...Mac Wellman © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Antigone, Heracles, Creon, and Ismene as depicted on a Greek vase, mid- fourth century bce Mac Wellman Antigone Persons of the play All parts are played by the three fates, also three facts, on their way...

... without intermission. The passages leading up to second performance, a pre-monsoon Bengali hurricane swept over the great confrontation between Antigone and Creon are ab• Calcutta. Our bamboo cathedral held fast, and we were confident breviated, though the choral passages are cut only slightly...

..., ter for scholastic comment since the never mentioning him again. Creon, Middle Ages, when the play was among when he re-enters in the last episode, the most popular of the ancient trag• gives no indication that he has lost a edies. It seemsto be the longest trag- son...

... remedy. And though I have said, each man must learn to help himself, yet will I help you. Creon, my advisor, is coming from the Delphic Oracle to tell if any word 132...

... Tiresias and Manto Adapted by Ted Hughes from a translation by performed was prophetic of the worst. David Anthony Turner Produced and designed Oedipus the king sends Creon to the by Peter Brook Associate Producer: Geoffrey Roeves Music and Sound organization: Richard underworld...

... which Tiresias and Manto Adapted by Ted Hughes from a translation by performed was prophetic of the worst. David Anthony Turner Produced and designed Oedipus the king sends Creon to the by Peter Brook Associate Producer: Geoffrey...

... Later I gave him all this Later Creon said And he knows The king said I know He knows I am a king He is my husband My word is law I will wait That’s...

..., on the precisely what is addressed in Sophocles’ my, my”) and repetitions of words or phrases nature of the characters; at one point during Oedzjjus at Colonus. The story concerns of Freeman’s message. Creon’s diatribe against Oedipus’ “stubborn- Oedipus, at the end of his old age...

...Mac Wellman © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Antigone brought in front of Creon by two guards c. 380 bce. A Play for a Broken World Mac Wellman, Interviewed by Carrie Hughes carrie hughes In an interview with you when remember liking very much. We read...

...’ Hip- ethical or moral, but sexual. Antigone, as a powerless woman, polytus staged with only 3 actors and a chorus, which meant stands up and says No to Creon and the hybristic male techno- that Phaedra was played by a male actor. The actor did an ad- political...

... in the Creon-Antigone con- flict a possibility of describing many different things, as different authors have done in telling the story, and the one the Living Theatre described was among the least interesting and least relevant politically that I could imagine, in that it created...

... are to re-prove his theories, etc. So if one plagued by his power-hungry twin sons, wants to experiment with the charac• Polyneices and Eteocles, who cause the teristics of theatre without being war, and then by the bureaucrat Creon. influenced by Aristotle, one has only...

... slaying of Oedipus‘ sons to Antigone’s lament, Creon’s funeral order, and Antigone’s resolve to defy the state and bury Polyneices. The immediate problems were many. How would we deal with the text? How...

... and prison dignitaries. We are the citizens ruled by Creon and share in the responsibility for his sentencing of Antigone: "Take her to The Island." The acting of Kani and Ntshona is energetic, sustained, and finally overwnelmlnc. Their faces and heads are shaven: The spectator can follow...

... productions, then Creon is finally an open• tainly not an attempt at realism. minded, egotistic, pragmatic German banker a little terrified by Serban's Trojan Women attempted to introduce a freely moving murder. The grandeur of the play was lost in these interpretations. chorus instead of one rigid...

... of the basic ways in which we carry out our lives. Hegel’s model dramatic work for examining this contradiction is Antigone, in which family rights clash with societal rights. The opposing willpower of Antigone and Creon effectively waters down these different sets of rights, robbing each one of its...

... and the links to the present made manifest. Thus, players wore undistinguished modern clothes, Creon became aprovincial tyrant, and a number of vulgar contemporary jokes exchanged by riff-raff were inserted into the action. One more important point of interpretation: Antigone would resemble the terrorist...

... assumed the title. What note on my desk from Bill saying, "About Creon's speech on page follows is an edited record of an interview conducted in February 1978. 10, could we make it more intimate and emotional rather than florid and rhetorical...

... In Laura Yusem’s original Buenos Aires production, “Theatre and Terrorism: Griselda Gambaro’s Information for Antigona was played by Bettina Muraiia, a mestiza dancer. Foreigners”appears in the May 1990 issue of Theatre Journal. Creon was represented...

... and female, in your puppet play.s. 53 U1 ~ Antigone directed by Hansgiinther Heyme, Calcutta, 1979. Set under construction (below). Antigone, Ismene and Creon (above). ...