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Antigone

a teacher's guide to the National Theatre's video collection.


A collection of videos drawn from the National Theatres production of Antigone, directed by Polly Findlay, in 2012. They can be used to support the teaching of Antigone, Greek Theatre and Greek Tragedy. Video: An introduction to Greek Theatre
[length 6m53s] The video explores the defining aspects of Greek Theatre; from the festival of Dionysus where three dramatic genres tragedy, comedy and satyr emerged, to its influence on modern theatre.

Video: An introduction to Greek Tragedy


[length 6m33s] This film looks at the characteristics of Greek Tragedy and why the plays resonate with audiences today.

Video: An introduction to Antigone


[length 8m34s] Edith Hall introduces Artistole's 'Theory of Tragedy' and the play Antigone by Sophocles. Polly Findlay speaks about her interpretation of Don Taylor's translation of Antigone for the National Theatre's Olivier Theatre. Discuss why the plays setting of an underground bunker works well as a concept. Michael Grady-Hall (Chorus) explains how the world of the play was created. How would you create a 'world' for your own version? The play is over 2000 years old, why do we still engage with its themes?

Antigone (Jodie Whittaker). Photo by Johan Persson.

Video: State versus Family


[length 5m05s] This video looks at a central conflict within the play; Creon's belief in State weighed against the actions of his family. Why is it 'important to think of Antigone as a family tragedy'? Comment on how you would direct the plays opening exchange between Antigone and Ismene. How could you use rehearsals to ensure that the idea of both family and the state were present in the scene?

National Theatre Learning Teacher's Guide

Antigone
[length 5m58s]

a teacher's guide (continued)


Video: Creon and Antigone
The central relationship in the play is between Creon and Antigone. Christopher Eccleston (Creon) and Jodie Whittaker (Antigone) discuss the relationship between their characters in the 2012 production. Consider the dynamic between Creon and Antigones relationship throughout the different stages of the play. Watch the video and discuss the statement: Creon is not the enemy, he just thinks differently. How would this affect your direction of this character?

Video: Haemon and Antigone


[length 4m48s] Luke Newberry talks about his character, Haemon, and looks at how his relationship with Antigone creates tension in his relationship with Creon. Reflect on how you could direct Haemons love for Antigone, when they never share the stage. How would you direct the reporting of Antigones and Haemons deaths to his mother? Watch the clip of The Messenger reporting the deaths of Haemon and Antigone. Consider the proxemics of the actors used.

Video: Creon and Haemon


[length 4m20s] Haemon is Creon's last living son of three. In this film Christopher Eccleston (Creon) discusses the loss that his character suffered prior to the start of the play and how this affected his relationship with Haemon. Discuss the relationship that exists between Creon and Haemon. Identify how you would direct their struggle to communicate?

Video: Religion and modern context


[3m20s] This looks at the role of religion in Antigone and how this can be effectively staged in a modern interpretation of the play, for a modern audience. Polly Findlay, the director, believes that acting choice is key to making the political and religious lines of the play plausible. Discuss how this works.
Creon (Christopher Eccleston). Photo by Johan Persson.
National Theatre Learning Teacher's Guide 2

Antigone

a teacher's guide (continued)


Watch the clip of Antigone stating the claim for religious law over Creons state law. Comment on Antigones delivery of lines; making reference to pitch, tone and intonation as well as her movement.

Video: The Chorus


[length 6m20s] This video offers an introduction to Greek Chorus from Edith Hall before Polly Findlay speaks about her contemporary interpretation of the Chorus. This offers practical advice on how to workshop and arrange personalities and points of view for the Chorus. Look at the choral pieces in the play and work out which lines could be prescribed to individual members of the Chorus. In relation to the Chorus being staff members of a war office, decide what other groups of professional people a Chorus could belong to.
Chorus (Craige Els), Creon (Christopher Eccleston), and Chorus (Paul Dodds). Photo by Johan Persson.

Video: Heightened Language


[length 4m51s] Ancient plays are often problematic because of their use of language. Discuss what problems are associated with the language of a play like Antigone consider both the central characters and the Chorus. Watch the Miracle of Man speech in performance. What is gained by one actor taking on the voice of the whole Chorus?

Featured in these videos From the National Theatre and the cast of Antigone: Christopher Eccleston (Creon); Polly Findlay (Director); Michael Grady-Hall (Chorus); Kobna Holdbrook-Smith (Messenger); Luke Newberry (Haemon); Ben Power (Dramaturg); Jodie Whittaker (Antigone). Other contributors: Edith Hall (Professor of Classics, Kings College, London); Dr Sean McEvoy (Varndean College); Laura Swift (Open University).

National Theatre Learning Teacher's Guide

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