@article{Wald2023-03-08Europ-66374,
  year={2023},
  doi={10.1080/10137548.2023.2185285},
  title={European tragedy as requiem, ruin, revenant in Magnet Theatre’s 'Antigone (not quite/quiet)' and Thomas Köck’s 'antigone. a requiem'},
  issn={1013-7548},
  journal={South African Theatre Journal},
  author={Wald, Christina}
}

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    <dc:creator>Wald, Christina</dc:creator>
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    <dc:contributor>Wald, Christina</dc:contributor>
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    <dcterms:title>European tragedy as requiem, ruin, revenant in Magnet Theatre’s 'Antigone (not quite/quiet)' and Thomas Köck’s 'antigone. a requiem'</dcterms:title>
    <dcterms:issued>2023-03-08</dcterms:issued>
    <dcterms:abstract>Offering a comparative case study of two different postcolonial responses to Sophocles’s tragedy Antigone from European and African perspectives, this article brings together Magnet Theatre’s Cape Town production of Antigone (not quite/quiet) with Thomas Köck’s play antigone. a requiem that premiered almost simultaneously in September 2019 in Hannover, Germany. Both re-examine Sophocles’s tragedy to come to terms with their respective colonial histories and postcolonial challenges: while Magnet Theatre engages with the ancient material to reflect on the difficulties of fully overcoming the legacies of colonialism in post-apartheid South Africa, Köck explores the afterlives of ‘thebaneuropean’ colonialism as manifested in current European migration policies. Comparing the adaptation principle of Magnet Theatre’s ‘ruinous’, fragmenting approach to the literary and theatrical archive of European colonialism to Köck’s postdramatic recomposition of Antigone as a requiem for migrant deaths and for European tragedy itself, the article discusses the productions in their respective contexts of political protest movements. Drawing on cultural theory of ungrievability, domopolitics, and postcolonial shame, it explores the central functions of the chorus – indecisive Europeans on the verge of anagnorisis in Köck’s play, the post-apartheid South African generation caught between rage and disillusionment in Magnet Theatre’s production – and as well as the prominence of Ismene as a problematic survivor figure in both adaptations.</dcterms:abstract>
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