Week 21: Classwork

Monday

During Monday's lesson we made the costumes that we were going to wear for the performance, which consisted of a white sheet that was taken in at the shoulders and a plaited belt. We wanted to contrast Ismene and Antigone even more so we made sure that Antigone's costume was very muddy and covered in dirt and soil whereas Ismenes would be white and pure to reflect her innocent. I also thought that the costumes could reflect how many secrets they have to hide so Antigone is nearly completely covered by the end of the play as she has to hide the truth of her brothers and the feelings she has for Haemon. On the other hand Ismene only has a minute amount of dirt on the bottom as she only has to keep the fact that Antigone wanted to bury her brother secret.

After school we did multiple run-through, 1 of which was a tech run. We got given some notes to work on. We said that in the first Nan scene, Antigone should get amused with Nan instead of completely angry/ frustrated because she would miss this when she fully committed  herself to death and burying her brother. 

We also said that in the line "When you cry" we should emphasize the you because it would emphasize the time that Antigone and the Nurse are spending together and Antigone is trying to show the Nurse that she will always love her and remember the time they had together. 

In the Ismene scene, we thought that Antigone should be plying with the earth after the line "it's a comfort to me this morning, your being pretty" so that the moments wouldn't be so staccato afterwards when Antigone reaches down to grab a handful of dirt to try and pour on Ismene.

In the tumbril sequence we said that the chorus needs to make their whispering more aggressive and make more emphasis on certain words that would give the impression of the angry mob to the audience and they would believe that the chorus genuinely want Ismene to be put to death.

The last point of change in the Ismene scene from Antigone which were "I don't feel like sleeping, but I promise that I'll stay her until you wake up" and "Go back to bed please or you won't be so pretty in the morning." We said that there should be a change in tone so that we could see the end of the argument between the two and the sisters slowly forgiving each other.

During the chorus' second speech, she directs most of the lines out to the chorus and so the chorus needed to react to what she was saying. In a previous run through we had just nodded when we agreed with what she was saying and that didn't work as well as when we vocalized the reactions so we decided that the chorus could say small lines either two each other or to the chorus.

At the start of the 40 minute scene with Creon, Antigone's first line is "yes" and we decided to turn her body outwards towards the audience so that when she said the line the audience would be able to see the defiance in her face and also the audience can understand that it was her who truely did it and shes finally admitting that.

In the guard scene at the end, we noticed that Antigone directs most of her lines straight to the guard who is standing to the right of her which means that the audience lose Antigone's facial expressions. So we said that she would say her lines out to the front which could also reflect the fear that is being to build inside of her and so she is numb with fear. The thing that terrifies Antigone is being alone and it truly scares her because she wants to have a public spectacle where everyone can see her and notices what she has done but being walled up alive means that she will be on her own and no one will know about it and this is completely the opposite of what she wants.

Also in the guard scene, we thought that they needed to trigger each other's reactions so that the audience would have the impression that this was a real conversation. So in order for this to be carried out we said that Antigone needs to reach for a pencil to start writing the letter so that would give the que for the guard to speak.

Throughout this last scene, Antigone gets increasingly emotional as the reality of what is to come really sets in so when she's writing this heartfelt letter to Harmon, having the guard but and constantly degrade what she is saying will be really hard for her to carry on so when she says the line "where have you got up to" we said that she should be both emotionally drained and frustrated with he guard as she has just interrupted the truest emotional letter that she was writing.

Week 20: Classwork

Monday

We used Monday's lesson as an hour to work on any aspect of the play that we thought needed work or needed going through again, 

We agreed that we should go through the machete fight sequence that we had previously created and we all decided that we need to change our body positions when Ismene says the line "..the streets of Thebes are full of them" because we needed to clearly distinguish the difference between us being our actor characters and our guard characters. I decided to switch from a cross-legged position to a position that had my body weight forwards so that I looked as though I was interested in the scene that was about to unfold in front of me.

We also used the last half an hour to independently work on a scene of our choice and I chose to do the Haemon scene as I knew that I needed to work on my reactions to him and also the growing agitation that Antigone feels during this scene, especially when she decides to admit to Haemon why she actually came to see him whilst wearing Ismene's dress, perfume and makeup. W ewanted to show the true feelings between the two so we put emphasis on the line "when you think how I'm going to be yours, do you feel a great void growing inside of you as if something is dying" because that is when Antigone verbally addresses the fact that everyone knows that Haemon is in love with Ismene not Antigone.

