Creon
Creon is part six of City of Wine,
commissioned by Nightswimming in 1999.
It received a production at Humber College, Toronto, in 2002,
and by Toronto’s Stone Circle Productions in 2007.
Synopsis:
A stranger visits Thebes and is asked to play Creon in a reconstruction of the story of Antigone. A central and controversial story about the city’s leadership is reevaluated, and Thebes’ fate, and that of all of its citizens, is explored.
CREON
directed by Jillian Keiley
Sir Wildfred Grenfell College, Memorial University, Corner Brook
www2.swgc.mun.ca/theatre
November 26 – 29, 2008
I’m going to answer two questions in one, because I feel they are related. They are: “Does this type of storytelling flatten imagery” and “What do we now know about Thebes”.
This play features only the unnamed, no gods or royals appear. I think the mood of the city is summed up nicely by Firewood in the opening scene: “So much has changed in Thebes. Kings, curses, wars and wedding feasts have come and gone. We are now part of a much wider world and yet some things remain to tell us who we are.” Some cynicism seems to have developed regarding the role of fate in their lives, as Bowl says “I have more faith in chance than fate or justice, prophesy or hope.” We get the sense that the citizens of Thebes have come to a greater acceptance or understanding of their own roles in charting the course of history. When the stranger asks “but history?” Bowl replies “is made by people making choices,” rejecting the role of fate or the gods.
It is this self awareness that may be responsible for any “flatter” imagery that this play may have. Grand images in earlier plays usually evoke a sort of magic, of the presence of a higher power, but the form of this play evokes a perhaps humbler imagery. While there are few spoken passages that poetically evoke images, the metatheatricality of the play suggests powerful physical images as the players recreate their own history. I have no trouble visualizing the players rearranging the tavern, and pulling tricks out of their sleeves to evoke the various scenes. It is perhaps a move from predominantly literary imagery to active theatrical imagery.
There is a poetic image that stands out to me as well, and that is the tasting of history from the different vintages; the dusty, bloody wine of Creon’s age, the clear strong wine of Jocasta’s youth.
And while there is rejection of fate in favour of chance by some, there is still a tendency towards the former in the suggestion that humans will act in a certain way by the very virtue of being human. This is clear in the stranger’s predictable recreation of Creon’s actions without having any prior knowledge of the story.
The purpose of “Creon” is to paint the picture of the raw emotions of every character and to get back to the basics of human nature. “Creon” is the first example of a play where the ‘real’ people finally get the opportunity to tell their side of the story. I felt that through the last 3 plays (in particular “Oedipus” and “Jocasta”) the unnamed did not get their fair chance to speak about their own thoughts of the situation. They are the common thread throughout all of the plays and yet are not allowed the chance to speak freely. In “Creon” it was finally their time to shine. They were able to convey the message that although they were merely commoners they were intelligent and very in tune with their town.
“The law is just our best attempt at being just. Sometimes when both the wind and law are fair Justice results, more often not. But we go on, and try again.”
In a way it feels like “Creon” is the unnamed characters’ opportunity to forgive their previous rulers who have most certainly done great wrong to their people. It is a cathartic moment for the unnamed as they are able to say to the people (who would never ask them) they are forgiven. “Creon” was a beautiful way to finish up after “Oedipus” where the unnamed were ravaged from plague and all from cause of the wrongs of the royals. The unnamed are able to rise above their problems and prove that perhaps they are more regal and dignified than their royal and godly counterparts.
Day 7: City of Wine – Creon at Concordia Theatre Department
Answer one of the following questions for Friday, August 24th. Please refer to the play Creon to support your answers:
1) Why does this story get told now (with respect to Creon)?
2)Choose one of the Unnamed and make an arguement on how you envision the character from the beginning to the end (ie from Harmonia to Creon).
3)With respect to Creon, does this form of storytelling flatten imagery?
4)Based on Creon, what do we know about Thebes now?
Day 7: City of Wine – Creon at Concordia University’s Theatre Department
***For Friday, August 23rd, please define Pride (with book source) and be prepared to discuss how it pertains to your life.
Why does this story get told now?
Closure. Understanding. Truth. Fate. Ownership. I still feel this strong connection to the idea that the Un-named are claiming these stories as there own. No longer is past, present and future dictated by the gods, but by them, the people. Through the appearance of the Stranger, the Un-named get to re-create, re-edit, re-claim all that has happened before. Whether embellished or not is not an issue, the issue is that they are telling/creating the story of Thebes, the story of themselves. I don’t know why now, this moment, is it a calm before future storm? Do they know something is coming, we as audience do not? Or was it the Stranger that has triggered a need to understand/explain/document all the madness that has happened? It’s a matter of identity, a declaration of who and what they are, and that despite all that has happened before, despite the tragedy that has been forced upon them, they are still welcoming, generous and able to get on with the day to day. But always knowing that these stories are a part of them, they are partly responsible for who they are so they must be re-told and remembered. It’s also interesting to think of the fact that no royals or gods appear in this play, so the question must be asked, do they actually exist or are these stories myths that the Un-named tell themselves to give meaning to the un-known? Is it gossip? Is this the National Enquirer of the time, the fantastical, the outrageous… Did you hear what happened to Creon?
