Représentations genrées d’Antigone de Sophocle en Europe au XXIe siècle

Résumé En

Antigone's rewritings at the turn of the 21st century underline the timelessness of the sophoclean tragedy as Antigone's rebellious and divergent nature continues to inspire contemporary creators. Two case studies – Antigone Sr./Paris is burn at the Judson Church (L) by Trajal Harrell and Antigone by the company Ulrike Quade – reveal that the creators’ dramatic choices aim to review and revamp the myth of Antigone not only by transcending the political dimension of the sophoclean play but also by exploring power relations and showcasing the heroine's intrepidity under a new perspective: that of gender. Integrating choreography in their stagings, the creators use the performing body to denounce the stereotypes linked – at the same time though not limited – to socio-political inequalities such as sex, ethnicity, diversity and class or social status. Their interest is focused more on the queerness of the heroine, the valorisation of secondary female characters and the exploration of the notion of heroism highlighted through the hybridisation of the productions which combine dance, circus, puppetry, theatre and fashion show. Hence, the creators attest to the interweaving of the various and variable axes in gender studies research and confirm gender’s intersectional dimension byapplying the concept to live performance.