Author: sloane true

Final implications of backwards and forwards

Hey everyone, so here are our implications expanded and with examples and what we think the play is about based on our analysis. feel free to add on with comments or additional posts. if you think i should change anything just say the word.

Implications:

 

            After having done our plot analysis both backwards and forwards, we have come up with a few discrepancies or differences between the two ways of plotting the action. First, we noticed that, in doing the plot backwards, it permitted us to focus a lot more on the details of how the story moves forward. There are many different story lines in Merchant of Venice and by going backwards we got a better understanding of how the relationships relate to one another and how they are ultimately connected. We were able to notice more highlighted relationships (Portia and Bassanio and their relationship with Antonio) versus less forwarding relationships in the play (Lorenzo and Jessica). The story line of Antonio and Bassanio constructing this entire plan to get money and in turn Portia really moves the story forward; where as Jessica and Lorenzo add to Shylock's character and why he is so angry, they do not forward the story as much.

            Another difference we found working both directions was how the focus of the plot shifted based on the direction we were plotting. When we plotted forwards our plot focused more on the relationship between Portia and Bassanio, how their love fuels the other actions and we did not have Antonio being a character with many forwards. However, plotting backwards we noticed that the story more intimately follows Antonio and his promise to help Bassanio get Portia, which forwards the action of getting the money loaned in the first place. Instead of it being Portia and Bassanio forwarding most of the action, when we did it in reverse Antonio's relationship to the loan and his need for his ships to arrive so he can pay it back without Shylock killing him forwards the action more.

            Lastly, one more thing we noticed that stuck out to us when doing the plot backwards was the complexity of the splits and returns in the plot branches. When doing it forward it was much easier to follow, all the sub plots broke apart and defined themselves throughout the play and came back together at the end nice and neat. In plotting backwards we did not get the same clean results. All the plots come together at the end still, but when they broke apart we found many ways in which they slightly connected to other sub-plots instead of being their own complete stories that simply collide at the end. For example, backwards the meeting and agreement of the loan forces four different forwards to occur which reconnect before the trial over the loan even begins and during the trial we find a few branches off the unison story line, but when we did it forwards they do not connect until the trial is over. Plotting backwards is much more of a web than the defined linear progressions of the forwards.

 

What the play is about based on our analysis:

 

            Based on our analysis of the forwards and backwards plot we believe the play is meant to highlight the good outcomes of playing by the rules or strictly following the law. Portia gets exactly what she wants: Bassanio, by not waving the rules her father intended for her to find a suitor. She did not cheat or lie with any of her suitors, and love found her just as she wanted it. Also, we discovered that Antonio lives solely because Portia follows the law as literally and strictly as possible. Shylock could have gotten away with killing Antonio over the loan by taking a pound of flesh, but it is Portia who notes that if he bleeds, the law is no longer in Shylock's favor and he will then be in trouble with the law. Portia defines the details of the law to help Antonio survive. With that being said through these actions we can say that Shakespeare was trying to focus on the difference between greediness versus generosity. Shylock is a greedy man who only wants what is best for him (money) and will take down anyone in his way (Antonio and his own daughter Jessica and her lover Lorenzo). However, Antonio, Bassanio and Portia in the play are all working together and generously helping one another to find what they each desire. It is their generosity that wins over Shylock's greediness in the end. 

some additions

Hey guys,ok so hannah sent me a mapped out version of the plot forwards that she did (trying to figure out how to put it up on here, stay tuned) and it’s really great. However, I think we need to specify a lot more. I agree with Chelsea that the interaction between Bassanio and Antonio is one of the first actions of the play but i’m not quite sure if it is the first one. It seems odd that the first action is not until the second part of the first scene. There has to be a reason why he begins with Antonio, Salarino and Salanio talking.In terms of plot splits Portia’s story (all her suitors and her relationship with Nerissa) is definitely one, Jessica and Lorenzo (??) could be another one, but i feel like all the other splits get all tangled up. Antonio, Bassanio and Shylock continue to come together throughout the play so does that mean that we have splits that come back together and then split off again and come back together? CONFUSING! what do you all think?

FINAL blog post- Dramatic Action, Character

 Here is our final post for Dramatic Action and Character by Hannah, Camden and Sloane

 

DRAMATIC ACTION: A Streetcar Named Desire

 

Inciting incident- Blanche's arrival

 

Scene 1:

Part 1: What a snob!: Blanche is shocked to see Stella's new life and she and Stella reconnect.

Part 2 (when Stanley enters): Be Comfortable: Stanley briefly questions Blanche about her past.