Wednesday 

The first thing that we addressed in Wednesday's lesson was the Ismene scene that starts will Ismene walking in on Creon strangling Antigone. We worked on the reactions between Ismene and Antigone as we see that their relationship is completely the opposite of what we saw at the start. At this point, we see Antigone on the floor and Ismene stood in the corner of the room. At one point Ismene tries to reason with Antigone but Antigone moves herself as far away from her as possible which is juxtaposing to what happened in the first scene as they showed how close they were. One of Antigone's lines is "you've chosen life, and I've chosen death" and we wanted to have emphasis on the endings of life and death because we thought that these could be two very personal hits towards Ismene as Antigone is showing her that they are now two separate people who are now only connected by blood relation.

As a group we discussed the option of doing the play like the original because it was a continuous play which means that the audience wouldn't get a chance to process what was going on and so we decided to put in a interval at the end of the chorus' second speech which ends with the line "Now it's beginning. Little Antigone has been caught - and handcuffed. She can be herself at last" and at this point, Antigone is burying her brother and we thought that it would be a sensible position for an interval because when the audience walks back in for Act 2 then it would seem that she has been constantly  burying while the interval has taken place.

We also had a discussion about meta theatre, which is theatre that address the fact that the actors know that they are performing. We wanted to add more elements of metatheatre to the performance like when the more comical characters are on stage, like the Nurse, the chorus around the sides of the stage would interact with her to show the audience that they are in their actor character and their not named.

During the end of the play,  there is a long speech that is made by the Messenger and because of its length, we wanted to add in 3 images; the sealing of the cave of Hades (Antigone's death bed), the uncovering of Antigone and finding out that she dead and, the reaction of Haemon to her death. So we used the chorus as individual bricks so we had two pin lofts at the sides and then the rest of the chorus made up the bricks at the front of the cave. We had Creon dragging them away to show him removing the bricks of the cave and then when Haemon has realized that Antigone was truly gone then he would stand up and push the pin lifts down as though he was destroying the cave and stand in front of Creon.

We then continued to do a full run through of the entire piece to fix some little changes that needed to be made. We decided that when Nan says "virtuous" the chorus around the edge should snigger and laugh which would allow Antigone to react off of them and also it would mean that the play would start off with quite a relaxed atmosphere which would help increase the juxtaposition between the start which is light-hearted and then the true ending which is when she dies.

We also added in set lines for the chorus to say when they are taunting Antigone in the machete sequence. I decided that I would say "Careful love, that's a big pointy thing you've got there, you need to make sure you don't cut yourself, not that anyone would care.." I thought that it was quite degrading to Antigone because she's being this powerful character and going against the law and having these lower status characters throwing insults and vulgar things towards her would be very frustrating.

Week 19:Classwork

Monday

After creating the Ismene tumbril sequence in the past couple of weeks, we noticed that there were some changes that need to be made. We found that Ismene had to pause at certain points so that her lines corresponded with the actions and movements that were being made by the chorus members such as the line that references the guards and the line that tries to explain the consequences of Antigone's actions if she continues to have the need to bury her brother. Having these pauses caused there to be dead spots which meant that the tension in the atmosphere was broken and so we came up with a solution.

We decided that throughout the speech, the chorus members involved in the mechanisms of the lift could whisper lines about the brother because we thought that this could reflect the angry mob that Ismene refers to in the speech. We tried the full sequence 2 times; one without whispers and one with.

Without whispers: https://youtu.be/G3heO5UAauE

With whispers: https://youtu.be/pS4zczmro3Y

I think that the whispers one works better as the atmosphere grows with the speech and also, a small improvement could be that when there is a dead spot certain words from the chorus could be pronunciated more so that there are certain words that stand out whilst Ismene isn't talking but when she is the words quieted down and become only slightly audible.

Wednesday

We used the start of Wednesday's lesson to go over the Haemon scene and one of the lines that we all found quite intriguing was "I'm dark and thin. Ismene is pink and gold like an apricot." We all thought that this was Antigone's way of telling Haemon to go and be with Ismene because Ismene is the one who is going to live and be alive once Antigone has gone. We thought that it was her way of selling Ismene to Haemon and trying to convince him that Ismene would have been a better choice than her and there is still a chance that they could be together.

Once we had run trough separate scenes, we did a full run through which brought up some changes that needed to be made. First of all, I need to be louder in the scene with Nan so that my voice is projecting out to the audience and also we fixed the staging when Nan sits down on the chair and Antigone is standing at the side of her. We said that it would make more sense for Antigone to stay at the front of the chair instead of moving slightly behind it because it would mean that the two could be closer together and it would make the relationship more believable.

