Overview of bathtub PLAY.
Aeschylus just one actor was once hired, and during this play we discover Creon (1G2, 766, 1091), and afterwards the messenger (1155, 1244), by myself upon the degree in a colloquy with the refrain. The 3rd actor was once brought first through Sophocles. within the Antigone the 3 actors are jointly at the level merely within the moment epeis'odion, or even there in basic terms folks at a time (not counting the refrain) are engaged within the discussion; the protect is still silent once Antigone starts off to talk, and so does Antigone whilst phrases cross betweeii Ismene and Creon. The parodos comprises anapaestic verses, the general rhythm in Greek marches, and states the party of the doorway of the refrain. this can be the previous shape. The refrain pronounces the doorway of all of the vital folks, other than with regards to Tiresias. The anapaestic and iambic verses that finish mclic strophes are likewise in strophic correspondence. Sophocles has refrained from simply during this play a transformation of speaker in the li
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It is the antithesis of education therefore, which is clothing, which is a suffocation in ethical garments. ● The theatre trades in relief, it dispenses cheap medicines, among them, irony. The obverse of tragedy is not comedy, which by virtue of its cruelty lives in tragedy also, but irony . . ● The art of theatre takes pain as its subject, not to exploit it for political ends, as a lesson in moral obligations but as an end in itself . . ● Pain is mesmerizing, let us admit it. The tragic protagonist observes her own pain without asking to be saved.
The inevitability of the seduction of the Vestal Virgins, but the only suitable punishment for their seduction – death. The penalty worth the offence, a price worth paying (or so it seemed, for not-knowing-death to evaluate the gamble is impossible, and whereas one can imagine the ecstasy of seduction, one cannot imagine the scale of death’s cruelty . . if it is cruel . . or its kindness . . if it is kind . ). ● The art of theatre is a rehearsal for death but more, a confession of ignorance, of the limits of knowledge .
So it is with the representation of death in the tragedy. We bring our anxiety with the inevitable encounter into the room. The success of the performance lies in making tolerable what we find intolerable, in making desirable what we only dimly sense might be 57 desirable . . we emphatically repudiate all notions of therapy or the moral categories in which the therapeutic drapes itself – despair, pessimism, celebration, for just as the art of theatre abolishes the utilitarian, it abolishes also the ethical.