Antigone: use of performance space

Theatrical Space in Ancient Greece

Greek tragedies, such as ‘Antigone’, were performed in outdoor amphitheatres, making the most of the natural sounds and light that the open-air surroundings provided.
The primary performance spaces were the orchestra, where the Chorus performed, the skene, a backdrop used for scenery or as a dressing room, and the theatron, where the audience sat.
The parodoi were entrance and exit lanes for actors and chorus, offering a dynamic element to the staging of the play.

Spatial Interpretations in ‘Antigone’

The spatial division in ‘Antigone’ can be seen as a representation of the play’s thematic conflicts – sacred versus secular, private versus public.
The orchestra, the space typically occupied by the Chorus, can be viewed as the neutral or public space, while the skene often represents private or domestic spaces, or in ‘Antigone’, the palace or the tomb.
Changes in spatial occupation, such as Antigone’s movement from the chorus area to the skene when she is sentenced to death, can highlight shifts in the character’s condition or the play’s plot.

Considerations for Modern Performances

When staging a modern performance of ‘Antigone’, the director might aim to replicate the original conditions or orient the staging to suit the direction of modern theatre spaces.
The open-air nature of Greek theatre can be compelling for modern performances, attempting to utilise natural light or outdoor acoustics to enhance the dramatic effect.
Designing the space to mimic an amphitheatre layout could offer an immersive experience for the audience, prompting them to interact with the performance on more intimate terms.
Simultaneously, understanding the spatial dynamics of the original performance offers key insights into various symbolic and thematic aspects of the play, informing staging decisions, whether the director chooses to adhere to original spatial indications or to experiment with their own interpretations.