 

Scene 2:

Part 1: It's all in the Details: Stanley tries to get Stella to side with him over the idea that Blanche has swindled them.

Part 2 (When Blanche enters): Nothing to hide: Stanley confronts Blanche about Belle Reve.

 

Scene 3:

Part 1: Poker Face: Mitch explains how he's different and how he'll be alone when his mother dies while the men play poker.

Part 2 (When Blanche and Stella enter): Rose colored glass: Mitch and Blanche get acquainted while Stanley gets more annoyed by Mitch's absence from the game.

Part 3 (When he throws the radio through the window): Off again on again: Stanley's frustration gets the best of him then he repents.

 

Scene 4:

Part 1: Intentional misunderstanding: Blanche tries to convince Stella to leave Stanley, but Stella resists.

Part 2 (when Stanley enters scene to speak): Stanley deserves a hug: Stella demonstrates to Blanche her unconditional love of Stanley.

 

Scene 5:

Part 1: A beautiful day in the neighborhood: Blanche imagines an ideal neighborhood but is interrupted with reality.

Part 2 (after Steve exits): Gossip: Stanley eludes to things he's heard about Blanche's past and Blanche denies them.

Part 3 (after Stanley exits):  Wishful thinking: Stella reassures Blanche that her future will turn out all right.

Part 4 (after Stella exits): Dangerous liaisons: Blanche gives in to her desires in kissing a young man just before she goes on a date with Mitch.

 

Scene 6:

Part 1: Getting to know you (Blanche and Mitch): Blanche and Mitch come to the conclusion that they could be a couple.

 

Scene 7:

Part 1: The cat's out of the bag: Stanley reveals to Stella the truth about Blanche's past and plans to force her out of their lives. 

 

Scene 8:

Part 1: King of the house: Stanley asserts his power over both the women.

 

Scene 9:

Part 1: Turn on the light: Mitch admits he no longer has a desire to marry Blanche.

 

BD: BD wonders

M: M identifies

BD: BD forgives

M: M complains

BD: BD humors

M: M rejects

BD: BD defends

M: Mitch questions intent

BD: BD pretends

M: M expresses skepticism

BD: BD relaxes

M: M accuses

BD: BD chides

M: M admits

BD: BD delays

M: M implies

BD: BD boasts

M: M mocks

BD: BD flirts

M: M rebukes

BD: BD deflects

M: M realizes

BD: BD suspects

M: M assembles argument

BD: BD defends

M: M confronts

BD: BD fears

M: M highlights

BD: BD worries

M: M distinguishes

BD: BD reprimands

M: M specifies

BD: BD admits

M: M resents

BD: BD reproaches

M: M justifies

BD: BD discounts

M: M contends

BD: BD mocks

M: M demands

BD: BD gives in

M: M distills

BD: BD begs

MW: MW offers

BD: BD escapes

MW: MW provokes

BD: BD crumbles

BD: BD reflects

BD: BD pleads

M: M admits

BD: BD appeals

M: M resolves

BD: BD challenges

M: M reasons

BD: BD lashes out

 (There were a few short lines that had the same gist in this breakdown so we combined them. Only once or twice though.)

Scene 10:

Part 1: We've had this date from the beginning: Stanley forces Blanche to accept the reality she is living.

 

Scene 11:

Part 1: Taken: Everyone comes to an agreement that Blanche must go for their lives to become stable again.

 

 

CHARACTER:

 

Blanche:

Desire: To live a dream like life.

Will: Strong

Moral Stance: If no one knows it happened then it didn't.

Decorum: appearance is important, wears extravagant outfits, clean (bathes a lot), accessorizes, older, very feminine, proper speech, noticeably intoxicated sometimes, Blue jacket at beginning

Summary Adjectives: intense, on the verge of lunacy, nervous, hysterical, attractive, lovely, frazzled, fresh, adaptable, excitable, soft, morbid, sensitive, proper, alone, old-fashioned, anxious, solemn, nice, unlucky, deluded, cultivated, destitute, desperate, caught, wonderful, not respected, famous, refined, particular, flighty, refreshed, rested, tender, trusting, hoity-toity, empty, unfit, prim, a liar, name means "white woods," smoker, French, bohemian, fading, morbid

 

Stella:

Desire: To have normalcy in their home again.

