School of Theatre & Dance

Antigone, 2017 TheatreUSF British International Theatre Production



Antigone
TheatreUSF British International Theatre Production
by Sophocles, retold by Pamela Carter
directed by Eduard Lewis
Theatre 2
Thurs Feb 23 – Sat Feb 25 & Thurs Mar 2 – Sat Mar 4 @ 7:30
Sun Feb 26 & Sun Mar 5 @ 3:00

Tickets:

$10 Students, Seniors and Active Military

$15 General Admission

Purchase tickets online

Purchase by phone: (813) 974-2323

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A modern retelling of Sophocles’ classic Greek tragedy! This production will be the U.S. premiere of a new adaptation by USF British International Guest Artist-In-Residence Pamela Carter; directed by BRIT Guest Artist-In-Residence Eduard Lewis with movement direction by BRIT Guest Artist-In-Residence Kane Husbands.

This show contains haze and adult language.



After the bloody siege of Thebes by Polynices and his allies, the city stands unconquered. Polynices and his brother Eteocles are both dead, killed by each other, according to the curse of Oedipus, their father.

Upon her arrival in Thebes, Antigone learns that both of her brothers are dead. Creon, her uncle who now rules the city, ordered that Eteocles, who died defending the city, be given a proper burial, and issued a royal edict banning the burial of Polynices the invader. Furthermore, Creon has declared that anyone attempting to bury Polynices shall be put to death. Outraged, Antigone reveals to Ismene, her sister, a plan to bury Polynices in secret despite Creon's order.

Creon discovers that someone has attempted to offer a ritual burial to Polynices and demands that the guilty one be found and brought before him. When he discovers that Antigone, his niece, is the culprit, Creon is furious. Enraged by Antigone's refusal to submit to his authority, Creon declares that she and her sister will be put to death.

Haemon, Creon's son who was to marry Antigone, advises his father to reconsider his decision. The father and son argue, and Haemon leaves in anger, swearing never to return. The blind prophet Tiresias warns Creon that the gods disapprove of his leaving Polynices unburied and will punish him with the death of his own son. After rejecting Tiresias angrily, Creon reconsiders and decides to bury Polynices and free Antigone.

But Creon's change of heart comes too late. Antigone has hanged herself and Haemon, in desperate agony, had killed himself. On hearing the news of her son's death, Eurydice, the queen, also kills herself, cursing Creon.

Alone in despair, Creon accepts responsibility for all the tragedy. The play ends with a somber warning from the chorus that pride will be punished by the blows of fate.


Eduard Lewis, Director
Eduard Lewis trained on the MFA in Theatre Directing at Birkbeck University and Arts Educational and was a Resident Trainee Director at Royal Exchange Theatre 2012/2013.

As a director, he has worked on many shows including The Bruntwood Prize Ceremony, Crap Dad Island, Light & Shadow, Skylines (Royal Exchange Theatre), Consignment (Old Red Lion), Yuppies (Rosemary Branch Theatre), Neither Towards Nor Away (George Tavern), Internal Motion (Curious Directive), Daisy Cutter & Dealers Choice (Warwick Arts Centre Studio), Mercy Seat (CAPITAL Centre). As an Assistant Director he has worked on Talk Show (Royal Court Downstairs), Orpheus Descending, Accrington Pals, To Kill a Mockingbird, Cannibals, Black Roses (Royal Exchange Theatre), Talk Show (Royal Exchange Theatre and Live Theatre).


Pamela Carter, Writer
Playwright Pamela Carter lives in London. Her plays produced in the UK include Skane (Hampstead Theatre Downstairs; winner of Berlin Theatertreffen Stuckemarkt 2012), What We Know (Traverse Theatre, Edinburgh) and Slope and An Argument About Sex (after Marivaux's La Dispute) for Stewart Laing's untitled Projects. Since 2010, she has been writing for the Swedish conceptual art duo Goldin+Senneby on the Nordenskiold Model, their on-going investigation into algorithmic trading and financial reality. As a Dramaturg, she has worked with companies including the National Theatre of Scotland, Malmo Opera House, and Vanishing Point (Interiors, and Saturday Night). She has been the IASH/Traverse Theatre Creative Fellow at Edinburgh University, and also under commission to Hampstead Theatre. Almost Here premiered at the Staatschausspiele in Dresden, Germany in 2013.


Kane Husbands, Movement Director
Kane Husbands is a theatre director specialising in movement, physical theatre and choreography. He has recently been working with National Youth Theatre of Great Britain and Saudi Aramco on a Middle Eastern performance of a modern retelling of the ‘1001 Nights’ tales.

Over the past few years Kane has been privileged enough to choreograph dance theatre pieces that have toured around multiple cities in China and developed regional community theatre pieces delving into intergenerational theatre practice with both younger and older participants. As a freelance movement director, choreographer and facilitator in the UK, Kane has worked for a variety of theatres and companies including; National Theatre, Old Vic Theatre, MAC Birmingham, Sheffield Crucible Theatre, SCOOP Outdoor Theatre, Arts Admin amongst others. He trained at Rose Bruford College on the BA (hons) European Theatre Arts course, graduating with a First class honours.

 


TheatreUSF British International Theatre Program
USF School of Theatre and Dance’s British International Theatre (BRIT) Program has been alive and well for more than 20 years, bringing a wide range of outstanding guest artists from the United Kingdom to work side by side with our TheatreUSF students. Professional directors and choreographers, leading actors in theatre, television and film, voice and speech experts and top rate designers have all been guest teachers and artists in residence. TheatreUSF will be forever thankful and grateful to the founders Hinks and Elaine Shimberg, Sir Cameron Mackintosh, John and Lisel Gale, and Dan Doyle for their vision and financial resources that make this program possible.

The University of South Florida School of Theatre and Dance is committed to facilitating creative and academic artists and scholars though rigorous training in the studio, the classroom, and in performance. Throughout the curriculum students are encouraged to expand their view to include other cultures and ideas of performance. All classes in the School of Theatre and Dance are student-centered, with the faculty maintaining a close mentoring relationship. For more information about our programs or to contact the department please visit http://theatreanddance.arts.usf.edu.

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