Chapter

Performing Rebellion: <i>Eurydice's Cry</i> in Turkey

Serap Erincin

in Antigone on the Contemporary World Stage

Published in print June 2011 | ISBN: 9780199586196
Published online January 2012 | e-ISBN: 9780191728754 | DOI: http://dx.doi.org/10.1093/acprof:oso/9780199586196.003.0009

Series: Classical Presences

Performing Rebellion: Eurydice's Cry in Turkey

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Serap Erincin writes about Sahika Tekand's production Eurydice's Cry (2006), which commented on freedom and human rights in Turkey through a highly circumscribed movement vocabulary. The chorus's movements consisted of a small number of repeated gestures performed at precise moments in response to text, and cued by lighting. The stationary chorus was not able to move at all on its own; their movements were dictated, so to speak, by Creon. As the play went on, the chorus became increasingly affected by Antigone's arguments, and began to take on gestures associated with her character. Thus, Antigone's effect on the chorus was visibly manifested through gesture. Eurydice, a silent character in Sophocles, finally found her voice in this production: her scream shattered the last of Creon's power. This production is ultimately triumphant: Creon is toppled by the collective movements of the chorus, and by the women who speak up.

Keywords: Greek tragedy; Antigone; Sophocles; Sahika Tekand; Turkish theatre; reception; theatre; classics; Eurydice; Eurydice's Cry

Chapter.  5341 words.  Illustrated.

Subjects: Classical Literature

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