Will: Strong

Moral Stance: The relationship between a husband and wife is the most important

Decorum: Pregnant, shabby, simple/plain appearance, visibly content

Summary Adjectives: dainty, precious, insane, good, quiet, child, baby, "little woman," matter of fact, indifferent

 

Stanley:

Desire: To have a relationship with Stella where nothing gets in their way of happiness

Will: Strong

Moral Stance: lives by the Napoleonic Code, friends tell friends the truth

Decorum: was in the military (built), very sexual/manly, comfortable, silk pajamas, sweaty and a little dirty, noticeably intoxicated sometimes, collared bowling shirt, in first scene his sweat makes it stick to him, Master sergeant in the engineers corps (salesman, he's on the road a lot)

Summary Adjectives: unrefined, simple, straightforward, honest, primitive, animal, ape-like, whelp, lamb, stinker, bestial, common, forceful, dynamic, rude, American, cruel, fantastic, lucky, Polish, €˜different species,' civilian, an ape

 

Mitch:

Desire: To not be alone

Will: Moderate

Moral Stance: relationships should be based on honesty

Decorum: 6' 1 1/2" 207 pounds, heavily built, perspires a lot, can't wear light weight clothes, Blanche calls him €˜Samson'

Summary Adjectives: Alone, superior, sensitive, doubtful, anxious, solemn, imposing, natural gentleman, sincere, uncavalier, uncouth, fantastic, realistic, lucky, kind

 

CONCLUSION:

 

Having completed our portions of analysis, dramatic action and character, we have come to the conclusion that this play is about the acceptance of reality. We go on a journey with the main characters throughout the play in which every one of them must accept reality to live in harmony. Up until Stanley and Mitch force Blanche to really look at reality, she has been living a dream like life. Her home is called Belle Reve (beautiful dream) and in scene nine she blatantly states: "I don't want realism, I want magic!" Which implies that she is being taken away from the magical life she desires to live. We see a battle inside Blanche throughout the whole production between a realistic life and a dream, but ultimately in the end when she agrees to leave the house with the gentlemen doctor, she is accepting her reality; maybe not consciously, but by leaving she is accepting her future.

The same type of journey is seen with Stella and Mitch as well. Mitch has this ultimate desire to not live alone, he is in need of a companion, but after scene nine we see a transformation in Mitch when he realizes that not just anyone can fill that desire (Blanche). He could marry her, she in no way stops him from moving in that direction but we see him come to terms with reality when he says "I don't think I want to marry you any more" to Blanche. He has let all of her foolishness and lies slide by until he realizes that he could not live with someone like her and accepts his reality that he must continue to live alone.

Stella is another example of acceptance. She spends the whole play trying to be a mediator between Blanche and Stanley when it is only making her unhappier. For her life to return to something bearable either Stanley or Blanche must leave, but because she loves Stanley so much, Blanche is the one who is forced to go. Stella, like Blanche, roughly accepts this reality in the last scene of the play. Stella struggles with it, but in the end she does not stop it from occurring. She must cleanse herself of Blanche so her and Stanley can go back to being normal and live the marriage they had been living until Blanche showed up.

Stanley serves as a realistic ground throughout the play because he does not let Blanche put anything in front of his eyes. He sees through everything she has said and does and in a sense continually forces the play back down to reality. When he comes in, it is all business. There is no dream, there is no reason to appeal to both parties, life is what it is and Stanley knows that living in a dream is not going to change reality. He is the most continually realistic character throughout the play and sends the driving force of realism through his actions and desires.

All of the dramatic action leads up to these characters accepting reality and tossing out a life of dreams. It is their resistance from reality that drives the play, but their acceptance of reality that resolves it.

 

 

 

our conclusion

So here’s what i have in terms of our conclusion through our analysis. Please edit it, because i know some things need to be changed and then i’ll post our final product! thanks ya’ll!

Having completed our portions of analysis, dramatic action and character, we have come to the conclusion that this play is about the acceptance of reality. We go on a journey with the main characters throughout the play in which every one of them must accept reality to live in harmony. Up until Stanley and Mitch force Blanche to really look at reality, she has been living a dream like life. Her home is called Belle Reve (beautiful dream) and in scene nine she blatantly states: "I don't want realism, I want magic!" Which implies that she is being taken away from the magical life she desires to live. We see a battle inside Blanche throughout the whole production between a realistic life and a dream, but ultimately in the end when she agrees to leave the house with the gentlemen doctor, she is accepting her reality; maybe not consciously, but by leaving she is accepting her future.

