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ateur acting r ghts to this play are con ro led ex usively by PIONEER DRAMA E NC P.O Box 4267 Englew
rams and dvert sing this not ce must ppear: "Prod ced by specia
PIONEER D AMA SERVICE, INC , nglewood, Colorado."
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r hts in is pl y, incl ding t p i g a d oti pict r ts, a o tr ll
ll i b
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ii
For Melvin E. Wooton, who made my life in the Theatre possible.
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iii
ANTIGONE
SETTING: A theatrical vision of a city at the end of a Civil War. For Sophocles, this city was ancient Thebes.
TIME: The action of the play occurs on a single day between dawn and twilight.
CAST OF CHARACTERS# of lines
ANTIGONE ....................... a natural rebel; athletic and 63 attractive, but not in an ordinary way. She is also passionate, idealistic, impulsive and charismatic.
ISMENE ........................... a natural beauty; she is Antigone’s 36 sister, and is light, soft, feminine, spoiled, vulnerable but not stupid or weak. She matures, strengthens through the action.
CREON ............................ a strong, practical, respected 118 military leader who is miscast in a political role. A good and decent man who loves his city and his family. Despite his pride and temper he is not a simple villain.
HAIMON .......................... youngest son of CREON, hand- 23 some, bright; a future leaderfor Thebes, admired by all the city. He deeply loves both ANTIGONE and his father. Has his father’s temper.
PROLOG/TIERESIAS ......... blind priest, seer of Thebes. The 38 voice of the gods in the city. She’s substantial, earthy, warm. Filledwith a powerful and genuine spirit of love for her “children,” but also perhaps there is in her the suggestion of desire for political power in the manner of our “religious right.” As the priest she will wear the tragic mask. When not wearing the mask she functions as the CHORUS PROLOG, and has a direct relationship with the audience, also her children. A powerful presence.
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CHILD.............................. the “eyes” of blind TIERESIAS and 1 audience companion to the PROLOG, when watching “outside” the action. A beautiful young girl who is the image of innocence and compassion.
SENATOR ......................... a career politician whose only 43 remaining family is the state. Practical, willing to compromise but always with very traditional values and beliefs underneath. A peacemaker, always looking for a diplomatic solution.
SENTRY ........................... a career soldier, an earthy, blue- 24 collar guy just trying to do his job. Uneducated but not stupid; a natural clown who loves to talk, but very genuine; not a caricature. This role is meant to have humor, but not at the expense of dignity and heart.
EURYDICE ....................... wife of CREON, queen/first lady. 5 Traditional and unquestioning, she’s a good political wife of her generation... a la Pat Nixon, but above all a mother. Attractive, empathetic; a woman who has done everything right and sees it go horribly wrong beyond all reason.
CHORUS .......................... (6 MEN, 6 WOMEN) Ideally played 84 by singers/dancers who can act. They will represent a variety of roles: soldiers, citizens, wives, ladies in waiting, etc., and also have a direct relationship with the audience during the performance. They both participate in and comment/elaborate on the action of the play.
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1
ANTIGONE
PROLOG
AT RISE: LIGHTS DOWN and in the BLACKOUT we hear the SOUND of a wailing air raid siren, a long unsettling scream followed by an enormous explosion of sound and a flash of light ••• as if a nuclear bomb dropped in the middle of an earthquake. Then silence. A shaft of l ight rises . DOWNSTAGE and, seemingly from the audience, the PRO LOG, hand in hand with a small child, steps into the light.
PROLOG: The Theatre. This ..• is a "seeing place." (LIGHTS RISE ONSTAGE- dim tableau light - fog. The entire company in tableau of a city destroyedby war.) You see? Tonight you see - a city.
VOICE 1: Hiroshima.
VOICE 2: Sarajevo.
VOICE 3: Beirut.
VOICE 4: Berlin.
VOICE 5: Belfast.
VOICE 6: Johannesburg.
VOICE 7: Kigali.
VOICE 8: Jerusalem.
VOICE 9: Moscow.
VOICE 10: San Salvador.
VOICE 11: Los Angeles.
VOICE 12: Selma.
VOICE 13: Saigon.
ALL: Thebes.
PROLOG: Tonight you see Thebes; Sacred city of Bacchus, Greek god of wine, of ••.
WOMEN: Music,
MEN: Passion,
WOMEN: Dancing,
ALL: Disorder.
WOMEN: Dionysius.
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MEN: laachus.
ALL: The names of Bacchus In the city of Thebes.
PROLOG: Tonight you see
CHORUS WOMEN: Men,
CHORUS MEN: Women,
SENATOR: Friends,
EURYDICE: Mothers,
CHORUS WOMEN: Wives,
ANTIGONE/ISMENE: Daughters,
CHORUS MEN: Husbands,
CHILD: Children,
CREON: Fathers,
HAIMON: Sons,
ANTIGONE/ISMENE: Sisters,
ALL: Families.
PROLOG: Tonight you see families. You see
CHORUS MEN: Soldiers,
CHORUS WOMEN: Citizens,
HAIMON/ANTIGONE: Lovers,
SENTRY: Clowns,
PROLOG: Priests,
CREON: Kings,
SENATOR: Politicians,
EURYDICE: Queens,
ANTIGONE: Rebels,
ISMENE: Heroes,
WOMEN: Poets.
ALL: Tonight you see .our city.
PROLOG: You see
ALL: Sophocles. (LIGHTS PULL DOWN to ANTIGONE.)
2
MEN: aachu
L he a e of Bacchus n he city of Thebes
PROLOG: Tonight ou see
CHORU W MEN: M n
CHORU MEN: Wo n
ENATOR: r ds
EURYDICE
CHO US WO N: s
T O E/ S ENE D g
E
I
G: oni
U E :
HAI N/
SEN : Cl s
ROLOG P es
CREON: K ngs,
SEN OR: ol
URYDICE Quee s
AN IGON : Rebe
SMENE: He oe
WO EN Poets
ALL: Toni ht you s
P OLOG: ou see
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3
ANTIGONE: Antigone. (LJGHTS CHANGE and MUSIC. COMPANY moves to opening ODE position or EXJT: PROLOG ONSTAGE remains, holding CHILD.)
PROLOG: Thebes, just before the break of dawn. The end of war. (PROLOG EXITS with CHIL D as first ODE begins.)
END OF PROLOG
ODE ONE
The End Of War
AT R SE MUSIC, a driving rhythm, strong stylized movement, action in all parts of the space. The voices are divided among the CHORUS. The women begin at the altar, and the men spread across the upper levels in military formation, carrying wooden rods which they use in the manner of drill team weapons.
WOMEN: (At the altar.) Hail the sun! Brightest that ever Dawned on the city of Thebes. Hail the golden dawn! Breaking over the city of Bacchus. Rising to speed the army of Argos Flying home in full retreat.
SOLDIER: (Fram level above.) Polynices gathered hi.s forces against us; His voice lifted in angry dispute. 'Gainst the city of his father, his family, The city of Eteocles, his brother,
MEN: He marched! Swooping down like a bird of prey. (The MEN in formation, sweep dawn the levels around the edge of the circle and finally meet the WOMEN at the altar CENTER.)
MEN/WOMEN With flashing wings; with bloody talons, With flashing w ngs; with bloody talons.
SOLDIER: (As CHORUS moves below.) Before the seven gates of Thebes he landed; Opening his jaws with murderous cries, Embracing our city in a circle of blood. Like a malignant wind His voice rose against us.
MEN/WOMEN: With shouts of victory he stormed at our walls! (MEN have moved from the altar and sweep back up the STAGE RIGHT levels. WOMEN fallow holding the "weapons" taken from the MEN in the
ONE: Antigo e. (LJGH CHANGE and MUSIC COMPANY moves to ODE position or EXJT: PROLOG ONSTAGE remains holding CHILD.)
G Theb , ust be ore the break of dawnof war. (PROLOG EXITS with HIL D as first ODE begins )
F PROLOG
NE
d O War
: MUSIC, a dr vi g rhythm, strong stylized movement action n all the space. The vo ces are div ded among the CHORUS. The women t the altar and th me spread across the upper evels n mili ary
on carrying wooden rods which they u e in the m nner of drill eapons.
N: (At h altar.) Hail the sun B ight st that ever d on the city of hebe
e go den dawn! ng over the city of Bacchus. o spe d the army of Argos home n full ret eat
R: Fram evel above Polynices ga hered his orces agains us; ce l fted in angry dispute.
the city of h s at er, his amily, of Eteoc es, his bro he ,
He ma ched! ng down l ke a b rd of prey ( he MEN in for at on, sweep
he levels around the edge o the ci le and finally meet the N at the altar C NTER.)
OMEN: W th f sh ng wi gs; w th bloody talons shing wings; with bloody talons.
R: (As C ORUS moves below. Before the seven ates of Thebes ed;
g his jaws w th murde ous cr es, ing our city in a ci le of blood
mali nant wind ce rose a ains us.
OMEN: With sho ts of victory he stor ed at our wa ls! (MEN have from the altar and sweep back up the STAGE RIGHT levels N fallow holdin the "weap ns" taken rom the M N i the
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4
previous stanza, and end up on the floor level in front of the line of MEN above.)
SOLDIER: But the Father of Heaven heard his boasting And lifted our city with arms of fire. (WOMEN extend the weapons back to the MEN above.)
MEN: On the hands of the gods, like lightning we swung And struck the rebels, in flames, to the ground. (We hear the SOUND of screams of war and an explosion of stylized action as the CHORUS fights/dances in pairs over the entire space in brief, slow-motion combat underscored by MUSIC. The ubattles" end in death and the recognition of death; the "killers" bring the "killed" back to life as the MUSIC changes.)
FOURVOICES/2 MALE/2 FEMALE: (On the level above as the other CHORUS members dance/move below.) Seven Invaders at Seven Gates By Seven Defenders all defeated, Doomed to destruction by their swaggering tongues.
ALL: Yet our children, our families, doomed as well, To fall in battle beside Eteocles, our king And Polynices, his brother, Whose bloody pride brought this war to Thebes. (FULL CHORUS has moved to altar level DOWNSTAGE in tableau, singing.) Two brothers at one gate, In one fight, Matched swords together; And both in one blow The gods laid low. (ENTER ANTIGONE and ISMENE above, in argument. The CHORUS repeats the final stanza and moves to UPSTAGE LEFT edge of circle as ANTIGONE runs into space, down the levels STAGE RIGHT, and ends up below the altar DOWNSTAGE LEFT. ISMENE calls after her then follows. The CHORUS watches from the shadows as the LIGHTS SHIFT. They are now outside the palace.)
ANTIGONE: O sister! Dear sister lsmenel How heavy the hand of God is upon us; How we suffer for our father Oedipus. There is no pain, no sorrow no dishonour We have not shared, you and I, And now there is more.
ISMENE: What is it Antigone? Are you mad? Why do you pull me from the palace Before dawn?
previous stanza and end up on the floor evel in front o the lin MEN ab
SO IER But the Father of Heaven heard his boa And lifted our city with arms o fire. (WOMEN ex end the weap back o the MEN ab
ME : On the hands of the ods like ligh ning we sw And struck the r bels, in flames to the ground. (We hea the SOU of screams of wa and an explosion of sty ized action as the C O fights/d nces in pairs ove the entire s ace in ief, slow-mo combat undersco ed by M S C he ubat les end in deat and recognition of d ath the ki ers bring the ki ed back to lif the M SIC chan
FOURVOICES/2 MALE/2 FEMALE (O the level abo e as the other CHOme bers danc /move e ow.) Seven Inva e s at Seven G By Seven De ende s all defe Doom d o estruction by thei s aggering ong
ALL: Y t our ch dren, our a ilies, doo ed as o al in ba tle b side Ete cl s ou
A d P y i es, his h e b ood prid b ough h s r es. FULL CHO
has o d t al a level DOWNS A E in a a , sino r h rs o
I at g
i Th d aid l . ( a g men The RU peats t e final stanza and m UPS AGE EFT g f rcl as NTIGONE ru s n pa he evel STAG G T, and ends p b lo h ltar D WNST
LEFT. SMENE ca l after her then foll ws The HORUS wat from he shad ws a th IG TS S IFT. They r no o ts de palace )
H w heavy the hand f God i How we ffer for our f ther Oedip Th re is o ain no so row no We have no shared you and And now there s more
ENE i Wh d you pull m rom the pala Before dawn?
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5
ANTIGONE: The battle is ended; our brothers Both fallen and Creon is named king. He comes now to proclaim orders to the city. How can you sleep?! Hav you heard nothing?
ISM ENE: I have heard nothing of those we love. My tears drove me to sleep. The Argive army, I know was withdrawn And Eteocles and Polynices, Our brothers, both dead. What more could I know?
ANTIGONE: That's why I pulled you from your bed. To tell you my news where we could speak alone.
ISMENE: What news Antigone?! What news could be more black Than the death of our brothers Or better than the end of the war?
ANTIGONE: 0 lsmenel Our dearest treated like an animal! Our brother ... ! Eteocles is safe. He is to be buried as a hero of state With all observance due the noble dead. But Polynices, just as unhappily fallen, Still lies in danger and shame, Uncovered, unblest, unwept. A feast of flesh for carrion birds and Ravaging beasts of the field. He is not to be buried, not to be mourned. No enemy of Thebes has ever suffered so Or ever deserved such a fate. The noble Creon! Our own uncle makes this order, lsmene; Against you, against me ... Against our family. The penalty for disobedience Is death. Now is the time to show yourself A true daughter of Oedipus. To show yourself Worthy of your high born blood.
ISM ENE: My poor sister, if this is true, What can I do, or undo, to help you?
ANTIGONE: The question is will you help me?
ISMENE: With what, Antigone? What do you want?
5
NE: The b le i ended; our bro hers len and Creon is named king.
es ow to proc aim orders to the city n you sleep? Have you heard nothing?
: I have eard noth ng of those we love. s d ove me to sleep
ve army, I know was wi hdr wn ocles and Po yn ces, ther , both d ad.
ore could I know?
NE That s hy I pulled ou from your bed ou my news where we could speak a one
: Wha n w ntigone?! ws could be more b ack
e dea h of our brothers r than the en of he wa ?
E: 0 l m e rest treated like an nimal! her E e l s s fe
be b ri d h ro o t t observ n ue th nobl d a .
ic , ju u ily f ll n nge and sh me
ed, nbles , u w o le or r b s n
g b as s o he field o b b ed, o o b ed. my o hebes has e er uffer
deserved such a fate le reo r o n uncl
you, aga n t me .. our amily.
a ty for
he time o show yoursel augh er o Oedip yourself
y
poor iste , if t is is tru at can I d , o p
E: e ues n is o e me
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ANTIGONE: To cover the body. We'll go together, As sisters, you and I.
ISMENE: You mean ... to bury him? Against the order?
ANTIGONE: Is Polynices not my brother? Is he not yours? He fought against our city, yes, But his claim was as strong as that of Eteocles. He dies in battle for what he believed. That is punishment enough. Our brother does not deserve This dishonor before the gods. I will never desert him; never.
ISMENE: But Creon has ordered this. The gods have made him our king. How can we dare what is forbidden by the state?
ANTIGONE: We dare because it is right! How does our uncle dare keep me from my brother?
ISM ENE: 0 sister, beware your pride. You forgot the shame of our father, Killing his father, wedding his mother; His awful crimes self-proved, Avenged by his own stubborn hand. You forget the death of our mother, Hung in a noose of her own making. And now our brothers, full of anger and pride, Both boasting their claims to the throne, Both dead in a single day. Blood for blood, Both slain by the other's hand. We two stand alone now, Antigone, The last of the line of Oedipus. How shall we end if we disregard the law? If we defy ur king? O sister, Think what it costs to be always "right.n We are women; we sh uld nurture men, Not fight against them We need our leaders. Strong rulers offer strong protection For our city for ourselves ... We must obey this order Antigone, Even orders worse than this May the gods forgive me, I must do As I am commanded; to do more is madness.
6
ANTIGON o cover the bo We ll go togeth As siste you and
ISMEN You mea o bury h m Again t the orde
A TIGON s Polynic s not my broth s he not yo r H fought against o r ci ye But h s claim was s st ong s t at of Eteocl He di s n batt e f r what e el ev Th t s p nis m t nou Our oth r do s not des Th s di h n efo t e go I ll s t ; ne
ISMEN But C h s or r thThe g a a e o r ki g
n
TIG N : a it i ig !
