“Antigone” . written in 1942 by the Gallic dramatist Anouilh. is based upon the original “Antigone” the 3rd drama in the trilogy of “The Theban Plays” written by Sophocles. of Ancient Greece. in around 450 BC. “Antigone” is based upon the antique struggle between the demands of human and godly jurisprudence. Although Anouilh’s version of “Antigone” is significantly similar to its original by Sophocles. there are significant differences between the two dramas. There is the chorus depicted as one individual who sets the scene. the many different characters who draw out different positions of Antigone’s character and the debut of the character of the nurse. During “Antigone” . disdain of decease enables a weak maiden to suppress a powerful swayer. who. proud of his ain wisdom. ventures in his boundless haughtiness to his cavity his royal word against the responsibility to kin and human sentiment. and learns all to late by devastation. that destiny. in due class. brings fit penalty.
Due to the fact that the drama is based on struggle. the narrative of the drama is revealed over the difference about the entombment of Antigone’s brother. Polynices. in which King Creon’s positions are that of a political nature opposed to Antigone’s spiritual responsibilities and sentiments. whilst both retaining the belief that they are in the right. As the audience. we can merely expect the most dramatic scene that will hence be the confrontation between these two characters when Antigone is arrested. as their places are conflicting. This essay is to analyze what effects the dramatic devices used by Anouilh have in the scenes taking up to Antigone’s apprehension and I will endeavor to foreground those that do so.
The gap address by the chorus sets the scene for the struggle in the drama. the tenseness and suspense of “Antigone” is felt instantly. The chorus begins by opening with a description of all the characters of the drama. puting the phase for the narrative of Antigone. stating us that Antigone feels that its her responsibility to bury her dead brother ; as the Greek position of decease was that a person’s psyche could ne’er come to rest unless their organic structure had been buried. otherwise they would stay everlastingly on Earth. It is Creon’s contrasting positions on Polynices’ public assistance that makes the drama so challenging.
The chorus in the up-dated version of “Antigone” by Anouilh is remarkable. whereas in the original by Sophocles. the chorus was of a group of work forces who spoke in unison and order. The maneuver of utilizing merely one individual as the chorus makes the narrative seem more human and realistic and the chorus plays the portion of puting the scene for the narrative. narrating and possibly noticing on the events that might hold merely taken topographic point. In the gap tableau. the chorus informs the audience of what will is traveling to go on. which is surprising. as the audience now know the destiny of Antigone. due to Creon believing that he has to stand by his preset edict whilst Antigone feels that the province jurisprudence is unequal by comparing to the Godhead jurisprudence and responsibility to her brother.
The fact that the chorus has notified the audience of Antigone’s destiny it makes them concentrate more on the state of affairs at present and introduces Antigone much more realistically and human. The chorus tells the narrative unemotionally and the contrast between what is being said and the manner is looks. evokes emotion from the audience. The gap poetry told so factually and unresponsively by the chorus alters the manner that the audience perceives the drama – it makes things inevitable and the audience anticipates the development of what they already know will go on instead than what may go on. This device creates tenseness really early on in the drama go oning as a subject throughout taking up to the confrontational apprehension of Antigone
This dramatic device of utilizing a chorus. narrating each scene predetermining what will go on. used by Anouilh is highly cagey as it captures the audience – intriguing them as although they know what is traveling to go on due to the addresss from the chorus. the audience can merely expect the destiny of Antigone. This tactic is cagey in the facet of that non merely are the audience captivated. they are basking every minute constructing up to the concluding confrontation. desperate to see how the state of affairs will unknot itself instead than expecting what will go on next in the narrative. This dramatic device used by Anouilh plays a major portion in making suspense as the audience’s attending is drawn merely to the chorus who tells the narrative of Antigone merely and truthfully. escalating the anxiousness from the beginning of the drama. playing on the audience’s emotions doing it tragically dramatic.
The characters along with their personalities are described realistically exposing them as normal people. instead than the Kings and Princesses that they genuinely are. Similar to ordinary people. they are traveling through the mundane tests and trials of love. friendly relationship. work and relationships. doing the audience experience a intimacy towards them from the beginning. Upon first feelings. Antigone appears vulnerable. about childly due to her typical description from the chorus in the gap scene. ab initio bespeaking this from the manner that she sits. deep in idea. her custodies clasped around her articulatio genuss depicting her as “the thin small animal sitting by herself. gazing consecutive in front. seeing nil. is Antigone. She is thinking” . Creon. in contrast. is an intimidating well-built adult male. populating up to the portion as male monarch. a strong and powerful leader claiming that “His face is lined. He is tired. He practises the hard art of a leader of men” . and on somewhat closer review. it is evident that he seems to be transporting the universe on his shoulders.
