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ISSN 1409-6900 | UDK 82+7     Blesok no. 35 | volume VII | March-April, 2004



                     Peer-reviewed journal
Blesok no. 35March-April, 2004
Theatre Reviews

Freedom to Women ... Death to Tragedy

“Antigone” by Kemal Kocatürk

p. 1
Emilija Mataničkova

Stage setting and costumes: K. Kocatürk and Bedi İbrahim

    Roles: Nesrin Tair (Antigone); Filiz Ahmet (Ismene); Mustafa Jaşar (Creon); Ertan Şaban (Haemon);
     Elyesa Kaso (Tieresias and Chorus Leader); Kemal Kocatürk (Chorus, Voice) and Atila Klinçe (Guard and Messenger)

    Torches and static two-colored picture of the father Creon and his son Haemon in the flame of an eastern philosophical (dervish) melody. At both levels: the circle of the stage and the other one, in the complex of the ancient city. The torch indicated the antiquity and it is the light, together with the further accompanying reflectors.
    The two sisters Ismene and Antigone are in the middle, in a circle of white sand bits, with the body of their brother Polyneices. The white dress and the red socks of Ismene, and the black and white combination of Atigone’s dress; a cut more traditional than the one of Ismene; it is a harem-antiquity style, and more with an eastern design. The cuts of the clothes were accidental and the colors clearly depicted the views of these girls on the issue of life/morality/death. This is also present in Creon’s clothes, white with red cape, a long golden peace, which is a classical variant of a costume when it comes to a ruler.
    In this “Antigone”, the theatre language of feelings, rhythm, melody, color lived with a minimal ideological and Brecht-like effect. They intertwined in acting dramaturgically brought to the surface, but also in the democratic, modern voice (coming from the TV without a program, an electronic cut) of the director. The sound – as an announcement/stress of what is to follow.
    The plot of the tragedy is well known. The burden that Antigone carries before and after the ritual = burial of her brother, because of her duty to gods; sister’s love; her conflict with Ismene, and most of all with Creon, who is in constant conflict with his son Haemon (=love of Antigone and his first cousin), who, on his side is torn between the strong love and unbreakable “democratic”/father’s law. The followers and thinkers of other’s destinies, the chorus and the coryphaeus, have more of a passive, assisting role, which has no influence with Creon, until the moment Tieresias steps out; the chorus is powerful before the powerless, before Antigone.
    Besides the fact that this staging had an ideological recourse, it seemed that the female form/play/contents with Antigone was missing, taking into consideration the character she has: carried

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