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{{traducción|ci=en|art=Antigone (Sophocles play)}}
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{{Ficha de obra de teatro
|nombre =
|nombre original =
|imagen = Lytras nikiforos antigone polynices.jpeg
|tamaño =
|descripción = ''Antígona frente a Polinices muerto'' por [[Nikiforos Lytras]] 1865
<!-- GENERAL -->
|autor = [[Sófocles]]
|año =
|género = [[Tragedia griega|Tragedia]]
|idioma = [[griego antiguo]]
|lugar estreno = [[Atenas clásica|Atenas]]
|año estreno = h. [[441 a. C.]]
|personajes = [[Antígona]]<br />[[Ismene]]<br />[[Creonte]]<br />[[Euridice de Tebas|Euridice]]<br />[[Hemón]]<br />[[Tiresias]]<br />Guardián<br />Líder del coro<br />Mensajero<br />Otro mensajero
|coro = Ancianos [[Antigua Tebas (Beocia)|tebanos]]
}}
'''''Antígona''''' (''Ἀντιγόνη'' en griego) es el título de una [[tragedia]] de [[Sófocles]], basada en el mito de [[Antígona]] y representada por primera vez en el año 441 a. C.
De las [[tres obras tebanas]] ''Antígona'' es la tercera en el orden de los acontecimientos representados en las obras, pero es la primera que escribió.<ref>{{cita libro|autor= Sophocles | traductor= Robert Fagles |título= The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus |editorial= Penguin | año= 1986 |ubicación=Nueva York |página= 35 | url = | isbn = }}</ref> La obra se basa en la leyenda [[Antigua Tebas (Beocia)|tebana]] que la antecede, y empieza donde termina la obra de [[Esquilo]]' ''[[Los siete contra Tebas]]''.
En ''Antígona'' se enfrentan dos nociones del deber: la familiar, caracterizada por el respeto a las normas religiosas y que representa Antígona, y la civil, caracterizada por el cumplimiento de las leyes del Estado y representada por Creonte. Además establece una oposición entre el modo en que las dos hermanas, Antígona e Ismene, se enfrentan a un mismo problema.
Línea 18 ⟶ 36:
* [[Corifeo]].
*[[Polinices|Polinices-Eteocles]].
<!--===Characters===
* [[Antigone]], compared to her beautiful and docile sister, is portrayed as a heroine who recognizes her familial duty. Her dialogues with Ismene reveal her to be as stubborn as her uncle.<ref name="McDonald">{{citation | url = http://olli.ucsd.edu/documents/antigone.pdf | format = PDF | last = McDonald | first = Marianne | title = Sophocles' ''Antigone'' | publisher = Nick Hern Books | year = 2002}}</ref> In her, the ideal of the female character is boldly outlined.<ref name="Bates">{{cite book | url = http://www.theatrehistory.com/ancient/bates017.html | editor-last = Bates | editor-first = Alfred | title = The Drama: Its History, Literature and Influence on Civilization, Vol. 1 | location = London | publisher = Historical Publishing Company | year = 1906 | pages = 112–123}}</ref> She defies Creon’s decree despite the consequences she may face, in order to honor her deceased brother.
* [[Ismene]] serves as a foil for Antigone, presenting the contrast in their respective responses to the royal decree.<ref name="McDonald" /> Considered the beautiful one, she is more lawful and obedient to authority. She hesitates to bury Polyneices because she fears Creon.
* [[Creon]] is the current King of Thebes, who views law as the guarantor of personal happiness. He can also be seen as a tragic hero, losing everything for upholding what he believed was right. Even when he is forced to amend his decree to please the gods, he first tends to the dead Polyneices before releasing Antigone.<ref name="McDonald" />
* [[Eurydice of Thebes]] is the Queen of Thebes and Creon’s wife. She appears towards the end and only to hear confirmation of her son Haemon’s death. In her grief, she commits suicide, cursing Creon whom she blames for her son’s death.
* [[Haemon]] is the son of Creon and Eurydice, betrothed to Antigone. Proved to be more reasonable than Creon, he attempts to reason with his father for the sake of Antigone. However, when Creon refuses to listen to him, Haemon leaves angrily and shouts he will never see him again. He commits suicide after finding Antigone dead.
* Koryphaios is the assistant to the King (Creon) and the leader of the Chorus. He is often interpreted as a close advisor to the King, and therefore a close family friend. This role is highlighted in the end when Creon chooses to listen to Koryphaios' advice.
* [[Tiresias]] is the blind prophet whose prediction brings about the eventual proper burial of Polyneices. Portrayed as wise and full of reason, Tiresias attempts to warn Creon of his foolishness and tells him the gods are angry. He manages to convince Creon, but is too late to save the impetuous Antigone.
* [[Greek chorus|The Chorus]], a group of elderly Theban men, is at first deferential to the king.<ref name="Bates" /> Their purpose is to comment on the action in the play and add to the suspense and emotions, as well as connecting the story to myths. As the play progresses they counsel Creon to be more moderate. Their pleading persuades Creon to spare Ismene. They also advise Creon to take Tiresias's advice.-->
== Espacios físicos ==
Línea 62 ⟶ 88:
El coro finaliza con un llamado a obrar con prudencia y respetar las leyes divinas.
<!--==Synopsis==
Prior to the beginning of the play, brothers [[Eteocles]] and [[Polynices]], leading opposite sides in [[Ancient Thebes (Boeotia)|Thebes]]' civil war, died fighting each other for the throne. [[Creon]], the new ruler of Thebes and brother of the former Queen Jocasta, has decided that Eteocles will be honored and Polyneices will be in public shame. The rebel brother's body will not be sanctified by holy rites and will lie unburied on the battlefield, prey for carrion animals like worms and vultures, the harshest punishment at the time. [[Antigone]] and [[Ismene]] are the sisters of the dead Polyneices and Eteocles. In the opening of the play, Antigone brings Ismene outside the palace gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, not believing that it will actually be possible to bury their brother, who is under guard, but she is unable to stop Antigone from going to bury her brother herself.
