Antigone Sospesa Sul Vuoto
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Musical Hybridization and Political Contradiction: the Success of Arthur Honeggerâ•Žs Antigone in Vichy France
Butler Journal of Undergraduate Research Volume 7 2021 Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France Emma K. Schubart University of North Carolina, Chapel Hill Follow this and additional works at: https://digitalcommons.butler.edu/bjur Recommended Citation Schubart, Emma K. (2021) "Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France," Butler Journal of Undergraduate Research: Vol. 7 , Article 4. Retrieved from: https://digitalcommons.butler.edu/bjur/vol7/iss1/4 This Article is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Butler Journal of Undergraduate Research by an authorized editor of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER JOURNAL OF UNDERGRADUATE RESEARCH, VOLUME 7 MUSICAL HYBRIDIZATION AND POLITICAL CONTRADICTION: THE SUCCESS OF ARTHUR HONEGGER’S ANTIGONE IN VICHY FRANCE EMMA K. SCHUBART, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL MENTOR: SHARON JAMES Abstract Arthur Honegger’s modernist opera Antigone appeared at the Paris Opéra in 1943, sixteen years after its unremarkable premiere in Brussels. The sudden Parisian success of the opera was extraordinary: the work was enthusiastically received by the French public, the Vichy collaborationist authorities, and the occupying Nazi officials. The improbable wartime triumph of Antigone can be explained by a unique confluence of compositional, political, and cultural realities. Honegger’s compositional hybridization of French and German musical traditions, as well as his opportunistic commercial motivations as a Swiss composer working in German-occupied France, certainly aided the success of the opera. -
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. -
Sophocles' Antigone Reworked in the Twentieth
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s. -
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. -
Enescu US 3/11/05 11:27 Page 16
660163-64 bk Enescu US 3/11/05 11:27 Page 16 ENESCU 2 CDs Oedipe Pederson • Silins • Damiani • Lipov‰ek Chorus and Orchestra of the Vienna State Opera Michael Gielen Above: Oedipus (Monte Pederson) Right: Michael Gielen 8.660163-64 16 660163-64 bk Enescu US 3/11/05 11:27 Page 2 George ENESCU (1881-1955) Oedipe, Op. 23 (Tragédie lyrique en 4 actes et 6 tableaux) Libretto by Edmond Fleg Below and right: Oedipus (Monte Pederson) Oedipe . Monte Pederson, Bass-baritone Tirésias . Egils Silins, Bass Créon . Davide Damiani, Baritone Le berger (The Shepherd) . Michael Roider, Tenor Le grand prêtre (The High Priest) . Goran Simi´c, Bass Phorbas . Peter Köves, Bass Le veilleur (The Watchman) . Walter Fink, Bass Thésée . Yu Chen, Baritone Laïos . Josef Hopferwieser, Tenor Jocaste/La Sphinge (The Sphinx) . Marjana Lipov‰ek, Mezzo-soprano Antigone . Ruxandra Donose, Soprano Mérope . Mihaela Ungureanu, Mezzo-soprano Chorus of the Vienna State Opera Répétiteur: Erwin Ortner Vienna Boys Choir Orchestra of the Vienna State Opera Stage Orchestra of the Austrian Federal Theatres Michael Gielen 8.660163-64 2 15 8.660163-64 660163-64 bk Enescu US 3/11/05 11:27 Page 14 CD 1 63:53 CD 2 64:33 Act I (Prologue) Act III 1 Prelude 4:31 1 Oh! Oh! Hélas! Hélas! 9:04 (Chorus, Oedipus, High Priest, Creon) 2 Roi Laïos, en ta maison 6:56 (Women, High Priest, Warriors, 2 Divin Tirésias, très cher, très grand 6:02 Shepherds, Creon) (Oedipus, Tiresias, Creon, Chorus) 3 Les Dieux ont béni l’enfant 8:11 3 Qu’entends-je, Oedipe? 12:37 (High Priest, Jocasta, Laius, (Jocasta, -
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. -
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. -
The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu. -
MARTHA ^IAWLIN05^JOS£P'hin£ POP£ of Foreign Culture
WHO WILL BE GLADYS SWARTHOUT “MISS SALEM” I MONDAY NIGHT Z 541 VOL. XX. WINSTON-SALEM. N. C.. FRIDAY, NOVEMBER 17. 1939. Number 9. TRADITIONAL TREE PLANTING AT SALEM N .B .C W ill Present Five Salem Opera Star To Well-Known Plays Girls Will "6o To Appear Here In On Sundays Chapel Hill” Concert On October 15, with the present In chapel Thursday morning Eliza Gladys Swarthoiit, well-knowB ing of Sophocles’ “ Antigone,” the screen, radio, and opera star, will National Broadcasting Company beth Hendrick read a letter she had launched a program which embodies just received from tbe “ Yackety- appear under the auspices of the the presentation of a series of well- Y ack’> staff at Carolina. The lett-cr, Winston-Salem Civic Music Associa known plays over the radio on Sun in part, was as follows: tion, Monday night, November 20 at day afternoons from 2 to iJ o’clock In selecting a beauty section for 8:30 o’clock in the Reynolds Audi (E.S.T.). The programs are enact torium. ed by radio and stage stars, and are the 1940 annual the staff hag adopt At an age when many artists are intended to trace the rise of the ed a new plan . drama from the earliest Greek to We should like to have you sub just begininig their careers, Gladys the most modern playwrights. mit five pictures to us of girls at Swartliout had behind her a remark Since the beginning of the series Salem, chosen for tbeir beauty • able record of achievement. the following dramas have been pre and regardless of class. -
Symphony No 4C Title Program Notes