The same type of journey is seen with Stella and Mitch as well. Mitch has this ultimate desire to not live alone, he is in need of a companion, but after scene nine we see a transformation in Mitch when he realizes that not just anyone can fill that desire (Blanche). He could marry her, she in no way stops him from moving in that direction but we see him come to terms with reality when he says "I don't think I want to marry you any more" to Blanche. He has let all of her foolishness and lies slide by until he realizes that he could not live with someone like her and accepts his reality that he must continue to live alone.

Stella is another example of acceptance. She spends the whole play trying to be a mediator between Blanche and Stanley when it is only making her unhappier. For her life to return to something bearable either Stanley or Blanche must leave, but because she loves Stanley so much, Blanche is the one who is forced to go. Stella, like Blanche, roughly accepts this reality in the last scene of the play. Stella struggles with it, but in the end she does not stop it from occurring. She must cleanse herself of Blanche so her and Stanley can go back to being normal and live the marriage they had been living until Blanche showed up.

Stanley serves as a realistic ground throughout the play because he does not let Blanche put anything in front of his eyes. He sees through everything she has said and does and in a sense continually forces the play back down to reality. When he comes in it is all business. There is no dream, there is no reason to appeal to both parties, life is what it is and Stanley knows that living in a dream is not going to change reality. He is the most continually realistic character throughout the play and sends the driving force of realism through his actions and desires.

All of the dramatic action leads up to these characters accepting reality and tossing out a life of dreams. It is their resistance from reality that drives the play, but their acceptance of reality that resolves it. 

dramatic action additions

Here’s what we came up with from our meeting on dramatic action. Please review and post any other additions or comments.Inciting incident- Blanche's arrivalScene 1: Part 1: What a snob!: Blanche is shocked to see Stella's new life and she and Stella reconnect. Part 2 (when Stanley enters): Be Comfortable: Stanley briefly questions Blanche about her past.Scene 2: Part 1: It's all in the Details: Stanley tries to get Stella to side with him over the idea that Blanche has swindled them. Part 2 (When Blanche enters): Nothing to hide: Stanley confronts Blanche about Belle Reve.Scene 3: Part 1: Poker Face: Mitch explains how he's different and how he'll be alone when his mother dies while the men play poker. Part 2 (When Blanche and Stella enter): Rose colored glass: Mitch and Blanche get acquainted while Stanley gets more annoyed by Mitch's absence from the game. Part 3 (When he throws the radio through the window): Off again on again: Stanley's frustration gets the best of him then he repents.Scene 4: Part 1: Intentional misunderstanding: Blanche tries to convince Stella to leave Stanley, but Stella resists. Part 2 (when Stanley enters scene to speak): Stanley deserves a hug: Stella demonstrates to Blanche her unconditional love of Stanley.Scene 5: Part 1: A beautiful day in the neighborhood: Blanche imagines an ideal neighborhood but is interrupted with reality. Part 2 (after Steve exits): Gossip: Stanley eludes to things he's heard about Blanche's past and Blanche denies them. Part 3 (after Stanley exits):  Wishful thinking: Stella reassures Blanche that her future will turn out alright. Part 4 (after Stella exits): Dangerous liaisons: Blanche gives in to her desires in kissing a young man just before she goes on a date with Mitch.Scene 6: Part 1: Getting to know you (Blanche and Mitch): Blanche and Mitch come to the conclusion that they could be a couple.Scene 7: Part 1: The cat's out of the bag: Stanley reveals to Stella the truth about Blanche's past and plans to force her out of their lives.Scene 8: Part 1: King of the house: Stanley asserts his power over both the women.Scene 9: Part 1: Turn on the light: Mitch admits he no longer has a desire to marry Blanche.BD: BD wondersM: M identifiesBD: BD forgivesM: M complainsBD: BD humorsM: M rejectsBD: BD defendsM: Mitch questions intentBD: BD pretendsM: M expresses skepticismBD: BD relaxesM: M accusesBD: BD chidesM: M admitsBD: BD delaysM: M impliesBD: BD boastsM: M mocksBD: BD flirtsM: M rebukesBD: BD deflectsM: M realizesBD: BD suspectsM: M assembles argumentBD: BD defendsM: M confrontsBD: BD fearsM: M highlightsBD: BD worriesM: M distinguishesBD: BD reprimandsM: M specifiesBD: BD admitsM: M resentsBD: BD reproachesM: M justifiesBD: BD discountsM: M contendsBD: BD mocksM: M demandsBD: BD gives inM: M distillsBD: BD begsMW: MW offersBD: BD escapesMW: MW provokesBD: BD crumblesBD: BD reflectsBD: BD pleadsM: M admitsBD: BD appealsM: M resolvesBD: BD challengesM: M reasonsBD: BD lashes outScene 10: Part 1: We've had this date from the beginning: Stanley forces Blanche to accept the reality she is living.Scene 11: Part 1: Taken: Everyone comes to an agreement that Blanche must go for their lives to become stable again.

new character list

so here’s what we’ve come up with after meeting about character:

Blanche:

Desire: To live a dream-like life.