Once Antigone is introduced to the audience. you are made to experience that you have known her all of your life. You do non cognize that she has broken the edict laid down by Creon to get down with. but she seems to be moving out of character. giving an initial indicant that she had done something out of the ordinary. coming across highly romantic and idealistic. In her opening conversation with her nurse. she seems to be in a reverie. about reminiscing about her most recent experience that forenoon. As she talks. she seems remarkably cognizant of her milieus being particularly appreciative of the smallest things that she may non hold noticed before. She negotiations of her forenoon being “like a post card ; all pink and green and yellow” . and the beauty of the garden being “still asleep” and “how lovely the garden looked when non yet believing of men” . The nurse doesn’t seem to register Antigone’s reverie. go oning to call on the carpet her for go forthing her room in the center of the dark.
Then. when the nurse starts to test Antigone about where she has been and what she has been making that forenoon. Antigone can merely reply with idyllic responses with no relevancy to what she may hold been asked. apparently in a enchantment. Her behavior is evidently wholly out of the ordinary. and non surprisingly. the nurse picks up on this. and begins to worry about Antigone. The nurse continues her Inquisition. and Antigone. still overwhelmed about the events that took topographic point earlier that forenoon. replies merely a yes or no. exasperating her nurse even more and becomes cheesed off and so asks “you’d state me why your bed was empty when I went along to insert you in. wouldn’t you? ” . The linguistic communication Antigone uses during this conversation with her nurse displays her age. demoing up the younger facets of her personality.
Although Antigone is engaged. she is portrayed as vulnerable necessitating to hold the character of the nurse picking up after her. and this is particularly noticeable when her nurse starts shouting from defeat due to Antigone’s jokes – Antigone admits to experiencing like a kid once more by stating to her nurse “When you cry like that. I become a small miss once more ; and I mustn’t be a small girl today” . From this treatment. you can immediately recognize Antigone’s features and by comparing the nurse to Antigone. you can see their differences – the nurse is practical and conservative whilst Antigone seems to be unprompted and at autonomy. This is an obvious dramatic device used by Anouilh because by presenting a character with a contrasting personality. it shows up defects and certain facets of Antigone’s personality that may non hold been made apparent.
Merely at this point in the drama. Antigone’s older sister. Ismene. enters. the nurse foliages and offers an chance for the sisters to speak about the entombment of their brother and how they would be put to decease if caught. Ismene reminds Antigone of the earnestness of the edict. the hazard of withstanding it and how the whole ordeal seems dreadfully terrorizing. seeking to deter her small sister by stating “I thought about it all dark long. Antigone. you’re mad” . Antigone provinces that they are bound to decease. moving impetuously. whereas Ismene reacts much more maturely. sing the effects of her actions before doing any determinations. Ismene comments on Antigone’s restlessness and that one time an thought was in her caput. nil would be able to discourage her from it. doing it apparent that Antigone and Ismene have clearly different personalities and positions on life – Ismene is able to see both points of position where refering the edict. whereas Antigone can merely see her ain point of position. which in her sentiment is right. exposing an facet of obstinacy. put on the lining to decease for what she believes in.
Ismene leaves. and one time she is gone. Antigone realises that her lone destiny is decease. doing it questionable for the audience to whether or non she had already buried Polynices organic structure. She acts insecure and unstable. prophesising her destiny and negotiations eventually about certain issues to her nurse. for illustration. about the well being of her Canis familiaris. knowing that she may non be able to go on looking after it and says to her nurse “My Canis familiaris Puff … assure me that you will ne’er call on the carpet her again” . The nurse seems confused. but seems to believe that Antigone is playing a game with her and so agrees to all of Antigone’s supplications and leaves her in peace.
Antigone’s fiance . Haemon. enters shortly after the nurse’s going and Antigone starts by blunder outing out some puzzling remarks about the hereafter – she starts speaking in a conditional sense and tells him that “I wanted you to cognize I would hold been proud to be your wife” . The dark before. she went to Haemon with the purpose of scoring him by taking Ismene’s aroma. apparels and makeup but was laughed off by Haemon due to her visual aspect. and as a virgin. she indicates that she is cognizant of what she will lose of being his married woman when she dies. although to the audience it is non evident that she has done something to merit the decease punishment. Haemon begins to worry about Antigone due to her forebodings of the hereafter. her unusual manor has alerted him into believing that something is decidedly incorrect and her unusual actions build up the tenseness on the subject of whether she will travel through with the entombment of her brother. Haemon leaves experiencing baffled merely as Ismene enters concerned that her sister may travel in front with the entombment of Polynices. The suspense heightens when Antigone admits to Ismene that she has in fact. already buried the organic structure.