1. Why does this story get told now?
As I mentioned in class, I have a little theory as to the form, timing and nature of this story. It feels to me, like an induction ritual. (The ‘ritual’ element comes mainly from the copious amounts of wine) Shortly after the play begins there is the introduction of ‘Stranger’, a foreigner without a name, only the station of stranger. It soon becomes apparent that he hopes to change that title to friend. “FIREWOOD: No name? STRANGER: None yet but Stranger. Perhaps, after a cup or two, it will be Friend.” He attempts this first by buying food and drink for all. I feel that this sets the theme for the rest of the play. Stranger has begun the ritual to go from stranger to friend, from foreigner to Theban by steeping himself in the history of Thebes through wine and tragedy. “FIREWOOD: It is our bones. We seldom think of it but it is part of all we are. Without our past we are just any town, no town at all.”
The drinking of the wine from the different stages of the life cycle of Thebes and the playing out of one of it’s many tragedy’s is a way to, quite literally, soak Stranger in the essence of Thebes.
Question # 4: What do we know about Thebes now, after “Creon”?
We know that Thebes has been mostly peaceful and gentle with good wines, as the unnamed say. For the last 15 years, Ismene has been queen and the unnamed feel that they rule themselves more now. However, more horrible things have happened in Thebes since we last read about her in “Oedipus” and up until the time of Ismene. The people lived through more times of blood and dust, as seen through the tale of Antigone and Creon. Some other thoughts on Thebes; there is much gambling now and therefore more spirit of play. Drinking is still apart of their lives, however the various vintages of wine have taken on characteristics of themselves, reminding the unnamed of the times of the past where certain wines come from and connecting them again to that period. Rituals have persisted and also storytelling has become a way to remember where they have come from and what Thebes has been through. The stories of Thebes have reached near and far and have given Thebes an almost mythic existence. For example, the Stranger who has traveled all over and heard many stories of Thebes, especially of it being a place of “wine and welcoming.” However, the stories do not tell the whole story and many do not truly understand what it means to be Theban, such as the Stranger who experiences is for himself after being in the story of Creon. As for the Gods who were so prevalent in “Harmonia”, now they are not a real part of the lives of the unnamed any more but are still part of their culture. For example, the name of Zeus has become almost second nature and is used almost flippantly such as when Cloth throws up and says “Oh Zeus.” Also, during the play we learn that Creon is not dead, or possibly not, but lives up in the hills “apologizing to the hills”. People still care for him, he did not want to be king but was forced into it, and they therefore bring him food. Finally, the people of Thebes do not think of burdening others with their tales because they know that others suffer too. They want to be remembered. They are wise and content to live a life not worthy of a tale.
4. What do we know about Thebes now, from “Creon”?
In “Creon” we see that the city of Thebes has yet again changed its landscape. There still remains a tavern and a palace but they have been reborn since “Oedipus” and the civil war. The UnNamed gather around the once again friendly fire of the tavern to play games and to drink the plentiful stock of wine. Bacchus is back, and a good party has made the UnNamed playful again. There is talk of the harvest of grapes and sheep herding (p.6), meaning that crops are growing, yielding, and thriving. Not only is there enough wine for the folk of Thebes, but it brings strangers from all around. “I trade in wine wherever boat or beast can bring it” (p.9). This means that buisness is progressing and that trade between cities/regions/countries is developing. Thebes has become an international name, “So much has changed in Thebes. Kings, curses, wars, and wedding feasts have come and gone. We are now part of a much wider world and yet some things remain to tell us who we are” (p. 11). The Theban folk still pay tribute to their patron god Bacchus and they remember the awful history of tyrant kings and incestuous royalty however these events have made them stronger and more united. “We are friends now”, “No Theban spits upon another anymore” (p. 16), “As if one voice” (p.19). Obviously the towns folk hold various opinions concerning Theban practice. There are those who follow law, those who follow fate, those who honour the gods and those who uphold the state but in the end, Thebans have been united by their overwhelming hardships and common history.
