2The social, cultural, historical and political context Antigone forms part of Sophocles’ Theban trilogy and was performed BCAthens was the social, political, cultural centre of Greece at this time.In 530BC drama festivals were added to the Dionysian festivals, which lasted 5 daysPlays 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?
3The social, cultural, historical and political context Aristotle’s ideas on tragedy, the three unities, fatal flawEternal dilemma: Man’s law vs God’s lawCreon’s fatal flaw – relate to modern day examples and your own work in lessons – Gordon Brown, Tiger WoodsWorkshop 2 – modern version of the dilemma – photograph ‘marking the moment’ of defiance/choice.Women and slaves not allowed to attend the drama festivals
4Non-verbal communication Workshop 3: Antigone and Ismene – non-naturalistic exploration via movementWorkshop 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
5LanguageWorkshops 4 &5 and then lesson for group explorations of stanzas in first Choral odeUnderstand the functions of the chorusLanguage sets the mood and atmosphere of the playUnderstand the heightened poetic language (imagery, metaphors, alliteration, assonance, symbol)Written in verseCharacters speak more literally while the chorus speak metaphoricallyLong 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?’
6CharacterisationAntigone 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 interpretationsCreon – how does he represent the state? As a director what casing decisions would you make?Conflict improvisationCharacter sheets - detailed notes on the following characters – Ismene, Antigone, Creon, Haelon, Sentry, Chorus
7Vocal AwarenessWorkshop 4 & 5: Using vocal techniques to explore choral Ode 1Pitch, Pause, Tone, Projection, union, echo, diction, emphasisWorkshop 8 & 9: The Sentry’s SpeechVocal warm upDevelopment of pace and pitchRole-playing within the speechHow to vocally show his new found confidenceFeedback from each group on vocal choices made
8Response 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.
9InterpretationNo production can be free of interpretation. Director’s choices will affect how the production is receivedAnouih famously directed the play set during World War 2Do 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 effectsCharacters and relationships
10The visual, aural and spatial elements of the production Designing a set: creating the physical environment where the action takes placeShould underpin the themes of the play as identified by the directorThe play is set outdoors – outside the Royal Palace in ThebesThe 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.
11The visual, aural and spatial elements of the production Costume and Make-up: show status and personality of the character asShould 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?