A high proportion of the most dramatic scenes in the plays of all ages are scenes for precisely two characters. Choose a scene from Anouilhs Antigone and explain what makes it dramatic
Jean Anouilh - Antigone
"A high proportion of the most dramatic scenes in the plays of all ages are scenes for
precisely two characters. Choose a scene from Anouilh's "Antigone"
and explain what makes it dramatic"
I have chosen the scene of confrontation between Antigone and Creon as the most dramatic and throughout the duration of this essay, I will attempt to assess what aspects make it dramatic. The reason I chose this scene is because is it the scene that the whole play leads up to after the chorus' speech at the beginning of the play, causing this to be the scene that the audience anticipates, as the outcome of this scene affects the lives of the characters at stake.
The positions of Antigone and Creon are conflicting, due to King Creon's views of a political nature contrasting his niece Antigone's views on religious duty, whilst both managing to retain the belief that they are in the right. Based upon this knowledge, the most dramatic scene is therefore going to be the confrontation between these two characters. Leading up to the fatal confrontation, there are many aspects of the play, which set the scene of conflict. The opening speech delivered resoundingly from the chorus triggers off the presence of tension in the atmosphere and can be sensed immediately by the audience. The chorus lays down the story of Antigone, who wants to bury the body of her dead brother Polynices but it is Creon's contrasting views on respecting the dead body of Polynices that makes the story so engaging. As the audience, we can only anticipate the most dramatic scene will therefore be the confrontation between these two characters when Antigone is arrested.
In the opening tableau, the chorus notifies the audience of the fate of Antigone which is unusual as rather than waiting for the story to unfold, the audience can only await what they already know will happen. Rather than wanting to know what will happen next, the audience are more concerned with how something will happen due to the information delivered from the chorus. This device creates tension very early on in the play continuing as a theme throughout as the speech made by the chorus at the beginning of the play makes things inevitable causing the audience to anticipate the development of what they know will happen.
Creon's initial response to discovering that Antigone defied his edict is to question whether or not she actually did it by asking whether what he has heard is true. As he asks, "Is it true?" you can sense that he doesn't want to believe that his niece would be capable of defying him, almost wanting her to lie and deny the truth of her actions yet he instinctually knows she disobeyed him without needing to ask. Antigone answers simply yes to his question, unashamed of her actions - the threat of death not seeming to phase her. Creon ...
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Creon's initial response to discovering that Antigone defied his edict is to question whether or not she actually did it by asking whether what he has heard is true. As he asks, "Is it true?" you can sense that he doesn't want to believe that his niece would be capable of defying him, almost wanting her to lie and deny the truth of her actions yet he instinctually knows she disobeyed him without needing to ask. Antigone answers simply yes to his question, unashamed of her actions - the threat of death not seeming to phase her. Creon then asks whether Antigone had told anyone of her intentions and whether anyone saw her committing the burial, to which Antigone answers again simply 'no' to all of his questions, seemingly bored and unimpressed with his persistent questioning. Creon's tactic of continual interrogation displays his initial shock and continuance to deny reality, not able to comprehend Antigone's blunt yet proud responses.
Creon then attempts to dismiss what Antigone has done, taking it upon himself to resolve the situation by covering it up, not wanting her to be put to death and it prepared to brush it under the carpet, "You will say you aren't well and that you have not been out since yesterday. Your nurse will tell the same story." Immediately, a sense of relief is felt, leading the audience under false pretences that there is some hope of Antigone's life being spared and that everything is going to be all right. This is different to the original, as in this version, when Creon discovers the truth in Antigone's actions, he is willing to brush it under the carpet, forgive her, give her an alibi and pretend that she didn't do it. Whereas in the original by Sophocles, Creon becomes headstrong, argues with Antigone about defying the edict he set down and then sentences her to death. To Creon's attempted arrangements of forgiving, forgetting and covering up, Antigone replies "You are going to a lot of trouble for no good reason. You must know that I will do it all over again tonight", proving to be consistently unashamed of her burying her brother against her uncle's will and is adamant that her brother will be buried despite the consequences, displaying her headstrong belief in dying for what she believes in. When Antigone declines this offer, the audience recognises a feeling of frustration wishing that Antigone would concede to Creon's arrangements and there is no clue at this point as to why she is not wanting to be excused of her imminent punishment.