It is stated that Imene, Antigone’s sister, currently rules and has done so for 15 years. However there is a change since the last monarchy. The UnNamed have reclaimed control over law, government, and history. When the Stranger asks who rules Thebes at present, Bowl admits that Ismene is queeen but that “We rule ourselves” (p.15). The people of the tavern say that the time is peaceful and just however it is not a time that will be recalled in history. In other words, Thebes is finally balanced. All of the horrors that have shaken this city are in the past and the stories will be passed on for generations to come, around a blazing fire.
3) According to Creon, does this form of storytelling flatten the imagery?
The way the story is told in Creon, is mostly at a quick pace with a couple words or perhaps a sentence or two being exchanged between the big group of people/unnamed. It will be assumed that this exchange should be at a moderately fast pace in order not to let the energy of the scene drop (To imagine it on stage) when it is only a word or two being said. At the beginning of the play the unnamed are talking and painting a picture figuratively as well as literally to set up the pace and direction of the story being told. It is evident when bowl says; “And what have I? Nothing. Nothing except these laughing lines, this ragged cloak, this life I call my own.” Glass; “And this investment tucked behind your vest.” Bowl; “Ah, yes. For fat is love and wine is memory. Quickly, boy, before both fade.” (p.5) It is evident that this form of storytelling is in the form of building blocks, and as each character contributes to building higher, the structure succeeds and works at layering the details of the images through the story. These elements give the story a set up to what is being told and consequently allows for the story to unfold in an expressive, intelligent, and organized fashion. It is apparent in the following exert from Creon; Blood “The last great battle, on the plain.” Stranger “And who fought who?” Parent “the sons of Oedipus.” Cloth “Eteocles, a hero.” (p.16) The images are built from all the characters putting in their remarks to tell a well rounded story that isn’t from just one characters memory or opinion. This method of storytelling allows for an expressive and detailed story to be told because it cannot be flattened by any one character whose lines go on for a long period or does not take in the input from other characters. Towards the end of the play the characters say a few lines each to build on the story they’ve been telling. This doesn’t take away from the pace of the story but allows for the image of the characters personalities to shine through. Firewood;“It is our bones. We seldom think of it but it is part of all we are. Without our past we are just any town, no town at all. So we thank you for asking who we are, and more, for urging us to see ourselves.” (p.74) The manner in which this play was written is fun and witty. The images were by all means not flattened and if anything jumped of the story more in the mind/imagination of the reader.
1) Why does this story get told now (with respect to Creon)?
I think the Thebans have lived horrid experiences during all those years and first of all, they need to understand the events and they need to heal their wounds, before continuing their lives and face the future. It’s some kind of catharsis that it could be seen during the drinking of different kind of wines. Wine from the times to Cadmus and Harmonia (the last bottle of the golden years) to the ” newest that we have, here, feel last summer’s sun still warm within and hear the signing of the harvest song. This wine will lift the frost of memory and there’s plenty of it” (Cloth, 2nd Act, page 74). On the other side, this story gets told because they do not want to be forgotten in history. ” We seldom think of it but it is part of all we are. Without a past we are just any town, no town at all. So thank you for asking who we are, for urging us to see ourselves”. (Firewood, page 74).
Does this sort of story flatten imagery?
I found the play Creon lacked the descriptive and colorful imagery that was ever present in the first 5 texts in the “City of Wine” series although it had a pace and sense of play that was very different from the other plays. In the retelling of the story of Antigone and Creon, the unnamed characters seemed to have all the plot points in mind when rehashing the past but lacked the precision and details of someone actually present and living through those moments and decisions. The Unnamed characters would at points contradict and correct each others remembrance, but very seldom did they rely on rich imagery to conjured up the past. It lacked the emotional detail that I, for example, might lack in trying to explain to someone the story of the October crisis- meaning I know the facts, but not the peoples’ thoughts. But on the other hand when the present is past, we keep its memory alive by speaking of it. And the Unnamed remind us that the history of Thebes is a much theirs, as generations of their families have lived through all its wonderful times as well as the tumultuous times. It’s interesting to note that the tension for me in “Creon” was found in worrying that the Stranger would get too involved in this role-playing and become uncontrollable with his make belief power as “King Creon”. I worried that perhaps the retelling of this story would invoke the ghosts of the past and Thebes would once again be living in the midst of murder and upheaval. On another note: upon thinking it over, I realize that this play involves only the Unnamed, the Stranger and the Youth and they’re very much like us. They speak like us, recollect like we do- maybe that’s why there is no poetic imagery, are they incapable of speaking with royal flourish? Have they been taught to speak there mind and get to the point or else? I think that’s true with many “lower class” citizens. They speak, when given the chance, to the point and directly. Although amongst themselves they probably chat each others ears off. All this to say it was an incredibly fun read, however I looked forward, intently, to reading more of the poetic imagery that was paramount in the first 5 texts.
