![]() ![]() Taylor was able to effectively convey all this about Creon without a superfluous use of props. All this is symbolic of Creon’s power and his very pragmatic approach in governing. ![]() The only chairs with a backrest are Creon’s throne – the chorus does not have chairs with backrests. The chamber has an austere aesthetics apart from large portraits of Creon, his throne and seating for the senators/chorus. This is the door Creon always makes his entrance displaying his power but after Creon realizes he was in the wrong, he does not enter from that door anymore. ![]() The entirety of the play takes place in Creon’s chamber where, in the background, there is a staircase with a myriad of steps which leads to a prodigious double door. He wants to tell Creon’s story, not Antigone’s, which is why the new translation focused on Creon. But the focus of Taylor’s adaptation is the danger of pride and hubris. Despite a new translation, themes of religious law versus state law and male versus female were still explored just like previous translations. ![]()
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