Sophocles: Antigone – 2000 years later

We have to speak up about contemporary times, of course, start a dialogue about the questions which bother and surround us, about giddiness of people who passionately bow to those who win. On the other side we have to speak up about the problem of well-known megalomania and wars, as well as history that not only defines, but rules our contemporaneity.

Sophocles: ANTIGONE – 2000 YEARS LATER

LOCATION: Fortress Minor, Mali Brijun
LANGUAGE: Croatian
CO-PRODUCTION: MESS Sarajevo, Ulysses Theater
DURATION: 1 hour, 50 minutes

 

ABOUT THE PLAY

Antigone is a sister to all those who dare to say NO at a certain historical moment. Defying the authority which does not recognise, and even denies the existence of injustice, she is faced with the obliteration of her own life. To follow in Antigone’s footsteps means having to face a punishment, although, ethically, it denotes a courageous act of resisting the public opinion. Sophocles’ tragedy describes the consequences of Creon’s decree prohibiting the burial of the rebellious Polynices in accordance with Greek funeral rites in the moment when the king convicts the person who is eager to live in accordance with divine justice, but who is also desperate to reconcile the feuding brothers, if only by burying them with same honours. By honouring the unwritten laws – both human and those of gods – Antigone reveals the worship of living things and of the cosmic order, even though by listening to her inner voice, she is disrupting her lineage and kinship (anti/against; gone/birth, offspring, kinship). Instead of mourning in silence, at the moment of great pain, she declares loyalty to her family and her city.

Can affirmation of life be attained through such disobedience? Alone, Antigone maintains equilibrium between the gods of the underground, her world on the one side and Zeus on the other. The only thing she requires is the right to live and exist according to her conscience. But she is condemned by Creon’s hasty, hard judgment and his belated realisation of that which she had understood intuitively, in her own heart. She stays imprisoned between the world of the living and the world of the dead, while her character, and everything she represents, remain in the rifts between generations, between kinship and offspring, the old and the young, those who are autonomous and those in need of support and assistance, between the citizens and the military, the right and the left, the patriots and the traitors, between the time of peace and the time of war.

Sophocles’ chorus, the voice of reason and reality, opens up a space to articulate the objective knowledge of science, which can understand and respect both Antigone’s plea, as well as the reasoning of King Creon – both characters equally important and justified by their motives.

Sanja Bojanić

 

TRAILERS

Antigone – trailer I / Antigone -trailer II

 

FROM THE PRESS

Maja Izetbegovic as Antigone is reaching her crescendo just as the role develops. At the beginning a little restrained, but later displaying moments of great performance and excellent character developement of Antigone, sister of all those who dare to say no in a particular historical moment .

Great Rade Serbedzija, who plays several characters, earned a big round of applause, and, although fantastic in all roles, perhaps his best one was Creon. (Vanessa Begić for Glas Istre, August 2015)

 

In each part of the performance, Šerbedžija retains the seriousness not seen in decades on local stages, maybe since the great tragic roles of Fabijan Šovagović.

Actress Katarina Bistrović Darvaš appears as a „double mother“ , as Creon’s wife Eurydice, but also as the paradigmatic mother of modern families from “our region”, brilliantly portraying paralysis and tragedy of women’s obedience ; ( … )

“Antigone”, directed by Lenka Udovicki, hits not only the center of the tragic Sophocles play, but also the post-Yugoslav war trauma, where every house had a royal loss, as well as executioners in their neighborhood.

 ( … ) ” Antigone” is a play with very strong performances and, so far, the most well-rounded work of director Lenka Udovicki. (Nataša Govedić for Novi list, August 2015.)

 

Fragmentary dramaturgy allows the mixing of space and time on a single stage, understandable at any moment of play thanks to the excellent music of Nigel Osborne and a strong stage movement of actors .

The message is clear – we are still looking for answers to the questions of difference between law and justice, the line between tyranny and anarchy and male and female understanding of the tragic events in life. (Tamara Opačak Klobučar for Večernji list, August 2015.)

Shows

  • Regular show
    20.07.2018 20:30
  • Regular show
    21.07.2018 20:30
  • Regular show
    19.07.2018 20:30

Co-production: MESS, Ulysses Theater

Director: LENKA UDOVIČKI

Stage Adaptation: ŽELJKA UDOVIČIĆ PLEŠTINA

Costume Design: BJANKA ADŽIĆ URSULOV

Set Design: MIRNA LER

Video: MARTINO ŠESNIĆ

Composer: NIGEL OSBORNE

Choreographer: IVANA KALC

Stage Movement: MLADEN VASARY

Light Design: ANDREJ HAJDINJAK

Sound Design: DAVOR ROCCO

Antigone, daughter to Oedipus and Jocasta MAJA IZETBEGOVIĆ

Ismene, sister to Antigone DŽENANA DŽANIĆ

Creon, King of Thebes, brother to Jocasta and uncle to Antigone and Ismene RADE ŠERBEDŽIJA

Haemon, son to Creon and Eurydice, betrothed to Antigone ERMIN BRAVO

Tiresias, the blind prophet DAMIR URBAN

Eurydice, mother to Haemon KATARINA BISTROVIĆ-DARVAŠ

Chorus leader JELENA LOPATIĆ

Boy VEDAD SULJAGIĆ

The Family

Mother KATARINA BISTROVIĆ-DARVAŠ

Father RADE ŠERBEDŽIJA

Daughter MAJA IZETBEGOVIĆ

Younger Daughter DŽENANA DŽANIĆ

Son ERMIN BRAVO

Chorus

STUDENTS OF THE DEPARTMENT OF ACTING OF THE ACADEMY OF PERFORMING ARTS SARAJEVO AND ACTING AND MEDIA STUDIES OF THE UNIVERSITY OF RIJEKA Darja Badnjević, Mak Čengić, Mirjana Đan, Nika Ivančić, Lovro Ivanković, Aleš Kranjec, Anđela Kusić, Emir Dulalić, Dina Mušanović, Nikola Nedić, Maja Ožegović, Mirta Polanović, Dino Sarija, Tena Antonija Torjanac, Marko Brajić