4)Based on Creon, what do we know about Thebes now?
Thebes is now a peaceful city. Long gone are the days of chaos, torment and pain that the Thebans suffered under their tyrant kings. Famine and droughts are also a thing of the past. As Water mentions, Thebes is “a place of wines and stories.” (p12) The citizens of the city hang around the tavern, play ’stones’ (i.e. gamble), enjoy the plentiful wine and retell stories of their past. Each bottle of wine has its own story based on the time it came from. Like the first bottle opened by the Stranger upon his arrival, which tasted of blood and dust, and thus dated back to the last year of Creon’s rule, before Ismene became queen. Thebes is no longer a small unknown town. It has achieved a notable degree of notoriety and fame and as the Stranger says “I have seen much of that world and Thebes is known everywhere for wine and welcoming. (p11)”. Although Thebes went through some rough times, they are no longer ashamed of their past and now realize that “Without our past we are
just any town, no town at all.” (p.74). As Firewood says, “When we were young it was an awkward thing. We dropped our voices and our eyes. But time turns pain to laughter, or at least to something shared. (p12)” Life goes on in Thebes. Although Ismene has been queen for the last fifteen years, the people mostly rule themselves now. They enjoy “peace and gentle government,” and “peace, mostly, and good wines” (p. 15)
Does this type of storytelling flatten imagery?
After reading Creon our workshop had the opportunity to discuss what were felt, personally as well as by the group at large, to be the strengths and pitfalls of the piece. It was suggested that because Creon is a retelling of a folkloric tale by those who know it best, that the images that existed in the five plays preceding it weren’t there and therefore the magic of Thebes and her stories faded. I don’t agree with this conclusion in full. At his core, Bowl is not as flowery with his language as a Royal, but the perspective and the passion which burns inside of him, and every Theban, was allowed to come out through the characters’ genuine excitement for the story and personal connection to it. Hearing the story of Creon from the characters who readers got to know over the course of the first five plays (the unNamed) added a special level of understanding to the text. The images which the unNamed created through their telling of their story were consistently more simple than the poetry which existed in Oedipus yet when they came up with something truly inventive, like the hanging at the end, the created impression is deep and effecting. Although different from the imagery created in the first five plays, the pictures created in Creon were just as strong as those in the texts of the other plays in the cycle.
Response to Creon:
Q# 3)With respect to Creon, does this form of storytelling flatten imagery?
R#3) In the final play, Creon, the Unnamed retell the story of Creon’s rule after the exile of Oedipus and the restoration of Thebes. As the story of Creon is re-enacted by the Unnamed and not portrayed, there is a sense of disconnection that does flatten the imagery if the play was performed. In regards to the script, the imagery is still comparable to any other play as the Unnamed successfully describe certain scenes in vivid detail. When referring to Polynices’ rotting body, Bowl says to Stranger who is acting as Creon:
Smell that? I touched him Creon,
Swollen soft like sponge or mushrooms,
Eyes flown away,
He has been punished, sir, as much as law allows.
It is not in the power of the king to punish souls. (34-5)
Although the image of the bloated body cannot be shown, the stark image retains its potency for the reader. In regards to performance, however, the Unnameds’ re-enactment of the story in their tavern would obviously lose the resonance of the actual body, or some representation, presented on stage. Given the limited set, the story of Creon would have more flattened imagery if performed on stage. Of course the set could be modified to abate the issue through some dramaturgical effects, yet the actual image would still speak louder than a mere description. Creon, however, partially compensates for this deficit through its highly dynamic dialogue as the Unnamed repeatedly switch from their roles and interrupt their performance with their own commentaries. Again, these interruptions draw away from the effect produced by the described images; yet the tone of the play should be considered as it is not made to be sombre, so the flattened imagery in a way preserves the joviality of the play while still successfully telling the story of Creon.
So, Sir Wilfred Grenfell College just finished its production of CREON this weekend – to rave reviews. Feeling Nostalgic, I started looking back at the rehearsal times and everything that we did to make this play what it was.
Jillian always told us to think, to use our imaginations. We weren’t used to that freedom with our Productions. We could always try things, but we never built a show ourselves. We decided how the bar looked in our minds as a collective. We thought up ways to use the troughs and how to be creative with the lighting. We figured out how to use the bar seating in ways that it wouldn’t normally be used. We, with guidance from Jillian, made this play. The script did not say “Chorus build throne out of boxes”; but ours did.
Ned has given us – all of us – a wonderful opportunity to help create these plays. There is no archive of previous productions for us to fall back on; we make the show. All of us. Every Water, every Bowl, every Blood. We create.
Thank you, Ned.