Unit 1: Exploration Notes

Antigone by sophocles

The social, cultural, historical and political contextThe social, cultural, historical and political context

Antigone forms part of Sophocles’ Theban trilogy Antigone forms part of Sophocles’ Theban trilogy and was performed 442-445BCand was performed 442-445BCAthens was the social, political, cultural centre of Athens was the social, political, cultural centre of Greece at this time. Greece at this time. In 530BC drama festivals were added to the In 530BC drama festivals were added to the Dionysian festivals, which lasted 5 daysDionysian festivals, which lasted 5 daysPlays presented on south-eastern slope of the Plays presented on south-eastern slope of the Acropolis, in daylight. Theatres far larger than today Acropolis, in daylight. Theatres far larger than today holding between 15,000-18,000 spectators –all male holding between 15,000-18,000 spectators –all male (the Olivier National theatre only holds 1,110)(the Olivier National theatre only holds 1,110)Antigone and Ismene – Spartan vs Athenian women?Antigone and Ismene – Spartan vs Athenian women?

The social, cultural, historical and political contextThe social, cultural, historical and political context

Aristotle’s ideas on tragedy, the three unities, fatal Aristotle’s ideas on tragedy, the three unities, fatal flawflawEternal dilemma: Man’s law vs God’s lawEternal dilemma: Man’s law vs God’s law Creon’s fatal flaw – relate to modern day examples Creon’s fatal flaw – relate to modern day examples and your own work in lessons – Gordon Brown, Tiger and your own work in lessons – Gordon Brown, Tiger WoodsWoods Workshop 2 – modern version of the dilemma – Workshop 2 – modern version of the dilemma – photograph ‘marking the moment’ of defiance/choice.photograph ‘marking the moment’ of defiance/choice.Women and slaves not allowed to attend the drama Women and slaves not allowed to attend the drama festivalsfestivals

Non-verbal communicationNon-verbal communication

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

Language Language

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

Characterisation Characterisation

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

Vocal Awareness Vocal Awareness

Workshop 4 & 5: Using vocal techniques to explore Workshop 4 & 5: Using vocal techniques to explore choral Ode 1choral Ode 1 Pitch, Pause, Tone, Projection, union, echo, diction, Pitch, Pause, Tone, Projection, union, echo, diction, emphasisemphasis Workshop 8 & 9: The Sentry’s SpeechWorkshop 8 & 9: The Sentry’s SpeechVocal warm upVocal warm upDevelopment of pace and pitchDevelopment of pace and pitchRole-playing within the speechRole-playing within the speechHow to vocally show his new found confidenceHow to vocally show his new found confidenceFeedback from each group on vocal choices madeFeedback from each group on vocal choices made

Response to a practitioner - StanislavskiResponse to a practitioner - Stanislavski

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

InterpretationInterpretation

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

The visual, aural and spatial elements of the The visual, aural and spatial elements of the production production

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

The visual, aural and spatial elements of the The visual, aural and spatial elements of the production production

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