Still in disbelief, in another attempt to save her, Creon endeavours to understand her motives to which she justifies her reason as owing it to her brother to bury him. Creon still cannot seem to comprehend Antigone's actions as he holds the belief that his edict was above any other law due to the fact that he is King. His predetermined political views contrast with Antigone'' religious beliefs and duties and it is these conflicting views that make the beginning of the scene dramatic considering Creon's ignorance towards her purpose. Antigone continues to retain the belief that no matter what Polynices did during his life, he was still her brother and so she had a duty to him to make sure that he would rest in peace. By burying him, she had put him to rest as her beliefs were based upon the Greek belief that if a body wasn't buried, its soul would wander the earth for eternity. Creon, similarly to Antigone, uses the tactic of seeking to justify his decree by claiming that Polynices was "a traitor and a rebel" and so deserves everything that has happened. Creon attempts to figure out Antigone's motives and assumes that she buried her brother under the assumption that she would get away with it, being the niece of the king and the fact that she was due to marry his son. Antigone denies this adamantly claiming that if she had been a scullery maid, she would have done the same duty unto her brother. He then asks if she knew the consequences of burying her brother before she attempted to, to which Antigone frankly answers that she did, confirming Creon's worst nightmare as it is apparent that she willingly broke his law out of duty to her brother. Creon then goes on to compare her to her father, Oedipus, revealing that Oedipus let his personal feelings be his priority above his ruling, and that he was too headstrong and proud, likening Antigone to these aspects of her father's personality.
Creon then goes onto describe himself, claiming that he is responsible, practical and down to earth, and as he is king, it is his trade and he must take it seriously. Antigone is so different to Creon making it clear that they are going to clash. Again, Creon goes to discover the cause of Antigone's actions, questioning her religious beliefs and if it was these beliefs that caused her to go ahead with the burial even thought she knew she was defying his edict. At first Antigone claims that it was her beliefs that motivated her to bury her brother but then later admits that she did it for herself and religion had nothing to do with it and with this answer, Creon seems in control of the argument. He then asks why she is determined to die when she has such a bright future ahead of her and has the chance to live a long, happy and prosperous life - the audience can sense Creon's frustration and need to find out the cause of her determination. Creon's defeat is displayed when he lashes out at Antigone and grabs her arm, his frustration echoing the audience's own frustration with Antigone. Creon admits that he would have had the body buried, but had to produce the edict to portray his authority and power - proving traitors would be punished. Antigone then resorts to personal insults and the argument becomes locked in a yes/no quarrel, each retaining their stubborn view on the right thing to do. Antigone then mocks Creon by answering yes to everything he asks and then claims he is trapped within the role of king, and because of being trapped within his job, that is why he has no other option but to kill her, as it is his fault for accepting the edict. His response to this intolerable statement is to attack Antigone for saying no, claiming there to be no responsibility in saying no. At this moment its easy to acknowledge why this argument has continued due to Antigone's idealism, wanting everything to be perfect, forgetting that it may not be practical in certain circumstances.
Eventually, Creon resorts to the tactic of bursting Antigone's romanticised bubble about her brother telling her of the crimes Polynices' committed during his life and killed his own brother. Creon has enabled some light to be shone on the truth about her brother, and soon Antigone starts agreeing with Creon. This becomes an apparent relief for them both, as well as the audience, as at last it seems as though she may live, leading the audience under false pretences yet again letting them believe in a flicker of hope that she may survive. This tactic used by Anouilh of building up the audience's hope is extremely dramatic, as it lures them into the belief that everything is going to be alright, leading them up to believe that she may actually survive but subconsciously they know that Antigone fate is set in stone.
As Creon feels that he is in control, it is here that he makes his fatal mistake of comparing Antigone to himself when he was younger, setting Antigone off as she is frightened of growing up and turning into someone like Creon and other adults around her. It is at this moment that Antigone's fate is sealed and there is no escape. She begins to insult Creon continuously and he then orders the guards to come in and take her away.
It is this last scene that pulls the whole play together and it is the result of this confrontation that the audience has been hungrily anticipating yet ironically dreading as it is the scene that determines Antigone's fate. Due to the vast amount of apprehension circling the confrontation, so much is hinged upon its outcome as it is literally a matter of life or death. Tension and anxiety builds up right throughout the play, leading up to this scene and it is worth waiting for due to its dramatic consequences. There were no distractions during the scene adding to its dramatic perspective, leaving just the two characters on stage with a bare set so that the audience can only focus upon them. The conflict between Creon and Antigone was not only in their characters, but also in their views and opinions of the welfare of Polynices body, making the scene itself unbelievably intense. The tone of voices from the two characters at the end adds to the impact due to the raising of voices and audience perceiving reflected frustration. The frustration in both of the character voices is heard and as there are only two characters on stage, the audience's attention is completely focused on them stirring emotion within the audience as they hear both points of view argued.
Joanna Lowe Page 1 4/27/2007