Antigone ranks as the second most important of the seven preserved tragedies by Sophocles, just after Oedipus the King. Antigone unquestionably deserves to be staged again and again in various moments of time. The play owes its lasting appeal to its remarkable characters, especially the title character of Antigone, as well as to its classic structure, and the questions it raises and the answers it gives. What is even more striking are answers looked for in Antigone’s stagings by the respective dramaturgs and directors: the relationship between written and unwritten laws, the scope of basic human rights (including the rights of the corpses), the power of the argument and the argument of force …

As a rebel, Antigone demonstrates her personal attitude in defiance of a state edict. She is fully aware of the consequences of her action and the risks it entails. Is her dead brother’s right to a burial really the motivation for her action? If Antigone is only after carrying out funeral rites to enable his soul to go yonder, why does she insist on burying his body twice? The very fact that the rites are performed twice, opens up other interpretations.
Creon’s argument that Polyneices, who was a traitor, does not deserve a burial, may not be entirely convincing. The same goes for Antigone’s argument that the dead should be buried in accordance with the ancient godly laws. What is at stake here is more than the burial of the dead and their posthumous punishment. It is the living who observe the laws or break them. It is perhaps more important, who should submit to whom, and whose laws are applicable and who has the final word.
Eduard Miler

Lighting used in the performance may affect photosensitive members of the audience.