[[File:Arbre généalogique Antigone.pdf|350px|right|thumb|Antigone's family tree]]
Creon enters, along with the [[Greek chorus|chorus]] of Theban elders. He seeks their support in the days to come and in particular, wants them to back his edict regarding the disposal of Polyneices' body. The leader of the chorus pledges his support out of deference to Creon. A sentry enters, fearfully reporting that the body has been given funeral rites and a symbolic burial with a thin covering of earth, though no one sees who actually committed the crime. Creon, furious, orders the sentry to find the culprit or face death himself. The sentry leaves, and the chorus sings about honouring the gods, but after a short absence, he returns, bringing Antigone with him. The sentry explains that the watchmen uncovered Polyneices' body and then caught Antigone as she did the funeral rituals. Creon questions her after sending the sentry away, and she does not deny what she has done. She argues unflinchingly with Creon about the immorality of the edict and the morality of her actions. Creon becomes furious, and seeing Ismene upset, thinks she must have known of Antigone's plan. He summons her. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will not have it. Creon orders that the two women be temporarily imprisoned.
[[Haemon]], Creon's son, enters to pledge allegiance to his father, even though he is engaged to Antigone. He initially seems willing to forsake Antigone, but when Haemon gently tries to persuade his father to spare Antigone, claiming that "under cover of darkness the city mourns for the girl", the discussion deteriorates, and the two men are soon bitterly insulting each other. When Creon threatens to execute Antigone in front of his son, Haemon leaves, vowing never to see Creon again.
Creon decides to spare Ismene and to bury Antigone alive in a cave. By not killing her directly, he hopes to pay the minimal respects to the gods. She is brought out of the house, and this time, she is sorrowful instead of defiant. She expresses her regrets at not having married and dying for following the laws of the gods. She is taken away to her living tomb, with the Leader of the Chorus expressing great sorrow for what is going to happen to her.
[[Tiresias]], the blind prophet, enters. Tiresias warns Creon that Polyneices should now be urgently buried because the gods are displeased, refusing to accept any sacrifices or prayers from Thebes. Creon accuses Tiresias of being corrupt. Tiresias responds that because of Creon's mistakes, he will lose "a son of [his] own loins"<ref>{{cite book | author = Sophocles | others = Translated by E.F. Watling | title = Sophocles: The Theban Plays (Penguin Classics) | year = 1947 | publisher = The Penguin Group}}</ref> for the crimes of leaving Polyneices unburied and putting Antigone into the earth (he does not say that Antigone should not be condemned to death, only that it is improper to keep a living body underneath the earth). All of Greece will despise Creon, and the sacrificial offerings of Thebes will not be accepted by the gods. The leader of the chorus, terrified, asks Creon to take Tiresias' advice to free Antigone and bury Polyneices. Creon assents, leaving with a retinue of men. The chorus delivers a choral ode to the god [[Dionysus]] (god of wine and of the theater; this part is the offering to their patron god). A messenger enters to tell the leader of the chorus that Antigone has killed herself. [[Eurydice of Thebes|Eurydice]], Creon's wife and Haemon's mother, enters and asks the messenger to tell her everything. The messenger reports that Creon saw to the burial of Polyneices. When Creon arrived at Antigone's cave, he found Haemon lamenting over Antigone, who had hanged herself. After unsuccessfully attempting to stab Creon, Haemon stabbed himself. Having listened to the messenger's account, Eurydice disappears into the palace.
Creon enters, carrying Haemon's body. He understands that his own actions have caused these events and blames himself. A second messenger arrives to tell Creon and the chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his children and his wife as a result. After Creon condemns himself, the leader of the chorus closes by saying that although the gods punish the proud, punishment brings wisdom.-->
==Contexto histórico==
''Antígona'' fue escrita en una época de fervor nacional. <!--In 441 BC, shortly after the play was performed, Sophocles was appointed as one of the ten generals to lead a military expedition against [[Samos]]. It is striking that a prominent play in a time of such imperialism contains little political propaganda, no impassioned [[Apostrophe (figure of speech)|apostrophe]], and, with the exception of the [[Epikleros|epiklerate]] (the right of the daughter to continue her dead father's lineage),<ref>{{cite book | last = Rosenfield | first = Kathrin H. | others = Translated by Charles B. Duff | title = Antigone: Sophocles' Art, Hölderlin's Insight | location = Aurora, Colorado | publisher = The Davies Group, Publishers | year = 2010 | pages = 1–22 | isbn = 978-1934542224}}</ref> and arguments against anarchy, makes no contemporary allusion or passing reference to Athens.<ref>{{cite book | last = Letters | first = F. J. H. | title = The Life and Work of Sophocles | location = London | publisher = [[Sheed and Ward]] | year = 1953 | pages = 147–148}}</ref> Rather than become sidetracked with the issues of the time, ''Antigone'' remains focused on the characters and themes within the play. It does, however, expose the dangers of the absolute ruler, or tyrant, in the person of Creon, a king to whom few will speak freely and openly their true opinions, and who therefore makes the grievous error of condemning Antigone, an act which he pitifully regrets in the play's final lines. Athenians, proud of their democratic tradition, would have identified his error in the many lines of dialogue which emphasize that the people of Thebes believe he is wrong, but have no voice to tell him so. Athenians would identify the folly of tyranny.-->
==Rasgos destacados==
