Seriously, I’m dead. I’m really dead.
Dead, dead, dead. I’m dead. I’m dead. I’m dead. I’m dead.
Absolutely dead. Dead from dead.
Deadly dead. Dead dead dead.

Antigone, immortalised by Sophocles, has been the protagonist of dramatic plays for centuries, from Kleist to Anouilh, from Cocteau to Júlio Dantas or António Pedro, as well as an artistic inspiration, from the visual arts to opera, and philosophical (Heidegger, Steiner, Lacan, Butler, Zizek, Kilomba, Honegger, etc.). Loaded with metaphors and categories, Antigone has been massacred by concepts carrying ideas of “good”, “justice”, “emancipation”, “utopia” or “desire”.

RE: Antigone is the opposite of this because it is not a challenge to the past but to the present. Or a reply to a past made up of unanswered questions, like an exchange of emails with no hope of return. A show that doesn’t try to produce anything, but makes its presence felt, saturates and disconcerts, in order to irritate. This means that RE: Antigone reacts to the allegory or the capture of the figure of Antigone for the benefit of updates, but also that it responds to an Art of “messages” and “about” by asking for a little time to be without being.

RE: Antigone kills Antigone, in every way she can think of, to give her the death she never had the right to.

A show by Teatro Praga

Created by: André e. Teodósio, J. M. Vieira Mendes

With: Maria João Vaz, Paula Diogo, Paulo Pascoal

Set design: Tiago Alexandre

Light design: Joana Mário

Sound design: Miguel Lucas Mendes

Executive producer: Rita Pessoa

Production manager: Teresa Miguel

A co-production: São João National Theatre, Belém Cultural Centre Foundation