TY - JOUR
T1 - 'No Longer Lost for Words: Antigone's Afterlife'
AU - Forsyth, Alison
N1 - Forsyth, Alison, 'No Longer Lost for Words: Antigone's Afterlife', Colloquy: Text, Theory, Critique 11 (2006), pp. 127-147
PY - 2006
Y1 - 2006
N2 - Sophocles’ dramatic depiction of the myth of Antigone (441 BC) has undergone a range of theatrical reincarnations over the centuries, from the tellingly entitled Antigone ou le piete by Robert Garnier (1580) to versions and free translations by Vittorio Alfieri (1783), Friedrich Hölderin (1804), Johann Wolfgang Goethe (1808), Walter Hasenclaver (1917), Jean Coc-teau (1922), Jean Anouilh (1943), Bertolt Brecht (1948, an adaptation that was to be further re-adapted by Judith Malina in 1967), Tom Paulin (1984), Athol Fugard (1974), Miro Gavran (1990) and Seamus Heaney (2004) – to name just a few. It is the contention of this analysis that dramatic reinter-pretations of Sophocles’ Antigone have fallen into two very distinct phases; firstly those comprising predominantly reverential appropriations of the an-cient classic which tap into the source text’s cultural cachet to bolster the cultural, religious and political aims of the society in which it was currently being performed; and secondly, the post 1945 appropriations. It is the sec-ond phase that will provide the particular focus for this discussion.
AB - Sophocles’ dramatic depiction of the myth of Antigone (441 BC) has undergone a range of theatrical reincarnations over the centuries, from the tellingly entitled Antigone ou le piete by Robert Garnier (1580) to versions and free translations by Vittorio Alfieri (1783), Friedrich Hölderin (1804), Johann Wolfgang Goethe (1808), Walter Hasenclaver (1917), Jean Coc-teau (1922), Jean Anouilh (1943), Bertolt Brecht (1948, an adaptation that was to be further re-adapted by Judith Malina in 1967), Tom Paulin (1984), Athol Fugard (1974), Miro Gavran (1990) and Seamus Heaney (2004) – to name just a few. It is the contention of this analysis that dramatic reinter-pretations of Sophocles’ Antigone have fallen into two very distinct phases; firstly those comprising predominantly reverential appropriations of the an-cient classic which tap into the source text’s cultural cachet to bolster the cultural, religious and political aims of the society in which it was currently being performed; and secondly, the post 1945 appropriations. It is the sec-ond phase that will provide the particular focus for this discussion.
M3 - Article
SN - 1325-9490
VL - 11
SP - 127
EP - 147
JO - Colloquy: Text, Theory, Critique
JF - Colloquy: Text, Theory, Critique
ER -