I NE 0 si te , be a e your pride. You o got he hame o ou ather,K ling his a h r, w dd ng
is aw ul cr mes sel proved, Avenged by h s ow s ubbo n ha ou fo get he eath o our m he u g in a noose of e own mak g.
And now ou b ot ers, full o ange an Bo h boast ng heir c ai s to he h one Bo h dead n a single ay. B Both slain by the other s hand. We wo stand alone now, An he last of he l ne o Oedipus
How shall we end if we dis I we defy our king? O sister, Think what it osts to be always r gh We are women; we shou d nur ure men, Not f ght aga ns them. We need S rong rulers of er stron For our city or ourselves ... We must obey this o der A
v n orders worse ha his.May he gods forgive me I mu t do
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7
ANTIGONE: .Go your own way then, a helpless woman, Wa ting to be led by men. I will bury my brother. I will not ask again for your help Nor would I thank you if you gave it. The gods, I know, will protect me but If I should die, what happiness! Convicted of loyalty and reverence. I am content to lie beside my brother, Rather than to stand here with you. We have little time to please the living, But all eternity to love the dead. Live, lsmene, if you will, live; And defy the holiest laws of heaven.
ISMENE: I do not defy the laws of heaven, I obey the laws of the state! I have no choice
ANTIGONE: There is always a choice.
ISMENE: Is it wrong to choose to live? I know I am weak, Antigone-
ANTIGONE: (Still appealing.) A handful of earth is not heavy.
ISMENE: (Pulling away.) No.
ANTIGONE: Then let weakness be your excuse .. ; I will cover the body of my brother. (She starts OUT.)
ISMENE: I fear for you, Antigone! I fear
ANTIGONE: Fear for yourself. You need not fear for me. ISMENE: At least be secret. Go quietly.
I'll not betray you.
ANTIGONE: You betray me already. Do you think I care if the world Knows I love my brother? Proclaim it to the city, to all the world, Or I shall hate you even more!
ISMENE: How can you be my sister? My heart is frozen at the thought of this While yours burns blindly with madness-
ANTIGONE: Is it madness to know where true duty lies? I know my duty-
T GONE: G your own w y then, a e pless woman, iting to be led by men.
il bury my br ther. il no ask again for your he p
r would I hank you if ou ga e it. gods, I k ow, w l pro ect me bu
s ould die, w at happiness! nvic ed of oyalty and reverence
m conte t to ie be ide my br ther,her th n to stand he e wi h you. have litt e time to please the liv ng all eternity to ove the dead.
e lsmene, if you w ll, live d de the ho ies laws of eaven
ENE: I o no defy the laws of eaven, bey the laws of he state! have no choice
TIGONE: Th re s always a choice
ENE: I t rong to choose to ive? ow I am weak, A igone-
T GONE: ill appealing.) A andful of ea h is o heavy.
MENE: ( lling away. No.
TIGONE: Th n let weakness be your excuse .. ; l co er the body of y br ther. (S e st rts OUT.)
MENE: I ar for you A igone! I ear
T GONE: Fear or yourself. You need no ear for me. MENE A east be secret. G qu et y.
no be ray you.
T GONE: Y u be ray me already. you th nk I ca e if e world ows I love my brother? claim i o he city to all the world,
I shall ha e you even more!
MENE: H w can you be m sister? heart is rozen a he thought of his ile yours bu ns blindly wit madness-
T GONE: Is t madness to know ere true duty lies?
now m duty-
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8
ISMENE: What good is your "duty" if you can't succeed? The whole city is watching, Antigone! You're doomed to fail-
ANTIGONE: When I have tried and failed, I shall have failed.
ISMENE: But why start such a hopeless task? ANTIGONE: Enough! You are not my sister.
I have no sister. Leave me alone with my madness.
ISMENE: Antigone, wait-
ANTIGONE: Nol Your words won't bury my brother. I will kneel and put my hands in the earth. There is no punishment that can make me Fear that honor. I am proud of my love.
ISMENE: Go then, go! To your death if you can't listen to reason ... (ANTIGONE EXITS. ISMENE runs after her, then stops.) But remember the living who love you ... And will love you still. (ISMENE EXITS above as the voices of the CHORUS are heard chanting/singing, softly then louder, like an approaching parade. They move into the space below, celebrating the end of the war and offering memorial to those lost in battle. There is music and dancing by soldiers, citizens, men and women, voices divided or in unison. There is release, but a/so awareness of shared loss tears mingled with joy.)
CHORUS: Great is the joy In the city of Thebes! Great is the victory In the city of Bacchus! Now is the time to fill the temples With glad thanksgiving for the end of war.To shake the ground with night-long dances Set Bacchus afoot and delight abounding! (ENTER CREON and SENATOR, above from UPSTAGE LEFT as CHORUS celebration/ parade/ritual grows. CREON is dressed in military greatcoat, looks as if he has come straight from the battlefleld. The SENATOR is dressed as a "politician." CHORUS ad libs.) Creon! The king! Creon, son of Menoecceusl Creon! Creon! King! (Sings.) Great is the joy in the city of Thebes!
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9
Great is the victo y in the city of Bacchus! Creon! Creon! King! (Military parade tums to political rally.)
CREON: (Quieting the crowd; MUSIC OUT. He includes the theatre audience in the "city. n) Citizens, counsellors, friends. The gods have brought our city safe Through a storm of trouble. This is a day of great victory, A day of celebration for all of Thebes, But this is also a day of loss, a day of mourning for our friends, Our children, lost to this bloody war. (ENTER the priest TIERESIAS UPSTAGE RIGHT led by a CHILD, pulling the "spotlight" from CREON. TIERESIAS is dressed in religious robes, simple but with a hint of wealth.)
TIERESIAS: It is a day to offer thanks to our altars, To return in peace and joy to our homes, To honor the fallen, And listen to the words of heaven.
CREON: Good Tieresias, welcome. The gods have delivered our city And we welcome their priest.
TIERESIAS: Noble Creon, citizens of Thebes, We greet you, my companion and I Who share one pair of eyes on our journey back to the temple; For the blind, to walk wisely, Must always follow a leader.
CREON: (Moves to the priest, gently touches the CHILD with a smile.) You and your "eyes" both are welcome On this day of victory and peace. We invite your prayers And the blessings of the gods.
TIERESIAS: My prayers are with you, As with your son, Megareus, Sacrificed to this senseless war. A blessing on his name and for All who suffer in loss.
ALL: (Repeating the blessing.) A blessing on his name and for all Who suffer in loss.
TIERESIAS: (Moving down to altar level-the people kneel as the she passes.) I return now to the oracle And as the gods speak,
t is the ictory in the city of Bacchus! n! C eon King (Mili ary parade tums to political rally.
ON (Qu eting the crowd; MUSIC OUT. He ncludes the theatre audience e "city. n) Ci izens counsellors, friends.
god have brought our city sa e ugh a storm of trou e. is a day of grea victory,
y o celebration for a l o T ebes, this is a so a day of loss a da of mou ning for our e ds ch dren, lost o th s bloody war ENT R the pries TIERES AS TAGE RIGHT led by a HILD, pulli g the spot ight from CREON. ESIAS is d essed in re ig ous robe , simp e but w th a hin of th.)
ES AS: I i a day o o e t anks to ou al ar , etu n in pea e and oy to our omes onor the allen,
is en o the wo d of h aven ON: G d e es as, l .
god hav delivered our city we l e ei p i t
ES AS: No e C e n c i ns o ebes, g you, y o a i and
h r e f y j y t m ; l d, l se t al y f llo a ader
ON (M e ri , g i h u nd " y s" oth a e elc me
his ay o icto and ea e nv te you p a ers
t e bl ss ngs f the go
y As with y r son Megareus
ificed to this se seless war essing on his name nd for ho suffer in oss
su er in loss
( passes.) eturn now to the oracle
as the g ds speak
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I will listen and share their words If you would hear and heed them.
CREON: There never was a time, Tieresias, For good or ill, .When I have failed to hear your words
TIERESIAS: And thus, have so far steered a steady course.
CREON: I know too well, good priest, the debt I owe you.
TIERESIAS: I wish you the blessings of heaven my son. As the gods lead me now back to their altar So they have led you to the throne of Thebesl (Throwing support to CREON.) Creon! Creon! King!
CHORUS: (Joining the chant.) Creon I Creon I King! CREON: Citizens! Friends!
I thank you as I thank the gods. I count upon their blessing As I count upon your support In this time of trouble and change. (EXIT TIERESIAS and CHILD DOWNSTAGE LEFT to an area outside the circle where they remain seated in view of the audience and obseNe the action of the play when not directly involved. TIERESIAS removes the mask and becomes PROLOG. CREON continues speaking.) The sons of Oedipus, who brought This sorrow to our city are fallen Both, in this civil war, are slain; Both killed by his own brother's hand. As they have fallen in battle, So the rule of this kingdom has fallen to me. It is an honor I did not seek, A responsibility not lightly held. There is no greater test for The mind and spirit of man Than the burden of authority and rule.It is a burden we must share together; And why I speak to you now. Even on this day of triumph There are dangers still within our walls,Threats to our state, our people, our peace. We cannot safely rest while any single man Puts himself before the good of our city. A party of rebels, of malcontents Who see only profit in blood and war, Conspire to draw us again into battle.
I will lis en and share their wo If you would h ar and heed th
CRE N There ne er was a time, Tieres For good or Whe I have fa ed to hear your wo
TIERES S And th s, have so far steered a steady cou
CREO I know oo well good pr st, the debt I owe
IERES S I w sh y u he blessings of heaven my As he gods lead me now back to t eir a So they have ed you to he throne of Thebesl (Throwing su o CREON ) Creon! Creon! K
CHORU (Join ng he cha t ) C eonI C eon K CREON Cit zen Frien
th nk you s I th nk he gI c unt u on heir bles
s I co nt u on your sup In t s time of troubl nd change (EXIT TIERE IAS n CH
OWNSTA E FT to an rea outside the c r le where he rem sea ed in v ew of he udience and obs Ne the ac ion of the
o ire tly in l TI RE r m s e sk be o s PROL G CRE N con in e s aki T e n of Oedip h bro T s or to r ity re f ll Bo h, i s i l , r i ; B h kil e by h bro r's h As t y e f l i b t
o ru f is ki g I i a hon r I id no see A respo sibility no ligh T e is n g ea er te t T e in a d spi t of m T n e r en of ut o ity an r It is a burden w must s A d hy sp ak o you Even o his d y o triumph There are ange s s i l within ou walls, hreats to ou sta e ou people, our pe
We cannot safel re t whi e any s ng Pu s h sel e ore the good A party of ebels of malcontents Who see only profit in blood and
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11
o
They are instruments of power and greed, Ready to sacrifice our city for the hope of gain. They wear masks of friends and counselors, But their ambition is a poison that can destroy our home. I stand for you now against these rebels, And against any danger to our state. (He moves DOWN to altar level, working the crowd as his speech grows.) But I cannot stand alone. We must Unite as a single body under the law. Only together can we resist threats to our city. We must see with the same eyes, Hear with the same ears, Share the beating of a single heart, And the strength of a common will. Of this I am sure, our country is our life. Only when the body of the state is whole, When we stand strong and undivided Under our law and before .the world, Can we stand secure in our peace. These are the words by which I strengthen our city, These are the words by which I must rule. In accordance with these words, I have Made an order concerning my kinsmen, The slain sons of Oedipus. (Indicating.) Senator.
SENATOR: (Reading the proclamation.) Eteocles, our king, Who fell fighting in defense of our city, Fighting gallantly to defend his home, Shall be honoured with a burial of state, With all rites due to the noble dead of Thebes. His brother, the traitor Polynices, Who came from exile To destroy the home of his father; To burn the temples of Bacchus; To drink the blood of Thebes; To make slaves of his family and friends Shall have no grave, no rites, no burial. All mourning is forbidden, Under penalty of death. The body is to be left uncovered, Left to be eaten by carrion birds, And the beasts of the field; A sign of war for all to see.
CREON: These are my words. This is my order.
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Alive or dead the faithful servant Of his country shall be rewarded. The traitor, Covered by nothing but shame. (Again, moving among the people )Never again shall we stand in weakness Never again shall we draw our weapons lightly, Never again shall discord triumph over order. (Stepping up on thealtar.) As the gods above have witnessed The bloody horror of this war, Let them witness now my vow: Never again Will brother slaughter brother at the gates of Thebes!
CHORUS: (Rising to their feet, ad libs cries; a successful political rally.)Never again! Never again! Yes! Creon! King! (CREON moves among the people as they cheer, then back to the level above.)
SENATOR: Creon son of Menocceus, king! The gods have delivered our city to your hand. Your judgement for the friend as for The enemy of Thebes is clear. For the dead, as for the still living, Your will is law.
CREON: I can only ask then that the law be carried out.
SENATOR: Someone younger might be more fit to watch over the corps�, my lord.
CREON: Fear not my friend, the guard is already set
SENATOR: What other duty do you require of us?
CREON: Only to hear the law and obey; to stand as one Against those who would threaten our state, As we stood today against the army of Argos! (Begins chant whichthe CHORUS joins.) Great is the joy in the city of Thebes!
CHORUS: (Joining chant.) Great is the victory in the city of Bacchus! Great is the joy in the city of Thebes! Great is the victory in the city of Bacchus! (ALL freeze in tableaumoment, in the height of celebration Then, as MUSIC begins, theyslowly dissolve into positions for ODE TWO, watching as above, inritualized movement, CREON'S military coat is removed and replacedwith the robes of a king. He holds tableau as ODE begins thenEXITS to the "palace" UPSTAGE LEFT.)
END OF ODE ONE
2
Al ve or dead the fa hful se Of his country sha l be rewa The tr Covered b nothing ut sh me (Again moving among the peo
ever again ha l we s and in weakn Never ag in ha l we draw our weapons li Never ag in shall discord tr umph over rder. (Stepping up on a As the ods above have witne The bl ody horror o this Let them witness now my Never a Will br ther slau hter brother a the gat s of The
CHO US (R sing to heir ee ad libs crie a successful po tical Never a ain! Never a ain! Yes! C eon! ng! (CREON moves am the peop e as they cheer, hen back to the evel ab
SENA OR: Creon s n of Menoc eus, The ods have delivered ou c ty to our hYour judgement fo the f iend a The ene y of Thebes is Fo the dead as fo he s ill l You w ll is
CR ON: can only ask hen tha the law be carrie
SENA OR Som one you ger might be more fit to watch over the co my
CR ON: Fear ot my f end the guard is already
SENA OR: What ther duty do you requ re o
CR ON: On y to hea the law and be ; to s and as Aga nst t ose who would threaten our s As we s ood today agains the r y of A gos! Begins chant wthe CHORUS j Grea is he j y in the c ty of The
CHO US: (Joining chant ) Great i the vic ory in he c ty of Bac Grea is h o in the c ty of The Great is the vi t ry in he city of Bac hus! (ALL free e in tabmoment i the height of celebra on The as M SIC begins s owly dissolve into posi ions for DE TWO watching as abo ritualized movement CRE N'S m litary coat is removed and replwith he robes of a ing He holds tab eau as ODE beg ns EXI S to the "pa ace" UPSTAGE L
END OF ODE
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ODE TWO
Ode To Man
AT RISE: Voices, MUSIC, ritual movement divided among the CHORUS.
TIERESIAS: (As PROLOG.) Wonders are many on the Earth And the greatest of these is man.
CHORUS: Man, master of ageless Earth, Bending to his mortal will This Eternal Mother of the gods By the sweat of his brow, By the fire of his mind, He conquers the surging ocean, He climbs above the drifting clouds.
MAN: (As CHORUS moves.) Man, lord of all things living, Beasts of the field, birds of the air, All the forces of nature Has he taken and tamed. Earth, Fire and Water harnessed Caught in his hands, And taught to bear.
WOMAN: (On palace level above.) Man, who found the use of language, And the wind-swift motion of thought. Who built shelter from the rain, And turned them to towers of beauty; Cities •.• where we learned together The laws of state, of living as one. (WOMEN watch from above as MEN move to altar CENTER one by one.)
