• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Development of my character Creon in the scene with scene with Antigone.

Extracts from this document...

Introduction

Development: Throughout my character Creon's scene with Antigone, Creon uses a variety of tactics to aggravate Antigone but not to great affect. To achieve this, I used a very upper-class formal voice which showed the audience my position of hierarchy and dominance. Despite his frustration with Antigone in this scene, Creon wants to remain measured and use his cunning to forge a level-headed attack at Antigone but on occasions all sense of this measure is lost and his contained fury is expressed. (APPENDIX 2) To show his exasperated fury, I decided I had to march across the stage and grab Antigone by the wrist. We also used levels here to show Creon's power as I eventually grab Antigone by the hair and pull him down to my level to show that Creon is the King who is peering down on him, trying to make Antigone seem insignificant. We also used levels on a more larger scale in this scene as to begin with, I sat on a throne which was placed on a raised platform to show that this was Creon's palace, Creon's cities and everything was to be run under Creon's ruling. Antigone however, remained standing in a corner of the stage and only ever moved when grabbed, pushed and shoved by Creon. ...read more.

Middle

Because of this, during these rehearsals, I had to take a much different approach in achieving the level of cunning and evil that I wanted to achieve. The more we rehearsed, the angrier I felt I could become and this gave me confidence helping my performance to improve. Remembering times of when I've felt anger in my life before going on stage, got me in the right mind set of the scene and I could then transfer that personal anger on to the anger of Creon. Our musical choice at the start of this scene was a classical piece by the composer, "Zemlinsky" and a track called, "Langsam - Mit Ernst Leidenschaftlichem Ausdrug." The opening seconds of this piece created a grand feel which was overpowering and contrasted to the more light hearted choice of music from the previous scene. We also placed a long red drape behind the throne of Creon. Red is often seen as a colour of danger which reflects the situation in which Antigone had brought himself into. Ironically, red is also the colour used in bull-fighting to aggravate the bull which has its similarities to this scene. Antigone is winding up the bull, Creon, with his stubborn unwillingness to obey and the stronger willed he gets, the angrier and intimidating Creon gets. ...read more.

Conclusion

This slide show also included identification of the world's most famous couples, either in films or real life such as; Posh and Becks, Fred Astaire and Ginger Rogers, Tony and Cherie Blair and Leonardo Di Caprio and Kate Winslet. With these pictures, we wanted to show that although love is always there, either it's not always perfect or is so perfect to the point that it becomes unreal. Although the devised piece was a completely different style to that of "Antigone," we kept the type of stage exactly the same, a thrust stage, this again increased audience interaction but in a different way to that of "Antigone." Before the character interaction began, all three characters delivered a monologue at the front of the stage. At a particular part of my monologue (APPENDIX 6), I walked right to the front of the stage towards a suitable victim and was able to pinpoint them and eventually embarrass them. This helped make that part of the play more humourous for the audience. We chose to do these monologues at the start of the play to make the audience realise how completely different each character and immediately they knew the dating process would be a disaster before the characters themselves did. This meant that when talking to other members of the cast, the audience could relate back to what they said in their monologue and have a better understanding of the character. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Classics section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related GCSE Classics essays

  1. A high proportion of the most dramatic scenes in the plays of all ages ...

    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,

  2. child development coursework visit 1

    All these expectations will allow me to see how well Harris has developed physically, emotionally, socially and intellectually. Observation: As I expected Harris was very shy and hesitant towards me, he wouldn't speak or even come to me. I thought to myself maybe if he sees the jigsaw puzzle he may warm to me.

  1. 'Both Antigone and Creon deserve our sympathy'. Discuss.

    Although we do feel sympathy for Creon in some instances in the play, for the most part he is a character to whom the audience do not take kindly. Like his predecessor Oedipus, he quickly changes from the admirable and generous ruler of Thebes, to the dominant, tyrannical king.

  2. A high proportion of the most dramatic scenes in plays from all eras are ...

    Antigone refuses, resolute in her decision. 'Don't stay alone. Go and find Haemon. Get married quickly,' Creon tells her when at a very brief instant Antigone appears to relent. The body language between the two characters would have been very effective; Creon is manipulation her at this point, talking softly,

  1. Throughout the play 'Antigone' there is a constant emphasis on the use and abuse ...

    all the tragedies surrounding him, mainly because he believes that even though they did not die directly by his own hand that they died at his hands because of his wrong doings towards the dead and "the unwritten, unalterable laws of heaven.".

  2. Form and Structure - Antigone

    Creon - The lead protagonist who progresses the tragedy in Antigone as he shows his downfall is due to the bad decisions he makes. He represents the audience members who have made a few bad decisions which have been catastrophic.

  1. “Analyse Anouilh’s use of variety dramatic devices in his presentation of Antigone in the ...

    that a person's soul could never come to rest unless their body had been buried, otherwise they would remain eternally on Earth. It is Creon's contrasting views on Polynices' welfare that makes the play so intriguing. The chorus in the up-dated version of "Antigone" by Anouilh is singular, whereas in

  2. Siddhartha Character analysis

    Siddhartha and Govinda were both on their path to enlightenment, which shows that Govinda was also just as spiritual as Siddhartha. 4) Loyal - "I am not going anywhere. We monks are always on the way, except during rainy season."

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work