One of the most stirring moments in theatre occurs in Jean Anouilh's Antigone. The play itself is was an important one, especially when it was first staged in , because Antigone was seen as representing the French Resistance. But the most interesting thing about the play is that it constantly digresses, in key moments, into the kind of philisophical discussions that playwrights today ought to study: no one can say these make the play boring or unwatchable, or that they dissipate the drama.
The second Chorus, in both the Sophocles and the Anouilh versions, is said after Creon gives the order to uncover the body of Polynices that Antigone has attempted to bury. In the Sophocles version, the Second Chorus is a celebration of Man. "Nothing is beyond his power" the Chorus declares, but ends on a cautionary note, warning against pride, as any self-respecting Greek tragedy ought to do.
Jean Anouilh's Second Chorus, however, meditates on the nature of tragedy. Anybody who has read Sophocles'Antigonecannot help noticing that whereas Sophocles makes man responsible for his own condition, for the tragedies that befall him as a result of his own hubris, Anouilh says tha
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Anouilh's play was interpreted from the Sophocles original text during the German occupation of France during World War II. It had to pass censorship by the German's in order to be performed. The fact that it did was a miracle in itself as Antigone is a character shouting for justice, and standing for it even to the death against the tyranny of Creon's edict. Creon is a character that, quite possibly to the Germans was sympathetic to their desire to reign over France and the world: they were merely doing what was necessary to "restore order."
But the price that Creon pays is the life of his son who despises him for sentencing Antigone, his love, to her death for burying her brother Polynices' body after Crone ordered an edict that it shall remain unburied for the buzzards and wild dogs to eat. His body lying in rot is a symbol of Creon restoring order to the city of Thebes through political means. Creon does not
Introduction
I. Le Contexte historique
En , Jean Anouilh réside à Paris, qui est occupée par les Allemands depuis la débâcle de et l'Armistice. L'année , marque un tournant décisif dans cette période. Les rapports de force se sont modifiés, car les États-Unis viennent de déclarer la guerre à l'Allemagne. C&#;est dans ce contexte qu&#;on peut expliquer la naissance de cette œuvre. C'est à un acte de résistance qu'Anouilh doit l'idée de travailler sur le personnage d'Antigone. En août , un jeune résistant, Paul Collette, tire sur un groupe de dirigeants collaborationnistes au cours d'un meeting de la Légion des volontaires français (L.V.F.) à Versailles, il blesse Pierre Laval et Marcel Déat. Le jeune homme n'appartient à aucun réseau de résistance, à aucun mouvement politique ; son geste est isolé, son efficacité douteuse. La gratuité de son action, son caractère à la fois héroïque et vain frappent Anouilh, pour qui un tel geste possède en lui l'essence même du tragique. Nourri de culture classique, il songe alors à une pièce de Sophocle, qui p
- Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exi
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