MAN 2: Man, whose power knows no limit!
MAN 3: Cunning, to conquer every danger.
MAN 4: Strength, to stand against attack. MAN 5: Passion, to face the Fates . MAN 6: For every challenge an answer!
ALL MEN: For every ill save death, a remedy! Such is the power of man! (MEN freeze in heroic tableau at the altar.)
ALL WOMEN: Such is the modesty of man. (They begin to move DOWN from above.) Who draws both to good and evil ways. Great power in these mortal hands, To uphold the laws of state and heaven.
E TWO
e To Man
RISE: Vo ces, M S C, rit al movemen div ded among the CHORUS
RESIAS (A PROLOG.) Wonders are many on the Ea th d he greatest of ese s man
ORUS: M n, master of ageless Earth, nding o his mortal wi s Eternal Mother of he gods the sweat of his brow the fire of his mi d conquers the surging ocean, c imbs above the drifting clouds
N (A CHORUS moves. Man lo of all h ngs livi g asts of he fie d birds o he air, he for es of na ure
he taken and tamed th, Fire and Water harnessed ught in his hands d taugh to bear.
MAN: ( pa ace level above.) Man, w found the use o language, d the wind-swift motion of hough . o bu t sh lter from the rain d turned them to owers o e uty; es . w ere we learned together laws o a e, of iving as one (WOMEN wa ch rom ab ve as N move to a tar CENTER on by one.)
N 2 M n whose power kn ws no lim t
N 3: Cunn ng to conquer every danger.
N 4: S ength, to tand against attack. N 5: Pa sion to ace the Fa es N 6 F every chal enge an an wer!
M N F every i l save dea h, a emedy! h is the power of man! (M N freeze in heroic tableau at the altar.)
W MEN S h is he modesty of man (T ey begin to move DOWNm above ) Who draws bo h to good and ev wa s. at power in these mo tal hands,
uphold he laws o sta e and heaven.
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ALL: (Moving together as men break tableau, recognizing the potential danger of "pride" in their own hands and connect with the audience as couples.) But minds that close in pride Threaten all beauty, Without and within.
TIERESIAS: (As PROLOG, speaking as CHORUS moves to STAGE RIGHT edge of circle to watch the next scene.) He that hears but will not listen, Walks alone, toward the wages of sin. (As MUSIC ENDS we hear the SENTRY'S voice from OFFSTAGE. He ENTERS above, anxious and out of breath; calls into the palace to make a report to the authorities, then discovers the audience and crosses down to the altar level. He is dressed as a working soldier.)
SENTRY: My lord! I am out of breath. But not from running. I haven't been running. Well, I have been running, but I ve been stopping, too. You've heard the old saying, "Hurry up and wait"? That s me; years of army training, first you hurry up And then you wait. So all the way here, I thought, "Hurry, you fool. If the king hears your story From someone else, you're as good as dead." But then I thought, "Wait! Why rush to bring bad news?" You know what they say about killing the messenger. So there I stood Caught between Silly and Chirribdis; But at last duty won out over fear and here I am, As fast as my unwilling feet could move me. Old habits die hard, I guess. Old soldiers, too, I hope. I'm rambling, aren't I? I do that when I'm nervous. I'm nervous now so I'm probably rambling. But the point is this: I'm here to tell my story. (ENTER SENATOR above on important business, moving with purpose.) And whatever I suffer for it is in the hands of the gods. (Going to the SENATOR.) My lord!
SENATOR: Good heavens, man, what is the matter? SENTRY: Beggin' your pardon sir, but the matter is for
The ears of the king.
SENATOR: I listen for the king. Tell me your news.
SENTRY: I don't want to tell it at all, sir, But if the story's told, it has to be told to the king.
L: (Moving toge her as men break tableau, recognizing he poten dang r of "p de" in heir own hands and connect with the audie as coup Bu m nds hat c ose in p Threaten all e W thout and w
TIER S AS: (As PRO G, spea ing as CHORUS move to STAGE IG edge o c rcle to watch the next sce He that hea s but wi l not lis Walks a ne, toward the wages of sin. (As MUSIC E DS we h the SENT Y S voice f om OFFSTAGE. He ENT RS ab e, anxi and ou of breath; calls nto he palace to m ke a report to author ies, t en disco ers the audience and crosses dow to
ltar vel He is dresse as a working sold
SEN R My o d I am ou of br Bu not om run ing haven t been unn Well, I ave been un ing, but I ve been stopp ng, You ve heard he old sa ng, u ry up and wa T at s e; y ars o my rai ng irs ou hu y nd hen ou ait S all the way re, I hou
" u y you ool. I he ing h ars our s F om someone lse you r as goo as d a Bu en o h , "Wait! W y ush to ing a ew You k ow what e say ab ut ki ing the messen S th e s Caugh een l y an C i iBu at a t duty w n o t v fea an e A f a y un i ling ee could ove Old it i ha d I g s d s i , o
ra bl ng aren't I? do a hen o ' n ou ow s I m b a ng B e o s i h to ll ory (ENTER SENATOR
o i g w pu ) n wh te e I f o i s ( t
SENATOR y l E
S p , The e s of he k n
E ng.
S : But f he s o 's tol t h s t
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SENATOR: It must be a strange tale To breed such a nervous beginning.
SENTRY: Strange is a good word, sir, Miraculous is better. (ENTER CREON above.)
CREON: Sentry! What news?!
SENTRY: Frightening is best.
CREON: Speak, soldier!
SENTRY: Sergeant of the watch, sir, making report.
CREON: Well, out with it then.
SENTRY: (Rushes up to CREON on level above.) Yes sir, right away, sir. It's this, sir. The corpse ... someone has gone and buried it. Or rather, they've buried it and gone.
CREON: What?!
SENTRY: Dry dust, sir, scattered over the body ... Like a kind of burial of sorts.
CREON: Who dared to do this?
SENTRY: Well, that's the mystery, sir. We could make nothing of it. There was no sign of pick, no scratch of shovel; Whoever it was left no clues behind. Nothing. The ground was hard and dry, no trace of wheels. It happened like magic, sir, a miracle. (SENATOR echoes the word "miracle" as does CREON from his own point of view as he moves DOWNSTAGE past the SENTRY who continues cautiously.) When the first watch showed us we stood there amazed; Speechless, if you can imagine. But there it was, the body, covered from sight. Not a real grave, of course, Just this layer of earth, Like from the hand of some pious passer-by, Or maybe kicked up by a well-meaning dog. But there were no signs, not of animal or man, Which made us all a touch jumpy. We set in on the first watch, accusing them; They pointed right back at us. Pretty soon Everyone was accusing and everyone was denying, Till we almost came to blows. Every man of us was ready to walk through fire And swear to heaven we hadn't done it,
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Nor knew who done it, nor knew of anyone Who might have known of anyone who done it. Then one of the men said something That made our blood un cold What he said w s this, "Someone must tell the king " Well, there was no question there, sir So it was agreed. We drew lots for it, sir, and as you can see, I lost. So there's the report, sir, such as it is. Deliver d as much against my will as yours, I'm sure. And I'm hoping you can see the difference, sir, Between the "message" nd the "messenger."
SENATOR: My lord, I fear the hands of the gods Are in this ... perhaps it is a sign-
CREON: Can you not see th hands of our enemies Before those of our gods? The reb ls conspire in this act on To upset our newly righted state.
SENATOR: But the wat h has seen no rebels What mortal wou d dare-
CREON: You saw no one at the body?
SENTRY: Not a soul, sir, nor a y sign of one. SENATOR: If the gods have willed-CREON Enough of that You speak like
A superstitious old fool. (S ftening.) Could the gods give a thought to this Carrion flesh? Would they hold Polynices in High esteem, see him buried lik a martyr; This man who came to burn their emples, To plunder their shrines, their lands, their laws? No. Blasphemy to think is a man the gods c uld l ve
SENATOR: But who would risk death to defy your law?
CREON: Powers ho profit from a city at war. Traitors within our walls bribe Their servants to do these things. They would overturn our law And push us back into battle. We cannot bend to their greed. Money is the greatest curse of man. Money can buy the weak of will, And lead even well-meaning souls Into betrayal and shame.
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Nor knew who d ne it, nor kn w of an Who might have known of anyone who d Then one of the men said some That made our blood run Wha he said wa this "Someone mu t tell the Well, here was no question there, s r. So i was ag We drew lots or t, sir and as you can see So here s the r port, sir such as Deli ered as much aga n t my will as yours, I'm And I m hoping you can see the differenc Betwee the "mes age and the "messe
SEN OR My lord, fear the hands of the Are i his . . perhaps it is a s
C ON: Can you not see the hands of our ene Before hose of our The rebels consp re in this a To upset our newly ri hted
SEN OR But the watch has seen no r What mortal would
C ON You saw no one at the b
SE TRY Not a sou sir, nor any sign o SEN OR: f the gods have wiCR ON: Enough of that! You spea
A superst tious ol fool. (Softe Could the gods give a th ught to Carrion f esh? Would they hold Polynic High es eem see him buried ike a m This man who came to burn their tem To plunder their sh nes, their nds their l No Blasp emy to think h s a man the gods could
SEN TOR Bu who would risk death to defy your
C ON: Powers who profit from a city a Traitors within our walls Their servants o do hese t They would overturn ou And push us back into bWe cannot bend to their g Money is the greatest curse o Money ca buy the weak o And lead even well-meaning Into betraya and sh
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Sentry! Are you true to the state? Can your loyalty be bought?
SENTRY: Yes, sir! I mean, no, sir! I mean the first one, sir You can count me true, sir! No question there, sir, true-blue as they say-
CREON: (More urgency than anger.) Find who has made this burial. Bring him into my sight today. This is my test of trust in you And as god above is my witness, If I find you unfaithful or false No mere death will pay your reckoning. (Moves to EXIT above.)
SENTRY: (Follows CREON.) My lord, I am no rebel!
CREON: All who stand against our state Will learn not to look for unlawful gain. And it will be a painful lesson.
SENTRY: I'm just trying to do my job, sir
CREON: Then do it. .. and nowl Or Your wickedness will find more loss Than profit. Go.
SENTRY: Just another word, sir?
CREON: No. You have your charge. Your words are already like daggers in my ears! (Starts OUT again.)
SENTRY: (Unthinking outburst.) Your ears, sir, or your conscience?!
CREON: (Stopped short, slowly.) You are either very brave Or very foolish To trade words with a king. What do soldiers know of conscience?
SENTRY: (Terrified but standing up for himself.) Only that my own is clear. I may offend your ears, sir. But he that's guilty is the one offends your law. I'm an innocent man till proven different And I deserve to be treated so.
CREON: (Almost amused in spite of himself.) You should drop your sword And study the law. You were born to argue.
SENTRY: Maybe so, sir. One of the few real pleasures left in a democracy. That, and the "innocent till proven guilty" thing.
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CREON: Hear me, Sergeant, and live to sav r your pleasures. Mi placed ambition is a deadly thing Let not your reach exceed your grasp, For ill-gotten gai brings only ills If you have sold your soul for money, If you fail to bring me the doer of this deed, I will teach you the diff rence between guilt and innoce ce; And all your arguments will be with the gods! (He starts OUT then freezes in tableau which he olds during ODE.)
SENTRY: Everyone says it's good t be the king, But it doesn't agree with him My only Ambition is to find the doer of this deed If heaven wills, I will. If not, here set living and free, It's damn unlikely they'll ever find me (He holds tableau for a moment then EXITS; or, if ne of the CHORUS, he begins the ODE then EXITS.)
END OF ODE lWO
ODE THREE
Ambition
AT RISE: The MUSIC and movement are set with and against the text. The voices can be divided: solos, pairs, quartets, or in unison. Some characters may move as others speak: The ODE should be stylized accordingly Repeat the text to work with MUSIC, as needed.
CHORUS: Ambition drives men to good, And many it lures to destruction, Falsely lighting flames of desire, Of greed, Of power, 'Til failure trips men unawares, And they fall Consumed in fire (Half of the CHORUS, in speaking pairs performs the next verse as the other half, also in pairs, moves to create a physical image of beauty which grows, then co/lapses, under its · own weight.) Ambition lifts man toward the gods To the secrets of science and spirit, Unlocking the mysteries of life, Of energy, Of matter Yet knowledge without wisdom
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CR ON: Hea me, Sergeant and l ve to avor your plea ures. Mispl ambit on is a deadly t Let not your reach exceed your g or ill gotten ga n b ings onl f you have sold your soul for m f you ail to ring me the doer o this d I wil teach you the difference between guil and nnocAnd all your arguments w ll be with the gods (He starts OU freezes in tableau which he holds during O
SE RY Everyone says i 's good o be the But it doesn t gree with him. M Ambit on is to find the doer o this d If heaven wills, w ll. I not, here set iv ng and It s damn un kely t ey'll ever find me (He holds tab ea moment the EXITS; or, i one of the CHORUS, he begins the then EX
END OF ODE
ODE T
Amb
AT ISE The MUSIC and movement are se w th and against the text vo ces can be di ided: olos, pairs qua tets or in unison. Some chara may move as o hers s eak The ODE should be stylized accord ngly. Re th text to work with M SIC as ne
CHO US: Ambition drives men to And many it ures to destru Falsely lighting flames of d Of g Of p 'Til f ilure trips men unaw And the Consumed in fire. Hal of the CHORUS, in speaking pairs, perfo the next erse as the other half, also in airs, mov s to crea physical ima e of beauty which grows hen co/la ses, u de own we Ambition lifts man toward the g To the secrets of sc ence and Unlo king the mys eries o Of en Of m Yet knowledge wi hout wis
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Dooms all our race To destroy what it creates. (The next line can be repeated in canon as the CHORUS moves to the levels above.) As in the past; so in the future. (Giving focus to CREON in tableau then direct to audience.) For mortal man this law is true: Greatly to live is greatly to fight, To endure, To suffer, And for a world in pain, Ambition can seem the same as hope; Evil, the same as good. (CHORUS moves to position for next scene on the levels above as CREON EXITS. SENTRY is heard OFF UPSTAGE RIGHT before he ENTERS. He leads in ANTIGONE with her hands bound. She wears the military coat that belonged to her dead brother. The SENTRY carries a funeral um.)
SENTRY: Call the king! We've got her! As easy as that! Caught in the act! Where's the king? My lord! (SENATOR ENTERS, sees ANTIGONE.) My lord! (SENATOR EXITS to the palace calling for CREON.) My lord?! (To the audience, again. Bringing ANTIGONE down to the altar.) There's no pleasure like An unexpected pleasure. And to tell you true, After the beating the king gave me before I never expected to have the pleasure again, But here I am. And here she is, just like he asked; Caught in the act, her hands in the earth, Setting the grave in order.
SENATOR: (ENTERS quickly with CREON.) Are you in your senses, man? Do you know the girl you bring here?
SENTRY: I only know her for what she is, sir. The doer of the deed. No question there, sir. Kneeling at the grave. Caught her myself, and here she is, sir. Signed, sealed and delivered. So take her, Judge her, convict her if you will. But as for me, sir, I'm free, I hope, and Done with the whole horrible business. (During the speech above CREON has continued DOWN to the altar and frees ANTIGONE'S hands. Seeing she is unharmed he turns to the SENTRY. ANTIGONE crosses away DOWNSTAGE LEFT.)
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CREON: This is madness Do you know what you are saying?
SENTRY: My words weren't clear? Was I rambling again? I was rambling, wasn't I? Sorry, sir, I'll make it plain (Announcing clearly.) This girl is the offender! (No response.) I saw her myself. (Still nothing.) Burying the body. (Crosses to CREON, aside.) The one you said not to bury?
CREON: (Still unbelieving.) Tell me exactly how she came to be seen; How she was taken in this act.
