Antigonick - Winner of the Criticos Prize

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Antigonick - Winner of the Criticos Prize

Antigonick - Winner of the Criticos Prize

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You are a person in love with the impossible,’ Ismene admonishes Antigone, pleading with her ‘ don’t cross the line…girls can’t force their way against men. Her poetry is expressionistic (you see this in Antigonick), shot through with a spiritual turbulence and an almost violent sensitivity to experience, and the barbed edges of her lines can send shocks through you. Particularly of the timing being too late and Kreon coming to ‘ wisdom’ just too late once everyone has died. Having now read yet another translation of Antigone (yes, maybe I am moderately obsessed with this play, sue me) I like this translation less and less. Rather, as the scene switches between the textual and the graphic, a temporal shift takes place between the past and the present: something is gone, and something is caught, and vibrates still.

Resolute, with no equivocation, she hurls toward martyrdom, which makes her, curiously, less martyr and more fury. This is where Carson's best work is staged: in the uncanny gateway between the temporal and the timeless; in the nick between the world of powerboats and the sublime, terrifying realm of the dead and the still lively gods. Carson remains connected at least tangentially to original meanings, but she adds further layers of meaning that come solely from the mind of Anne Carson, as a poet, and as a reader of Sophocles, and as a unique individual woman living in the 21st century. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

Besides writing poetry Bianca is a visual artist, often combining verse and image, for which she was a 2011 NYFA fellow. If the comic effect is unintentional, it's inept; if intentional, it's a joke few members of a contemporary audience are going to get. But as it is, my three star recommendation is for a book that seems less than the sum of its parts: three different good books which don't succeed in working together closely enough to make one excellent book. Back in 1992, I watched all three performed by the Royal Shakespeare Company, one after another at the Barbican theatre in London, which was simply too much tragedy for one long evening.

Because I studied Greek drama and history at school and university back in the 1980s, I find it hard to switch from spelling him Sophocles to Sophokles, as preferred these days. I first read Antigonick shortly after it was published seven years ago, in May 2012, halfway through the Obama administration. Carson is nothing less than brilliant—unfalteringly sharp indiction, audacious, and judicious in taking liberties. It's a riff, perhaps, on Judith Butler's investigation into what might have happened had Antigone, rather than Oedipus, been the point of departure for psychoanalysis. Unlike versions of Antigone that try to capture the drama's grandeur (such as Robert Fagles's translation for Penguin) or to make it relevant (including Don Taylor's version, currently at the National Theatre), Carson's aims to show the difficulty of translation, the truly unbearable nature of tragedy.Ismene herself is, in some sense, a soldier for the status quo, preferring to support a corrupt government than defend her own rights. With the translucent pages, the art and words nearly obfuscate one another, juxtaposing the tale with nearly incongruous symbols superimposed, much like the way various symbolic interpretations of the text and characters have existed almost independently of the original story. Both die and their uncle Creon declares that Eteocles shall receive a proper burial, while Polynices, a traitor, must lie unburied, to be eaten by birds and dogs. i was in a production of antigone two years ago and it was kind of an earth-shattering experience that forged within me a deep bond with the play. So it isn't an account of Stone's choices, Carson's collaboration, or the particular images and specific words in the text.

He has been such a boorish strongman—sexist, brutal, rash—and his final realization comes so hard and fast that it feels less earned.Carson twists the end of the play with an invented character, Nick, who never speaks but is always on stage, measuring. The story itself moves at a fast pace—especially considering major events happen in passing of character dialogue I suspect this is one you’d want some general familiarity with the original tale before reading—and constantly cuts directly to the heart of matters with little adornment. And like in Sophocles’’ work, Antigone stands still like a heroin – she is cognizant, she knows what her fate is, she makes a decision perfectly recognizing the consequences, she picks family, she picks justice, she fights for what she thinks it’s right.

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