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Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Jocasta and the Sin of Thebes Bernadette Waterman Ward
Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
A Greek Tragedy by Sophocles
Antigone A Greek Tragedy by Sophocles Tragedy • A drama or literary work in which the main character is brought to ruin or suffers extreme sorrow, especially as a consequence of a tragic flaw, moral weakness, or inability to cope with unfavorable circumstances. The formation of tragedy was the blend of lyrical and epic poetry combined with ritual dancing. Chorus • The chorus was considered to be the mouthpiece of society and suffered along with the heroes. • After Sophocles, the chorus had 15 members and stood in a circle Ancient Greek Masks • The members of the chorus wore masks, usually similar to each other but completely different from the leading actors Ancient Greek Masks • Because the number of actors varied from one to three, they had to put on different masks, in order to play more roles. • The actors were all men. The mask was therefore necessary to let them play the female roles. Sophocles • A definitive innovator in the drama, he added a third actor, increased the size of the chorus, abandoned the trilogy of plays for the self- contained tragedy, and introduced scene painting. Antigone • A tragedy written in 442 BC by Sophocles • Chronologically the third of the three Theban plays but was written first – Oedipus the King – Oedipus at Colonus – Antigone • After Oedipus is exiled, he leaves the ruling rights of Thebes to his two sons, Eteocles and Polynices who must take it in turns to rule. • Eteocles rules first but the two becomes enemies after Eteocles refuses to give up the throne, and Polynices is exiled. • At the beginning of the play, both brothers are dead, apparently slain by the other's hand. -
Conventions of Antigone
Conventions of Antigone Yusra Hashmi, Britney Laber, Shelby Nelson, Kirsten Ronning, Julie Thamby, and Jocelyn Wang Review ● Episodic: : Many episodes relatively ‘self- contained’. Requires many short scenes, not typically act based. ● Climactic: Act-based. Usually connected together in an overall arching plot. Has a more definite shape; ‘Freytag’s Pyramid.’ ○ ‘At the climax, something changes.’ Formal Structure ● Prologos: Ancient Greek, prologue or preface ● Episodes: The part of the Greek tragedy between two choric songs ● Stasima: The choric songs that divide the tragedy into various parts ● Exodos: The final concluding scene Use of Chorus Use of Chorus ● Theban Elders ● Comment on the themes and react as perhaps the citizens of Thebes would ● Prepare the audience for key elements Use of Chorus “Wisdom is far the chief element in happiness and, secondly, no irreverence towards the gods. But great words of haughty men exact in retribution blows as great and in old age teach wisdom” ( 2105). Conventional Characters ● Possess traits that are expected and traditional ● Ismene ○ “Damsel” ● Messengers ○ Provide the audience with essential information ○ Indirectly, address news to other characters in drama Conventional Characters Ismene: “You ought to realize we are only women, not meant in nature to fight against men, and that we are ruled, by those who are stronger” (2075). Conventional Characters Messenger: “Haemon is dead; the hand that shed his blood was his very own” (2101). “The queen is dead. She was indeed true mother of the dead son” (2103). High Status Characters ● Aristotle’s Poetics ○ main character of tragedy must be of higher status than the audience ● Allows for distinction between audience and main character ● There are two types: relaxed and secure vs. -
ANTIGONE You Can Change Colors
Frederic Wood Theatre There's only one way to really appreciate the quality of our new color copies . You have to see one. The new Canon Color Lase r Copier will give you color copie s just like the original. Or not like the original at all. Because now you can reduce and enlarge from 50% to 400%. ANTIGONE You can change colors. You can combine a color original with a black and white original to compose a totally new image . The Canon Color Lase r Copier lets you copy from printe d materials, 35mm slides, nega- tives and 3-dimensional objects . Why not call or write for you r own free color copy? And the n canon you'll see for yourself. The comforting choice. Now available on Campu s exclusively at MEDIA