El Coro en ''Antígona'' se aparta significativamente del coro en ''Los siete contra Tebas'' de Esquilo, la obra de la que ''Antígona'' es una continuación. <!--The chorus in ''Seven Against Thebes'' is largely supportive of Antigone's decision to bury her brother. Here, the chorus is composed of old men who are largely unwilling to see civil disobedience in a positive light. The chorus also represents a typical difference in Sophocles' plays from those of both Aeschylus and Euripides. A chorus of Aeschylus' almost always continues or intensifies the moral nature of the play, while one of Euripides' frequently strays far from the main moral theme. The chorus in ''Antigone'' lies somewhere in between; it remains within the general moral and the immediate scene, but allows itself to be carried away from the occasion or the initial reason for speaking.{{sfn|Letters|p=156}}-->
==Significado e interpretación==
En esta obra Sófocles suscita un número de cuestiones: ¿debe Polinices, que ha cometido un serio delito que amenazaba la ciudad, recibir los rituales funerarios, o debe su cuerpo dejarse como presa de los animales carroñeros? <!--Should someone who attempts to bury him in defiance of Creon be punished in an especially cruel and horrible way? Are Creon’s actions justified? Are Antigone’s actions justified? In this play, Creon is not presented as a monster, but as a leader who is doing what he considers right and justified by the state. The chorus is presented as a group of citizens who, though they may feel uneasy about the treatment of the corpse, respect Creon and what he is doing. The chorus is sympathetic to Antigone only when she is led off to her death. But when the chorus learns that the Gods are offended by what Creon has done, and that Creon’s actions will result in the destruction of their city, then they ask Creon to change course. The city is of primary importance to the chorus.<ref>Sophocles. Fagles, Robert, trans. ''Sophocles: The Three Theban Plays.'' Knox, Bernard. “Introduction”. Penguin Classics. {{ISBN|978-0140444254}}</ref><ref name=Collins>{{cite book | chapter-url = http://www.theatrehistory.com/ancient/ethics_of_antigone.html | last = Collins | first = J. Churtin | chapter = The Ethics of Antigone | title = Sophocles' Antigone | others = Translated by Robert Whitelaw | location = Oxford | publisher = Clarendon Press | year = 1906}}</ref> Once the initial premises behind the characters in ''Antigone'' have been established, the action of the play moves steadily and inevitably towards the outcome.<ref>{{cite book | last = Else | first = Gerald F. | title = The Madness of Antigone | location = Heidelberg | publisher = Carl Winter Universitätsverlag | year = 1976 | page = 43}}</ref> Once Creon has discovered that Antigone buried her brother against his orders, the ensuing discussion of her fate is devoid of arguments for mercy because of youth or sisterly love from the Chorus, Haemon or Antigone herself. Most of the arguments to save her center on a debate over which course adheres best to strict justice.{{sfn|Letters|p=147}}
Both Antigone and Creon claim divine sanction for their actions; but [[Tiresias]] the prophet supports Antigone's claim that the gods demand Polyneices' burial. It is not until the interview with Tiresias that Creon transgresses and is guilty of sin. He had no divine intimation that his edict would be displeasing to the Gods and against their will. He is here warned that it is, but he defends it and insults the prophet of the Gods. This is his sin, and it is this which leads to his punishment. The terrible calamities that overtake Creon are not the result of his exalting the law of the state over the unwritten and divine law which Antigone vindicates, but are his intemperance which led him to disregard the warnings of Tiresias until it was too late. This is emphasized by the Chorus in the lines that conclude the play.<ref name=Collins/>
The German poet Friedrich Hölderlin, whose translation had a strong impact on the philosopher [[Martin Heidegger]], brings out a more subtle reading of the play: he focuses on Antigone's legal and political status within the palace, her privilege to be the hearth (according to the legal instrument of the [[epikleros|epiklerate]]) and thus protected by Zeus. According to the legal practice of classical Athens, Creon is obliged to marry his closest relative (Haemon) to the late king's daughter in an inverted marriage rite, which would oblige Haemon to produce a son and heir for his dead father in law. Creon would be deprived of grandchildren and heirs to his lineage – a fact which provides a strong realistic motive for his hatred against Antigone. This modern perspective has remained submerged for a long time.{{sfn|Rosenfield|p=99–121}}
Martin Heidegger, in his essay, ''The Ode on Man in Sophocles’ Antigone'', focusses on the chorus’ sequence of stophe and antistrophe that begins on line 278. His interpretation is in three phases: first to consider the essential meaning of the verse, and then to move through the sequence with that understanding, and finally to discern what was nature of humankind that Sophocles was expressing in this poem. In the first two lines of the first strophe, in the translation Heidegger used, the chorus says that there are many strange things on earth, but there is nothing stranger than man. Beginnings are important to Heidegger, and he considered those two lines to describe primary trait of the essence of humanity within which all other aspects must find their essence. Those two lines are so fundamental that the rest of the verse is spent catching up with them. The authentic Greek definition of humankind is the one who is strangest of all. Heidegger’s interpretation of the text describes humankind in one word that captures the extremes — ''deinotaton''. Man is ''deinon'' in the sense that he is the terrible, violent one, and also in the sense that he uses violence against the overpowering. Man is twice ''deinon''. In a series of lectures in 1942, ''Hölderlin’s Hymn, The Ister'', Heidegger goes further in interpreting this play, and considers that Antigone takes on the destiny she has been given, but does not follow a path that is opposed to that of the humankind described in the choral ode. When Antigone opposes Creon, her suffering the uncanny, is her supreme action.<ref>Ward, James F. ''Heidegger’s Political Thinking''. Univ of Massachusetts Press, 1995. p. 190. {{ISBN|9780870239700}}</ref><ref>Keenan, Dennis King. ''The Question of Sacrifice''. Indiana University Press, 2005. p. 118. {{ISBN|9780253110565}}</ref>-->