SENTRY: Right; sir. It was like this. After I got back to the place, With all your threats and curses Still ringing in my ears, We swept off the earth that covered the body, And left it again just like you ordered. Naked, rotten and stinking to high heaven. We set the watch then and sat; Together-up on the hill, To the windward side as far as we could, Keeping clear of the stench The boys kept each other sharp and alert With a bit of gambling and shari g of tales. We were ready for anything, sir, tight as a tick. Till w th no warning at all, A deathly quiet fell, That moment you feel b for a storm, you know? And sure enough all Hades broke loose First the sun seemed to suddenly explode, Flam ng orange burst high in the sky. And through this blaze of light a d heat A storm of dust arose, Swirling like a plague from heaven, Sweeping over the ground, Stripping the trees stark bare, Filling the air so you could hardly b eathe You had to shut your eyes to s and against it; Like staring into the face of the gods. Then, just as suddenly, it stopped Gone, as quick as it came And there she stood, this little girl, Screaming like an angry bird
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CRE N: h s is madn Do you know what you are sayi
SEN RY: My words weren't cl ar? Was I rambling aga I was ramb ng wa n Sorry si I'll make it lain. (Announ ing clea his g rl is the offender! (No respon
I saw her my elf. (Still nothi Burying the body. (Crosses to CREON, asi The one you said not to bu
CRE N: ( t ll unbelievi g.) ell me exactly how she came to be se How she was taken in his
SEN RY: Right s r I was ike After I got bac to the pla With all your threats and cur Still rin ing in my e We swep off the earth hat covered the b And left it again, ust like you orde Na ed ro ten and stinking to high hea We set the watch then, and Toge her-up on the To the windward ide as fa as we co Keeping c ear of the sten The boys kept each o her sharp and a Wi h a b t of gamb ing and sha ing of ta We were ready for anyth ng sir, t gh as a Till with no warning a A deathly quiet hat moment you eel be o e a storm, you kn
And sure enough all Hades broke loo irst the sun seemed to suddenly explo
Flaming orange burst high in the And through this b aze of l ght and h A storm of dust ar Swirling like a plague f om hea Sweeping over the grou Strip ing the trees s ark b Fil ing the a so you could hardly brea You had to shut your eyes to stand aga ns ike sta ing nto the face of the g
T en us as sudden y it stopp Gone as quick as it ca And there she stood, this l ttle Screaming like an angry
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When it finds its nest empty and the little ones gone. Just like that she screamed, seeing the naked body. Crying and cursing she scooped up the dust, And cast it over the corpse. Then she started in praying And pouring out oils from this fine earthen urn, Grecian, I think. Three times she called, wailing in prayer; Making offering to the gods of the dead. Well, it took us a moment, sir, To get over the shock, But when our heads were clear, Down we came and took her in hand; Charged her in the name of the king. And here she stands, I'm happy to say ... Though a bit sorry, too, in a way. It's good to save our own skin, of course, But sad to bring trouble to another. I've nothing against the girl and wish her no harm. But if the truth be known, I can't say I've ever valued Anyone else's life more than my own.
CREON: (Moving to ANTIGONE.) Well; speak child. Open your mouth. Do you admit this deed? Do you deny this story?
ANTIGONE: I am no child; but a grown woman. Both his story and my deed are true.
CREON: Sentry! You may go. You are free from blame.
SENTRY: Thank the gods! And thank you, sir. I knew it was just ... right. Right. Right. Right. Back to my post; sir. (He offers the urn to a troubled CREON who turns away, then crosses to ANTIGONE and offers her the um. She, too, turns away.) Best of luck, little lady. (He EXITS with the um.)
CREON: Now tell me, "grown woman," In as few words as you can, Did you know of the order forbidding this act?
ANTIGONE: The order was plain enough. The word of the king is law.
CREON: Yet you think yourself above the law?
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ANTIGONE: No one is above the law, But some laws are made higher than others. Do you think your orders strong enough To overrule the unwritten laws of heaven?
CREON: The gods have delivered our city From the bloody hands of your brother, Antigone. They require no honor for such a traitor.
ANTIGONE: They require my family to mourn their dead. The laws of man may change moment by moment But the rules of the gods stand true Yesterday, today and tomorrow. I have honored the laws of heaven above the laws of man; I have buried my brother. As I stand guilty before you, I stand innocent before the gods.
CREON: Your act, in itself, may seem righteous, child, But you cannot turn the law into your own hands. Would you place the desires of one Above the protection of our city?
ANTIGONE: How does covering the body of my brother Bring danger to our homes?
CREON: Our city will fall without respect for order. Even an act committed in honor Cannot stand above authority and rule. You are the daughter of a king a lawmaker: No one should hold our laws more sacred, Or be more truly bound by their rule.
ANTIGONE: Judge me then, if you will, Enforce your order and let me die. I will trust myself to the Judgement of heaven.
SENATOR: She is her father's daughter, She shares the spirit of Oedipus.
CREON: The pride of Oedipus! Stubborn, foolish pride, Antigone. I have no time to play this game.
ANTIGONE: There is no game, Uncle. CREON: There is, child. You play the rebel, burning with passion, And you
would have me play the tyrant. · You would make me kill you to prove a point When I would do nothing more than save your life and name.
22
ANTIGONE: No one is bove th But some laws are made higher than o Do you hink your orders strong en To overrule the unwritten laws of he
CR ON The gods have del vered ou From he b oody hands of your b other, An They requ re no onor for such a
ANTIG NE: They requi e my family to mourn their The laws o man may change momen by mo But the ru es f the gods tan Yesterday oday and tom I have honored the laws of heaven bove the l ws o I have buried my br As I stand guilty before I stand inno ent befo e the
CR ON: Y u act in tself m y eem righ eous But you c nno tu n the law int yo own Would you ace the desires A o e he rot ct on f ou
A TI NE: How does co ering the body of m b Bring d n er our h
CR ON Our i w ll f ll w hout re p ct for E n n t o i d n C nn t t n bo u ity n Yo are the daughter of a k ng lawm
ne s l ho d u l s m e s O b mo trul ou thei
ANTIG E: J ge en, f ou E f y u l I i l t ust y elf
EN O Sh h h 's f O
REON T e r f O d pus S ubbor o i p i e, t
E i EON T e e is, c d. ou p a b
wou d ha e me pl y t e tyra . u wou d make me ki you to prov a p n
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ANTIGONE: I cannot make you a tyrant, Uncle. You have chosen to be king, As I have chosen to bury my brother. We must do our duty.
CREON: My duty is to protect this city, To protect these people, To protect you ... even from yourself.
ANTIGONE: You cannot protect me from what I believe.
CREON: Do you wish to die?
ANTIGONE: I wish to live. But not at any price. Your punishment I can easily bear. Leaving my mother's son to rot in the field, Lying alone, unmourned, unburied, This is the pain beyond bearing. The death you threaten comes to me As it must for every mortal. If sooner rather than later, I will thank you then for letting Me join my family. To live each day Without them, as I do, makes me glad to die.
CREON: (Softly at first; not as an attack, but with reason.) These proud thoughts do not sit well On the shoulders of children. Who has pushed you to commit this crime? With whom do you conspire?
ANTIGONE: I have acted alone. I conspire with the gods.
CREON: (Kneeling to touch her face.) Repent this foolish act, child, And grow to your full flower or Stand as a woman, and face the judgement of the state. (Nothing from ANTIGONE; she has forced his hand. He rises.) People -of Thebes! MY sister's child, this daughter of Oedipus, With whom I share my home, Has broken the law of our city. She stands before us now, not in shame But proudly boasting her deed. In this act she names herself our enemy, When she could have easily been our friend. Before the gods and this city I have vowed
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GONE: cannot make you a tyran Uncle. ave chosen to be king,
ave chosen to bury my brother. ust do our duty.
N: My duty s o protect this city, otec these peop e, otec you . eve from ourself.
GONE: You annot protect me from what believe.
N: Do you wish o die
GONE: I wi o live But ot a an p ice. punishment I can eas ly bear.
g my mother s son o rot in the field, a one, unmourned, unbu ied
s the pain beyond bearing. death you t rea en comes o me
u t for e ery mortal. ner ra her than ater,
hank you en or letting oi my ami . To l ve each day
out hem as I o, mak s me glad die.
N (So y at first; not as an at ac , but th reaso .) he e proud hts do not s t well
e s ou de of dre has push d you to co mi this c ime whom d y u s i e
NE: a I s i i h he gods
N: Kn l g u ) nt h foo h act hi d
y l l e a a an, nd fa th g t t ( ng
ANT GONE; ha e hand e r P pl f es!
t ' i p h m I a y h e,
ken the f o r c ty an s b fore us no ot in sh ro d y boas ing he de d
s ac she names h rse f ur en she coul ha e easily been o r f iend the ods and th s city I have v wed
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To protect you from our enemies, To enforce the order of law. The good of the many must stand Before the willful desires of the one. Even if that one were my own child. (He looks. Still nothing from ANTIGONE.) The full punishment of Thebes Must fall to Antigone ... And to her partners in this action. Stand forward and speak If you know more of this crime. Stand forward! (Nothing. He tries a new tact.) Call forth her sister. Bring lsmene here. (ANTIGONE is surprised. SENATOR EXITS.) She fills my house with weeping and wailing; I thought, in mourning for her brothers, But the thoughts of criminals often Betray themselves after the deed is done. If your sister knows of this act She stands as guilty as you.
ANTIGONE: Will you do more than kill me?
CREON: Since death is your wish, no. I can do nothing more.
ANTIGONE: Then why delay? Nothing I say can weigh with you, As nothing you say can reach my ear. I have buried my brother. It was an honorable act, As anyone here would tell you Were their lips not locked with fear.
CREON: None of these people think as you.
ANTIGONE: Yes, Uncle, they do. Yet they dare not tell you so. Only kings and rebels truly speak their minds. Your people hold their tongues because they are afraid.
CREON: My only fear is that your willful passion Will claim your life, child.
ANTIGONE: No, Uncle. I think I frighten you. I frighten you because I can say "no." It is easy to lead when all will blindly follow But hard when someone stands up to say "no."
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CREON: "No" is a word for children, Antigone. It is easy to play the rebel; to find fault, It is even easy to die. Death is escape. What is hard is to live; to work, To stare into days of sorrow and loss; To accept responsibility and still to go on. It costs much more to live than to die. These citizens are not afraid. They are wise in the ways of the law, And a world filled with uneasy choices. These people hear the practical voice of reason While you cover your ears and scream. You stand alone in your childish pride, Unrepentant and unashamed.
ANTIGONE: There is no shame in honoring my brother.
CREON: Was not his enemy, who died with him, your brother? ANTIGONE: Yes, both were my brothers, the sons of Oedipus. CREON: In honoring one, do you not insult the. other?
ANTIGONE: He that is dead will not accuse me so. CREON He will, Antigone, he will scream from the underworld
If you honor him no more than a traitor.
ANTIGONE: It was not a traitor but his brother that died.
CREON: Attacking his country, his home, While the other defended!
ANTIGONE: Even so, we have a duty to the dead. CREON: What of your duty to the living?!
Should we give equal honor to good and evil? ANTIGONE: In the land of the dead
Perhaps that s the law!
CREON: An enemy can't be a friend, even when dead! ANTIGONE: (Fighting to make sense of it all.) Must an enemy dead remain
forever an enemy? Ready to rise in spirit And turn our fears into war? s the land of the gods divided like ours,
With bloody lines between friend and foe? I have no answers for your riddles, I only know I follow my heart.
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EON: " is a word for ch dren Antigone s easy to play the rebel; to find fault, s even easy to die. D ath is escape.
at is ard is o ive; o work, stare nto days of so row and loss; accep re ponsibility and sti l to go on
osts much more to ive than to die. ese cit zens are no afraid. ey are wi e in he ways of he law, d a world filled wi h uneasy cho ces. ese people hear the practical vo ce of reason ile you co er your ea s and sc eam
u s and alone in your ch ldish pr de, repentant and unashamed.
T GONE: There is o shame in honoring my brother.
EON: W s no his enemy, w o died wi h him, your brother? TIGONE: Ye both were my brothers, th sons of Oedipus. EON: In honoring one d you not insult the other?
T GONE: H th t is dead wi no accuse me so EON: H wi , A igone he wi sc eam from the underworld
ou honor him no more th n a raitor.
TIGONE: I was no a raitor but hi brother th t died.
EON: A acking his coun ry, hi home ile the other defended!
T GONE: E en so w have a duty to he dead. EON: W at of your duty to the v ng?!
ould we give equal honor to good and ev ? T GONE: I the land of the dead
rhaps that is h law!
EON: A enemy can t be a riend, even when dead T GONE: ghting to make sense of t all ) Must an enemy dead remain
ever an enemy? ady to rise in sp r t d turn ou fe rs nto war?
h land of h gods divided like ours, th bloody lines between friend and foe?
ave no answers or your riddles, n y know I fol ow my heart.
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My way is to share my love, Not to share my hate.
CREON: Go then, if you will hear no reason, Share your love among the dead, Where it can bear no fruit. (Starts to EX/I) The gods save our city from the logic of women!
SENATOR: (ENTERS UPSTAGE LEFT above with ISMENE.) lsmene, my lord. Still full of tears. I can learn nothing from her.
CREON: (On STAGE RIGHT level.) Stand up, girl, and speak. Admit a share in your sister's plot. Do you deny a part in this burial?
ISMENE: I ... I amto blame as much as she. I did it. Yes.
ANTIGONE: Nol That is not just. You turned away when I asked your help.
ISMENE: But now I am here. I am not ashamed to Stand beside you.
ANTIGONE: Whose was the deed? Death and the gods are witness (ISM ENE rushes down to altar level.) I can love no friend whose love is only words. You shall not die with me. You cannot claim that which you would not touch. One death is enough.
ISMENE: How can I live, if all my family must die? ANTIGONE: Ask our uncle. He would make the state your family.
ISM ENE: (On her knees.) Do you find joy in taunting me?
ANTIGONE: No, sister. No. Though I always have before. (She moves away. ISMENE follows.) Now my every jest is a bitter pain.
ISMENE: 0 Antigone, tell me, what can I do? How can I help? You are my sister, If you must die, let me die with you.
ANTIGONE: That was my choice You must find your own
ISMENE: (Moves to the altar.) Why is it wrong to want to live?
ANTIGONE: It isn't. Not if there is something to live for ... (Moves to her.) Your way seems right to some, to others mine. You chose life, lsmene. So live.
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My way is to sh re m Not to share m
EON: G then if you wi hear no r Sha e your love among the Where it ca bear n fruit (Starts to The gods save our city from the logic of wo
SE A OR: (EN ERS UP AGE LEFT above wi h ISM NE.) lsmene lord Still full o tears I can lea n nothing fro
EO (On AGE GHT evel.) a up gi l and eak. A s are n your ister
o yo deny a part n h s b I M : I . am la e as c he I d
A : Y u u a y he I o
I S an
A D ath nd th ods ar I can love no friend whose l ve s nly words Yo shal n t d w t me Yo cann t cla m t One death s en ugh
IG E l o
E (O D n
A TIG E N t N T u h alw hav aw ISM NE follows ) Now my every jes
ISMEN : 0 A t g n ell m wh How can I he p? ou are my sis e I ou must die, le me die w
NTIGONE Th t was my choi e. Yo
ISM E: Moves to the altar.) Why i it w ong o wa
A TIGONE I isn t. No Y ur y eems r g t to so o o rs Y o l e, sm ne o ve.
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Your heart will hurt longer than mine. It was right for me to help the dead. Your fate is still to serve the living.
CREON: (Moving DOWN.) Both the creatur s are mad, I think One lately crazed, the other from her birth.
ISMENE Even the strongest mind breaks Under misfortune's blow. O Uncle, have pity-
ANTIGONE: I do not want your pity! I have done no wrong.
CREON: Your pride will destroy you, Antigone, Repent this foo ish deed and live.
ANTIGONE: It is your law that is foolish. I cannot live under a rule that is unjust.
ISMENE: And I cannot live without my sister.
CREON: You have no sister. Count her dead already.
ISMENE: You could take her life so quickly . your own son's bride?
ANTIGONE: (Reality hits home ) Haimon-
lSMENE: (To ANTIGONE.) Yes Haimon. (To CREON.) No truer match was ever made than theirs.
CREON: (Not easy, as with ANTIGONE, a consequence that had not fully hit him till now.) My son Shall find other fields to plough.
ISMENE: O Haimon my cousin! Can your father hate you so?!
CREON: What father would wed his son to So vile a .creature, a stinging serpent Who waits in his own house to betray him?
SENATOR: You would take her from your own son's arms?
