given.
    [Show full text]