A Foucauldian reading of Luis Rafael Sánchez’s play La pasión según Antígona
Pérez reveals the importance of the body as a site of punishment as well as of propagandistic
strategies in the manipulation of public opinion in the imaginary state of Molina. Surveillance
and punishment, alluded to in my title, are thus aided by a complex media apparatus intent on
making people believe—“faire croire”—in the official story fabricated by the dictator, Creón
Molina, in this Puerto Rican version of the Sophoclean drama. In this context, Antigone’s burial
of two combatants killed in a rebellious act acquires a profoundly political and subversive
meaning. Her defiant act deprives the penal system of its signifier by removing a crucial part
of the tyrant’s repressive strategy