CREON: (Moving to EXIT UPSTAGE RIGHT.) Not I. But the law and death shall take her. She will have it no other way. Take them, and keep them locked within, The proper place for traitors .. and women. (They freeze and hold in tableau as the next ODE plays. CREON, positioned STAGE RIGHT; SENATOR, positioned UPSTAGE LEFT; /SMENE and ANTIGONE, positioned STAGE LEFT of altar below. [NOTE: This play should be performed without intermission However, should circumstances
27
heart will hurt longer than mine. s righ for me o help the dead.
fate s st ll o serve the vin .
N: (M ving DOWN.) Both the crea ures are mad, I th n . One late y ed, the ther from her birth.
ENE: Eve the trongest min breaks er misfortune's blow.
c e have pity-
GONE I do not wan your pity! e done no wrong.
N: You pride will des roy you Ant one, ent this oolish deed and live.
GONE It is your law hat is fool sh. not live under a ru e that is u just
ENE: An I cannot live without my sis er.
N: You have no s ster. Count her dead already.
ENE: You ou d ta e her ife o quickly ... your own son s br de?
GONE (R lity hits home ) Haimon-
NE: (To NT GONE.) Yes Haimon (To REON.) uer mat h was ever made han the rs
N: (No easy, as with ANTIGONE a c nsequence that had not ully m til now ) My son
l find other fields to p ough
ENE: O H imon my cou in! your father hate you so?
N: Wh t father wou d wed his son o le a creature, a st ngi g serpent
wait in h s own ho se to betray him?
ATOR: You wou d take her rom your own so 's arm ?
N (M ving to EXIT UPSTAGE RIGHT.) No he aw and dea h shal take her will have it no o her way them and keep them locked with n
roper place for t ait rs an women (They free e and hold in au as the next ODE plays CR ON p s ioned STAGE RIGHT;
ATOR po ioned UPSTAGE LEFT; /SMENE and AN GONE ioned STAGE LEF of a ta below [NOTE: Th p ay should be
ormed without inte mission However, sho ld circumstances
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28
make that impossible, this would be the most appropriate break. ACT TWO would begin with ODE FOUR.])
END OF ODE THREE
ODE FOUR
Justice
AT RISE: The MUSIC, movement and voices first relate directly to the tableau characters and then to the audience. The CHORUS begins on levels above and moves below during ODE. The ODE should not be an expression of defeat, but of growing outrage, confusion and frustration toward a world which seems to operate in a devastatingly random fashion.
CHORUS: What is the hope of man? (Repeat if needed.) In life and death Is the house of Oedipus shaken. Generation to generation Of trial; The wrath of the gods That will bear no reason. That judges with no atonement, That hears their sorrow But will not acquit their pain. What is the hope of man? (Repeat if needed. CHORUS splits, six moving in a curving line down ramp STAGE RIGHT to floor level above the altar CENTER, ending in a line parallel with the six remaining on the levels above.) A world of justice Should rescue the good, A world of justice Should punish all evil, Yet in man They stand Together as one. The eyes of Fate See the innocent are guilty, And even the wicked Can live to walk free. What is the hope of man? (Repeat if needed. FULL CHORUS has moved to DOWNSTAGE CENTER, one line curving down the ramp STAGE RIGHT from above and converging with a line curving from UPSTAGE LEFT. This is to cover the tableau image and speak/sing directly to the audience.) Happy are they
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Who live without fear, Whose house stands free From sorrow; From the judgement of Fate, That follows all men And falls without warning; Relentless and uncaring As the surge of the sea. (The last two lines continue to be repeatedsung or chanted�s the CHORUS splits into six STAGE RIGHT and six STAGE LEFT outside the circle and moves into p sition to watch the next scene. HA MON'S entrance line should break into the final note with power.)
HAIMON: (ENTERS above. His line breaks characters from tableau.) Father!
CREON: I am your father. Do you call my name in anger Before all the people of the city? You have heard our judgement for this woman, my son, Who has broken the laws of our state .. Do you stand now with her And against your father?
HAIMON: (On the spot-looking first to ANTIGONE and then to CREON; stalling for time to uncover an answer.) I am your son, sir, and by your . Decisions my life is ruled. I can value nothing, not even those I love, Above your good guidance.
CREON: (Moving to HA/MON. Only for this do fathers pray for sons; Obedient, loyal and ready to strike The foes of their family And to love their friends. When a man's children turn against him, He has bred trouble in his home And laughter among his friends. (HA/MON wants to go to ANTIGONE but CREON blocks the way.) Do not be fooled, my son, By the warmth you hold for this woman. She has proven a proud and willful enemy And will betray you as she has me, As she betrays our state. Your passion will be cold comfort In the arms of such a creature. No wound strikes deeper Than love turned to hate.
29
live without fear se house stands ree
m sorrow; m the udgement o Fate follows all men falls without warning; ntless and uncaring
he surge of the ea (Th last two lines con nue to be repeatedg or chanted�s he CHORUS spli s into six STAGE RIGHT and
TAGE LEFT out ide the circ e and moves into pos tion to watch next scene. HA MON S entrance line should break into the final
with power.)
MON: (ENTERS above. His ne breaks characters from tableau.) Fa her!
ON: I a your father. Do you call my name in an er ore all the people of the city? have heard our judgement for his woman, my son, has bro en the aws of our state .
ou stand now with her aga nst you father?
MON: (On the spo -looking first to ANTIGONE and then to CREON; ing for im to uncover an answer.)
your son sir, and by you . sions my ife s ruled.
n val e nothing no even those I love ve you good guidance
ON: (Moving to HA/MON ) Onl for his do athers pra for sons; dient loyal and ready to s rike foes of the fam ly to love their frie ds n a man's c ildren turn aga nst him
has bred tro ble in h s home laughter among his friends (HA MON wants to go o ANTIGONE
CREON blocks the way.) no e ooled my son he warm h you old for his woman
has proven a roud and willf l enemy will betray you as she has me
he bet ays our sta e pas ion will be cold comfort
e arm of s c a cre ture wound strikes dee er
love turned o ha e
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HAIMON (Still trying to break away.) Father, let me talk with her
CREON: No There is no more to say. She has no wi h to talk Other than to boast of her crime. Take her away! (He restrains his son as guards escort ANTIGONE and ISMENE OUT.) She has chosen her friends From among the dead, Haimon. You must stand among the living.
HAIMON: (Breaking away to altar, as ANTIGONE EXITS.) How can you do this, Father?
CREON: How can I not? If I tolerate a traitor in our state,I make myself a traitor, too. No.She must face the law as anyoneMust who places themselves above it.
HAIMON: She is to be my wife! How can you send her From our home to her death?
CREON: How, if I allow an enemy Inside our home, can I hope To rule those outside our walls? How can I manage the affairs of state If I can't manage my own household? This girl has taken the law into her own hands, And to twist the law to one's own pleasure, Is danger to us all. Law and order upholds the state And he that leads the state Must uphold the law Even in the smallest matter. Only law and leader, obeyed without question, Protects the safety of our people. (Moves to HAIMON, an appeal.) I have stood in the blood of battle, my son, And listened to the councils of kings. There is no greater peril Than disobedience and disorder; States are devoured by it, homes laid in ruins, Armies defeated victory turned to rout, When order and obedience Might have saved lives and honor.
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H MON: (Sti l trying to break away. ather, et me ta k wi h
REO he e is no ore
She has no wish Other han o boas of he
ke he aw y! (He restra ns his on as guards escort ANTI and ISMEN She has chosen he F om among th dead H You mus stand among h
H MON: (Breaking away t a tar, as ANT GONE How an you o his F
E : can If I t e ate a traito i ou I ake mysel a trai or, t She must ace the aw as aMust who places themse ves a
M : She i e a you se
Fro ou e o her : ,
Ins de ou o e, ca T e our
c n I an ge the af air o I I ' m g y ous hi irl h t ke t a int n t i h la t ' l a
I a t ll L w nd or An h tha lea s th stat
s upho d the law Even n the s Only la an eader Pro e ts the sa ety of our pe ple (Mo e I h v stoo i the blood of battle m son And l s ened to the councils of kings There s no reater peril Than disobedienc States a e e oured by it Armies defea ed v ctor turned t rout When order and obedien e Might have saved l v
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The ruler who lives by the law Our people can depend on In the storm of war and Turn to in time of trouble. To betray the law is To betray our city, Haimon; To betray ourselves; And that we cannot do, Not for the arms of any woman.
SENATOR: As far as an old man can tell, It seems to me your majesty has spoken well.
HAIMON: Father, Man's wisdom is the gift of heaven, ·His understanding the greatest gift of all.I neither am, nor would wish to beClever enough to prove you wrong.But there may be men, Father,Who do not always think as you.I can watch and listen in the cityTo what you cannot see and hear,Whispers spoken in the darknessTroubled voices silenced by fear,Your people pity Antigone, Father,Their secret voices call thisPunishment unjust, the most unjustThat woman ever sufferedFor such an honorable act.
CREON: There is no honor in breaking our law.
HAIMON: (Thinking of MEGAREUS as well.) There is honor in burying the dead. To mourn a brother fallen in battle, Rather than leaving his body to rot in the field.
CREON: Do you think I cannot feel? My heart is not so hard as you believe. But to rule from emotion leads only to chaos. A leader does not listen to cries and whispers, But to the practical voice of reason. (HAIMON turns away in frustration.) Don't turn your back to me!
HAIMON: (Fighting for control.) Father, I respect the burden of your reason. And the burden of your rule. I do love Antigone, but There is nothing I prize
3
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Above your happiness and well-being. What greater good can any son desire? What greater gift could any father wish from his son? Only for this I do speak. Let not your first thought be your only thought. Think if there cannot be some other way. Surely, to think your way the only wisdom, And yours the only word, the only will, Betrays a shallow spirit, an empty heart. It is no weakness for the wisest man To learn when he is wrong, To know when to yield. (Moving to his father.) So, on the margin of a flooded river Trees bending to the torrent live unbroken, While those that strain against it snap. Father, think, put aside your anger. Set aside your pride. Infallible wisdom belongs to the gods And is rare among men. The greater gift For mortals is to listen, to hear, And to follow wise advice.
SENATOR: There is something to be said, My lord, for his point of view. (Gets a look from CREON.) And for yours as well. There is much to be said on both sides.
CREON: Am I now to take lessons from children?
HAIMON: No lesson you need be ashamed of. It isn't a question of age, But one of right and wrong.
CREON: Now you would teach me right from wrong! Is it right to admire an act Of unlawful disobedience?
HAI MON: Not if the act were also dishonorable.
CREON: And was this woman's act not dishonorable?
HAI MON: Not in the eyes of Thebes. CRE:ON: The eyes of Thebes! I am Thebes! HAIMON: A one-man state?
Now who speaks as a child?
CREON: Not as a child, as a king. I am responsible for this state,
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As I am responsible for myself. The state and the ruler are one!
HAIMON: Only if you rule a deserted isle; Here you must govern with people!
CREON: (Starts to EXIT in frustration.) This is the woman speaking in you. Of course you would take her part-
HAIMON: (Cuts him off at the level above.) No, no, unless you re the woman. It's you I m fighting for ...
CREON: How; when every word you say is against me?
HAIMON Only because I know you are wrong, 1-
CREON: Wrong?! To respect the law? To respect The authority of rule?
HAIMON: What sort of respec tramples On all that is holy?
CREON: (Moves again to EXIT then tums.) The daughter of Oedipus moves your tongue! Have you no will of your own? Coward! Slave! Will you turn away from your father To plead the cause of this woman?
HAIMON: It's not the cause of my bride I plead But your cause, and mine, The cause of our people, The cause of the gods.
CREON: The girl has made her choice. You'll never marry her this side of death.
HAIMON: If she dies, she won't die alone.
CREON: I won't listen to your threats
HAIMON: Is it a threat to argue against Your stubborn pride?
CREON: You forget to whom you speak!
HAIMON: No. You are my father. Were you not my father I would call you mad!
CREON: Speak, boy! Say what you will! Save your soft words For this girl who makes you her slave.
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m responsible for myse f. ta e and the ruler are one!
ON Only f you ru e a deserted isle; you must govern with peop e!
N: Sta s to EX n frustration.) This i the woman speaki g in you. urse you would take her part-
ON (Cu him off a th l vel abov .) No, o, n e s you re the an.
ou I m ghti g or ...
N: How whe every word you say is against me?
ON On y because I know you are ron , 1-
N: Wro g?! o re pect t e aw? o re pect uthority of ru e?
ON Wh sort of re pect tramples l that s ho y?
N: (Mo es again to EX T then ums.) The daug ter o Oedipus moves ongue! yo no w ll o your own? Coward Slave
ou turn away from your a e ead th cause of this wom n
ON I s o he cause of my bride I plea our cause, and ine ause of ou peop e, ause of he gods
N: The irl has mad her choice never marry er is side o death.
ON I s dies, she on die a one.
wo listen to your rea s
O Is threa to ar ue agains stu born pride
You rge to w om you s eak!
O No. ou re y father. you ot y f t e
l call you ad!
: Sp , y! Say ha ou w l your o ord
is gi l a s you a
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HAIMON: Father, listen to me!
CREON: (Pushed too far.) I do listen! I listen to your impudent whining, To your insults and lies. I listen to you shame your father In the streets of Thebes! Bring out the girl! Now! (CHORUS rises, moves into place.) Bring this enemy of the state; Let her die before his eyes. Here, this instant with Her bridegroom beside her!
HAIMON: That is a sight I will never see. Nor from this hour shall you again see me! (CREON, HA/MON, SENATOR freeze in tableau of the argument as ODE MUSIC, voices and movement play. The CHORUS has moved into the space during CREON'S speech and both builds and comments on the passion of the moment in relationship to the audience.)
END OF ODE FOUR
ODE FIVE
Passion
CHORUS: (The words "passion" and "eros" are perhaps repeated in echoing, overlapping whispers as the MUSIC introduction begins. CHORUS focuses UPSTAGE and turns DOWN as they speak.) Passion, Eros, Fire from the gods, That consumes all it creates. In every corner of the earth Passion, Eros, Waits.
SOLO VOICES: (Each faces UPSTAGE, turns DOWN to speak, then back, giving focus to each new voice or group of voices.) In the surge of the sea, In the roar of thunder, In the cry of a child, In the arms of a lover,
MEN: Between fathers and sons,
WOMEN: Between women and men,
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ALL: Between peoples and states, Passion, Eros, Waits (MUSIC BUILDS as CHORUS converges at the altar and creates a physical image of passionate madness.) To catch our souls In the grip of madness. (The tangled physical image reaches an explosive height then decays, releases; having consumed itself it leaves a confusion of pain and loss in its wake. Simple voices, direct to audience.) Passion. Eros. Love.
PAIRS OF VOICES: What power is greater than love? What battle is not lost to Passion? Relentless flame, That kindles And kills
ALL: The best that lives within us. (A rebuilding of vocal and physical energy that is meant to take us back to the speciffc "passion" of the CREON/HA/MON argument.) Love, Passion, Eros, Love, Passion, Eros; Fire from the gods That consumes all it creates! (CHORUS has split STAGE RIGHT and STAGE LEFT as CREON/HA/MON/SENATOR break tableau-with the argument still alive.)
HAIMON: Let those that will Witness your wickedness and pride! (He EXITS in anger.)
SENATOR: My lord, who shall say What a young man may do in anger?
CREON: (Shaken, but stubborn.) Let him go! Let him go! Let him rage till he can rage no more. His raging shall not save these women.
SENATOR: You mean, then, to doom them both?
CREON: (Shaken by the ffght with his son, there is the ff rst hint of a crack in his authority, a crack which widens through the rest of the play.) No, no ... not the one whose hand was innocent.
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· SENATOR: And to what death do you condemn the other? (LIGHTS PULLDOWN. MUSIC UP. As CREON speaks, ANTIGONE and ISMENE ENTER below moving slowly to the altar. In the scene that follows the CHORUS MEN move to the STAGE RIGHT edge of the circle and the CHORUS WOMEN begin a ritual cleansing. ISMENE washes ANTIGONE'S feet and the WOMEN prepare her for burial, dressing her in the white linen gown which was to be her wedding dress. MUSIC UNDER.)