===El problema del segundo enterramiento===
Un importante aspecto que se debate en torno a la ''Antígona'' de Sófocles es el problema del segundo enterramiento. <!--When she poured dust over her brother's body, Antigone completed the burial rituals and thus fulfilled her duty to him. Having been properly buried, Polyneices' soul could proceed to the underworld whether or not the dust was removed from his body. However, Antigone went back after his body was uncovered and performed the ritual again, an act that seems to be completely unmotivated by anything other than a plot necessity so that she could be caught in the act of disobedience, leaving no doubt of her guilt. More than one commentator has suggested that it was the gods, not Antigone, who performed the first burial, citing both the guard's description of the scene and the chorus's observation.<ref name=Ferguson>{{cite book | url = https://books.google.com/books?id=LSsGAgAAQBAJ&pg=PT173 | last = Ferguson | first = John | title = A Companion to Greek Tragedy | page = 173 | publisher = University of Texas Press | year = 2013 | isbn = 9780292759701}}</ref>
Richard Jebb suggests that the only reason for Antigone's return to the burial site is that the first time she forgot the Choaí ([[libation]]s), and "perhaps the rite was considered completed only if the Choaí were poured while the dust still covered the corpse."<ref>{{cite book | title = Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone | first = Sir Richard C. | last = Jebb | location = Cambridge | publisher = Cambridge University Press | year = 1900 | chapter = Verse 429 | chapter-url = http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0023%3Atext%3Dcomm%3Acommline%3D429}}</ref>
Gilbert Norwood explains Antigone's performance of the second burial in terms of her stubbornness. His argument says that had Antigone not been so obsessed with the idea of keeping her brother covered, none of the deaths of the play would have happened. This argument states that if nothing had happened, nothing would have happened, and doesn't take much of a stand in explaining why Antigone returned for the second burial when the first would have fulfilled her religious obligation, regardless of how stubborn she was. This leaves that she acted only in passionate defiance of Creon and respect to her brother's earthly vessel.<ref name=Rose>{{cite journal | last = Rose | first = J. L. | title = The Problem of the Second Burial in Sophocles' Antigone | journal = The Classical Journal | volume = 47 | number = 6 | date = March 1952 | page = 220–221 | jstor = 3293220}}</ref>
Tycho von Wilamowitz-Moellendorff justifies the need for the second burial by comparing Sophocles' ''Antigone'' to a theoretical version where Antigone is apprehended during the first burial. In this situation, news of the illegal burial and Antigone's arrest would arrive at the same time and there would be no period of time in which Antigone's defiance and victory could be appreciated.
J. L. Rose maintains that the solution to the problem of the second burial is solved by close examination of Antigone as a tragic character. Being a tragic character, she is completely obsessed by one idea, and for her this is giving her brother his due respect in death and demonstrating her love for him and for what is right. When she sees her brother's body uncovered, therefore, she is overcome by emotion and acts impulsively to cover him again, with no regards to the necessity of the action or its consequences for her safety.<ref name=Rose />
Bonnie Honig uses the problem of the second burial as the basis for her claim that Ismene performs the first burial, and that her pseudo-confession before Creon is actually an honest admission of guilt.<ref>{{cite journal | last = Honig | first = Bonnie | title = ISMENE’S FORCED CHOICE: SACRIFICE AND SORORITY IN SOPHOCLES’ ''ANTIGONE'' | journal = Arethusa | volume = 44 | year = 2011 | pages = 29–68 | publisher = The Johns Hopkins University Press | url = http://politicalscience.nd.edu/assets/47009/44.1.honig.pdf | format = PDF}}</ref>-->
==Temas==
===Desobediencia civil===
Un tema bien establecido en ''Antígona'' es el derecho del individuo a rechazar las intromisiones de la sociedad en su libertad para llevar a cabo una obligación personal.<ref name="levy">{{cite journal | last = Levy | first = Charles S. | authorlink = | title = Antigone's Motives: A Suggested Interpretation | journal = [[Transactions of the American Philological Association]] | volume = 94 | issue = | pages = 137–44 | publisher = | location = | year = 1963 | doi = 10.2307/283641| id = | jstor = 283641}}</ref> <!--Antigone comments to Ismene, regarding Creon's edict, that "He has no right to keep me from my own."<ref>{{cite book | author = Sophocles | title = Sophocles: Oedipus the King, Oedipus at Colonus, Antigone | others = Translated by David Grene | page = Line 48 | publisher = University of Chicago Publishers | year = 1991 | isbn = 978-0-226-30792-3}}</ref> Related to this theme is the question of whether Antigone's will to bury her brother is based on rational thought or instinct, a debate whose contributors include Goethe.<ref name="levy"/>
The contrasting views of Creon and Antigone with regard to laws higher than those of state inform their different conclusions about civil disobedience. Creon demands obedience to the law above all else, right or wrong. He says that "there is nothing worse than disobedience to authority" (''An.'' 671). Antigone responds with the idea that state law is not absolute, and that it can be broken in civil disobedience in extreme cases, such as honoring the gods, whose rule and authority outweigh Creon's.-->
===La ley natural y las instituciones legales contemporáneas ===
En ''Antígona'', Sófocles plantea la pregunta sobre cuál es la mayor ley, la de los dioses o la de los hombres. <!--. Sophocles votes for the law of the gods. He does this in order to save Athens from the moral destruction which seems imminent. Sophocles wants to warn his countrymen about hubris, or arrogance, because he believes this will be their downfall. In Antigone, the hubris of Creon is on display.
