ANTIGONE.JEAN ANOUILH METHUEN 2009 PDF

Marie-Magdeleine worked the night shifts in the music-hall orchestras and sometimes accompanied stage presentations, affording Anouilh ample opportunity to absorb the dramatic performances from backstage. He often attended rehearsals and solicited the resident authors to let him read scripts until bedtime. He first tried his hand at playwriting here, at the age of 12, though his earliest works do not survive. Jean-Louis Barrault , later a major French director, was a pupil there at the same time and recalls Anouilh as an intense, rather dandified figure who hardly noticed a boy some two years younger than himself. He liked the work, and spoke more than once with wry approval of the lessons in the classical virtues of brevity and precision of language he learned while drafting advertising copy. Supported by only his meager conscription salary, Anouilh married the actress Monelle Valentin in

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Rossana Zetti The Antigone of Sophocles enjoys one of the richest performance and reception histories: it has been translated more than fifty times into the English language in the last century and it has been performed all around the world. In spite of its political and revolutionary potential, the ancient myth was also appropriated by the Nazis for their ideological propaganda and it was presented as example of heroic and patriotic drama.

The politicization of Antigone in these years is twofold — it served both the ideological instrumentalization of the Nazis and the intellectual resistance. It is in this period that Antigone becomes an icon of resistance and revolt; but it also becomes representative of a nationalistic classical tradition. Scholars have identified many errors and a striking philological inaccuracy.

How is it possible that the Antigone was so popular and the authorities did not attempt to stop the proliferation of such a politically charged play? Yet it is necessary to take into account the long tradition of German Classicism and cultural identification of Germany with ancient Greece started with Winckelmann.

Rather than classical Greece, the stage designs reminded critics of an oriental or pre- Hellenic culture. Antigone was interpreted by Marianne Hoppe and was addressed and presented as Greek, whereas Creon, interpreted by Walter Frank, was dressed as an Oriental king.

The racial kinship was inverted: Antigone, a female, was presented as the Aryan-Greek model and Creon, the ruler, as a barbarian.

Brecht explicitly challenges the nationalistic uses of the Sophoclean play which he felt incompatible with the complexities of post-war Germany. As he explains in the preface to his own Modelbuch,43 Brecht avoided an easy identification of the conflict with one between the individual and the Nazi totalitarian regime. Creon is a corrupt, imperialistic tyrant, leading an aggressive war against Argos to control its mines.

Through his reworking of the Sophoclean play Brecht aims to awaken the critical spirit of his audience: the play becomes a pretext to reflect upon the recent past and to remember that past.

He was watching the events from a distance, during his exile. Once more, classics serve as a platform to comment upon past and present events, and to question issues of moral choice and responsibility.

His version is as important as the original for the creation of later, politicized Antigones and showed the way to other adaptations that reflected on political issues of dissent and resistance. It is not only the past itself that matters, but the ways in which this past is consciously re-interpreted and exploited to remember and shape contemporary events. Antigone still matters today because of the chain of political reinterpretations that has helped authors and audiences to remember and reflect upon the present through the powerful voices of heroes of the past.

It is questionable whether these and other Antigones anchored to the history of the twentieth century have contributed to effectively instigate a political change and sentiments of revolt or nationalism in their audiences. Ancient Drama in Music for the Modern Stage. Oxford: Oxford University Press, Greek Tragedy and vaterlandische Dichtkunst. Princeton and Oxford: Princeton University Press, Die Antigone des Sophokles. Berlin: Suhrkamp, KUHN, T. London: Methuen, In: LEY, R.

Perspectives and Personalities. Heidelberg: Winter, London: Bloomsbury Academic, Studia Theodisca, n. Color Red. The Solid Letter. Stanford: Stanford University Press, Munich: C. Berck, Classics and the Uses of Reception. Oxford: Wiley-Blackwell, The Returns of Antigone: Interdisciplinary Essays. Antigone in Africa. Translation and Literature, v. Accessed on: 12 Jan. Sophocles and the Language of Tragedy.

Lectures on the History of Philosophy, , vol. Anmerkungen zur Antigona. Werke, Briefe, Dokumente. Munich: Winkler, Northumberland: Bloodaxe Books, Munich and Leipzig: K. Saur Verlag, Oxford: Legenda, Reception — A New Humanism? Receptivity, Pedagogy, the Transhistorical.

Classical Receptions Journal, vol. MEE, H. Antigone on the Contemporary World Stage. Performance Reception: Canonization and Periodization. A Companion to Classical Receptions. Leiden: Brill, Hegel on Tragedy. New York: Harper, PFAU, T.

Essays and Letters on Theory. Munich: Fink, Brechtian Chorality. Choruses, Ancient and Modern. Bertolt Brecht Journals. New York: Routledge, Rochester NY: Camden House, The Theban Plays.

Oxford: Oxford Clarendon Press, Rethinking Tragedy. Baltimore: Johns Hopkins University Press, Virgil and the Augustan Reception. Cambridge: Cambridge University Press, Boston: Twayne, Reflections on the Painting and Sculpture of the Greeks. Fusseli, H. London: A. Millar, International Journal of the Classical Tradition, v. Hitler himself famously displayed an interest in particular aspects of the Greek world. LOUTH, , p. Related Papers.

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Fenrijora A miracle that it was ever performed. Nov 22, Manny rated methhuen it was amazing Shelves: If not, I want to die! Interesting version of the classic play by Sophocles, still I prefer the original. I highly recommend this play. Manny makes much of the beautiful writing in this play, and I did like a lot it — simple language, but used well. Jean-Louis Barrault, later a major French director, was a pupil there at the same time and recalls Anouilh as an intense, rather dandified figure who hardly noticed a boy some two years younger than himself. One of my favourite books.

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