European tragedy as requiem, ruin, revenant in Magnet Theatre’s Antigone (not quite/quiet) and Thomas Köck’s antigone. a requiem

References

• Ahmed, S., 2014. The cultural politics of emotion. 2nd edition. Edinburgh: Edinburgh University Press.
   Google Scholar
• Antigone,. 2019. Directed by Sophie Deraspe, Association Coopérative des Productions Audio-Visuelles.
   Google Scholar
• Attwell, D., Pes, A., and Zinato, S., 2019. Introduction. In: D. Attwell, A. Pes, and S. Zinato, eds. Poetics and politics of shame in postcolonial literature, 1–42. New York: Routledge.
   Google Scholar
• Bakewell, G.W., 2013. Aeschylus’s suppliant women: the tragedy of immigration. Madison, WI: The University of Wisconsin Press.
   Google Scholar
• Bergoffen, D., 2015. Antigone after Auschwitz. Philosophy and Literature, 39 (1), A249–59.
   Google Scholar
• Butler, J., 2004. Precarious life: the powers of mourning and violence. London: Verso.
   Google Scholar
• Castro, A.F.H., 2013. Antigone claimed: “I Am a Stranger!” political theory and the figure of the stranger. Hypatia, 28 (2), 307–322.
   Web of Science ®Google Scholar
• Eileraas, K., 2014. Sex(t)ing revolution, femen-izing the public square: Aliaa Magda Elmahdy, nude protest, and transnational feminist body politics. Signs: Journal of Women in Culture and Society, 40 (1), 40–52.
   Web of Science ®Google Scholar
• Fischer-Lichte, E., 2010. Politicizing Antigone. In: S.E. Wilmer, and A. Zukauskaite, eds. Interrogating Antigone in postmodern philosophy and criticism, 329–352. Oxford: Oxford University Press.
   Google Scholar
• Fleishman, M. 2021. African blog takeover #6: Antigone (not quite/quiet): a tragedy in three parts. Classical Reception Studies Network. classicalreception.org/african-blog-takeover-6/. [Accessed December 2021].
   Google Scholar
• Fleishman, M., 2016. Making space for ideas: the knowledge work of Magnet Theatre. In: M. Lewis, and A. Krueger, eds. Magnet Theatre: three decades of making space, 55–75. Pretoria: University of South Africa Press.
   Google Scholar
• Fleishman, M., forthcoming. Tragedy, apartheid, (de)coloniality. In: P. Lammers, J. Vogel, and C. Wald, eds. Tragedy as a Travelling Form.
   Google Scholar
• Foley, H.P., 2001. Female acts in Greek tragedy. Princeton, NJ: Princeton University Press.
   Google Scholar
• Foley, H.P., 2007. Envisioning the tragic chorus on the modern stage. In: C. Kraus et al., ed. Visualizing the tragic, 353–378. Oxford: Oxford University Press.
   Google Scholar
• Fugard, A., Kani, J., and Ntshona, W., 1999. The Island. In: A. Fugard, and D. Walder, eds. Township plays, 193–227. Oxford: Oxford University Press.
   Google Scholar
• Goldhill, S., 2012. Sophocles and the language of tragedy. Oxford: Oxford University Press.
   Google Scholar
• Hall, E., 2010. Greek tragedy: suffering under the Sun. Oxford: Oxford University Press.
   Google Scholar
• Hardwick, L., and Gillespie, C., 2010. Classics in post-colonial worlds. Oxford: Oxford University Press.
   Google Scholar
• Honig, B., 2013. Antigone interrupted. Cambridge: Cambridge University Press.
   Google Scholar
• Köck, T. 2019. Antigone. ein requiem. Suhrkamp Theatertext.
   Google Scholar
• Lehmann, H.-T., 2016. Tragedy and dramatic Theatre. Translated by E. Butler, New York: Routledge.
   Google Scholar
• Lewis, M., and Krueger, A., 2016. Plotting the magnetic field: origins and trajectories. In: M. Lewis and A. Krueger, eds. Magnet theatre: three decades of making space, 1–35. Pretoria: University of South Africa Press.
   Google Scholar
• Macintosh, F., and Hall, E., 2005. Greek tragedy and the British theatre 1660-1914. Oxford: Oxford University Press.
   Google Scholar
• Magnet Theatre. 2019. Antigone (not quite / quiet). Directed by Mark Fleishman. Unpublished script and performance video.
   Google Scholar
• Msimang, S. 2016. South Africa’s topless protesters are fighting shame on their own terms. The Guardian. theguardian.com/world/2016/may/05/south-africas-topless-protesters-are-fighting-shame-on-their-own-terms. [Accessed December 2021].
   Google Scholar
• Ndlovu, H., 2017. Womxn’s bodies reclaiming the picket line: The ‘nude’ protest during #FeesMustFall. Agenda, 31 (3-4), 68–77.
   Web of Science ®Google Scholar
• Quayson, A., 2021. Tragedy and postcolonial literature. Cambridge: Cambridge University Press.
   Google Scholar
• Sophocles, 2003. Antigone. Translated by R. Gibbons, and C. Segal. Oxford: Oxford University Press.
   Google Scholar
• Van Weyenberg, A., 2013. The politics of adaptation: contemporary African drama and Greek tragedy. Amsterdam: Rodopi.
   Google Scholar
• Van Zyl Smit, B., 2006. Antigone in South Africa. Bulletin of the Institute of Classical Studies, 49, 281–298.
   Google Scholar
• Wald, C., 2021. ‘Why didn’t You just stay where You were, a relic in the memory of poets?’: Yoruban Ritual and Sororal Commonality in Fémi Òsófisan’s Tègònni: An African Antigone. The Journal of Commonwealth Literature, 56 (2), 201–217.
   Web of Science ®Google Scholar
• Walters, W., 2004. Secure borders, safe haven, domopolitics. Citizenship Studies, 8 (3), 237–260.
   Google Scholar
• Young, S., 2020. Feminist protest and the disruptive address of naked bodies. Current Writing: Text and Reception in Southern Africa, 32 (2), 158–167.
   Web of Science ®Google Scholar