CREON: Take her to a deserted place, Where no man has ever walked. And there close her within a cave. Leave her unharmed and with food. I will not have her blood on the hands of the city. There let her pray for the return of her reason; Or die alone, calling for help To the gods of the dead she loves. She will learn what hope there is For those who worship death. (He turns to EXIT but freezes in tableau during the following scene.)
SENATOR: (Seeing ANTIGONE at the altar.) Here is a sight beyohd all bearing, At which my tired eyes must weep. (He turns to EXIT, holds in tableau; the CHORUS MEN also turn away, leaving the WOMEN in private at the altar. ANTIGONE speaks to the WOMEN and directly to the audience.)
ANTIGONE: You see me on my final journey, Taking my last breath in the light of day. I go to rest now with my family; Alive, but buried in a rocky bower, My bridal gift an endless sleep. No wedding day; no marriage music; Death, not Haimon, will be my lover.
WOMAN 1: But glory and praise go with you, lady, The gods will honor your deed.
WOMAN 2: You go with your beauty unmarred by sickness, Your body untouched by sword.
WOMAN 3: Living and free, You have chosen your fate, and face death As no woman before you.
ANTIGONE: (Troubled.) Niobe, the daughter ofTantalus, Was doomed to such a fate.
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On the top of Mt. Sipylus she died, Locked in chains of ivy; Crying in grief To the merciless sun, To the driving rain, Which beat down upon her. Alone on that rock, Covered with tears, Niobe called to the gods, And in their silence, So the stories say, She slowly turned to stone.
ISM ENE: (Has 'finished her foot-washing, now standing, holding the basin.) She stands there still, In the melting snow. The Rock of Sipylus, Like you, my sister, Stubborn and proud; Washed with eternal weeping. (She EXITS angry, hurt, confused. WOMEN continue to look for some "good", some comfort in all this.)
WOMAN 4: Niobe was a maid of immortal birth. So much greater your mortal glory To share the fate of a goddess, A living death, but a name undying.
WOMAN 5 Surely the gods will see your goodness; Even if men and the Fates are blind.
WOMAN 6: Your name will be set in places of honor. Your story retold in poet's song.
ANTIGONE: (Breaking away from the altar.) These words are more mockery than comfort. Empty tales of dreaming women. I have no wish to die a martyr, Or to find a place in immortal song. I acted simply to honor my brother. (She, too, is confused.) Yet simple deeds Like stones dropped in water, Ripple wildly beyond all thought. I fear the gods look down in laughter At all our miseries and the follies of Fate. (LIGHTS change and CREON/SENATOR/MEN break tableau, tum to ANTIGONE; the private scene again becomes public.)
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the top of M . S pylus she died, c ed in ch ins of ivy;
ng in grief the m rci ess sun, the dr ving ra n, ich beat down upon her ne on that rock, vered wi h tears, be ca led to the gods,
d in heir silence the stories say, e slowly tu ned to stone.
M ENE: ( as 'fin shed her foot-washing, now s anding, h lding the basin.) e stands there sti l
th melting snow. Rock of Si y us
e you m sister ubborn and proud; shed wi h eternal weeping. (She EXITS angry, h rt, c nfused.
OMEN continue to look fo some "g od" ome c mfort in a s.)
OMAN 4: N obe was a maid of immortal bi th much greater your mortal glory share th fa e of a oddess
iv ng death, but a name undying.
OMAN 5 S rely the gods wi l see your goodness; en if m n and the Fa es are blind.
OMAN 6 Y ur name wi l be se in places of honor ur story re old in poet's ong
T GONE: ( reaking away from the altar.) These words are more mockery an comfort
mpty ta es of dreaming women. ve no wish to di a m rtyr
o find a place in immortal song ed simply to honor m brother (She to is confused )
simple deeds e stones dropped in water
pp e wi dly beyond al thought. r th gods look down in laughter
al our m series a d th fo lies o F te ( GHTS a ge a d EON/SENATOR/MEN break tableau tum t ANTIGONE; th private
ene again becomes public )
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CREON: (Impatient.) The day and the time grow short As does my patience with this wilful woman. Enough of these mournful words! Take her away-
ANTIGONE: O Thebes! O sons of my city. Will you stand in silence In the home of my father And watch me unjustly banished? To this rock-hewn chamber, This cold tomb must I go, To linger alone between life and death?
SENATOR: My child, you have chosen your way Beyond the limits of daring, And pushed against the law enthroned.
MAN 1: This Fate, it seems, the gods require From you, as from your father.
ANTIGONE: My father. My soul. Unending burden Of the house of Oedipus. My mother, My brothers, whom now I follow; In honoring their death Have I found my own? (The following lines should be spoken once clearly, perhaps overlapping the beginning of a line with the last three words of the preceding line. Then, begin again overlapping them a/most completely, perhaps as soon as the preceding· line is on third or fourth word; this creates a strongly surreal vocal effect which drives ANTIGONE across the stage into a single pool of light. The MEN become powerless judges" who feel deeply for ANTIGONE yet are trapped by the law and the watchful presence of CREON, whose '!reasonable" words they echo in response to ANTIGONE'S plea.)
MAN 2: Your act, in itself, was one of good, But you flew in the face of order; You turned the law into your own hands.
MAN 3: You placed yourself above the good of our city, And turned away from the voice of reason.
MAN 4: Even an act committed in honor Cannot stand above authority and rule.
MAN 5: Our city will fall without respect for order. If we betray the law, we betray our state.
MAN 6: Your wilful passion, no matter how righteous, Placed the good of one above the protection of many.
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MAN 1: Your pride alone has led you here I (The confusion of the voices drives ANTIGONE away. Rnally, her voice cuts through the din and she stands a/one in a POOL OF WHITE LIGHT.)
ANTIGONE: And alone I must go! (Silence.) Down the way that lies before me. (LIGHTS shift-stage in tableau, ANTIGONE alone. To audience/god/ghosts? -personal, intimate.) No funeral hymn; no marriage music, No sun, no air, from this day forth No friend to weep at my departure. So to my grave, my bridal bower, my everlasting prison, To join again my kinsmen, my family, Who dwell in the mansions of death. Last and unhappiest of my ill-fated house I go. More girl than woman, Lost to death before my time. Yet I know my father waits for me there; My mother will welcome me with tears; And my brothers both will greet me gladly. Each of you I have laid to rest, Pouring prayers and offerings at your graves. Yet for this honor to you and the gods, Which all good people should count as right, I have earned nothing but suffering and death. For covering your body, my dearest brother; For serving your spirit above the law, I stand condemned by Thebes, by Creon, To a solitary living grave. How can this be lawful? How can this be just? To act rightly, yet to suffer such wrong? Never a bride, never a mother, Unfriended, unmourned, unloved ... What law of heaven have I transgressed? What just god would not spare me now? What help, what hope can come to us In a world where nothing is certain, Where devotion is deemed sacrilege, And my good is another's evil? I have followed my heart And if that is wrong I shall learn my lesson in death. (LIGHTS change again-tableau broken.) If these men, my enemies, are wrong I wish them no worse instruction.
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SENATOR: Still he tempest gusts in her heart.
CREON: The more cause to hasten her guard To g about their business.
SENATOR: Your words have the sound of death.
CREON: She will hear no other voice. ANTIGONE (Strength out of onfusion and fear.) Gods of our fathers,
people of Thebesl I am Antigone, daughter of Oedipus! I go now to die in a rocky tomb, The prisoner of Creon, my uncle, your king. I have no shame in my actions I have honored those things To whic honor truly belongs.
CREON Away with her now to her vaulted cell. Leave her and let her die if she will Or call to the gods for grace Her blood will not stain the ands of Thebes, But today in our city her life is ended (Soldiers step forward to escort her to the tomb, but ANTIGONE breaks away and goes to the WOMEN at the altar.)
ANTIGONE: Sing to me daughters of Thebes! Raise your voices above this sorrow and hate. (A moment of silent tension-then a single woman begins to sing a simple ritual processional melody, to whic one by one all the women rise and add their voices. There is sadness, but also growing strength, dignity, almost defiance. A stylized funeral processional begins and ANTIGONE, with her guard, slowly ritually circles the stage to EXIT UPSTAGE RIGHT on level above as scene ends.)
CREON: Weeping and wailing at the door of death! The voices of women can cry forever Yet never change the motions of Fate. (He tums away as the processional continues and grows. The voices of the MEN begin to join the melody and the ritual movement 'flows in spiral ng circles, finally covering the entire stage and using all voices. The ODE is spoken against the pro essional music and voices, which soften to a/low the solo voices to be heard and grow again once those verses are complete, reaching a powerful choral fullness before CREON breaks in.)
END OF ODE FIVE
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SENAT R: Still he tempest gusts in her he
CRE N: The more cause to has en her gua To go ab ut their busine
SENATOR: Your wo ds have he sound of dea
CRE N: She will hear no other vo ANTIGON (Stren th ut of confus on and fe r.) Gods of ur fathe
people of Theb I am Antigone, daughter of Oedip I go now to die in a o ky tom he prisone of Creon my un le, y ur k
I have no shame in my actio I h ve hono ed those thi To wh ch ho or truly belon
CREON: Away with her now to er vaul ed c Leave her and let her die if she Or cal to he gods for gra Her blood w ll not stain he hands of Theb
ut today in ur city er fe is end d. (Soldiers s ep forward escort her to he tomb, but ANTIGONE breaks away and goes to WOM N at the alt
ANTIGO S ng to me da ghters of Theb Ra se y ur voices above th s sorrow and h e (A moment of sil tension-then a sin le woman beg ns to si g a sim le rit processional melody, to wh ch one by one all he women r se a add their voices There is sadness, but also grow ng strength, dign alm st efian e A stylized fune al processio al beg ns a ANTIGO E, with her guard, slo ly ritually circ es he stage to EX UPSTAGE RIGHT on level above as scene end
CRE N: Weep ng and wail ng at he door of dea he voices of women can cry fore
Yet never change he motions of Fate. (He tums away as the processio continues and grows. The voi es of the M N begin to oin the melo and the ritual movement 'flows in spiral ng circ es, finally covering en ire stage and us ng all voic s. e ODE is spoken agai st processional music and voices which soften to a/low the solo voices be heard and grow again once those verses are complete, reachin powerful choral fullness before CREON breaks
END OF ODE F
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ODE SIX
Destiny
TIERESIAS: (As PROLOG, watches ANTIGONE, then speaks to audience.) So the hands of Destiny work Beyond our understanding.
WOMAN: (Stepping out of the processional, to speak to the audience.) Yet, others, too, Both wicked and pure Have suffered the touch Of uncaring Fate; Sealed alive behind Unfeeling walls, Of stone; of metal, Of anger; of hate. Bodies left to wither and die. Spirits lost ... with no escape. (She rejoins the moving circle of the processional.)
TIERESIAS: (As PROLOG.) So the force of Destiny moves Beyond all mortal knowing.
MAN: (Stepping out of his moving circle to speak to the audience.) A power unbending To war or wealth Unyielding to cries, Unmoved by reason. Rewarding right As often as wrong, Yet good and evil Not comprehending. (All voices build as the processional circles cover the entire stage. ANTIGONE is now OFF. Finally, CREON'S angry voice cuts off the singing. He, too, is troubled and moved, but stubborn. He is fighting to hold on to an authority that grows more strained with every moment and to his own resolve to prove himself right.)
CREON: Silence! There will be no mourning. As for her brother, So for this woman who sets herself against our state. (ENTER TIERESIAS led by the CHILD; a sense of urgency, pain. They have watched ANTIGONE'S EXIT.)
TIERESIAS: Ah, is there any wisdom in the world?
CREON: What is the meaning of that taunting sigh?
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TIERESIAS: Noble King! I bear news from the oracle.
CREON: Welcome again, Tieresias, To you and your eyes. What news from the gods? (CHILD leads TIERESIAS to the altar and sits at her feet.)
TIERESIAS: Words of warning, my Son, And little time to waste If you would hear and heed them.
CREON: Grave words, good priest.
TIERESIAS: Creon, mark me now, For you stand on the razor's edge. At the seat of the oracle, where I sit To read the signs ofheaven, Is a gathering place for every kind of bird Their songs filling the temple With music for the gods Yet there, today came to my ears no songs But sounds of birds in vicious combat; Savage cries and whipping wings Tearing each other with deadly talons Locked in shrieking gruesome war Full of fear at this omen, I made an offering at the altar fire, But the heavens would send no answering flame The gods turned away from our gift in silence, And left their fire to smoulder and die. (She sits.)Even now the ashes of our altar lay cold; Our temple stands empty; dark in despair. Through the eyes of this child Who sees for me, that I may see for others I have read the signs of a sacrifice failed
CREON: (Grows progressively more shaken, desperate through this scene, but still holds up the facade of authority and strength.) How can the gods be unhappy On the day they bring us victory and peace? Why would they deliver our city
· Then turn their blessings away?
TIERESIAS: O King, an unhappy answer ... This blight on our city is by your hand. Our fires, our prayers, our altars Are gorged with unholy blood;
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TIERESIA : Noble Kin I bear news from t e ora
CREON: Welcome again, Tieresi To you and your ey What ne s from the gods? (CHI D leads TIERES AS to he a and s ts at her fee
TIERESI S: Words of warning, my S And lit le time to was If you would hear and heed the
CREON: Grave wor s, good pr e
TIERESIA : Creon m rk me no For you stand on the ra o 's ed At the seat of the orac e, wh re I To re d t e signs ofhea e Is a gather ng p ace or every k nd of b The r songs filling the tem W th mu ic or the go Y t the e today came to my ears no son But sounds of birds in vic ous com Savage cr es and whipp ng win Tearing each other w th deadly alo Locked in shriek ng gruesome w Full of f ar a this ome m e n offerin at he a a Bu the hea ens would send no answer ng fla The go s t rned a y f m ur gi in silen , A d ef their fire to smoul er and ie (She siEven n w t e ashe of ur a ar ay c O r temple s ands empty; dar in desp Throu h t e e es of t is ch W o sees or me th t I may see for othe I h e e t e n o s if e f il
CREO : (Grows prog essi ely m re shak n desperate thro gh his sce b t s ill h d the facad f a o ity d re g ) the go e unhap
d y h bri t n W y ul h y li c Th n t n thei le sing aw
T ERESIA : Ki g ha Thi b i i by y Ou fir s our p ye , ou
re g h l l
2
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Blood that feeds with wild beasts That draws down vultures. Blood that by your order Stains the ground of Thebes; The unblest blood of Oedipus, Spilled from the veins of his unburied son.
CREON: (Moves down.) No act of man has power enough To pollute the goodness of the gods. The heavens have led us to order and law; They would not turn away for such a reason. I have made this order to protect our city; To stand as a sign before our enemies.
TIERESIAS: Humble yourself before these omens, My son. Even kings fall into sin. But the sinner is not forever lost Who will repent and make amends. Bend yourself to the will of heaven.
CREON: (Looking for any other answer.) To the will of heaven ... or the will of a priest? Your words have meant much to our people, Tieresias, but I know your art of old. I have seen you sell promises of comfort, And work your miracles for gifts of gold. Are the words of our priest now for sale To those who see profit in our blood? Would you, with these rebels, keep us at war, To fill the seats of your temple? To line your altars with unholy gold? (TIERESIAS rises.)
SENATOR: My lord, I have known the priest to be honest. I fear these words are indeed from the gods.
CREON: This priest would not be the first to seek Power and profit behind the mantle of god. (Like a/I "conspiracies," there is perhaps enough truth to his observations that a desperate man could make them seem true, at /east in his own mind.) I know, Tieresias, how behind your blessings You have stood against my rule. Have you made me your target now As before you made my son, Megareus? Your prophecy marked him as our price for peace, Pushed him from the walls of our city; A sacrifice torn from my home by the gods? Or sold by a prophet for promises of gold? You have bartered my son, Tieresias,
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And now you would make me your goods, To trade and traffic for your gain.
TIERES AS: I understand y ur pain, my king, And forgive these bitter words Your son sacrificed his body in battle As did the children of all our state. He was pushed by his faith in the gods, Not by the hand of a priest My will was only for his good As now it is only for yours And for the good of our city. This warning is not from my mouth, But from the lips of the gods. Pay to the dead his due. Wound not the fallen. It is no glory to kill and kill again; Nor to send righteous children to living graves. Only a fool is governed by unyielding pride
CREON: It is not foolish to trust in the law. But great and terrible is the fall Tieresias, Of mortals who seek unholy profit By uttering evil in the guise of good
TIERESIAS: Even when the messenger is hated A wise king will listen to sensible words
CREON.: Nol Trade as you will, Tieresias, But all the silver of Sardis and All the gold of India will not Buy a tomb for this traitor, Or freedom for those who defy our rule. The law is written and delivered and your Purchased words cannot change the order.