Will: Strong

Moral Stance: If no one knows it happened then it didn't.

Decorum: appearance is important, wears extravagant outfits, clean (bathes a lot), accessorizes, older, very feminine, proper speech, noticeably intoxicated sometimes

Summary Adjectives: intense, on the verge of lunacy, nervous, hysterical, attractive, lovely, frazzled, fresh, adaptable, excitable, soft, morbid, sensitive, proper, alone, old-fashioned, anxious, solemn, nice, unlucky, deluded, cultivated, destitute, desperate, caught, wonderful, not respected, famous, refined, particular, flighty, refreshed, rested, tender, trusting, hoity-toity, empty, unfit, prim, a liar, name means "white woods," smoker, French, bohemian, fading, morbid

Stella:

Desire: To have normalcy in their home again.

Will: Strong

Moral Stance: The relationship between a husband and wife is the most important

Decorum: Pregnant, shabby, simple/plain appearance, visibly content

Summary Adjectives: dainty, precious, insane, good, quiet, child, baby, "little woman," matter of fact, indifferent

Stanley:

Desire: To have a relationship with Stella where nothing gets in their way of happiness

Will: Strong

Moral Stance: lives by the Napoleonic Code, friends tell friends the truth

Decorum: was in the military (built), very sexual/manly, comfortable, silk pajamas, sweaty and a little dirty, noticeably intoxicated sometimes, collared bowling shirt, in first scene his sweat makes it stick to him, Master sergeant in the engineers corps (salesman, he's on the road a lot)

Summary Adjectives: unrefined, simple, straightforward, honest, primitive, animal, ape-like, whelp, lamb, stinker, bestial, common, forceful, dynamic, rude, American, cruel, fantastic, lucky, Polish, €˜different species,' civilian, an ape

Mitch:

Desire: To not be alone

Will: Moderate

Moral Stance: relationships should be based on honesty

Decorum: 6' 1 1/2" 207 pounds, heavily built, perspires a lot, can't wear light weight clothes, Blanche calls him €˜Samson'

Summary Adjectives: Alone, superior, sensitive, doubtful, anxious, solemn, imposing, natural gentleman, sincere, uncavalier, uncouth, fantastic, realistic, lucky, kind

just some additions

Hey Hannah, i think this stuff looks great but i have a couple of things to add:

For Blanche i think we need to focus on her idea of magic versus reality, and how she wants reality to be magic therefore i came up with this desire:

Desire: for life to be magic "I don't want realism I want magic."

i struggled with her moral stance and here is another possibility for her i  think. She does a lot of things that she thinks she can get away with because no one saw her do them (like drink a lot). However, we know this is not true. so here is another option for a moral stance:

Moral Stance: If no one knows it happened then it didn't. 

Also suggestions for Stella, mostly just adding extra adjectives:

Desire: return to normalcy?

Adjectives: quiet, child, baby, "little woman"

And more adjectives for Stanley:

adjectives: Be comfortable

 

I’ll keep looking for more character stuff  but in the mean time, i don’t really understand how we’re supposed to do action for every line that is spoken. If you understand it could you give me a few examples and then i’ll roll with it?? thanks!

dramatic action- initial breakdown

 i don’t know why the format is so weird, but i can email to you all if it’s easier to read that way. let me know. This is just a start and needs to be changed i’m sure.

 

Inciting incident- Blanche's arrival

 

Scene 1:

Part 1: Blanche comes for a visit

2: Stanley meets Blanche

 

Scene 2:

Part 1: Let Blanche be

2: Once a liar always a liar

 

Scene 3:

Part 1: Poker Face

Part 2: Meet Mitch

Part 3: I want you back

 

Scene 4:

Part 1: Stanley is an Animal

Part 2 (when Stanley enters scene to speak): Stanley deserves a hug (?)

 

Scene 5:

Part 1: Eunice and Steve have a fight

Part 2 (after Steve exits): Gossip

Part 3 (after Stanley and Stella exit): Kissing the paper boy?

 

Scene 6:

Part 1: Getting to know you (Blanche and Mitch)

It is a scene full of actions and information. It might need to be broken down further but I'm not sure where.