Creon's decree to leave Polyneices unburied in itself makes a bold statement about what it means to be a citizen, and what constitutes abdication of citizenship. It was the firmly kept custom of the Greeks that each city was responsible for the burial of its citizens. Herodotus discussed how members of each city would collect their own dead after a large battle to bury them.<ref name=MacKay>{{cite journal | last = MacKay | first = L. | title = Antigone, Coriolanus, and Hegel | journal = Transactions and Proceedings of the American Philological Association | volume = 93 | year = 1962 | pages = 178–179 | jstor = 283759}}</ref> In ''Antigone'', it is therefore natural that the people of Thebes did not bury the Argives, but very striking that Creon prohibited the burial of Polyneices. Since he is a citizen of Thebes, it would have been natural for the Thebans to bury him. Creon is telling his people that Polyneices has distanced himself from them, and that they are prohibited from treating him as a fellow-citizen and burying him as is the custom for citizens.
In prohibiting the people of Thebes from burying Polyneices, Creon is essentially placing him on the level of the other attackers—the foreign Argives. For Creon, the fact that Polyneices has attacked the city effectively revokes his citizenship and makes him a foreigner. As defined by this decree, citizenship is based on loyalty. It is revoked when Polyneices commits what in Creon's eyes amounts to treason. When pitted against Antigone's view, this understanding of citizenship creates a new axis of conflict. Antigone does not deny that Polyneices has betrayed the state, she simply acts as if this betrayal does not rob him of the connection that he would have otherwise had with the city. Creon, on the other hand, believes that citizenship is a contract; it is not absolute or inalienable, and can be lost in certain circumstances. These two opposing views – that citizenship is absolute and undeniable and alternatively that citizenship is based on certain behavior – are known respectively as citizenship 'by nature' and citizenship 'by law.'<ref name=MacKay />-->
===Fidelidad===
La decisión de Antígona de enterrar a Polinices surge de un deseo de honrar a su familia, y la ley superior de los dioses.<!--. She repeatedly declares that she must act to please "those that are dead" (''An.'' 77), because they hold more weight than any ruler, that is the weight of divine law. In the opening scene, she makes an emotional appeal to her sister Ismene saying that they must protect their brother out of sisterly love, even if he did betray their state. Antigone believes that there are rights that are inalienable because they come from the highest authority, or authority itself, that is the divine law.
While he rejects Antigone's actions based on family honor, Creon appears to value family himself. When talking to Haemon, Creon demands of him not only obedience as a citizen, but also as a son. Creon says "everything else shall be second to your father's decision" ("An." 640–641). His emphasis on being Haemon's father rather than his king may seem odd, especially in light of the fact that Creon elsewhere advocates obedience to the state above all else. It is not clear how he would personally handle these two values in conflict, but it is a moot point in the play, for, as absolute ruler of Thebes, Creon is the state, and the state is Creon. It is clear how he feels about these two values in conflict when encountered in another person, Antigone: loyalty to the state comes before family fealty, and he sentences her to death.-->
===Retrato de los dioses===
En ''Antígona'' así como en las otras obras tebanas, hay escasas referencias a los dioses. Al que más se menciona es a Hades, pero más como una personificación de la [[Thanatos|Muerte]]. <!--Zeus is referenced a total of 13 times by name in the entire play, and Apollo is referenced only as a personification of prophecy. This lack of mention portrays the tragic events that occur as the result of human error, and not divine intervention. The gods are portrayed as [[chthonic]], as near the beginning there is a reference to "Justice who dwells with the gods beneath the earth." Sophocles references Olympus twice in ''Antigone.'' This contrasts with the other Athenian tragedians, who reference Olympus often.-->
===Amor por la familia===
El amor de Antígona hacia su familia se muestra cuando entierra a su hermano, Polinices. Hemón está profundamente enamorado de su prima y prometida Antígona, y se suicida por el sufrimiento que siente al descubrir que su amada Antígona se ha suicidado por ahorcamiento.
==Adaptaciones modernas==
===Drama===
* [[Felix Mendelssohn]] compuso [[Antigone (Mendelssohn)|una suite de música incidental]] para la puesta en escena de [[Ludwig Tieck]] de la obra en 1841. Incluye una obertura y siete coros.
<!--* [[Walter Hasenclever]] wrote an adaptation in 1917, inspired by the events of [[World War I]].
* French playwright [[Jean Anouilh]]'s tragedy ''[[Antigone (Anouilh play)|Antigone]]'' was inspired by both Sophocles' play and the myth itself. Anouilh's play premièred in Paris at the [[Théâtre de l'Atelier]] in February 1944, during the [[German military administration in occupied France during World War II|Nazi occupation of France]].
* Right after [[World War II]], [[Bertolt Brecht]] composed an adaptation, ''[[Antigone (Brecht play)|Antigone]]'', which was based on a translation by [[Friedrich Hölderlin]] and was published under the title ''Antigonemodell 1948''.
* The Haitian writer and playwright [[Félix Morisseau-Leroy]] translated and adapted ''Antigone'' into Haitian Creole under the title, ''Antigòn'' (1953). ''Antigòn'' is noteworthy in its attempts to insert the lived religious experience of many Haitians into the content of the play through the introduction of several [[Loa]] from the pantheon of [[Haitian Vodou]] as voiced entities throughout the performance.
* ''Antigone'' inspired the 1967 Spanish-language novel ''La tumba de Antígona'' (English title: ''Antigone's Tomb'') by [[María Zambrano]].
* Puerto Rican playwright [[Luis Rafael Sánchez]]'s 1968 play ''La Pasión según Antígona Pérez'' sets Sophocles' play in a contemporary world where Creon is the dictator of a fictional Latin American nation, and Antígona and her 'brothers' are dissident freedom fighters.