TIERESIAS: Words can be purchased, good King, But not understanding. What price can be set on careful wisdom?
CREON: None, good priest. And were you wise You would more carefully speak!
TIERESIAS: And were you wise, My son, you would more carefully listen!
CREON: I have no wish to quarrel with you. (He moves to EXIT above.)
TIERESIAS: You quarrel with the gods, Calling their prophecy false
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And now you would m ke me your goo To trade and tra fic for your g
TIERESIAS I understand your p in my k And forg ve these bit er wor Your son sacrificed his body in ba As did he children of all our sta He was pushed by his fa th in he go Not y the hand of a prie My will was only or his go As no i is only for you And or the good of our c This warn ng is ot from my mou But from the l ps of he go Pay to the dead his d Wound ot the fal I is no gl ry to kill and kill ag Nor to end righteous children to iv ng gra Only a f o is governed by unyield ng pri
CREON: I is ot fool sh o trus n he But grea and erri le i he f ll Tieres Of mortals w o seek unholy pr By u ter ng vil n the gu e of go
TIERESIA : E e w en he messen e is hat A w se k n ill lis en to ensi le wor
REON: ol Trade as you ill Tieres ut a l he sil e of Sardis a
All he g l of n i ill Buy a tomb or t is tra Or f ee th ho fy The l w is rit en and de ve ed and y P ch s d w ds c n o cha g h or
TIERES Wo d a be p rch sed o d Ki ut ot nderstandi g
W at p ce a e e on c r f isd
CRE N: No e goo p ie t A e e ould m re c ref lly pe
TIERES A i , M o d m re c ref l li
CRE I h i H IT bo
T E ES A ou quar e it th ll e p h f l
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CREON: The gods I honor, Tieresias. It is their prophet I call false. Your words are not free gifts of heaven, But bought and sold in the streets of Thebes.
TIERESIAS: There are those of my calling Who seek such profit, As there are kings who seek Unrighteous gain.
CREON: Do you call your king dishonest?!
TIERESIAS: No. I call my king stubborn and proud. I call my king senseless and lost. I call my king to listen to the gods!
CREON: Take care, good priest. You tread on dangerous ground!
TIERESIAS: All of Thebes is in danger, King, Yet you will not hear its cry.
CREON: Speak to me then, reveal your mind! But you share your words with no hope of gain.
TIERESIAS: Can you still think my motive is greed? The words of the gods are not for sale!
CREON: Nor is the will of the king!
TIERESIAS: Then hear this proud king! (The gods/priest have been pushed too far. LIGHTS and SOUND shift underneath as this prophecy unfolds. It is almost as if TIERESIAS becomes a· medium, at first angry, then in pain, then moved by the horrors in store, which she is powerless now to prevent. A warning and a release.) Before the chariot of the sun Has finished another day, You shall lose the last of your sons. In payment for death you have brought, Two deaths; two debts, Your house must pay. One for this child sent to a living tomb. One for the dead still without a grave, Lying unburied, unhonored, Unblest by the gods, His blood a feast for vultures and dogs. The wheels of Fate you have pushed to motion, And nothing can alter their turn. Even now the avenging Furies, The hunters of hell who seek and destroy
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Lie waiting to turn your evil deeds Against the dearest that you call your own Do I speak this for gain? I speak for the gods! (Feeling the painful truth more. clearly.) The time is soon When your house will be fill d With the weeping wails of men and women. The peopl of Thebes Will scream curses at you For the pollution you bring To their altars and homes; For defiling their city With the death of children, With the unholy blood of an unburied son. These are my words. This is my order These are the words of the gods. (Exhausted, pained by the message.) Come, child, lead me home. We will leave this king to vent his anger On younger, more willing ears. Time will teach his arrogant tongue To speak his mind in milder tone (They EXIT. All the stage left in shocked silence and fear. After a thick, uneasy pause . )
SENATOR: (Slowly.) My lord the priest has foretold terrible things. Forgive me, sire, But I that was young and now am old Have never heard the words of this oracle And seen them proved to be wrong.
CREON: (Deeply shaken.) I have tried to protect this city Not to bring it to ruin (Moving down to altar level.) It is weakness to yield to this curse, To trust this prophet above myself, Above reason and law . . Yet if these words are true .
SENATOR: (Shaken.) Both ways are hard. It is time to weigh all thought, To seek good counsel.
CREON: What is it you would have me do?
SENATOR: (Cautiously.) Set up a grave for the unburied body. Release Antigone from her rocky tomb.
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Lie waiting to urn our evil de Against the dearest hat you cal your o Do I speak thi for g I speak for the g ds! (Feeling the pa nful th more clearly.) time is s When your house wi be fi With the weeping wails of men and wo The people of The Will scream cu ses at For the pollu ion you b To their altars and hom For def ling their With the death of child With the unholy b ood of an unburied These are my wo his is my or
These are he word of the g ds (Exhau ed, pa ned by messa Come, child ead me ho We will lea e this king to ven his a On ounger more w ling Time will teach his arro ant ton To speak h s mind in mi der tone (They EXI All the s age le shocked silence and fear. After a thick, uneasy pau e
SENA OR: (Slowly. My l rd the p iest has foretold er ible things. For me,
ut I hat was young and now am Have ne er heard the wor s of this or And seen t em proved to be wr
CREON: (Dee ly shaken ) I have t ied to protect this Not to bring t to r in (Mo ing down to ltar le t is weakness to yield to this cu
To r st this prophe above my Above reason and l Yet if these words are ru
ENA OR: (Shaken ) Both ways are t is ime to weig all tho To seek good cou
CRE N: What is i you would have me
ENA OR: (Cautio ly ) Se up a g ave for the unb ried body Rele An i one f om her rocky o
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CREON: You would have me do this, After all the words I have spoken-
SENATOR: Yes, my son. (Not platitudes, good political advice.) The wise leader can admit a wrong. Your people will praise you as a merciful king. Your law was meant to serve, To protect our city, not to destroy.
CREON: Yes. Yes.It is hard to give in ... But I cannot stand alone against Fate.
SENATOR: (Seizing the moment.) Go now, and quickly. Let no hands but yours turn the grave. Hurry, my lord. The Furies Move swiftly against the follies of men.
CREON: (Setting a new course.) I will go now ... Bringing only their sister, To share the sacred rites. Call lsmene! Bring shovels and picks! (Moving to level above, committed.) At last my mind is clear. I have left this body unburied, And this woman entombed, Against the will of the gods. With my own hands now I must Bury the one with all due honor, And free the other from her rocky cell. (ENTER /SMENE.) Come, child! (A look to the gods.) Surely the heavens will smile on Thebes When they see these holy acts are done. (He and ISMENE EX/I)
SENATOR: May the gods will it so.
END OF ODE SIX
ODE SEVEN
Call To Bacchus
AT RISE: MUSIC, rhythmic percussion, ritual movement, voices. This ODE should build the possibility that everything could still work out. A strong hopeful appeal in time of trouble and pain. Not falsely optimistic but not funereal. The CHORUS is at the altar; the featured singer is STAGE RIGHT.
SENATOR: O Bacchus come to us now Heal your sacred city!
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CHORUS: (A primary male singer/speaker with added voices orchestrated in support.) O Bacchus, whose names are many, Son of the Thunderer, Giver of Wine, Dionysius, laachus, Bringer of Joy, Child of Cadmus; born of Thebes. O Bacchus, Mighty through all the earth, Come to us now in your troubled home.
WOMAN 1: Thebes, thy mother, sickens for thee, The healer of all her ills.
WOMAN 2: Our gentle rivers sigh for thee. WOMAN 3: Our stars hunger for your touch of fire. WOMAN 4: Our valleys long for your dancing feet. ALL WOMEN: Our nights for your songs of passion.
CHORUS: (Same featured voice with added voices.) O Bacchus, Dionysius, laachus, come! Return to your city again. Let your temples fill with sounds of joy. Let the night shake with night-long revels. O Bacchus, Dionysius, laachus, come! Set pleasure afoot and delight abounding. The men of Thebes stand ready to sing The women to dance at your bidding. (CHORUS WOMEN complete a wild circling dance around the altar and EXIT UPSTAGE, leaving the men alone to complete the ODE.) O bountiful god, return to us! Return to us!
. Dionysius, laachus, Bacchus Come!
ISM ENE: (ENTERS above, cutting off last chord.) Men of Thebes! Hearl Hear and attend.
SENATOR: lsmenel Where is the king? What news?
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ISMENE: Death. And the guilt of it on living hands.
SENATOR: Who dead? And by what hands?
ISMENE: Haimon is dead. Slain by his own
SENATOR: His father?!
ISMENE: His father drove him to it, But the hand was his own. (CHORUS MEN EXIT from the altar as EURYDICE ENTERS the space with two WOMEN attending.)
SENATOR: Then all has happened as the priest foretold.
EURYDICE: (Seeing SENATOR/ISMENE.) My friends-
SENATOR: (Crossing to her as the WOMEN attending EXIT following themen now OFFSTAGE.) The Queen! Welcome my lady.
EURYDICE: I have been this day in Athens In prayer at the Temple of Pallas For the soul of my son, Megareus, Lost to this bloody war. News arrived that fighting was ended, And we hurried again to Thebes. But from your hollow faces I fear That joy was too soon spoken. What new has happened? What more must we bear? Speak! (SENATOR turns away.)I am no stranger to grief.
ISM ENE: Madam, it was I that saw it And I will tell you what truth I know. I followed the king, your husband, To the edge of the field Where the body of Polynices, my brother, lay. We prayed for him and washed his remains So the gods would welcome his spirit. Then with all holy rites we burned his body And over the ashes raised a mound of earth. (She has moved downto altar level.)Our prayers done, we turned toward the cave Where Antigone had been imprisoned. By the order of Creon she waited there, To marry with death, not with Haimon. Before we reached the accursed tomb, We heard cries of miserable anguish. The King ran to the mouth of the cave
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And pulled the stones from the passage. With bleeding hands he entered the vault And with a torch I followed . to see My sister, in the corner of the cave, Hanging from her n ck. The rope was of pure white linen, Woven from strips of her dress. And with his arms about her stood your son Weeping, lamenting his newly lost bride When Creon saw them he moaned in horror And his own eyes filled with pain. (She has moved to EURYDICE and around the altar to DOWNSTAGE LEFT.) He cried for Haimon t come away and Reached to pull him from the cave but Haimon pushed aside his hand, and with A murderous scream in the. face of his father He dr w his sword and blindly swung Till he fell exhausted at last to his knees; Where seeing Creon standing still unharmed He turned the sword against himself And thrust it deep into his side. (Exhausted, she has slipped to her knees.) While we watched his life ebb away, Haimon reached to hold my sister, Embracing Antigone with enfolding arms; His spurting blood staining her body red. I ran from the cave and left them there Two bodies entwined, wedded in death A witness to the world of ill-fated love, And the calamity that comes Through the pride of man
EURYDICE: (Almost in shock; searching.) What is the life of man? A thing not fixed for good or evil, Fashioned for praise or blame Chance raises a man to heights, Chance casts him down None can foretell what Fate will bring, Nor truly understand what it is. Creon was once an enviable man; He saved his country from her enemies, And with his people shouting praise, Assumed the sovereign throne., His only joy was to pr tect the city As he sought to pr tect his family and home
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And pulled the stones from the pass With blee ing hands he entered the v And wi h a to ch I follow d . . to My si ter, in the co ner of the c Hanging f om her n The rope was of pure white lin Woven f om s rips of her d And with his a ms about her stood your Weeping lamen ing his newly lost br When Creon saw them he moaned in ho And his own eyes f led with pain (She as moved to EURYD and around the ltar to DOWNSTAGE LE He cried for Haimon to come away Reached to pull him from the cave Haimon pushed a de his h nd, and A murde ous scream in the face o h s fa He drew his sword and blindly sw Til he fell exhausted at last to h s kn Where seeing Creon standing still unharm He turned the sword aga nst him And thrust it deep nto his de (Exhaus ed, she has slipped to kne While we watched his life ebb a Haimon reached to hold my si Embra ing Antigone with en olding ar His spur ing blood stain ng her body I ran f om the cave and left them th Two bo ies entwined, wedded in de A wi ness to the world f ill-fated l And the calam ty hat com Through the p ide of m
EURYD E: (Almo t in shock; searching ) What is the life of man? A t not fixed for good or Fashioned for praise or bla Chance ra ses a man to heig Chance c sts him do None can foretell what Fate will b Nor truly understand what Creon was once an enviable m He saved his country f om her enem And with his people shou ing pr Assumed the sover ign thr H s onl joy was to pro ect the As he sought to pro ec his family and ho
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The honored king of a noble city. The honored father of a royal house. Now all is lost. For life without life's joys Is but a waking death; Such a life is Creon's. And for all who love without gladness. Riches and rank and shows of state Without the joys of home and heart Are nothing but empty shadows. (She EXITS to the palace across the rising levels DOWNSTAGE RIGHT to UPSTAGE LEFT as we hear the SOUND of mourning, rhythmic voices begin in the distance OFFSTAGE UP RIGHT; perhaps a variant of the processional melody that marked ANTIGONE'S EXIT.)
SENATOR: (As EURYDICE goes.) Most wise, most brave woman. She goes to vent her grief alone.
ISMENE: I will follow. Her loss is my own. (She follows and overlapping their EXIT the wailing voices OFFSTAGE grow closer. Then, the unmistakable voice of CREON, a cry like a wounded animal, cuts through.)
SENATOR: 0 ... the voice of the king, (ENTER CREON carrying the body of HA/MON.) Bearing the weight of the gods.
CREON: O see the fruits of stubborn pride; See the end of unbending law. I am the slayer, here is the slain; I am the father, here is the son; Dead for my fault, not for his own. (He has carried the body down to STAGE RIGHT CENTER edge of the stage, and holds it in his arms. He has been followed ONSTAGE by the CHORUS, still vocalizing softly and bearing the body of ANTIGONE, which is placed prominently to STAGE RIGHT, perhaps one level up. The CHORUS assumes position slowly, almost formally, to obseNe f'rom the UPSTAGE levels.)
SENATOR: Alas, too late we have seen the truth.
CREON: So I learn in my sorrow. Fate has delivered its punishment. The gods have struck down my home; Trampled my last hope of joy. (A sustained scream of horror from ISMENE OFFSTAGE LEFT cuts off both CREON and the mourning CHORUS voices.)
SENATOR: What more? What worse pain could follow?
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CREON: O insatiable Fate, will you destroy me yet? I am dead already. (ISMENE ENTERS above.)
TIERESIAS: Look then and see. Nothing is hidden now. ISMENE: All this and more you must bear. (MUSIC IN and LIGHTS SHIFT
as EURYDICE ENTERS in a tragic mask. She is covered in blood and carries a ritual knife. Stylized movement, strange unsettling MUSIC, nightmare lighting.)
CREON: O blood upon blood, My child in my arms and there my wife? The son ... the mother ... ?
ISMENE: (As EURYDICE moves DOWNSTAGE.) There at the altar stood Your wife and queen, The whetted knife Closed in her hand. And in the darkness She called to the dead. To Megareus, her eldest, To Antigone, my sister, To Haimon, her youngest, She called in prayer. Then crying a curse on You their slayer, she Turned the knife in Her trembling hand and Plunged the blade into her heart. (As ISMENE speaks EURYDICE moves toward CREON with the knife extended. She turns to the altar raising her hands to the gods, then turning again to CREON she presses the knife to her bloody breast before extending it again toward her husband as she slowly sinks to· the stage next to the altar. As she nears the floor her arms are fully extended to CREON, and the knife is released on the altar as she completes her stylized collapse/descent. Her body remains ONSTAGE, another image of death. This must not be overwrought. Simple, ritualistic, dangerous, yes; but not melodramatic. This is not a real enactment of her death but a threatening stylized vision. ISM ENE moves down to ANTIGONE'S body STAGE RIGHT.)