 

Scene 7:

Part 1: The cat's out of the bag

 

Scene 8:

Part 1: King of the house

 

Scene 9:

Part 1: Turn on the light

 

Scene 10:

Part 1: We've had this date from the beginning

 

Scene 11:

Part 1: Taken

 

Final blog post- Spectacle/Sound

Elements of Sound/Song present in Antigone

 1. Chorus chanting and singing: In the time of Sophocles a chorus consisted of 15 men who sang or chanted (as specified by the playwright) in unison. As is displayed in Antigone, the chorus provides a lot of exposition and places emphasis on the views of the author through the power of their unified voices. The power in volume much louder than any one actor of the show could attain is what sets the chorus's sound apart from the rest of the show. Also, the chorus's change from chanting to singing back and forth within the same scene and throughout the show provides a certain rhythm and musical quality to the text.

 

2. Antigone and Kreon sing: Along with the singing and chanting of the chorus, Antigone and Kreon also flip back and forth from chanting to singing when we arrive at peak moments in the events of the play. For example, just before Antigone is taken away by the guards (the last point in the play when she is seen) there is an entire scene of chanting and singing between the chorus and herself, followed by a long speech from Antigone and another section of chanting/singing including Kreon. Again this gives the play a certain rhythm through small portions of chanting and singing with interludes of long speeches. We see this type of wave pattern exists throughout the play with characters like Kreon, Haimon, Eurydice and the Guard. 

 

3. Voice Types: Considering all the main characters in Antigone are some form of royalty we can conclude that in order to voice the royal power which each character (specifically Kreon) possesses, the actors that would have been used in this play would all have very powerful and amplified voices. However, since Greek tragedies were only acted out by men and not women, in order to note the differences in gender it is possible that women's roles could have been played by younger male citizens with more youthful voices while older, more experienced and strong voiced men would play roles like the King or Teiresias. In order to note the gender differences between the male and female characters some sort of vocal or physical distinction would have been made, but there is no proof that it was done in one constant manner. Therefore we must explore all options when analyzing the sound and spectacle according to gender. As for the other characters like the Guard and the Messenger , since their roles are less powerful they would have been played by men with less powerful and dramatized voices. Especially for the Guard and the Messenger, their lines lend themselves to a "matter of fact" like speech, which sets them apart from the vocal power or grandeur of royalty and the chorus.

 

4. Haimon and Kreon argue: In episode three or scene four there is an argument between Kreon and his son Haimon. We note this as an important moment in sound/song due to the stature of the two men in the argument. Kreon being the king and Haimon being his son, they would both be of great power and have powerful and loud voices between the two of them. This scene has great emphasis on sound due to the argumentative force behind both of their voices. It would definitely stand out as being one of the loudest and most intense vocal points of the play.

 

5. Emotional changes: The most prominent emotional change we witness in the play is the emotional fall of Kreon and Eurydice once they learn that Haimon and Antigone are dead. We include this because as emotions change, the voice tends to alter itself to fulfill that emotion. At this point near the end of the play we might hear a vocal change from Kreon while his whole world caves in around him due to his own foolish actions. His voice would fall from the powerful and full sound it was in the beginning to match his current emotional state of pure despair. This also happens to Antigone when she goes through her may stages of fear for her life. In the performance we should be able to hear that fear in her voice, but no emotional change is quite as prominent as the ending of the play with Kreon.

 

6. Trumpets or fanfare: Social standards of the time tell us that with any entrance of a king it would have been announced with a sort of fanfare of trumpets. Also, specific to Antigone, it is stated that Kreon always enters flanked by "his men." Therefore we not only have the sound of the trumpets announcing his entrance, but the march of men behind the king to exaggerate his arrival.

 

7. Sound in the ancient Greek theatres: Ancient Greek theatres were widely known for having some of the best acoustics in the history of theatres, some even say they hold better acoustics than most modern day theatres. Carved out of a natural sloping hillside. and curved to create a half funnel shape, the audience looked down on the orchestra (playing space) from the theatron (where the audience sat). This type of structure helped the sound to be expertly amplified from the orchestra to the highest points of the theatron. Practiced mathematicians helped in building most Greek theatres as they would often use formulas to figure out the best acoustics for each different space. The most prominent sound structure change that was witnessed in ancient Greek times in the theatre was the change in the seating materials going from wood to stone. Since wood more easily absorbs sound, by switching the seating area to stone the acoustics became more helpful to the actors as less sound was being absorbed by the wood and was instead bouncing off stone to allow it to travel farther up the theatron.

