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Through the Eyes of Polyneices

The latest issue of UVU's Review features an article by our very own Nathan Sinclair Vineyard, who plays Polyneices in Antigone. He gives his insider's look at the audition process in the article "Becoming Polyneices," which you can read in full HERE.

It's exciting to me to see the zest Nathan brings to the theatre. His dedication to the process and art of theatrical storytelling rivals that of many lifelong theatre professionals I know; it's inspiring to watch him work. A couple weeks ago, we held a rehearsal in the outside space known as the "Quad," where the production will be performed at UVU, and Nathan underwent some intense, one-on-one training with our voice and movement coach, Barrett Ogden (MFA, Naropa University), who is also adjunct faculty in the theatre department. The Quad's main feature is a Greek-influenced amphitheatre made of concrete and grass, and a fountain tumbles its way through the audience area to the edge of the stage. For our production, the fountain will be turned off to make it easier for everyone to hear, but it will remain filled with water, and we will use its steps as a key feature of the set. The way we are staging the story, Nathan (as Polyneices) will stumble up the fountain steps and lie at the top for the bulk of the play. It was for this marathon effort that Barrett worked with him. I can only imagine what must have been going through his head when he realized what would be expected of him, but his excitement to participate seems only to grow with each rehearsal.

It's an honor to have you in the cast, Nathan.

Director's Note

Antigone brings Sophocles’ great tragic cycle to a close that begins with Oedipus Rex. Although all of the plays in the cycle demonstrate the superb skills of the playwright, Antigone is my favorite and, in my opinion, the most timeless of the three. As I see it, the play deals with issues still relevant today, including political posturing, the importance of familial ties, and the subordinated status of women.

When encountering the script for Antigone, one of the details that quickly becomes noticeable is the prominent position taken by Creon, Antigone’s uncle and newly proclaimed king of Thebes. Although he is not the title character, he is present on stage more than twice as much as Antigone herself, and he stands in as a second tragic figure. In fact, the play seems to be structured as Creon’s story with the struggle of Antigone serving as a framing device that provides Creon with his inciting incident.

Creon’s struggle is, for the most part, an internal one that has externally devastating effects. Throughout the three-part cycle, he loses nine family members, many of whose deaths can arguably be linked to Creon’s actions (or inactions). In this play, such deaths are tied to his nearly impregnable hubris related to his unwillingness to listen to others; he is so determined to be “right” that he is blind to the details. Echoes of Creon’s excessive pride and political posturing can, of course, be seen in contemporary politics.

However, credit must be given to Creon for his willingness to stand up for what he thinks is right. From his perspective, his beloved city of Thebes is falling down around him. After years of serving as regent for his too-young nephews (the sons of Oedipus and brothers to Antigone), those very nephews dispute each other’s right to the throne, and they go to war with each other, ending in both of their deaths. In an attempt to create Theban solidarity (and support for himself) after the war, he makes the brash declaration that one of the brothers will receive important burial rites, entitling him to the blessings of the gods, whereas the other brother is left to be eaten by vultures in the field without any such rites. In Creon’s view, this is the right thing to do, and all seems well until Antigone defies him. If only he would allow himself to listen to those around him and rethink his actions, he could correct his course and prevent much of the resulting chaos in Thebes.

Antigone, on the other hand, is able to see that politics are not always the most important concern. In her eyes, her relationship with her brother holds prominence—in spite of his status as political outlaw. She holds a humanist or utilitarian view and argues that it is more critical to protect the eternal soul of her brother and give respect to the gods than to obey the laws of the land. Her flaw, however, is similar to Creon’s in that she refuses to take counsel from others and allows her determination to do what she sees as right to prevent the opportunity for compromise or reconciliation.

Some of Creon’s most disturbing lines revolve around Antigone’s status as a woman. His misogynist ideology teaches him that “there must be no surrender to a woman. / No! If we fall, better a man should take us down. / Never say that a woman bested us!” (lines 678-80). Not many lines later, he reiterates these beliefs as he tells his son, “What a sick mind you have: You submit to a woman!” (line 746). More than 2,400 years after this play was written, the subordination of women is still widespread in politics, economics, and domestic life, and a study of Antigone provides an opportunity to analyze humanity’s progress—or lack thereof—in creating a world more conducive to equality between the sexes.

These themes are, of course, not the only important issues addressed by the play. Sophocles has created a literary masterpiece so rife with material for analysis, scholars have been studying Antigone for thousands of years, and there seems to be no end to the valuable insights derived from its passages.

Scott M. Stringham, Director