CREON: (Crawling to the altar.) 0 ... is this a sword for me; To end this misery?
TIERESIAS: The burden of these deaths Is on your head As is the pollution of this city.
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CREON: There is no man can bear this guilt. Let me not see another day! (He reaches for the knife and moves in desperation to each part of the stage, begging to be killed, flrst to the CHORUS who turns away, then to the SENATOR who turns away, and flnally to the audience.) Come, strike me! Strike me to the heart! To die is best, if anything is best in evil times. (Collapsing to a knee he starts to tum the knife against himself.) Death is my only happiness.
TIERESIAS: (Stopping CREON with her voice.) Nol The future is not to be known. Our care must be with the present.
CREON: I ask for nothing more than death.
TIERESIAS: Ask for nothing. To die is easy; Only living is hard. What shall come no mortal can know. What will be no mortal can escape.
CREON: (Pulls himself up and moves heavily through the destruction and death surrounding him; he connects with the bodies of ANTIGONE, HA/MON, EURYDICE and the loss of the city, realizing a simple and unbearable truth.) O god! I am nothing. I have no life. That have blindly betrayed My city, My family, My sons, My wife. I know not where I should turn, where to look for peace. (He collapses to his knees in despair DOWNSTAGE RIGHT and the little girl who leads TIERESIAS, moved by CREON'S pain, starts toward him, reaching out her hand to comfort him. Before she reaches the king, just as he sees the approaching innocent child, she is intercepted by ISMENE who sweeps her away from CREON'S touch. CREON continues-after a beat-empty, lost.) My comfort lies before me, dead, And all that I dreamed Has come to nothing. (Full stage in tableau MUSIC soft as CHORUS voices underscore variant of processional melody.)
END OF ODE SEVEN
EON: here is no man can bear this gu lt. me no se another day (H reaches or the kn fe and moves in
speration to each part o he stage, begging to be killed, flrst to CHORUS who turns away, th n to he SENATOR who tu s away,
d flnally to he audience ) me, st ke me! ke me to t e heart!
die is best, if n thing i best in evi times (C llapsing to a knee s rts to tu the kn fe against himself.) ath is my on y happiness.
RES AS: (S opping CREON with he voice.) ol e futu e is no to be known ca e must be wi h the present.
EON: I s or no hing more han death.
RESIAS: A for no ing. die is easy; ly living i ha d. a shall co e no morta can know. a w l be no mortal can escape.
EON: (P lls himself up and moves heavily through the destruction and ath surrounding h m; he connects wi h the bodies of NTIGONE, MON, EUR DICE and the loss of he ci re lizing a simple and earable trut ) O od!
m no hing I ha e no life a have blindly be rayed ci , family sons, wi e.
ow no where I should urn, where to ook for peace. (H collapses his kn es in despair DOWNSTAGE RIGHT and the litt e gir who ds TI RES AS, m ved by CREON S pa n, st rts toward him
aching ou he hand to comfort him. B ore she e ches th g, ju t as he sees th approaching in ocent h ld, s e is ercepted by SMENE who sweeps he away from CREON S touch. EON continues-after a beat-empty, lo t.) co fort lie be ore me dead, d all that I d eamed s co e to no ing ( ul stage in tableau SIC soft as CHORUS es underscore v riant of processional melody.)
D OF ODE SEVEN
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EPILOG
TIERESIAS: (As PROLOG, removing her mask.) Of Happiness, The greatest part is Wisdom. Not just to know But to understand. Not just to hear But to listen. (Vocal underscore continues as CHORUS speaks in pairs.)
TWO VOICES: In a world uncertain The right can be wrong,
TWO VOICES: And even the good may bring about evil.
TWO VOICES: The only hope of man is to honor life; TWO VOICES: To uphold the law, both mortal and divine, TWO VOICES: And beware the man who lives in Pride,
TWO VOICES: Thinking his way the only right, FULL CHORUS: His view the only good.
All men and women come to learn In the teaching of age and sorrow: (During this line, the CHORUS moves forward, tableau releases ONSTAGE, and the bodies slowly rise to life; the characters give way to the actors of the COMPANY.)
COMPANY: Of Happiness, The greatest part is Wisdom. Not just to know But to understand. Not just to hear But to listen. (Voices of the COMPANY all sustain the processional melody as MUSIC grows. LIGHTS FADE to BLACK, then voices, MUSIC IN CHORD then OUT.)
END OF PLAY
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ODE ONE
The End Of War
Hail the sun! Brightest that ever Dawned on the city of Thebes. Hail the golden dawn! Breaking over the city of Bacchus. Rising to speed the army of Argos Flying home in full retreat. Polynices gathered his forces against us; His voice lifted in angry dispute. 'Gainst the city of his father, his family, The city of Eteocles, his brother, He marched! Swooping down like a bird of prey. With flashing wings; with bloody talons, Before the seven gates of Thebes he landed; Opening his jaws with murderous cries, Embracing our city in a circle of blood. Like a malignant wind His voice rose against us. With shouts of victory he stormed at our walls! But the Father of Heaven heard his boasting And lifted our city with arms of fire. On the hands of the gods, like lightning we swung And struck the rebels, in flarries, to the ground. Seven Invaders at Seven Gates By Seven Defenders all defeated, Doomed to destruction by their swaggering tongues. Yet our children, our families, doomed as well, To fall in battle beside Eteocles, our king And Polynices, his brother, Whose bloody pride brought this war to Thebes. Two brothers at one gate, In one fight, Matched swords together; And both in one blow The gods laid low.
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ODE TWO
Ode To Man
Wonders are many on the Earth And the greatest of these is man. Man, master of ageless Earth, Bending to his mortal will This Eternal Mother of the gods By the sweat of his brow, By the fire of his mind, He conquers the surging ocean, He climbs above the drifting clouds. Man, lord of all things living, Beasts of the field, birds of the air, All the forces of nature Has he taken and tamed. Earth, Fire and Water harnessed Caught in his hands, And taught to bear. Man, who found the use of language,· And the wind-swift motion of thought. Who built shelter from the rain, And turned them to towers of beauty; Cities ... where we learned together The laws of state, of living as one. Man, whose power knows no limit! Cunning, to conquer every danger. Strength, to stand against attack. Passion, to face the Fates. For every challenge an answer! For every ill save death, a remedy! Such is the power of man! Such is the modesty of man. Who draws both to good and evil ways. Great power in these mortal hands, To uphold the laws of state and heaven. But minds that close in pride Threaten all beauty, Without and within. He that hears but will not listen, Walks alone, toward the wages of sin.
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ODE THREE
Ambition
Ambition drives men to good, And many it lures to destruction, Falsely lighting flames of desire, Of greed, Of power, 'Til failure trips men unawares, And they fall Consumed in fire. Ambition lifts man toward the gods, To the secrets of science and spirit, Unlocking the mysteries of life, Of energy, Of matter. Yet knowledge without wisdom Dooms all our race To destroy what it creates. As in the past; so in the future. For mortal man this law is true: Greatly to live is greatly to fight, To endure, To suffer, And for a world in pain, Ambition can seem the same as hope; Evil, the same as good.
ODE FOUR
Justice
What is the hope of man?
In life and death Is the house of Oedipus shaken. Generation to generation Of trial; The wrath of the gods That will bear no reason. That judges with no atonement, That hears their sorrow But will not acquit their pain. What is the hope of man?
A world of justice Should rescue the good, A world of justice
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Should punish all evil, Yet in man They stand Together as one. The eyes of Fate See the innocent are guilty, And even the wicked Can live to walk free. What is the hope of man? Happy are they Who live without fear, Whose house stands free From sorrow; From the judgement of Fate, That follows all men And falls without warning; Relentless and uncaring As the surge of the sea.
ODE FIVE
Passion
Passion, Eros, Fire from the gods, That consumes all it creates. In every corner of the earth Passion, Eros, Waits. In the surge of the sea, In the roar of thunder, In the cry of a child, In the arms of a lover, Between fathers and sons, Between women and men, Between peoples and states, Passion, Eros, Waits To catch our souls In the grip of madness. Passion.
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Eros. Love. What power is greater than love? What battle is not lost to Passion? Relentless flame, That kindles And kills The best that lives within us.
Love, Passion, Eros, Love, Passion, Eros. Fire from the gods That consumes all it creates!
ODE SIX
Destiny
So the hands of Destiny work Beyond our understanding. Yet, others, too, Both wicked and pure Have suffered the touch Of uncaring Fate; Sealed alive behind Unfeeling walls, Of stone; of metal, Of anger; of hate. Bodies left to wither and die. Spirits lost. .• with no escape. So the force of Destiny moves Beyond all mortal knowing.
A power unbending To war or wealth Unyielding to cries, Unmoved by reason. Rewarding right As often wrong, Yet good and evil Not comprehending.
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ODE SEVEN
Call To Bacchus
O Bacchus come to us now Heal your sacred city! 0 Bacchus, whose names are many, Son of the Thunderer Giver of Wine, Dionysius, laachus, Bringer of Joy, Child of Cadmus; born ofThebes. 0 Bacchus, Mighty through all the earth, Come to us now in your troubled home. Thebes, thy mother, sickens for thee, The healer of all her ills. Our gentle rivers sigh for thee Our stars hunger for your touch of fire Our valleys long for your dancing feet Our nights for your son� of passion. 0 Bacchus, Dionysius laachus, come! Return to your city again. Let your temples fill with sounds of joy. Let the night shake with night long revels. 0 Bacchus, Dionysius laachus, come! Set pleasure afoot and delight abounding The men of Thebes stand ready to sing The women to dance at your bidding. O bountiful god, return to us! Return to us! Dionysius, laachus, Bacchus Come!
EPILOG
Of Happiness, The greatest part is Wisdom. Not just to know But to understand. Not just to hear But to listen.
In a world uncertain The right can be wrong, And even the good may bring about evil.
OD
Cal To
O Bacchus come Heal your sa 0 Ba chus whose names Son of the T Give Dionysius
rin Child o Cadmus born 0 Mighty through al Come to us n w in your troub Thebes thy mother s cken The hea e of O r gentle i e s sigh Our st rs ung r for our tou Our va le s long for your dan Our n gh for your son� o 0 Dionysius laa h Return t your g Let your t mp es fi l wi h sou Let the night shake with night lo 0 Dionys us aa h Set p easure afoot and delight a T e men f Thebes st nd rea The e to d n yo O bou t l g d ret Ret
Of H ne s, T t rt N t j B t No j B
In a w rld un Th i t n ng,
e d
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The only hope of man is to honor life; To uphold the law, both mortal and divine,
And beware the man who lives in Pride, Thinking his way the only right, His view the only good. All men and women come to learn In the teaching of age and sorrow: Of Happiness, The greatest part is Wisdom. Not just to know But to understand. Not just to hear But to listen.
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PRODUCTION NOTES
SffilNG
Ideally, the stage space will reflect the feeling of "man-made" beauty that has been both created and destroyed by human hands, perhaps several times, as in great cities of the world bombed and rebuilt over many centuries.
It should be a simple unit set allowing a free flow of movement which can evoke-through use of light and action-a variety of locations with no attempt at cinematic realism. It should be overtly theatrical, and not necessarily tied to any specific place or time, but perhaps immediately accessible and "timeless," embracing both the classical and the contemporary.
Minimally it requires a ritual circle with an altar center, ENTRANCES UPSTAGE RIGHT and LEFT, and DOWNSTAGE RIGHT and LEFT. There ought to be a series of raised ramps or levels following the UPSTAGE curve of the circle from DOWNSTAGE RIGHT to UPSTAGE LEFT, leading up to the suggestion of a "palace." An ENTRANCE will be useful, as will an unobtrusive "watching place" in view of the audience for the PROLOG (TIERESIAS) and CHILD, outside of the circle DOWNSTAGE LEFT {perhaps on a lower level), to be used when they are not directly involved with the action. There should be space on or outside the edge of the circle and on the UPSTAGE levels for the CHORUS, who will remain ONSTAGE for the entire play as watchers when not directly involved in the action.
NOTE: The directions in the script are in reference to this description, both of which are meant to aid the reader rather than to mandate staging for the potential designer or director.
COSTUMES
Like the setting, costumes should be accessible to a contemporary audience; not museum "Greek" or "modern dress," but reflecting a theatrical reality that has elements of both the contemporary and the classical; a unified theatrical world, recognizable but not ordinary. For example, audience members of ANTIGONE'S age should think she dresses distinctive, ahead of the trend, original. There is a pervasive "military" quality that might be evident in the clothes and environment, but in general clothing is tied to individual character qualities and should help to define the people of the play. The clothes should allow and accentuate a free flow of movement that ranges from heightened contemporary realism to stylized ritual.
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MUSIC
The play, and in particular the ODES, has been written for performance with live music, either created by the cast ONSTAGE or by musicians ONSTAGE or OFF. All the ODES follow a similar pattern of voices, movement and music, with the text spoken, sung, and chanted in various combinations. The ODES are intended to function in a stylized, ritualistic manner both as part of the action, with the CHORUS playing roles in the world of ANTIGONE, and as comment/ elaboration on the action and themes of individual scenes, with CHORUS relating directly to the audience.
I have broken up the language and assigned voices for the ODES in the text based on choices which worked well in the original production, but other theatres may require other choices. The text may be
· adapted, lines repeated, adjusted, or assigned to suit the specificdemands of the composer, director or choreographer. Shouldmusicians be unavailable or limited, the play can be easily performedwith each of the cast finding movement and life inherent in therhythms of the language itself. Make your own music. I have placedcopies of the ODES in more straightforward, "poetic" form at theend of the play for your reference.
STYLE
Working from literal Greek translations of Sophocles and Aeschylus the text has been rendered in what is the most "free" of free verse. Although many images and language patterns are direct from the Greek, there has been no attempt to capture the rhythm of traditional Greek drama, whatever that may have been. For acting/playing the verse in the scenes, the style should be closer to what we associate with the best playing of Shakespeare: natural and alive, valuing image, rhythms and language but without affectation. It is heightened but accessible speech, and both actors and audience should experience it as real people talking truthfully in real relationships. The world of the play balances the classical and the contemporary. It is recognizable, understandable, but not ordinary. The ODES are written in more structured poetic language, and will be a bit more formal of necessity, but resist making them too abstract. They have a Brechtian directness at points. Overall, simplicity of word and action should be sought. Don't be afraid of genuine emotional life, but at the same time don't weigh the play down with indulgent wailing and gnashing of teeth. Even in the final section of the play, which must have the emotional magnitude we expect of Greek tragedy, you will be served best by full and simple truth rather than overblown display. The action is designed
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to move forward rapidly and passionately; a contemporary experience of mythic proportions. Acted at its best, the text should allow no easy villains and no answers. The play exists most fully in the tension between equally valid, powerful arid divergent points of view which engage the characters and the audience in an ongoing debate. Everyone in ·the action, from their own point of view, is fighting to protect important values; to stop someone they love from making a terrible mistake.
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cast, not just a star lead performer like so many other mainstream musicals and plays.
adapt and custoMize.Pioneer helps you manage the number of roles in your production. We indicate where doubling is possible for a smaller cast, as well as provide suggestions where extras are possible to allow for additional actors. Both options will help you tailor your play for your specific cast size, not the other way around.
Be original.Get access to fresh, new musicals that will let your actors develop their characters instead of mimicking the same personalities we see on stage year after year.
take advantage of our teaching tools.Pioneer’s CD Sets include two high quality, studio-produced discs – one with lyrics so your students can learn by ear, the other without so they can rehearse and perform without an accompanist or pit band. You can even burn a copy of the vocal CD for each cast member without worrying about copyright laws. And with payment of your royalty, you have permission to use the karaoke CD in your actual production.
it’s like having an assistant.Use our Director’s Books and benefit from professional features designed by and for directors. Line counts, scene breakdowns, cues and notes – you’ll love our spiral-bound, 8½” x 11” books with the full script only on one side of the page to leave plenty of room for your own notes.
videotaping? We’d Be disappointed if you didn’t!With Pioneer, you’ll never have to worry about videotaping your production and posting it on YouTube. In fact, we encourage it. We understand that your production is about your performers, not our script. Make the experience the best it can be, take pictures and videos, and share them with the community. We always love seeing our scripts come to life.
