Greek Tragedy on Screen

Plays and Fragments: Antigone, Film, Modernity

“…Never working from original screenplays, their approach to the texts on which their films are based is archaeological and interactive, rather than adaptational in any simple illustrative sense: 'The text becomes a sounding-body, the actor a voice-body, and the film the emancipation of pre-existing literary, theatrical, and cinematic codes, rather than their replacement or interpretation.' 37 Through the process of filmmaking, Huillet and Straub present the assemblage of cultural histories and hermeneutic possibilities associated with the text. In the case of their Antigone film, for example, what the cinema audience sees in not just a filmed production of the Antigone, but a palimpsestic layering of various 'texts': Brecht's 1948 're-modelling' of Hölderlin's translation from Sophocles, as well as Huillet and Straub's own Berlin stage production (performed in May 1991) before filming in June-July, followed by a final live performance in August, at Segesta: 'a film is most of the time for us an encounter with a place […] when all these elements, the place (space), theatre (fiction), life (experience) come together, a film is born (time).'…”

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“…439. Blanchard (2000) -- 1 Cribiore (2001); Gregory (2016); Gregory (2019); Michelakis (2002); Rogers (2013); ; Slater (1997); Kastely (1997) . 2 Allan (19992 Allan ( -2000 (Conacher [1998].…”