* In 1977, ''Antigone'' was translated into [[Papiamento]] for an [[Aruba]]n production by director Burny Every together with Pedro Velásquez and Ramon Todd Dandaré. This translation retains the original iambic verse by Sophocles.
* In 2004, theatre companies Crossing Jamaica Avenue and The Women's Project in New York City co-produced the ''Antigone Project'' written by [[Tanya Barfield]], Karen Hartman, Chiori Miyagawa, Pulitzer Prize winner [[Lynn Nottage]] and [[Caridad Svich]], a five-part response to Sophocles' text and to the US Patriot Act. The text was published by NoPassport Press as a single edition in 2009 with introductions by classics scholar [[Marianne McDonald]] and playwright Lisa Schlesinger.
* There are four operas: ''Antigone (''1977) by [[Dinos Constantinides]], on an English libretto by Fitts and Fitzgerald, ''Antigone (''1986) by [[Marjorie S. Merryman]], ''Antigone'' (1988) with music by Vassily Lobanov and libretto (in Russian) by Alexey Parin and the fourth – ''[[The Burial at Thebes]]'' (2007–2008) by Dominique Le Gendre and libretto by [[Seamus Heaney]], based on his translation for the normal spoken theatre. The production features conductor William Lumpkin, stage director Jim Petosa, and six singers and ten instrumentalists.<ref>{{cite news|url=https://pqasb.pqarchiver.com/bostonherald/access/46144436.html?dids=46144436:46144436&FMT=ABS&FMTS=ABS:FT&type=current&date=Nov+06%2C+1999&author=T.J.+MEDREK&pub=Boston+Herald&desc=MUSIC+REVIEW%3B+BU+Opera+fest%27s+%60Antigone%27+is+a+lesson+in+excellence&pqatl=google|title=BU Opera fest's 'Antigone' is a lesson in excellence|last=Medrek|first=T.J.|date=November 6, 1999|work=[[Boston Herald]]|page=22|accessdate=March 8, 2010}}</ref>
* Bangladeshi director [[Tanvir Mokammel]] in his 2008 film ''Rabeya (The Sister)'' also draws inspiration from ''Antigone'' to parallel the story to the martyrs of the 1971 [[Bangladeshi Liberation War]] who were denied a proper burial.<ref>{{cite news|url=http://movies.ndtv.com/movie_story.aspx?from=bottomrelated&ID=ENTEN20100134553&Keyword=regional | title=Bangla director dedicates new film to 1971 war martyrs | author = Press Trust of India | date = March 11, 2010 | location = New Delhi | work = NDTV Movies | publisher = NDTV Convergence Limited }}{{dead link|date=July 2018|bot=medic}}{{cbignore|bot=medic}}</ref>
* In 2000, Peruvian theatre group Yuyachkani and poet [[José Watanabe]] adapted the play into a one-actor piece which remains as part of the group's repertoire.<ref>{{cite AV Media | url = http://scalar.usc.edu/nehvectors/taylor/media/000540642 | title = Grupo Cultural Yuyachkani: Antígona | trans-title = Yuyachkani Cultural Group: Antigone | language = Spanish | date = 11 March 2011 | work = Scalar | access-date = 24 March 2018}}</ref>
* An Iranian absurdist adaptation of ''Antigone'' was written and directed by Homayoun Ghanizadeh and staged at the City Theatre in Tehran in 2011.<ref>{{Cite web|url=http://iraniart.blogfa.com/post-734.aspx| title = نگاهی به نمایش ”آنتیگونه” نوشته و کار ”همایون غنیزاده” | trans-title = Take a look at the "Antigone" display of Homayoun Ghanizadeh | language = Persian | date = February 1389 | work = Irani Art | access-date = 24 March 2018}}</ref>
* Roy Williams’s 2014 adaptation of ''Antigone'' for the Pilot Theatre relocates the setting to contemporary street culture.<ref>{{cite news | url = https://www.theguardian.com/stage/2014/sep/23/antigone-review-roy-williams | last = Hickling | first = Alfred | title = Antigone Review – engaging Gangland Sophocles | work = The Guardian | date = September 23, 2014}}</ref>
* Syrian playwright Mohammad Al-Attar adapted ''Antigone'' for a 2014 production at [[Beirut]], performed by [[Refugees of the Syrian Civil War|Syrian refugee]] women.<ref>{{cite news | url = https://www.npr.org/blogs/parallels/2014/12/12/370343232/syrian-women-displaced-by-war-make-tragedy-of-antigone-their-own | last = Fordham | first = Alice | title = Syrian Women Displaced By War Make Tragedy Of 'Antigone' Their Own | work = National Public Radio | date = December 13, 2014}}</ref>
* "Antigona," a 90-minute flamenco version, performed by Soledad Barrio and Noche Flamenca, with Barrio as Antigona. Martín Santangelo, Artistic Director and Producer, with Choreography by Soledad Barrio and additional choreography by Isabel Bayon; Consulting Director, Lee Breuer; Mask Design based on the work of Mary Frank; Music by Eugenio Iglesias, Salva de Maria and Martín Santangelo. Presented at the West Park Presbyterian Church, 165 West 86th Street, New York, NY 10024, July 13 to August 15, 2015.