 

Elements of Spectacle present in Antigone

1. Chorus and choreographed dance: Within Antigone it is specified that the chorus has choreographed dances they perform almost every time they have a section of singing or chanting. This is a large element of spectacle due to its sheer size. Fifteen men dancing in unison had the ability to create a large visual effect that could no doubt be clearly seen by all audience members, which was not always the case with just one actor. These dances also create visual breaking points after each scene for the audience, bringing the focus from 2-3 characters to a body of 15 people instantly.

 

2. Large entrances and exits: Within the script we see many potential moments for grand spectacle with the entrances and exits of large amounts of people at one time. For example: the chorus's parados (first entrance), the many entrances and exits of the king along with his men, and the moment in the play when Ismene and Antigone are taken away by the guards (after line 632). Emphasis is placed on these aspects of the play as these are the only times we see sweeping movements of many people at once entering and exiting the stage. All other entrances and exits happen with no more than 2 characters at a time. Therefore the power in numbers moving together creates moments of spectacle throughout the show.

 

3. Antigone being brought on stage by the Guard: We only include this in the list of spectacle because, it has potential to be one of the only parts in the play when we can infer that props might possibly have been used. Since Antigone is being pulled on by the guards after having been taken away by them, it is possible that she might have her hands or feet bound, showing that she is a prisoner to Kreon. It is visual proof of how he exerts his power over her.

 

4. Reveal of the bodies of Haimon and Eurydike: This specific time in the script is what we consider to be the most prominent spectacle throughout the entire play. Not only are the dead bodies of two people being brought out on stage, but they are being brought out within 37 lines of one another. As I stated before, the sound aspect at this time is a rhythmic flip from singing to chanting and adding the action of these two quick reveals, we consider this moment to reveal itself as the culminating spectacle of the show. There is a great shock value of two bloody dead bodies being revealed on the "clean stage" meaning that nothing in the play like this has yet happened.

 

5. Masks and exaggerated movement: The use of masks in Greek theatre is something we know to be fact through research. Masks in the time of ancient Greece were made for actors to wear throughout shows because they had the ability to show gender and social rank in a large manner that could be seen throughout the theatron, where as just the face of the actor would be nothing but a speck to the furthest audience members from the orchestra. These masks were often made of wood or stone making them incredibly heavy to wear. They were also used so that one actor could play more than one role in a play. Simply by changing masks actors visually changed their character. The downfall of wearing the masks was that actors could not act through facial expression because the mask surrounded their entire head. They had one facial expression etched in the mask, to depict to the audience emotion throughout the entire show. Therefore, actors had to use grand and exaggerated movements to express themselves to the audience. It has been said in studies done about Greek theatre that to audience members half way up the theatron in large theatres all they could see were colors and patterns of movement, so we know that every movement done on stage had to be greatly exaggerated so they could be seen and understood by all spectators.

 

6. Costumes: not much about costumes in the Greek theatre is known. Most researchers believe that actors brought their own costumes with them, and the main costume was simply the mask they wore. It is a strong possibility that actors picked the color of their costume to emphasize the power or lack of power of their character to assist in making the movement understood to audience members.

 

7. Environment of the play: From the hints we are given in the text we can build a general "set" for the play Antigone. It is stated in the first stage directions we are given that Ismene and Antigone are standing in front of the doors to the royal house, therefore those probably would have been the most prominent visual setting on the stage sitting directly in front of the skene (tent where the actors changed throughout the play, located directly behind the playing space). In addition to the great doors, it is also known that the entrance from either stage left or stage right was the entrance from the city walls of Thebes, and it is specified many times throughout the play that certain characters enter from that side of the stage. Also, the chorus's entrance and exit would have been made on either side of the stage from ramps called the parodoi; the only entrance and exit spaces large enough to accommodate all 15 men. Actors could enter from these ramps, but they were also able to enter and exit through the doors that led to the royal house. In terms of the reveal of the dead bodies, this could have been done by rolling the bodies out on a moving platform as was custom at the time.

 

What does it all mean?

The following is our analysis of what the play means through this exploration of song/sound and spectacle. We used the lines said around these great actions or sounds to come to our conclusion; with great spectacle the author wishes to create focus on certain moments of the play:

             In terms of sound and spectacle, the principle concept of a play should be expressed in scenes which have the biggest emotional impact, arousing great pity and fear to the audience, so that the message of the play will be communicated to the audience clearly and effectively. By focusing on what actions are taken and what is being said in those shocking scenes, one will be able to analyze the concept of a play. As for Sophocles' Antigone the examination of such scenes leads to the conclusion that the principle concept of the play is that "a man's abuse of power and lack of respect for the gods and man leads to his own unhappiness and failure."  

