Antigone, as a mythical figure, places a charming enigma amongst the centuries. What is it that makes her clash with authority? Does this clash justify her sacrifice? Is there anything that justifies Creon’s way of thinking with whom she conflicts? Sophocles was the first to put her myth on theatrical stage on 441 BC and Jean Anouilh reformed it during World War II. Since 1944, when Anouilh’s Antigone was performed for the first time, the play has been presented on stages worldwide, always sparking deep conversations. In Greece, it was presented for the first time in 1946/1947 at Theatro Technis. It was directed by Karolos Koun with Ellie Lambetti in Antigone’s role. Eighty years after Theatro Technis was established, the play returns on its stage for the second time (1942-2022). Creon forbids the burial of Antigone’s brother Polyneices, as he and his army moved against his ancestors’ city and against his own brother Eteocles. Antigone is opposed to this order; she stands up against her king. The forceful vocalization of her words with their ability to shape and extrude reality, is the basic assertion of this reading on Antigone.
During extreme times, as the one we are currently experiencing, when important changes occur (which we cannot fully comprehend before they come to an end), through these steep passages – mutations of the historic man, the frame and the need for collectivity, crash both man and his public character. We are dealing here with the technologically and politically transfixed man, who may enjoy public speech, but in reality, is incapable of practicing it; as he is also incapable of experiencing democracy and controlling his very own life. He is unable to enjoy his freedom and privacy while he and everyone around him are deliberately and constantly exposed to each other. Through myths – stories shared by people throughout the centuries, society attempts to comprehend what it’s made of, its’ relationship with the external environment as well as man’s place in the universe. The value of the myth lies on the fact that events supposedly evolved during a specific moment in the course of history, constitute an imperishable structure in the present, past and future (Claude Lévi-Strauss). Anouilh “asks” his spectators to reflect on the meaning of life and deny every kind of compromise. Antigone belongs to Pieces Noires; plays full of irony and sarcasm. Anouilh used to always laugh with bad luck: «My plays are more like Moliere’s plays. Thanks to Moliere, French theatre is not drear. We laugh, as soldiers during war, with our own fears and misery». If it’s easy to decide which side is fair or not, we are not dealing with a tragedy. Tragedy’s value does not lie in the conflict between good and evil, neither between innocence and guilt, but in the fundamental collision of moral principles and political views; when the average man finds himself struggling to pick a side. Is Antigone’s sacrifice worth it? Sophocles’ and Anouilh’s texts do not give us a definite and nonnegotiable answer.
Translation: Marios Ploritis Direction – Dramaturgy: Maria Protopappa Set design – Costumes: Eva Nathena Movement: Katerina Fotiadi Music: Lolek Light Design: Melina Mascha Assistant Directors: Dimitris Stavropoulos, Orestis Stavropoulos Assistant Costume Designer: Elsa Gogolou Photography: Roula Revi Make Up (Photoshoot): Sissy Petropoulou Jewellery (Photoshoot): Noilence Video-trailer: Michael Mavromoustakos Poster/Graphic Design: Aris Apartian Production Management: Anastasia Kavallari Executive Producer: Kart Productions – Maria Ksanthopoulidou