* In 2012, the [[Royal National Theatre]] adapted Antigone to modern times. Directed by Polly Findlay,<ref>{{cite web | title = Antigone: Cast & creative | url = http://www.nationaltheatre.org.uk:80/shows/antigone?cast | work = National Theatre | publisher = The Royal National Theatre | dead-url = yes | archive-url = https://web.archive.org/web/20120831041626/http://www.nationaltheatre.org.uk/shows/antigone?cast | archive-date = 31 August 2012 | access-date = 23 July 2018 | df = dmy-all }}</ref> the production transformed the dead Polyneices into a terrorist threat and Antigone into a "dangerous subversive."<ref>{{Cite news |title = Antigone – review|url = https://www.theguardian.com/stage/2012/may/31/antigone-review |first = Michael|last = Billington | date = 31 May 2012 | work = The Guardian|accessdate = 5 December 2015}}</ref>
Japanese drama, Sora kara furu ichi oku no hoshi has the similar theme.-->
===Literatura===
En 2017 Kamila Shamsie publicó ''Home Fire'', que traslada algunas de las cuestiones políticas y morales de ''Antígona'' al contexto del Islam, el ISIS y el moderno Reino Unido.
===Cine===
[[George Travel as|Yorgos Tzavellas]] adaptó la obra [[Antígona (película)|al cine en 1961]] y también lo dirigió. A la heroína protagonista la interpretaba [[Irene Papas]].
<!--Liliana Cavani's 1970 ''[[I Cannibali]]'' is a contemporary political fantasy based upon the Sophocles play, with [[Britt Ekland]] as Antigone and [[Pierre Clémenti]] as Tiresias.
The 1978 omnibus film [[Germany in Autumn]] features a segment by [[Heinrich Böll]] entitled “The Deferred Antigone”<ref>{{cite web |title=The Deferred Antigone (Germany in Autumn, 1978) |url=https://www.youtube.com/watch?v=4UhXyrRImfA |website=YouTube |accessdate=30 June 2018}}</ref> where a fictional production of Antigone is presented to television executives who reject it as [[German Autumn|”too topical”]]<ref>{{cite web |last1=Gillespie |first1=Jill |title=Deutschland Im Herbst - Film (Movie) Plot and Review |url=http://www.filmreference.com/Films-Dah-Deu/Deutschland-im-Herbst.html |website=FilmReference |accessdate=30 June 2018}}</ref>.
A 2011 Hungarian film version starred Kamilla Fátyol as Antigone, Zoltán Mucsi as Creon and Emil Keres as Tiresias.-->
===Televisión===
En 1986, [[Juliet Stevenson]] fue Antígona, con [[John Shrapnel]] como Creonte y [[Sir John Gielgud]] como Tiresias en ''The Theban Plays'' (Las obras tebanas) de la [[BBC]].
<!--''Antigone at the Barbican'' was a 2015 filmed-for-TV version of a production at the [[Barbican Centre|Barbican]] directed by [[Ivo van Hove]]; the translation was by Anne Carson and the film starred [[Juliette Binoche]] as Antigone and [[Patrick O'Kane]] as Kreon.
Other TV adaptations of ''Antigone'' have starred [[Irene Worth]] (1949) and [[Dorothy Tutin]] (1959), both broadcast by the BBC.-->
==Traducciones y adaptaciones==
* 1839 – [[Johann Jakob Christian Donner]], poesía en alemán
<!--* 1865 – [[Edward Hayes Plumptre|Edward H. Plumptre]], verse ([[Harvard Classics]] Vol. VIII, Part 6. New York: P.F. Collier & Son, 1909–14); [http://www.bartleby.com/8/6/ full text]
* 1888 – Sir George Young, verse (Dover, 2006; {{ISBN|978-0-486-45049-0}})
* 1899 – G. H. Palmer, verse (Boston: Houghton and Mifflin, 1899)
* 1904 – [[Richard C. Jebb]], prose: [http://classics.mit.edu/Sophocles/antigone.html full text]
* 1911 – Joseph Edward Harry, verse (Cincinnati: Robert Clarke, 1911)
* 1912 – F. Storr, verse: [https://web.archive.org/web/20090817115341/http://www.northern.edu/wild/TH100/Plays/ANTIGONE.HTM full text]
* 1931 – Shaemas O'Sheel, prose
* 1938 – [[Dudley Fitts]] and [[Robert Fitzgerald]], verse: [https://web.archive.org/web/20110719091412/http://learning.swc.hccs.edu/members/sheri.brogdon/intro-to-humanities/sophocles-antigone/script%20ANTIGONE.doc/view full text]
* 1946 – [[Jean Anouilh]], (modern French translation)
* 1947 – E. F. Watling, verse (Penguin classics)
* 1949 – Robert Whitelaw, verse (Rinehart Editions)
* 1950 – Theodore Howard Banks, verse
* 1950 – W. J. Gruffydd (translation into Welsh)
* 1953 – [[Félix Morisseau-Leroy]] (translated and adapted into Haitian Creole)
* 1954 – Elizabeth Wyckoff, verse
* 1954 – [[F. L. Lucas]], verse translation
* 1956 – [[Shahrokh Meskoob]] (into Persian)
* 1958 – Paul Roche, verse
* 1962 – [[H. D. F. Kitto]], verse
* 1962 – Michael Townsend, (Longman, 1997; {{ISBN|978-0-8102-0214-6}})
* 1973 – Richard Emil Braun, verse
* 1982 – [[Robert Fagles]], verse with introduction and notes by [[Bernard Knox]]
* 1986 – [[Don Taylor (English director and playwright)|Don Taylor]], prose (''The Theban Plays'', Methuen Drama; {{ISBN|978-0-413-42460-0}})
* 1991 – David Grene, verse
* 1994 – [[Hugh Lloyd-Jones]], verse (''Sophocles, Volume II: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus'', [[Loeb Classical Library]] No. 21, 1994; {{ISBN|978-0-674-99558-1}})
* 1997 – George Judy, adaptation for children (Pioneer Drama, 1997)
* 1998 – Ruby Blondell, prose with introduction and interpretive essay (Focus Classical Library, Focus Publishing/R Pullins Company; {{ISBN|0-941051-25-0}})
* 2000 – Marianne MacDonald, ([[Nick Hern Books]], 2000; {{ISBN|978-1-85459-200-2}})
* 2001 – [[Paul Woodruff]], verse (Hackett, 2001; {{ISBN|978-0-87220-571-0}})
* 2003 – Reginald Gibbons and Charles Segal, verse (Oxford UP, 2007; {{ISBN|978-0-19-514310-2}})
* 2004 – [[Seamus Heaney]], ''[[The Burial at Thebes]]'' – verse adaptation (Farrar, Straus and Giroux, 2005; {{ISBN|978-0-374-53007-5}}), also adapted as an opera in 2008
* 2005 – Ian Johnston, verse (modern English): [http://records.viu.ca/~johnstoi/sophocles/antigone.htm full text]
* 2006 – George Theodoridis, prose: [http://bacchicstage.wordpress.com/sophocles/antigone/ full text]
* 2006 – [[A. F. Th. van der Heijden]], 'Drijfzand koloniseren' ("Colonizing quicksand"), prose, adapting Antigone's story using characters from the author's 'Homo Duplex' saga.