We also found that all but 2 of the cast ended up on the same side and so we decided that after a short scene between Antigone and Ismene they would both go off stage right so that it balanced the amount of people on each side.

Also once Antigone has been captured after the machette physical sequence, we noticed that the energy levels drop drastically and so we said that Antigone would make more struggling noises and her breathing would still be increased which would keep the audience on edge and also would keep them focused on the scene.

When the cast has stopped being their characters in a scene , we a agreed that once they were offstage they became their actor character and joined the rest of the chorus members around the side watching what we going on. We also said that rather than having the chorus members around the edge being quite passive we said that they could be actively watching what was going on as though it was the first time that they had seen it and if something was funny, we agreed that they could laugh and also when the audience were drip-fed information the chorus could react to that because they know what is to come and they could start making connections between the action that was being shown and what the end consequence is.

Week 18: Classwork

Wednesday

On Wednesday, we split into small groups so that we could go through each section in more detail and it would also be easier as we would only have to focus on two or three people at a time and also it would make the pace of the work quicker.

I spent majority of the lesson going over the Ismene scene again as we had discussed some problems that needed to be fixed like the positioning of the chair, as it needed to be in a certain place on a certain line, and we also discussed the showing of the sisterly relationship that they have.

We discussed the fact that we thought they were very close and we wanted to make sure that the audience got a sense of the relaxed atmosphere and the genuine comfort that the two feel in each other's company.

We thought that combining the movement of the chairs with trying to created an easy atmosphere could be done after the Nurse has run out to get the two a drink. We thought that Antigone could see the unease that Ismene felt towards the dirt and so Antigone would grab the chair and wipe the dirt off of it as though she was a servant to Ismene, who would give her a look and play along by doing small bow, the two would then proceed to laugh at each other and sat down together with Ismene on the chair and Antigone on the floor leaning on her leg.

There is a section of this conversation where Antigone starts to talk about the two of them when they were little and how much more pretty Ismene was and how miserable it used to make her because even from a little age, Antigone knew that Ismene was prettier and always would be. This allows the tow to reminisce about their younger years and shows the pranks that Antigone would pull on Ismene. For example, Antigone says "...and once I tied you to a tree and cut off all your hair." To which Antigone finds fun but Ismene just responds with a small nod and a disappointed smile.

As the scene continues we tried to identify the point in which the two stop enjoying each other's company and the point when the conversation becomes less of a reminisce and more of an accusation/argument. For me this point is when Ismene clearly states that "we can't do it" which completely changes Antigone's view towards Ismene as she thought that this was the least they could both do to say goodbye to their brother but not Ismene has refused to do it and so the real pressure has now been placed on Antigone as she realizes that she is now isolated from everyone else.

Week 17: Classwork

Monday

After exploring the scene with Ismene last week, we found that there was a paragraph that we all agreed could have some choral movement added to it. We wanted to explore the realistic of what Ismene is trying to get Antigone to understand; that dying is too big of a consequence just for wanting to bury a brother that neither of them had known very well.

Before this Ismene has refrained from giving any explicit details about what is to happened, but at this point I think that Ismene has had enough of Antigone being so at ease with the idea of dying that she tries to experiment with telling Antigone the details of what will happen to her if she does go through with the burial. 

We explored the lines that could be use and we came up with 3 main ones:

• "They'll seize us with their thousands arms"
• "...their great clean hypocrites' hands, their loutish stare."
• "And the suffering haven't you thought of that?"

We felt that these were the lines that we carefully crafted by Ismene to try and get through to Antigone the seriousness of the consequences of burying their brother. We decided that we wanted to lift Ismene as she is the one with the control over this situation throughout her speech, as Antigone doesn't interrupt her. We wanted to show her power through semiotics which would enable us to show her status at this point.

On the "thousands arms" line, we thought that the best way to show this was to start grabbing on her legs and arms when she walked past us in an arch as it visually showed the invasion of hands that would carry them to their deaths if they proceeded to undergo their task.

We also decided that the "suffering" would be a smooth transition until some work with the machetes as they create tension as they carry a injury threat. We experimented with threatning actions with the machetes like running it up and down the arms and across the neck. We also found that running the blades along each other it made a metal scrapping sound which we used instead of imitating the cutting of her neck. 

Here is the video of our movement:

https://youtu.be/SBWXjS

If we were to do it again, I think that having the Ismene  react to the placing of the swords would be more affective as we would see and feel the uncomfortableness and how invasive the guards would be.

