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An original adaptation of Sophocles’ tragedy HARROGATE THEATRE STUDIO JULY 13TH – 16TH 2011 Creon and Chorus Ismene, Creon and Antigone Creon and Antigone Creon Antigone Haemon Messenger Chorus Creon and Sentry Introduction from the director After we had chosen “Antigone” as our next production, I began mulling over the one of the major themes – a woman desperate to mourn her brother, in a state which had forbidden it. This brought to mind the song by Sting, “They Dance Alone”, which had been inspired by the women in Chile who had no other form of protest in the 1980s, but to dance silently in the streets for their lost families. This helped to give a sense of location for our production. In 2003 I saw a performance of Christopher Bruce’s “Ghost Dances”, a wonderful ballet performed by the Rambert Dance Company, also about the oppression of Pinochet’s regime in Chile. It is a memorable, moving piece of dance theatre and I have unashamedly used it as the inspiration for this production. The music which Mike Bindon has shaped for the play is the music Bruce used in his ballet. It is filled with the evocative and haunting sounds of the mountains and the emotions of the people of the country. When I visited Peru in 2004 I was deeply moved by the history of the Incas and the Nazcas and have brought together these ideas to create the drama you will see unfold today. I think the connection between the story of Antigone and her struggle against the state and the history of the South American people are well matched. Notably there have been a number of South American productions of “Antigone” in the past, including a ballet and an opera. Perhaps I am not the only person to see the link. Michael Garside 2011 (photograph of Ghost Dances from the BBC archive with permission) ANTIGONE by Sophocles CAST ANTIGONE: daughter of Oedipus JUDITH KENLEY ISMENE: daughter of Oedipus, sister of Antigone FRANCES SELLARS CREON: King of Thebes, uncle of Antigone and Ismene STUART NEWSOME SENTRY MICHAEL GARSIDE HAEMON: son of Creon and Eurydice, engaged to Antigone MICHAEL GARSIDE TEIRESIAS: an old blind prophet MICHAEL GARSIDE MESSENGER FRANCES SELLARS EURYDICE: wife of Creon JUDITH KENLEY CHORUS ALL CREW Director MICHAEL GARSIDE Technical stage manager CHARLOTTE CLARKE Assistant stage manager KATE ANTRAM Soundscape devised by MIKE BINDON, based on original music by Incantation When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other. The action of the play begins immediately after the battle. Our thanks to Harrogate Theatre Staff; Harrogate Conservative Club; The Harrogate Dramatic Society; RHS Harlow Carr; Sue Haithwaite, Chellow Heights Special School The Royal House of Thebes Cadmus = Harmonia Polydorus Autonoe Labdacus Semele = Zeus Agave Dionysus Menoeceus Creon= Eurydice Laius = Jocasta Oedipus = Jocasta Polyneices Ino Megrareus Eteocles Menoeceus Antigone Names in blue are characters seen or mentioned in the play Haemon Ismene Greek Theatre Did you know: The meaning of the word Orchestra is dancing place, referring to the acting space first used in Greek theatres where the chorus would sing. The Skene was the building at the back from which actors would enter and which housed costumes, props and any scenery. The front of this building was the Proskenion, from which we have gained the Proscenium Arch at the front of stages like Harrogate’s own. Actors are known as Thespians, after Thespis was reputed to be the first actor to step out of the chorus and assume a separate role. The masks worn by Greek tragic actors were often made of wood as they resonated more to help project their voices. The shoes worn by tragic actors were called Cothurni and were like platform shoes of the 1970s to allow the actors more presence and seem larger than life. Comic actors however used slipper–like shoes called Socci – where we get the word socks from! Next year 6:12 will present Samuel Beckett’s Endgame July 18 – 21 2012 th st Check the website for further details www.6-12.co.uk