La polis close
Relire Antigone à travers le cinéma du réel et le théâtre contemporain
DOI : 10.54563/revue-k.156
Résumé
Antigon is a figure which inspired Modern Philosophy since Hegel and Hölderlin, up to 20th-century interpretations, such as those proposed by Heidegger and Bultmann – the latter emphasizing even the broadly speaking theological relevance of this figure. In the present article, we shall focus on two contemporary readings of Sophocles’ tragedy inspired by this Greek mythological figure – the first concerning a movie, L’intrusa (Leonardo Di Costanzo, 2017), and the second conerning a theater representation (Federico Tiezzi, 2018). In the former case, the movie is actually not immediately inspired by this tragic figure. It seems, however, to be profoundly bound to its political meaning. Giovanna and Rita, the two protagonists, can be seen as two different Antigones: on the one hand, the latter claims for hospitality and fogiveness to the enemy like the Classical Antigone; on the other hand, the former creates a realm where justice reigns, while being not able, however, to gramt hospitality to the enemy for this very reason, since she has to protect her own community. In Tiezzi’s representation, the ethical themes of the tragedy emerges more clearly. The tension is created here between Antigone and Tiresias – the former being the victim, while the latter is the prophet who recalls the king and the community to the their ethics. Tiezzi is more radical than Di Costanzo: there is no space for an even corrupted political space after the death of the collective ethics.
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Référence électronique
Dario Cecchi, « La polis close », K [En ligne], 0 | 2018, mis en ligne le 01 juin 2018, consulté le 17 février 2025. URL : http://www.peren-revues.fr/revue-k/156