The French playwright Jean Anouilh adapted Sophocles’ Antigone in the 1940s. The first production of the play was performed in 1944, in Nazi-occupied Paris. The London premiere took place in 1949, with Laurence Olivier playing Chorus and Vivien Leigh in the role of Antigone.
Adaptation of The Play
Generally Anouilh stays faithful to the fifth century original. However, there are elements of the play which set it apart from its namesake.
One of the main differences is that the Chorus is not in fact a chorus, but just one man, who acts as narrator. Nevertheless, he is still called Chorus, largely because he occupies the same role of foretelling the inevitable events of the play.
Anouilh has also dispensed with the character of Tiresias, the blind prophet. There is, however, an addition to Anouilh’s cast list in the form of a nanny, who cares for Oedipus’ two daughters.
Interpretations of Antigone
Interpretations of Jean Anouilh’s Antigone are mixed. Some believe that it is a very clear anti-Nazi statement. However, it was obviously not that clear, as it was permitted to be performed in Nazi-occupied France.
During the Second World War, Anouilh did not actively take a side and therefore some have suggested that he may have been a Nazi sympathiser. What is clear is that Anouilh, like Sophocles before him, makes a convincing argument for Creon’s method of leadership.
Pragmatism vs. Idealism
Creon appears to be a realist and accepts that his role as King is a “trade” In addition, Sophocles and Anouilh both portray Creon as a man who believes that he has no direct responsibility for the fate of Antigone.
In fact, Anouilh’s Chorus would seem to agree with him; “In tragedy, nothing is in doubt and everyone’s destiny is known.” Creon appears to believe his function is as an instrument of the law. He is seemingly pragmatic and emotionless in the application of that law.
Indeed, the Chorus states that Creon “wonders whether this business of being leader of men is worth the trouble. But…the problems are there to be solved; and…he does his job.” It certainly seems as if an audience should feel some level of sympathy for Creon’s position. Particularly at the end of the play when he is bereft and alone.
In contrast to Creon’s realism, Antigone appears to be extremely idealistic as she tells Nurse “There was not a soul out of doors but me who thought it was morning.” This perhaps indicates Antigone’s ability to see light where others are only able to see darkness. Moreover, the play offers the impression that Antigone’s opinion of death is not as negative as Creon’s perception of it.
Conversely, however, Antigone can be equally as realistic as her uncle. There is a resignation and very realistic approach to her death. She is very aware of the consequences of her actions and she is more than willing to face them.
The crux of the play is the dialogue between Creon and Antigone, which certainly seems to be a staged debate about leadership. The paradox of pragmatism and idealism which exists in both characters makes this particularly fascinating to witness. The enjoyment of the play is not affected by the fact that the Chorus has revealed the whole plot at the very beginning.
Regardless of Anouilh’s political motivations for writing the play it is a fitting tribute to Sophocles' original. It is a complex piece which offers no easy answers.
Samantha Markham - Samantha Markham is a professional freelance writer with a particular passion for literary and theatrical subjects.
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