Word: creon
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Dates: during 1970-1979
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...PLAY OPENS as Generalissimo Molina, starkly spotlighted, dresses in silence. Surrounded by anonymous guards, David Eddy as Creon pushes on his gloves with determination and certain cruelty. Here is a man who maintains himself through symbolic actions, the trappings of office. He places his sunglasses. The effect is complete. Unimposing physically, Eddy cannot assert his power through physical presence. Yet, although he does not have the hulking build of a mythic dictator, he is awesome. Eddy has the authority to say and mean, "The Generalissimo is still the Generalissimo. The stairs are still the stairs. The prisoners are still...
...black, compose what is analogous to the chorus of the Greek tragedy. (The journalists also wear sunglasses. It is a bitterly appropriate effect that these "reporters" should have their vision blocked by dark glasses.) With voices reminiscent of CBS Evening News, the journalists mouth the distortions and fabrications Creon has fed them. They are the ones, Antigona says, who make it inevitable that there be "two versions of the truth: mine and theirs. Mine is simple enough...
Mira Nair as Creon's wife Pilar also gives Antigona plenty to react to. Vain, evil and ambitious, Nair survives what must be poorly translated lines with the proper doses of viper and Eva Peron...
ALTHOUGH ANTIGONA can be identified as all good and completely human, there is no catharsis in The Passion of Antigona Perez. This absence is partially the result of technical flaws. The lines are not memorable; the staging is mishandled. In the prison cell, Creon paces to within a foot of Antigona, who is squatting in defiance. It is unlikely that a man in Creon's position would not have kicked her. Further: the crowd shuffles around forgettably and the yellow journalists fling themselves across stage in a clumsy flock. Their flutter emphasizes the parody but dissipates the tension...
...creation, Antigona is not denying societal obligations to hold supreme her familial responsibilities. The Greek Antigone refused to acknowledge that there might be political consequences to her actions. The Latin American Antigona makes a political statement. Antigone acts in disregard of the state; Antigona acts to change it. Calling Creon by his name and not his title, she refuses to admit that the State might be embodied in one man rather than in the relationship between men. Antigona insists on fighting fear, the "putrid peace," and refuses to accept as consolation what her visitors wrongly call love. Recognizing what...