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Unit 1: Exploration Notes Antigone by sophocles. The social, cultural, historical and political context  Antigone forms part of Sophocles’ Theban trilogy.

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Presentation on theme: "Unit 1: Exploration Notes Antigone by sophocles. The social, cultural, historical and political context  Antigone forms part of Sophocles’ Theban trilogy."— Presentation transcript:

1 Unit 1: Exploration Notes Antigone by sophocles

2 The social, cultural, historical and political context  Antigone forms part of Sophocles’ Theban trilogy and was performed BC  Athens was the social, political, cultural centre of Greece at this time.  In 530BC drama festivals were added to the Dionysian festivals, which lasted 5 days  Plays presented on south-eastern slope of the Acropolis, in daylight. Theatres far larger than today holding between 15,000-18,000 spectators –all male (the Olivier National theatre only holds 1,110)  Antigone and Ismene – Spartan vs Athenian women?

3 The social, cultural, historical and political context  Aristotle’s ideas on tragedy, the three unities, fatal flaw  Eternal dilemma: Man’s law vs God’s law  Creon’s fatal flaw – relate to modern day examples and your own work in lessons – Gordon Brown, Tiger Woods  Workshop 2 – modern version of the dilemma – photograph ‘marking the moment’ of defiance/choice.  Women and slaves not allowed to attend the drama festivals

4 Non-verbal communication  Workshop 3: Antigone and Ismene – non-naturalistic exploration via movement  Workshop 6 & 7: Creon and the Sentry – creating visual comedy and modern interpretation. Using cartoon strips and freeze-frames to convey the comedic function of the Sentry

5 Language  Workshops 4 &5 and then lesson for group explorations of stanzas in first Choral ode  Understand the functions of the chorus  Language sets the mood and atmosphere of the play  Understand the heightened poetic language (imagery, metaphors, alliteration, assonance, symbol)  Written in verse  Characters speak more literally while the chorus speak metaphorically  Long speeches pose challenge for the actor – so it does not become static for the audience.  Social status represented through language – Haemon is Royal and more educated than the Sentry ‘For this hasn’t she earned glory bright as gold?’

6 Characterisation  Antigone and Ismene Spartan vs Athenian Woman. Naturalistic and non-naturalistic exploration.  Breaking key scenes into units and objectives.  Role of director to explore characters and visual interpretations  Creon – how does he represent the state? As a director what casing decisions would you make?  Conflict improvisation  Character sheets - detailed notes on the following characters – Ismene, Antigone, Creon, Haelon, Sentry, Chorus

7 Vocal Awareness  Workshop 4 & 5: Using vocal techniques to explore choral Ode 1  Pitch, Pause, Tone, Projection, union, echo, diction, emphasis  Workshop 8 & 9: The Sentry’s Speech  Vocal warm up  Development of pace and pitch  Role-playing within the speech  How to vocally show his new found confidence  Feedback from each group on vocal choices made

8 Response to a practitioner - Stanislavski  Workshop 11 : Improvisation in pairs – a conflict between 2 people. Select one pair - Repeat the scene and dialogue exactly. Participants stand around the room and we add Stanislavskian techniques one at a time to their scene – Given circumstances – age, setting, time of day, who are they? What do they do? Where are they going? Objectives – What do they want? How do they get it? Units – Break the scene into units of action and give the characters objectives for each unit. How has this changed the scene from the fist version we watched?  Then worked on scenes with Creon and Antigone and Creon, Antigone and Ismene using techniques learned.

9 Interpretation  No production can be free of interpretation. Director’s choices will affect how the production is received  Anouih famously directed the play set during World War 2  Do you stay true to the text and the playwrights intentions? Do you adapt it completely to tell a new story?  Technical elements? Projection, multi-media, special effects  Characters and relationships

10 The visual, aural and spatial elements of the production  Designing a set: creating the physical environment where the action takes place  Should underpin the themes of the play as identified by the director  The play is set outdoors – outside the Royal Palace in Thebes  The scene never changes so no break in the action.  Tragic nature of the play – grey and intimidating? Doors to the palace – tall, heavy painted in dark colours.  Director may emphasise wealth gaudy, ornate decorations to suggest arrogance and over-confidence.

11 The visual, aural and spatial elements of the production  Costume and Make-up: show status and personality of the character as  Should Antigone and Ismene as sisters have similar costumes or different?  What costumes would you use to realise the chorus?  Would you use full masks? For all characters?  Music and sound effects: triumphant music for Creon’s entrance? Classical –pomp and ceremony, echo, outdoor setting sounds, weather?

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