There are some tragedies to which we go back, while there are some others which seem to go back by themselves: they flourish as symbols or metaphors of some socio-political circumstances or of personal human dilemmas and conflicts. The Sophoclean Antigone stands out as the embodiment of the confrontation of the five major clashes which govern the human condition: men/women, age/youth, society/individual, living/dead, men/gods. The aim of the paper is to explore three versions of Antigone staged in Ireland in 1984: Antigone: The Riot Act by Tom Paulin (1985); Antigone: a version by Brendan Kennelly (1996) and Antigone by Carl Aidan Mathews (1984).
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