Written originally for Classical Studies, a Stage 2 subject, during 2005.

“Greek theatre can still challenge modern audiences”

Evaluate this statement considering Sophocles’ Antigone

In modern times, do I think that audiences can be challenged by theatrical pieces from ancient Greece? Yes, very much so. In the case of Sophocles’ loved and lauded Antigone, we can see this very clearly; modern audiences are challenged by that specific play’s themes, the way of which the characters handle certain issues. Also, morality has become a main focus of our modern society, and, with that arises new concerns and challenging arguments.

In many ways, the audiences that go to see Greek theatrical pieces, now, aren’t very different in comparison to the audiences that saw the play’s in their original era. The people that attended the theatre in ancient Greece were hardly ever of a low denomination, and were mostly all well educated. Now, when we look at modern audiences, we tend to notice a similarity between the two – even though they are separated by thousands of years. Modern audiences that attend are, usually, of a higher stature than the average person. They would have a fondness and a reasonable knowledge of art, and would have prerequisite ideas about the performance that they were going to see. Morality, only just becoming a social stand-point in ancient Greece when Sophocles wrote Antigone, is one of the main points deliberated over in relation to Antigone. Particularly, there has always been discussion over where the actual tragedy of the piece lies – whose views were more correct? Antigone’s “noble” quest to bury her brother, or the king, Creon’s straight-forward views on the matter. Already, we can see that the point that modern audiences can still be challenged by ancient Greek theatre is true and valid; anything that causes a discussion with conflict is, obviously, challenging.

Another much discussed topic in relation to Antigone is her motives for choosing to defy the king, for burying Polynices. Did she do it purely because it was the right thing to do, or did she do it for her own personal gain? Antigone was a very religious person, and didn’t agree with the king overruling the rights put forward by the Gods. In ancient Greece, it was an important ideal that the government had no power when it came to religion; Creon was, in Antigone’s mind, betraying this unwritten rule by denying her the right to bury her brother. An act, she thought, was a religious one. This could challenge modern audiences with the fact that it reflects our society in regards to the continuous debate on whether church and state should be separate. Antigone said "I do not think your edicts strong enough to overrule the unwritten unalterable laws of God and heaven, you being only a man." Any modern day issue concerning religion is one with many different opinions; even those issues which have good intent. An example would be a comment made by Priminister John Howard after the Asian tsunami on December 26, 2005; Howard asked for Australians to go to church for our day of mourning. Many Australians disliked this comment, as they thought that he had no right to put his religious beliefs onto the Australian public.

Another challenging element in the play is the idea of two brothers killing each other; putting themselves before family, putting there country first. And, while there aren’t very many well known situations of this kind in modern times, we can still see events that resemble this dilemma. An example would be in the 1920’s, Al Capone was a prominent gangster and he had many policemen on his payroll; on several occasions, he had the “crooked cops” kill other policemen who were annoying him with investigations. Those policemen put the mob before their oath to “Serve and Protect”.

An obvious element in which Antigone challenged modern audiences would be with Jean Anouilh’s 1942 re-write, first produced in Paris during the time when France was part of Hitler’s Europe. The French audiences at the time saw themselves in the character of Antigone and how she rebelled. The French sided with her because they saw their struggle against the German occupation in the play, and that definitely challenged them.

Aesthetically and in regards to story structure, modern audiences can be challenged too. In Greek theatre, primarily in tragedies, there is almost always a “chorus”; a group of 12-15 singers who would interact, in unison, with the other characters – acting as the play’s public opinion. If we saw Antigone in modern times, we wouldn’t have a use for the chorus as we have become more advanced in our ability to comprehend images without narrative. But, in Anouilh’s version, he placed the chorus in different places, most notably; the beginning of the play. The chorus, there, acted as a type of narration that told us, not just what was happening, but what was going to happen – a trait characterised with British plays from the late 15th century (most notably, William Shakespeare’s Romeo & Juliet). Still, even though these “choruses” can be helpful; for modern theatre-goers, they just aren’t necessary.

In conclusion, modern audiences can be challenged by ancient Greek theatre because of the way that our society has changed in comparison to when the plays were originally performed. We are now more opinionated then ever, and that effects us when we are exposed to material with issues which include those of a moral nature. Relevance will forever be seen in these classic plays because, although culture changes, we will always sympathize and relate ourselves to a certain character.

Marcus Roberts

1201

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