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

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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.


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.


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.

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