SERVICE S 228-477 5 2206 East Mall, UBC Campu s University of British Columbia Frederic Wood Theatre presents Let your imagination ANTIGON E take flight. By We have books to nourish your wisdom . Jean Anouilh Computers to manifest your intelligence . Directed B y Gifts to express your kindest thought. Brenda Leadlay Pens and paper enough to fill volumes . October 11-1 5 Visit the UBC Bookstore an d 1988 give your mind the room to move . The Frederic Wood Theatre Magazine n A Seasonal Publication of University Productions Inc . For further information regarding thi s U 13C BOOKSTORE and upcoming publications call: 6200 University Boulevard • 228-474 1 (604) 732-7708 Hours : Mon., Tues., Thurs ., Fri . 8.30 am-5:00 pm Wed . 8 .30 am-8:30 pm Sat 9:30 am-5 .00 pm Computer Shop: Mon .-Fri . -
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. -
Oedipus the King: a Greek Tragedy, Philosophy, Politics and Philology Ekaterini Nikolarea
Document generated on 09/25/2021 4:49 a.m. TTR Traduction, terminologie, re?daction Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology Ekaterini Nikolarea Genres littéraires et traduction Article abstract Volume 7, Number 1, 1er semestre 1994 Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology — This study tries to show that the abundance of translations, imitations and radical URI: https://id.erudit.org/iderudit/037174ar re-interpretations of a genre like tragedy is due to various social discourses of DOI: https://doi.org/10.7202/037174ar target societies. Taking as an example Sophocles' Oedipus the King, the acclaimed tragedy par excellence, this essay discusses how the discourses of See table of contents philosophy, politics and philology influenced the reception of this classical Greek tragedy by the French and British target systems (TSs) during the late 17th and early 18th century and the late 19th and early 20th century. The first section shows how, by offering Sophocles' Oedipus the King as a Greek model Publisher(s) of tragedy, Aristotle's Poetics has formed the Western literary criticism and Association canadienne de traductologie playwriting. The second section attempts to demonstrate why three imitations of Oedipus by Corneille (Oedipe), Dryden {Oedipus) and Voltaire {Oedipe) became more popular than any other contemporary "real" translation of the ISSN Sophoclean Oedipus. The third and final part holds that the observed revival of 0835-8443 (print) Oedipus the King in late 19th- and early 20th-century France and England was 1708-2188 (digital) due to the different degrees of influence of three conflicting but overlapping discourses: philosophy, philology and politics. -
From Mioriţa to Oedipus
From MIORIţA to OEDIPUS FROM MIORIţa TO OEDIPUS: ROMANIAN NATIONAL OPERA IN THE NINETEENTH AND EARLY TWENTIETH CENTURIES Beat Föllmi Université Marc-Bloc de Strasbourg Abstract. Operas in Romanian language, on Romanian topics and written by Romanian com- posers emerge slowly in the second half of 19th century; the first works appear in the year of the 1848 revolution, other works follow later after the reunification of the two Danubian principal- ities into a Romanian national state in 1859. But their number remains limited. The most im- portant Romanian composer, George Enescu, did not choose any topic from Romanian history or folklore for his opera works. Nevertheless, the Romanian opera of the 19th and early 20th centu- ries reflects the struggle for the construction of national identity. This identity under construction had to assert itself both in Romania, among the urban elites and the king (born in Germany), and in the European cultural centres, such as Paris, Berlin or Vienna. This contribution presents the opera Petru Rareş by Eduard Caudella (composed in 1889) in comparison with Enescu’s Œdipe (composed in 1919–1931). Petru Rareş, based on a historical episode from the beginning of the 16th century, describes the nation building mainly in terms of a “pre-modern narration” (dreams, premonitory signs, religion and faith), but the decisive element of legitimation of power is a letter, a written document which belongs to the modern administration of governance. Key words: identity, nation building, Romanian music, Eduard Caudella, George Enescu PRELIMINARY CONSIDERATIONS Romanian operas of the nineteenth and early twentieth centuries are not widely known by the general public. -
