Antigone – 1185 words – College Essay Example

many lines during the dialogue, including when getting to the point of their message by saying, "Well, first of all sir, for myself, like, / My own point of view."

I have not done it, nor have I seen anyone else do it. I prefer to treat commas as brief pauses and have words blend together. If an ellipsis is used, I make it the same length as a pause from a comma in normal speech. I would glance up at Creon when starting with "first of all, sir," then quickly look down again.

When I confront Creon about 'My own point of view', I would initially make eye contact but then quickly look down. As I begin to say 'I never...' after a pause, I would resume fiddling with my cap and shuffling my feet nervously.

Upon conceding that the body had been interred with the utterance of "Straight out with it then. The body's buried.", I would meet Creon's gaze during his repetition of the phrase and remain motionless, refraining from fidgeting or shuffling my feet during the ensuing pause.

So, the phrase 'The body's buried' would only last about five seconds. In that time, I would inhale deeply and align my legs, spine, and arms so that I'm standing upright and attentive when I say it.

When delivering the line "The body's buried," I would speak quickly and loudly, after building up fear by opening my eyes wide. I would then snap my head back to the cap and continue with the following lines by slouching slightly, speaking quickly and quietly, fidgeting with the cap and shuffling my feet.

The speaker suggests speaking rapidly and using run-on

lines to illustrate a sense of urgency while describing the burial. This portrays the character as being nervous and hesitant to reach the main point. An example of this style is seen in the line "It was as though the body had disappeared - / Not buried in a proper grave, I don't mean," where disclaimers are used to qualify statements. The overall effect is one of anxiety and cautiousness.In my hypothetical portrayal of the Sentry, I would make a gesture with both hands, holding the cap in my left hand and raising them up with palms facing outward to signify a plea to Creon to 'stop'. This gesture would help communicate to the audience that the Sentry is deeply concerned and vigilant about ensuring that Creon doesn't misunderstand him. Throughout my performance, I would strive to depict the Sentry as someone who is anxious to distance himself from what has happened. To add some added comedic relief, I would attempt some role-play, for instance using a high-pitched tone and accent variation when saying 'One of us lot must tell the King, / Because we can't just hide it, can we!' to mock his fellow soldier.

To add some humor and clarity to my role as the sentry, I would turn my back and speak in the opposite direction. This would effectively indicate that I am taking on another character, and also create a comedic effect. As Creon delivers his fierce speech, I would crouch down with my knees and back bent, keeping my hands close to my body. Slowly, I would take long steps backward away from Creon, ultimately heading towards stage right and

a side-door as if attempting to escape.

My performance would convey my desire to leave discreetly and my reluctance to stay. I would make my exit without making any noise, being cautious not to draw attention to myself. As I move away from Creon, I would lower my body slowly while looking at him warily. If he were to call me back by saying 'You! Come Here!', I would scurry towards him on all fours, like an insect moving quickly and steadily across the stage. Once I reach him, I would remain low but still, wincing when he says 'die' in the line 'you, soldier,/Will die for it'. At the end of his speech, I would humbly ask, in a low tone and quiet volume while looking at the ground, 'Am I allowed to speak sir?'.

The audience would be able to see my indecisiveness as the sentry regarding standing up to Creon. However, when I say 'Well it can't be earache, / Can it sir, not what I said!', there would be a sudden shift in my demeanor. I would straighten up completely, adjusting my neck, back, and knees, and put on my cap swiftly. By doing this, I would signal the transformation of the character. The sentry would no longer fear death and would adopt a 'nothing-to-lose' attitude towards Creon, thus gaining confidence. In this new state, I would confront Creon with more control and confidence, eliminating the preamble and stuttering that characterized my earlier lines. My hands would remain still as I maintained eye-contact with Creon.

To show the sentry's sudden confidence in standing up to Creon, I would employ a cheeky and fast-speaking style,

raising my voice at the end of each sentence. My strategy would also include turning the argument against Creon, with an emphasis on attacking him personally by using words like 'you', such as 'It must stick in your gullet'. Furthermore, I would play up the Sentry's defensive stance, but with greater assertiveness than before, by stating firmly that 'I didn't bury the body'.

I would confidently proclaim, "Not guilty to that sir." My speech would be delivered at a consistent, moderate tempo, emphasizing the words "I" and "not" to convey a sense of certainty and factual support for my argument. Rather than meandering or unclear, I would present myself as clear and objective in my role as the Sentry.

The following comment from Creon would prompt my calm response, "I think it's a shame sir, that an intelligent man / And as well educated as you are / Should miss the point so completely." Despite the insult within the statement, my delivery would demonstrate my boldness and perhaps be perceived as foolish by the audience. Speaking at a medium-slow pace, I would maintain consistent eye contact with Creon and emphasize the word "point" to reinforce its significance. As I speak, I will step up onto the platform where Creon stands, elevating myself and implying equal status. Upon completion of the sentence, I will turn away from him, step down with flair, take two steps away and cross my arms to signify my determination to close the conversation. This will showcase my daring personality and confidence while also ending the line of discussion.

In the aside after Creon's exit, I would face the audience with my body side-on

and my head turned toward them. As the sentry character, I aim to depict eagerness to leave quickly. To display this, I will speak fast and in a low tone, using a stage whisper to address the audience. When I say "I've had an amazing stroke of luck, / And won't chance my arm a second time!" I will speak with a rapid pace and pause slightly to emphasize the comma and line break. I will rapidly rub my hands together with glee at the phrase "amazing stroke of luck" and hold my right arm near the elbow with my left hand when saying "I won't chance my arm." To demonstrate my hurry to depart, I will run offstage using quick, medium-length steps. Running starts at the word "second", while letting the word "time" have slight extension as I finish it while offstage.The speedy departure and whispered remark produce a humorous outcome for the audience, serving as a source of comic relief.