DINOS CONSTANTINIDES SYMPHONY NO. 4c from the opera, “Antigone” Piano Version LRC 145c Dinos Constantinides Symphony No.4c “Antigone” LRC 145c Duration: 26:30” Instrumentation Tenor Piano Version Performance Instructions A. The Symphony No.4 - “Antigone” includes the following seven movements: 1. Párodos, 2. Ode I, 3. Interlude, 4. Ode II, 5. Ode III, 6. Pæan and, 7. Lament of Creon (Passacaglia). The text of the movements “Pæan” and “Lament of Creon” may be omitted. B. The symphony may be performed without text with the following movements: Ode I, Interlude, Ode III, and Pæan (as it has been recorded on Capstone Records CD “Tonus Tomis...” with the Constanta Symphony Orchestra, presently Black Sea Philharmonic conducted by Radu Ciorei). C. Another possibility may include the movements Pæan, Interlude, and Lament of Creon with the two outer movements employing the text (for tenor and orchestra). This version is the present one with LRC145b for orchestra and tenor. The piano version is LRC145c. Program Notes Symphony No.4 - “Antigone” is an orchestral suite derived from the opera, “Antigone,” and was completed in 1994. Constantinides began work on his three act opera based on Sophocles play 20 years ago and completed it in 1989. It was premiered in 1993 by the Baton Rouge Opera. Since then he has written several orchestral suites derived from the opera which have received numerous performances. The Annapolis Chamber Orchestra presented three scenes from the opera at Carnegie Hall in New York on June 5, 1994, with tenor soloist Thomas Poole and conductor E. Green. Constantinides is well qualified to write an opera on this subject, having read and studied the work in the original ancient Greek, in modern Greek, and in most of its English translations. -
MODERN PERFORMANCES Marianne Mcdonald Sophocles Specializes in Heroism. His Heroes Will Stand up for What Th
SOPHOCLES MADE NEW: MODERN PERFORMANCES Marianne McDonald Sophocles specializes in heroism. His heroes will stand up for what they believe even if it costs their lives. This has made him a particular favourite of modern audiences. He was also popular in his own time. Tracking later productions is therefore an adventure in understanding modern cultures as well as that of ancient Greece.1 Performances began in Athens in 534bc with Thespis, and in the fth century they were given at dramatic festivals. The more popular plays were often revived in the following century. During these revivals they were vulnerable to adaptation and additions by actors and producers. After the Athenian Academy was closed in 529ad, classical texts and performance disappeared from sight for several centuries and did not re-emerge until the revival of learning in the early Byzantine period. Greek tragedy became known in the West mainly through Latin transla- tions, and often via Seneca (ca. 4bc–65ad). It is debatable whether Seneca’s dramas were ever actually performed in his lifetime. They always feature violence onstage, something that replicated the Rome of his time (he suf- fered under Nero’s excesses and was nally forced by him to commit sui- cide). The ancient Greeks did not relish this violence on their stage. This chapter will not list all modern productions; rather, a few will be selected as representative. A modern playwright should remember that the recent play is often compared with the original ancient play, and in many cases such comparisons show the modern version falling short. The ancient playwrights not only had profound themes, which remain relevant, but they were also poets. -
Jeanne Di1rc Au Bucher a Collaboration Between Arthur Honegger and Paul Claudel
· ........................................................................ JEANNE DI1RC AU BUCHER A COLLABORATION BETWEEN ARTHUR HONEGGER AND PAUL CLAUDEL by Stephanie Henry This article coincides with the Her stunning beauty, one of her most Scheherazade (1910), Debussy's Le 100th anniversary of Honegger's valuable assets, was legendary among Martyre de St. Sebastien (1911), birth, March 19, 1892. those who knew her; in 1909 Serge Ravefs Bolero and La Valse (1928, Diaghilev was so taken by her 1929), Milhaud's Les Choephores HAT! ... ANOTHER engaging stage presence and (1935), and Honegger's Jeanne d'Arc Joan of Arc? No, I won't breathtaking beauty that he au Bucher (1935). do it! With this immediately signed her on with his It was Rubinstein who, after seeing unequivocal reply, Ballet Russe. (The fact that she a spectacular mystery play production Paul Claudel at the Sorbonne directed by musi dismissed Ida cologist and friend Gustave Rubinstein~s Cohen, came up with the idea commission for a for a feu populaire (popular play) play about Saint Joan and about Joan of Arc. She convened hastily boarded his train to a meeting between herself, Brussels. l And so began one of Cohen, and Honegger in order to the most intriguing musical formulate ideas about a collaborations in the history of production along similar lines the oratorio. Jeanne d'Arc au that would meet all her specifica Bucher (Joan of Arc at the tions, one of which was a priori: Stake) - commission by Ida she would play the title role. This Rubinstein, book by Paul had many ramifications. For Claudel, and music by Arthur instance, the principal role in Honegger - is a true Jeanne au Bucher is, notably, a collaboration in every sense of spoken one.