Antigone

The inevitable burst of the contingent from within the deterministic structures of a frame -which is both the law of the city and also of the household- and the always already too late acknowledgement of the human finitude. S/H does something strange; yes there is the declarative power of the speech, yet despite all this loquacity , words seem powerless in the face of the material powers, be it kinship or money. Great even against S/H's Brechtian intentions.

Antigone is difficult to assess without being familiar with the different interpretations of its source material, but it's a typically rigorous affair from S/H told in an almost festishistically minimalist style that makes Bresson seem extravagant by comparison. This austere approach emphasises not only the words of the play but the declarative power of speech, and the considered use of space highlights the power structures of this world, the invisible lines that its characters dare not cross.

Despite the setting (which is one of its virtues), this leans more towards Brecht than Hölderlin, perhaps, and so tends to lose sight of the tragedy's deeper mysteries. It should be accompanied, and probably preceded, by readings of Heidegger's An Introduction to Metaphysics and Hölderlin's Hymn "The Ister", and Stiegler's Uncontrollable Societies of Disaffected Individuals, ch. 2, among others.

A grande sacada aqui é manter a linguagem do Brecht que foi muito mais incisivo aos demandos do estado na experiência pós-guerra, que por sua vez já tinha despirocado o texto do Holderlin.