The scene alterations to Creon’s castle. where the guard who witnessed the entombment has been sent as a courier to inform Creon of what has happened. evidently disquieted about the King’s reaction and although he finally tells the King of the entombment. he makes it tedious. constructing up greater suspense for the audience whilst they envision Creon’s reaction. The guard carries the narrative on in a fiddling manner. altering the tone of the drama. discontinuing its flow. making even greater tenseness as he attempts to raise the ambiance by jesting when there is a affair of life or decease to be dealt with and as a contrast to his temper. the earnestness of what he is stating. rise the tenseness environing the edict. Creon tiredly accepts the intelligence professing the political duty to follow his edict through although the treasonist is his ain niece. Antigone. It is evident that Creon is obsessed with his power and feels that he has to portray himself as in control. although inside his caput. it may be a wholly different affair.
Creon leaves the scene. go forthing the chorus to come in with another address refering Antigone’s destiny and public assistance. He begins to speak about calamity. associating the scenario of the narrative to a subject of calamity utilizing the metaphor “the spring is wound up tight. it will uncoil itself. That is what is so convenient in calamity. the least small bend of the carpus will make the occupation. ” By this. the chorus is stating that the spring already has a batch of tenseness to be released. and the smallest thing could put it off. the tenseness of the drama refering the inevitableness of decease. The chorus makes you wait. rising the tenseness in the ambiance. the address focuses on calamity and inevitableness. both of which subjects are chief subjects of the drama. The imagination used to speak about all of the hints that lead to tragedy. comparing it with melodrama. all relate to what has already happened. As it had been predetermined. Antigone has been caught and from the chorus’s address. they explain how tragedy seems to be “calm” . reflecting the unagitated nature of Antigone.
The dramatic devices used by Anouilh taking up to the apprehension of Antigone are highly effectual and leave the audience expecting Antigone’s following move. The dramatic devices he uses are that of the chorus. the tableau and the utilizations of other character’s personalities to uncover cloaked facets of Antigone’s ain personality
The tableau opens the drama. being told by the chorus. puting the scene for Antigone to get down speech production. The tableau gives an inside position of the characters backgrounds and personalities to the audience. doing them recognize them as typical mundane people instead than that of the high places they hold and feel like they have known these people their whole lives. This technique is really effectual as they audience become drawn into the narrative. being taken off from where they are. captivated by a narrative set in Ancient Greece. The characters are described aptly. recapitulating each characters personality and visual aspect.
The chorus stands detached from the characters of the drama. and informs the audience of the state of affairss that the characters may be in. the problems they may be confronting and what they are believing which is an effectual dramatic device as the audience addition a greater cognition of these people which they couldn’t have achieved without the chorus from merely by detecting their visual aspect. The usage of the tableau and the chorus at the beginning of the drama create tenseness instantly hooking the audience. capturing them so that they anticipate what will go on next. The chorus negotiations during the tableau whilst all of the characters are frozen. Antigone is sat Centre phase and the manner she sits. deep in idea. curled up tightly draws out the infantile facets of her character. turn outing her exposure when faced with a quandary.
Another dramatic device used by Anouilh is that of the contrasting personalities of those characters who surround Antigone. By utilizing conflicting natures of Antigone’s friends and household. it brings out facets of her personality that may non hold been recognised beforehand. This tactic is highly utile foe the audience as they gain a greater apprehension of the miss that is Antigone. When compared with her sister. Antigone appears unprompted and helter-skelter in comparing to the composure. logical and beautiful Ismene. when compared to Haemon. Antigone seems neurotic and insecure whereas he is represented as stable and soothing and once more. when compared with her dying nurse. Antigone appears somewhat selfish. These characters environing Antigone draw out different. contrasting pretenses and without them. she could look to be something she is non.
In decision. the dramatic devices used by Anouilh set the scene absolutely. capturing the audience. fascinating them further with the strongly delivered tableau. the insightful positions of the chorus and the opposing personalities to Antigone make a heightened ambiance of suspense.