A Musical Motif in Sophocles's Oedipus at Colonus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by College of the Holy Cross: CrossWorks New England Classical Journal Volume 40 Issue 3 Pages 169-190 11-2013 A Musical Motif in Sophocles's Oedipus at Colonus Anne Mahoney Tufts University Follow this and additional works at: https://crossworks.holycross.edu/necj Recommended Citation Mahoney, Anne (2013) "A Musical Motif in Sophocles's Oedipus at Colonus," New England Classical Journal: Vol. 40 : Iss. 3 , 169-190. Available at: https://crossworks.holycross.edu/necj/vol40/iss3/2 This Article is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in New England Classical Journal by an authorized editor of CrossWorks. Deb Davies, Editor ARTICLES & NOTES New England Classical Journal 40.3 (2013) 169-190 A Musical Motif in Sophocles's Oedipus at Colonus Anne Mahoney Tufts University I. Introduction eople are often curious when I say I study meter. They think it must be boring, fussy, picky work. Indeed, there are very picky parts to the study Pof meter, but it is worth the effort: meter is our best remaining clue to the music and dance that were such an important part of the Greek theater. In what follows, I will discuss a metrical motif in Oedipus at Colonus that previous commentators on the play have not noticed. The motif is a sort of leitmotif or theme-song for the growing relationship between Oedipus and the chorus, and helps to tie the famous "Colonus Ode" to the rest of the play.1 II. -
Ancient Greece, Antigone, Oedipus, Sophocles, Etc
Ancient Greece, Antigone, Oedipus, Sophocles, etc. You will need paper, a pen or pencil, and your iPad. *All info on these slides = fair game for a quiz either tomorrow or next week :) Goal: to explore the significant elements of Ancient Greek society such as beliefs in death and the afterlife and important theatre terminology in order to better inform our reading of Oedipus and Antigone. DP Curriculum (quarters 1&2) Pedro Paramo by Juan Rulfo Antigone by Sophocles Persepolis by Marjane Satrapi IB Assessment = World Lit Paper (25%) Antigone Interactive Oral Topics Sophocles - THE MAN Ancient Greek beliefs in death and the afterlife Ancient Greek Theatre Chorus Sparta vs. Athens Imagine that the Sphinx is ravaging your city due to some ancient crime. She kills anyone who cannot answer her riddle. The only way to save yourself and your town is to correctly answer her riddle. Let’s see if you can do it... What travels on four feet in the morning, two at midday, and three in the evening? Let’s review the myth of Oedipus. Greece was roughly the size of Texas. Sparta Used force to rule Very war-like people Slavery was commonly accepted. Spartan females were taught to be fit, brave, and patriotic. ALL Spartan males were expected to be lifelong warriors. Athens Democratic and forward thinking Education -The male members of the society had access to good education and were free to pursue any of the arts or sciences. Women had few rights. Only men were considered citizens. Slavery was commonly accepted. Mexico’s beliefs in death Ancient Greek beliefs an intro to Ancient Greek beliefs in death.. -
Truth and Lies in the Stravinskyan Sense: Oedipus Rex
Truth and Lies in the Stravinskyan Sense: Oedipus Rex The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Albright, Daniel. 2007. Truth and lies in the Stravinskyan sense: Oedipus Rex. Modernist Cultures 3(1): 26-32. Published Version http://www.eupjournals.com/journal/mod;http:// www.js-modcult.bham.ac.uk/backissues.asp? issue=26&issue_name=Volume+3%2C+Issue+1+%28Winter +2007%29 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:3356137 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Truth and Lies in the Stravinskyan Sense: Oedipus Rex Daniel Albright Among the modernists, most treatments of Sophocles felt the weight of Nietzsche’s The Birth of Tragedy, especially treatments of Oedipus Rex, since Nietzsche (like Aristotle himself) treated Sophocles’s play as something like the ideal specimen Greek drama: Oedipus blinded himself after gazing into the pit, facing the intolerable truth not just about his own parentage but about all human life – better never to have been born. Stravinsky, with his brightly-outlined formal designs and sec textures, is often considered the most Apollonian of composers: a lover of music-boxes and clockwork. But in Oedipus Rex Stravinsky confronts Dionysus, Nietzsche’s Dionysus. Stravinsky conceived his art in