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read_outside_the_box's review against another edition
4.0
Une étonnante réécriture! Il y a une poésie et une naïveté dans le personnage d'Antigone qui m'a charmée, même si la protagoniste en tant que telle s'avère très égoïste. C'est ce qui fait la grandeur de la pièce toutefois: ces deux solitudes, celle de Créon et celle d'Antigone, qui s'opposent dans une incommunicabilité bornée. Comme quoi rien n'arrive de bon lorsqu'on est chacun pour soi.
tihaal__'s review against another edition
4.0
Okey so this may be an unpopular opinion but, iloooved hemon he was just awesome and I pretty much liked creon and felt soo sad for him in the end but that 'pick me'. Auntigone was just an ungrateful bitch to me
cchipmunck's review against another edition
slapped - sophocles you walked so Anouilh could run <3
xila's review against another edition
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
bucketofcrows's review against another edition
emotional
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.5
Beaucoup d'amour pour le style d'écriture et le prologue.
gabrielle_erin's review against another edition
5.0
This was FASCINATING. I positively adored it in every aspect - potentially my new favourite play?
madeleinegeorge's review against another edition
4.0
What a beautiful adaptation. Initially published in France during the Nazi occupation, Anouilh masterfully evaded censorship while managing to comment forcefully and theatrically on the subversion of power, the strength of conviction (+ women), and proceeding in the face of imminent disaster. Which-- it feels particularly timely these days. It’s English debut at the New Theater, London six years later featured Laurence Olivier as Prologue and Vivien Leigh as titular protagonist-- what I wouldn’t have given for one of those tickets.
An amazing combination of the highly americanized Our Town and a kind of fleeting Brechtianism, this piece spares no one-- not the actors and definitely not the audience. One of the most moving scenes (for me at least) was one of the first between Antigone and Haemon. It is as demanding and exacting to us as Antigone is to Creon-- she will not compromise for his comfort, she will not accept life / love / mercy / justice unless it comes to her in full.
There’s a reason we can’t let this story go. Anouilh (and subsequently Sams) reminds us why.
Essentials:
“Since the curtain rose she’s been feeling, what, a sort of distance. A distance growing and growing at a dizzying rate, […] between her and us. Between her and those of us who are quite content to sit here, and watch her, quite content because we don’t have to die. Well we do, but not necessarily tonight.”
“I don’t want to partly understand anything.”
“ISMENE It’s proper for men to believe in ideals and to die for them, but you’re a girl.
ANTIGONE Oh yes I know that, and every day I’ve cursed the fact.”
“Ultimately, tragedy is almost restful, because you know there’s no hope, and there’s nothing more unsettling than hope, is there?”
“CREON Merely being human is not enough for your family. You have to go head to head with destiny or death.”
** “Don’t feel sorry for me. Don’t soften. Be strong. Do what I’m doing. Do what you have to do. And if you’re human, do it quickly. That’s all I ask. I can’t be this brave forever.”
“I can say ‘no’ to whatever it is that I hate, and be responsible only to myself. But you, with your crown and your guards and your whole entourage, you have no choice but to put me to death… because you said ‘yes’.”
“You know, you’re much too sensitive for a tyrant. But you’ll still have to put me to death soon, you know you will, and that’s why you’re scared. There’s nothing uglier than a man who’s scared.”
“CREON Life is a book one loves, it’s a child playing at your feet, it’s a tool that sits well, in your hands, it’s a comfy chair where you can sit and watch the sun down. You’re going to hate me even more for saying this, but to know this is one of the few consolations of old age. That life consists of nothing more than the happiness we can get out of it.”
“What kind of happiness do you see for me? What kind of happy woman will Antigone be? What little sins will she have to commit to qualify as one of the happy people? Who will she have to lie to or fawn on or sell herself to? Who will she have to leave to die?”
“Your idea of happiness disgusts me. Your idea of life as something you have to love come what may. […] I want everything and I want it now. And I want it to be whole and complete otherwise I’m not interested."
** “Yes I am ugly. My heart is screaming at you. Why should that be tidy or pretty?”
“My dearest darling, I wanted to die and perhaps you won’t love me anymore."
An amazing combination of the highly americanized Our Town and a kind of fleeting Brechtianism, this piece spares no one-- not the actors and definitely not the audience. One of the most moving scenes (for me at least) was one of the first between Antigone and Haemon. It is as demanding and exacting to us as Antigone is to Creon-- she will not compromise for his comfort, she will not accept life / love / mercy / justice unless it comes to her in full.
There’s a reason we can’t let this story go. Anouilh (and subsequently Sams) reminds us why.
Essentials:
“Since the curtain rose she’s been feeling, what, a sort of distance. A distance growing and growing at a dizzying rate, […] between her and us. Between her and those of us who are quite content to sit here, and watch her, quite content because we don’t have to die. Well we do, but not necessarily tonight.”
“I don’t want to partly understand anything.”
“ISMENE It’s proper for men to believe in ideals and to die for them, but you’re a girl.
ANTIGONE Oh yes I know that, and every day I’ve cursed the fact.”
“Ultimately, tragedy is almost restful, because you know there’s no hope, and there’s nothing more unsettling than hope, is there?”
“CREON Merely being human is not enough for your family. You have to go head to head with destiny or death.”
** “Don’t feel sorry for me. Don’t soften. Be strong. Do what I’m doing. Do what you have to do. And if you’re human, do it quickly. That’s all I ask. I can’t be this brave forever.”
“I can say ‘no’ to whatever it is that I hate, and be responsible only to myself. But you, with your crown and your guards and your whole entourage, you have no choice but to put me to death… because you said ‘yes’.”
“You know, you’re much too sensitive for a tyrant. But you’ll still have to put me to death soon, you know you will, and that’s why you’re scared. There’s nothing uglier than a man who’s scared.”
“CREON Life is a book one loves, it’s a child playing at your feet, it’s a tool that sits well, in your hands, it’s a comfy chair where you can sit and watch the sun down. You’re going to hate me even more for saying this, but to know this is one of the few consolations of old age. That life consists of nothing more than the happiness we can get out of it.”
“What kind of happiness do you see for me? What kind of happy woman will Antigone be? What little sins will she have to commit to qualify as one of the happy people? Who will she have to lie to or fawn on or sell herself to? Who will she have to leave to die?”
“Your idea of happiness disgusts me. Your idea of life as something you have to love come what may. […] I want everything and I want it now. And I want it to be whole and complete otherwise I’m not interested."
** “Yes I am ugly. My heart is screaming at you. Why should that be tidy or pretty?”
“My dearest darling, I wanted to die and perhaps you won’t love me anymore."