National Theatre Learning Teacher's Guide 1

A collection of videos drawn from the National Theatre’s production of Antigone, directed by Polly Findlay, in 2012. They can be used to support the teaching of Antigone, Greek Theatre and Greek Tragedy.

Video: An introduction to Greek Theatre[length 6m53s]

The video explores the defining aspects of Greek Theatre; from the festival of Dionysus where three dramatic genres – tragedy, comedy and satyr – emerged, to its influence on modern theatre.

Video: An introduction to Greek Tragedy[length 6m33s]

This film looks at the characteristics of Greek Tragedy and why the plays resonate with audiences today.

Video: An introduction to Antigone[length 8m34s]

Edith Hall introduces Artistole's 'Theory of Tragedy' and the play Antigone by Sophocles. Polly Findlay speaks about her interpretation of Don Taylor's translation of Antigone for the National Theatre's Olivier Theatre.

• Discusswhytheplay’ssettingofanunderground bunker works well as a concept.

• MichaelGrady-Hall(Chorus)explainshowthe‘world’oftheplaywascreated.How would you create a 'world' for your own version?

• Theplayisover2000yearsold,whydo we still engage with its themes?

Video: State versus Family[length5m05s]

This video looks at a central conflict within the play;Creon'sbeliefinStateweighedagainstthe actions of his family.

• Whyisit'importanttothinkofAntigone as a family tragedy'?

• Commentonhowyouwoulddirecttheplay’sopeningexchangebetweenAntigoneand Ismene.

• Howcouldyouuserehearsalstoensure that the idea of both family and the state were present in the scene?

Antigonea teacher's guide to the National Theatre's video collection.

Antigone(JodieWhittaker).PhotobyJohanPersson.

National Theatre Learning Teacher's Guide 2

Video: Haemon and Antigone[length 4m48s]

Luke Newberry talks about his character, Haemon, and looks at how his relationship with Antigone creates tension in his relationshipwithCreon.

• ReflectonhowyoucoulddirectHaemon’sloveforAntigone,whentheynevershare the stage.

• HowwouldyoudirectthereportingofAntigone’sandHaemon’sdeathstohismother?

• WatchtheclipofTheMessengerreporting the deaths of Haemon and Antigone. Considertheproxemicsoftheactorsused.

Video: Creon and Haemon[length4m20s]

HaemonisCreon'slastlivingsonofthree.InthisfilmChristopherEccleston(Creon)discusses the loss that his character suffered prior to the start of the play and how this affected his relationship with Haemon.

• DiscusstherelationshipthatexistsbetweenCreonandHaemon.

• Identifyhowyouwoulddirecttheirstruggle to communicate?

Video: Religion and modern context[3m20s]

This looks at the role of religion in Antigone and how this can be effectively staged in a modern interpretation of the play, for a modern audience.

• PollyFindlay,thedirector,believesthat‘actingchoice’iskeytomakingthepolitical and religious lines of the play plausible. Discuss how this works.

Video: Creon and Antigone[length 5m58s]

The central relationship in the play is between CreonandAntigone.ChristopherEccleston(Creon)andJodieWhittaker(Antigone)discussthe relationship between their characters in the2012production.

• ConsiderthedynamicbetweenCreonandAntigone’srelationshipthroughoutthedifferent stages of the play.

• Watchthevideoanddiscussthestatement:‘Creonisnottheenemy,hejustthinksdifferently’.Howwouldthisaffectyourdirection of this character?

Antigonea teacher's guide (continued)

Creon(ChristopherEccleston).PhotobyJohanPersson.

National Theatre Learning Teacher's Guide 3

• WatchtheclipofAntigonestatingtheclaimforreligiouslawoverCreon’sstatelaw.CommentonAntigone’sdeliveryoflines;making reference to pitch, tone and intonation as well as her movement.

Video: The Chorus[length6m20s]

This video offers an introduction to Greek ChorusfromEdithHallbeforePollyFindlayspeaks about her contemporary interpretation oftheChorus.Thisofferspracticaladviceonhow to workshop and arrange personalities andpointsofviewfortheChorus.

• Lookatthechoralpiecesintheplayand work out which lines could be prescribed toindividualmembersoftheChorus.

• InrelationtotheChorusbeingstaffmembers of a war office, decide what other groupsofprofessionalpeopleaChoruscouldbelong to.

Video: Heightened Language[length4m51s]

Ancient plays are often problematic because of their use of language.

• Discusswhatproblemsareassociatedwith the language of a play like Antigone – consider both the central characters and the Chorus.

• Watchthe‘MiracleofMan’speechinperformance.WhatisgainedbyoneactortakingonthevoiceofthewholeChorus?

Antigonea teacher's guide (continued)

Featured in these videos –From the National Theatre and the cast of Antigone:Christopher Eccleston (Creon); Polly Findlay (Director); Michael Grady-Hall (Chorus);Kobna Holdbrook-Smith (Messenger); Luke Newberry (Haemon);Ben Power (Dramaturg); Jodie Whittaker (Antigone).

Other contributors: Edith Hall (Professor of Classics, King’s College, London); Dr Sean McEvoy (Varndean College);Laura Swift (Open University).

Chorus(CraigeEls),Creon(ChristopherEccleston),andChorus(PaulDodds).PhotobyJohanPersson.