Week 16: Classwork

Wednesday

After the previous weeks of focusing on the Creon and Antigone scene, we decided to move onto the first scenes between Antigone and the nurse and also the following scene between Antigone and her sister, Ismene.

To open the scene with the nurse, we wanted to highlight the meta theatre elements so she was going to be the last person onstage and as she would be looking very confused as to why everybody had gone offstage and then she would realize what was going on and so would start to get into her character. I think that this is very affective towards the audience as it would add a funny element before the play begins and starts to take a serious edge.

We wanted the nurse scene to be quite light and playful so that there would be a bigger juxtaposition between this scene and the next one. We made sure that there was a light atmosphere by making the nurse and Antigone's interaction quite funny and having Antigone slightly mock the nurse as the nurse overreacts to the idea of antigone going out in the morning.

The staging of the scene with the nurse begins quite separate with each character on either side of the stage. This symbolizes the distance that Antigone has put between herself and the nurse by going out and not telling her what she was doing. But as the scene progresses, we see the nurse reminiscing about her past and trying to get Antigone to tell her where she's been which brings them closer in both their relationship and staging. Ending the scene, we see the nurse sat on the chair with Antigone knelt beside her saying her last line "...and I mustn't be little today."  Which shows the relationship between the two as the nurse has brought Antigone up from being little and she values her opinion because she is one of the people that she wants to have a last moment with before she completely immerses herself into burying her brother and having that as the only thing in her mind. I feel that Antigone, even though she is very stubborn, actually cares for certain people like Ismene and the nurse as they have been beside Antigone as she has grown as a person.

After exploring the Nurse scene we moved onto the Ismene scene. I was thinking about the type of relationship that these two sisters would have and I came to the conclusion that they would be very close as we find out that they had both been planning on burying their brother but Antigone, knowing her sister and what she would say, had gone out and already started as she would have expected ismene to rethink their decision and end up not wanting to participate.

Here is the scene that we came up with:

(Link)

During this scene we see the evolution of the sisters relationship through the proxemics as they begin close enough for Antigone to rest her head on Ismene's leg and as the scene quickly picks up, we see the teasing of Antigone being pushed aside by Ismenes need to deal with the matter at hand, burying their brother. This completely changes the scenes atmosphere at this point as the matter that is being discussed becomes more serious with more serious consequences. At the end of the scene they end up  in opposite positions on stage with Antigone sat in the chair, dismissing Ismene and Ismene standing towards the door.

In the first two scenes we already begin to witness Antigone slowing saying her goodbyes to her family and her beginning to create distance between herself and others so that when she dies, it may soften the blow slightly. I think that Antigone uses these scenes to remind herself of the times that she has had with these other characters and take them to her grave with her.

Week 15: Classwork

Wednesday

After blocking through half of the Creon and Antigone scene last week, we continued to work on the last section so that we would complete the scene this week. We worked through the staging of each section first. We wanted to show the power exchange that happens throughout this scene and so we started the second half of the scene with Creon kneeling in front of Antigone which shows that Antigone has the power at this point but then Creon stands and begins to regain his rightful position. He puts her in her position when he throws her to the floor.

This point is completing juxtaposing to the image that was created on stage moments before. Throughout the whole of the scene we see the power struggle between the two becoming more and more relevant and also visible to the audience and both characters are being to lose their temper with each other and they have both come to their last resort in trying to persuade the other in to doing what they want. 

At this junction in the scene we wanted to reiterate the elements of Metatheatre and remind the audience that we are actors on stage and so we got Antigone to get up and the actress character to be shown and so she would be feeling disgusted by the mud that she has just been thrown into and she will say her line out to the audience: "I don't want to do this. It's alright for you. But I'm not here to understand, I'm here to say no to you."  She points out her role to the audience; to say no to Creon. And then she returns back to her Antigone role and the scene continues. I feel like does this not only create tension between the audience and the actress as they are tense as to why she has come out of role and to why she has openly admitted that she doesn't want to play this role anymore but it also shows how severe the consequences of her actions are; this actress genuinely thinks that she is going to die because she has been cast as Antigone.

One of the most challenging things of this scene for me, is the build up of Antigone becoming crazy. We needed to show the build up of her anger and show that she has other emotions as well. In the last section of the scene, it is the part where Antigone has learnt the truth about her brothers and Creon has told her that "Happiness is just a word eh." This triggers Antigone as her happiness is completely juxtaposing with what Creon thinks happiness is. Antigone's happiness is her being killed over her fighting for her brothers whereas Creon's happiness is to keep Antigone safe and to keep Thebes from having any uprisings against him.