Bertold Brecht: Antigona
Ivana Vujić/BELEF (Serbia)

Direction: Ivana Vujić
Translation: Jelena Kostić
Dramaturgy: Slavenka Milovanović
Set-designer: Kosta Bunuševac
Costumes: Dušica Knežević
Selection of music: Ivana Vujić
Choreography: Dunja Mahočić
Light-designer: Raša Samolov
Video art: Svetlana Volic
Assistant director and prompter: Bojana Sekicki

Antigone – Danica Ristovski
Creon – Zoran Ćosić
Ismene – Ivana Jovanović
Theban elders – Dejan Kolarov, Đorđe Makarević, Dunja Mahočić,
Vidan Bunuševac
Haemon – Igor Ilić
Tiresias – Kosta Bunuševac
Guard, herald – Nikola Rakočević
Antigone, child – Sara Krstić
Ismene, child – Ivana Maoduš
Woman from audience - Vesna Vojnov

The duration of the play is 65 minutes.


“Living Theatre was performing Antigone over the course of twenty years in sixteen countries. Wherever we performed this show it seemed as if it became a symbol of the struggle of that moment and in that place – in Ireland which was bleeding, in Franco’s Spain, in Poland about a month before a state of war was declared in Prague... This play is communicating with any struggle for freedom in an unusual way through the struggle for personal freedom which Antigone demands for herself.” (Judith Malina)

“The myth of Antigone gave rise to the most diverse interpretations in modern times – all of them related to the concepts of ancient Greek democracy, the identity of a citizen, and his ethical stance with respect to those in power. In other words, if Oedipus myth has remained a prisoner of the realm of psychoanalysis after Freud, the myth about Antigone has become, by definition, a political myth.” (Svetlana Slapšak)

“Many prominent European writers like Hölderlin, Cocteau, Anouilh, Brecht, Smole, Glovacki and others have delved into the Sophocles’ Antigonesque motif (around 442 BC) originating from the Theban complex of myths about hapless King Oedipus and the curse of his lineage. Even Gabriel García Márquez’ novella Leaf Storm is a reflection of Antigone’s dilemma. The struggle of an individual against the existing order and the transformation of the myth from ancient times to date escalate into modern political connotations (particularly in Brecht’s work) disclosing the character – the principle of Creon as something recognisable in any age and time. In today’s world of the absurd and Orwellian grotesque reality stretching the irony of the unwritten law to extreme limits, the issue of futility of sacrifice or her tragic guilt devoid of concrete transgression is not raised. Instead, this flash of human will is a purpose to itself. Antigone’s NO assumes cosmic proportions. She is there to say NO and die.” (Molina Udovički)

Total design: D. Vukovic; web design: T. Dukic. Copyright INFANT 2002-2007