The task is to watch Antigone (Filmed Live at The National Theatre) and write analysis comparing a scene with our own adaptations.
I chose to write about two scenes as they coincide with one another: Creon’s Entrance & The Soldier’s Entrance.
Whilst watching, I began making notes. The initial, obvious thing I noticed was that the set was different. The chorus were not soldiers (which is what we had done), they were political minions of Creon. The set was a low-lit office that filled out a wide, end-on stage. Our version is all performed on a thrust stage. The lighting is just as dim and the atmosphere just as tense.
When Creon appeared, I noticed that he seemed less accustomed to being King than our version of Creon did. I personally felt that he was much more laid back and less used to his new-found authority which I found effective at showing an intriguing personality to Creon. Unlike our version – where the chorus are often cheering and clapping in celebration – the chorus in the National Theatre version only clap once. It is extremely on queue after Creon finishes a line with “mine by right”. The clap is brief, and the chorus seem way less proud of their new king than in our version. The soldiers are also stood completely still at the sides, which is how we originally blocked that scene but then changed it to involve much more movement. The lack of enthusiasm of the chorus compared to our’s sets a different atmosphere entirely. I think that both are effective at being engaging to the audience.
Conclusively, the soldiers seem less afraid of Creon. For example, the line “We are not mad, sir” is said with a sort of mocking laugh. This behavior would not be acceptable to our version of Creon. He would be far more intimidating; making sure that no one questions him without a serious tone. The line immediately after, “We know the law – and the penalty for breaking it.” Is said to Creon as though challenging him and telling him that they don’t need him to tell them what will happen if they fail him. In our version, that line is less significant. Creon barely notices it which gives a different atmosphere entirely; it tells the audience that he does not care much at all for what people think of him.
Shortly after this, the Soldier enters to bring the news that Polynices’ body has been buried. In our version, the Chorus and Creon are still on high alert. As soon as the Guards bring the Soldier in, everyone is extremely attentive. However, in the National Theatre’s version, the Chorus and even Creon are about their own business in the office set. Most people are sat down at a desk; Creon included. The soldier speaks for some time before saying the line “The body’s buried.” This is when Creon stands up and the Chorus are alert.
In our version, the Chorus are the ones moving about, chatting to each other in shock after this line and Creon is stood still, staring at the Soldier and waiting for him to expand. In the National Theatre’s version, Creon is the one doing most of the moving. However, Creon still remains to be less bothered by things. He jokes and laughs whilst leaning against a desk when saying “Do the Gods love criminals, these days?” This attitude works well as he had just said “Quiet, all of you, before I lose my temper.” This shows that he hasn’t lost it. In contrast, our Creon losing his temper and raising his voice a lot more in a harsher tone is effective also because it shows that our Creon is more impulsive and new at being King.