* 2009 – Tanya Barfield, Karen Hartman, Lynn Nottage, Chiori Miyagawa, Caridad Svich, play adaptation (NoPassport Press, 2009; {{ISBN|978-0-578-03150-7}})
* 2011 - Diane Rayor, ''Sophocles’ Antigone: A New Translation''. Cambridge University Press.
* 2012 – [[Anne Carson]], play adaptation (''Antigonick'', New Directions Press; {{ISBN|978-0-811-21957-0}})
* 2013 – George Porter, verse ("Black Antigone: Sophocles' tragedy meets the heartbeat of Africa", {{ISBN|978-1-909-18323-0}})
* 2014 – Marie Slaight and Terrence Tasker, verse and art ('"The Antigone Poems'', Altaire Productions; {{ISBN|978-0-9806447-0-8}})
* 2016 – Translation by Slavoj Zizek, with introduction by [[Hanif Kureishi]], Bloomsbury, New York
* 2017 – [[Kamila Shamsie]], ''[[Home Fire (novel)|Home Fire]]'', novel. An adaptation in a contemporary context, London: Bloomsbury Circus. {{ISBN|978-1-4088-8677-9}}
* 2017 – Brad Poer, ''Antigone: Closure'', play adaptation (contemporary American prose adaptation set post-fall of United States government)
* 2017 – Griff Bludworth, ''ANTIGONE (born against)''. A contemporary play adaptation that addresses the theme of racial discrimination.-->
==Notas==
{{listaref|30em}}
==Para saber más==
* {{cite book |title=Antigone's Claim: Kinship Between Life and Death |last=Butler |first=Judith |authorlink=Judith Butler |year=2000 |publisher=Columbia University Press |location=New York |isbn=0-231-11895-3 |page= |pages= |url= |accessdate=}}
* {{cite journal|last1=Heaney |first1=Seamus |date=December 2004 |title=The Jayne Lecture: Title Deeds: Translating a Classic |journal=Proceedings of the American Philosophical Society |volume=148 |issue=4 |pages=411–426 |url=http://www.amphilsoc.org/sites/default/files/480401.pdf |deadurl=yes |archiveurl=https://web.archive.org/web/20111018044831/http://www.amphilsoc.org/sites/default/files/480401.pdf |archivedate=2011-10-18 }}
* {{cite book |title=An Introduction to Metaphysics |last=Heidegger |first=Martin |authorlink=Martin Heidegger |author2=Gregory Fried |author3=Richard Polt |year=2000 |publisher=Yale University Press |location=New Haven |isbn=978-0-300-08328-6 |page= |pages=156–176 |url= |accessdate=}}
* {{cite book |title=[[Hölderlin's Hymn "The Ister"]] |last=Heidegger |first=Martin|first2=William|last2=McNeill|authorlink2=William McNeill (philosopher) |first3=Julia |last3=Davis|year=1996 |publisher=Indiana University Press |location=Bloomington |isbn=}}
* {{cite book |title=The Seminar of Jacques Lacan, Book VII: The Ethics of Psychoanalysis |last=Lacan |first=Jacques |authorlink= Jacques Lacan |others=Dennis Porter, translator |year=1992 |publisher=W.W. Norton |location=New York |isbn= 0-393-31613-0 |page= |pages=240–286 |url= |accessdate=}}
*{{cite journal|last1=Miller|first1=Peter|title=Helios , vol. 41 no. 2, 2014 © Texas Tech University Press 163 Destabilizing Haemon: Radically Reading Gender and Authority in Sophocles’ Antigone|journal=Helios|date=2014|volume=41|issue=2|pages=163–185|url=http://hdl.handle.net/10680/1273|accessdate=25 January 2017}}
* {{cite book |title=Tragedy and Civilization: An Interpretation of Sophocles |last=Segal |first=Charles |authorlink= |year=1999 |publisher=University of Oklahoma Press |location=Norman, OK |isbn=978-0-8061-3136-8 |page=266 |pages= |url=}}
* {{cite book |title=Antigones: How the Antigone Legend Has Endured in Western Literature, Art, and Thought |last=Steiner |first=George |authorlink= |year=1996 |publisher=Yale University Press |location=New Haven |isbn=0-300-06915-4 |page= |pages= |url= |accessdate=}}
== Véase también ==
Línea 108 ⟶ 301:
[[Categoría:Los siete contra Tebas|Antigona (Sofocles)]]
[[Categoría:Filosofía política en la antigua Grecia]]
[[Categoría:Desobediencia civil]]
[[Categoría:Ceremonias funerarias]]
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