           The first spectacular scene in Antigone is the entrance of the Chorus. Prior to this scene, there are only two people on the stage, that being Antigone and Ismene. In contrast, the entrance of the Chorus, which consists of 12 men, will have a significant visual impact to the audience. The Chorus then chants its lines, which is in contrast to the spoken lines between the previous two characters, making it a significant scene in terms of sound as well. In this scene, there are two things that the Chorus mentions: the war between the two brothers, Eteokles and Polyneikes, and the intervention by the gods. This reinforces the idea that the gods and men are of great importance, and they should be revered.

           The exit of Antigone, as she heads her way to execution, is another great example of emphasis through spectacle. In this scene, "Kreon's men begin to take ANTIGONE toward the side leading out beyond the city walls." The picture of Antigone being held by men and heading towards execution has a strong visual impact that arouses pity and fear. In addition, in this scene, the Chorus, Kreon and Antigone are all chanting their lines, making it an intense scene to the audience's ear. In this spectacular scene, the last thing that Antiogne says is that she "must suffer For having been Reverent toward reverence!" Again, the idea of reverence is expressed in this scene.

            A scene can also be emphasized through the rhythm of dialogues. During the interrogation of Antigone by Kreon from line 559 to 574, all the lines contain less than 11 words. This quick exchange of lines between the two characters will stand out to the audience's ear, as it is more rhythmical and intense compared to the previous scenes. In this scene, the topic of argument between the two characters is reverence to the dead brothers, as can be seen in such lines as "No – no shame for revering those from the same womb" (Antigone, 562) and "It will, if you honor him the same as the irreverent one" (Kreon, 567). This reinforces the idea of reverence to the men, and shows the contrast of opinions between Antigone and Kreon.

            However, of all the scenes in Antigone the most audio-visually spectacular scene is when the bodies of Haimon and Eurydike are revealed. In terms of spectacle, this scene is significant because within 40 lines, between line 1340 and 1380, two bodies of the characters are brought onto the stage and revealed to the audience. This is the most shocking scene to the audience, as there are two waves of shock coming in a short amount of time. In between the reveal of the bodies in this scene, there is a dialogue between Kreon and the Chorus. The clash of voices of the strong and authoritative Kreon, and the 12 Chorus members in unison would be an intense and thrilling scene. In this scene, some of the key lines are: "The stubborn wrong-Doing and death-Dealing of mistaken Thinking!" (Kreon, 1348),  "Ah me! Because of my Guilt, these things will Never be fitted to Any other man" (Kreon, 1403), and "I who am no more Than nothing!" (Kreon, 1408). In this scene, the concept of the play is concentrated, as well as the spectacle. Kreon's lines clearly represent the man who has fallen and lost everything because of his wrongdoing, his abuse of power and lack of respect to the gods and of man. At the end of this scene, which is the end of the play, the Chorus reaffirms this idea before creating a spectacle by exiting the stage and ending the show. "Good sense is the First principle of happiness. We Must not act Disrespectfully Toward the gods. Grand words of arrogant Men, paid back with Great blows, in old age, Teach good sense."

            As one can see, within all the spectacular scenes both in terms of spectacle and sound, there is a recurring theme of how "a man's abuse of power and lack of respect for the gods and man leads to his own unhappiness and failure," which we believe to be the principle concept of the play through our analysis of sound and spectacle.

 

initial spectacle/song lists

Song, SoundChorus Chanting and singingKreon powerful voiceLong monologues from the GuardAlso from Haimon and KreonHaimon and Kreon argue (2 loud and powerful voices in same scene, heighten levels)Antigone sings in scene 5, chorus chantsVocal emotions from king and queen after death of son?Kreon singing in final sceneSpectacleChorus does choreographed dancesAntigone and Ismene are pulled away with guards (?)Kreon's entrances with "his men"Eurydike's entranceKings arrival with body of HaimonReveal of the body or EurydikeFirst chorus entranceMasks (descriptive of character social standing)This is just an initial list.  we still need to do some research so we could further determine more about the period/social rankings of all the characters.Chorus: Consider the moments when the chorus enters or exits. Seeing 12-15 people moving & chanting in unison is remarkable. The chorus calls attention to importance of moments in the text just by being on or offstage. They call attention to the central images of the play. The amplified sound of many voices plays a significant role in character differentiation. We can accept their message as an authority and begin to uncover the “social milieu of the play.” Examples: