Living Theatre: Staging Sight and Blindness in Oedipus the King

The theme of sight and blindness is heavily present throughout Sophocles’s play, Oedipus Rex (also known as Oedipus the King). Oedipus is blind to his crimes, yet he insists that he be told the truth. The theme of sight and blindness is closely associated with the theme of darkness and light. Oedipus’s crimes are in the dark, out of sight and mind, until various characters bring the truth to light. The crimes themselves are also pictured as dark; they are the blackest, most horrific deeds any human being could commit. This imagery of sight and blindness is a theme that drives the story forward, both figuratively and literally.

Thematic Notes

While Oedipus’s story on stage in Oedipus Rex begins and ends in darkness, Oedipus’s first appearance in Thebes, revealed to the audience through reminiscence, brings light and hope to the people. Oedipus solves the Sphynx’s riddle and is hailed a hero. The Priest calls him “first of men” (41). Oedipus is not portrayed as this heinous, murderous and incestuous man. He is beloved by all and he loves his people. Unfortunately, Oedipus as the “light” of Thebes does not last long as his crimes have plunged the city into darkness, disease, and death.

Even though Oedipus can see with his eyes, he is, as Tiresias tells him, “blind to the corruption of [his] life” (470-71). Oedipus fails to see who he really is (the son of Laius and Jocasta) and thus fails to see his crimes. When Tiresias tells Oedipus he is the murderer, the King furiously responds by telling Tiresias he is “stone-blind, stone-deaf – senses, eyes blind as stone! …You can’t hurt me or anyone else who sees the light” (223-28). Ironically, the blind prophet truly sees while the seeing man, who thinks he “sees the light,” is blind.

Oedipus hungrily seeks out the truth of his identity and finally his dark deeds are brought into the light. The “saviour” and “light” of Thebes is now its cause of “destruction” and “darkness.” Oedipus stabs out his eyes, saying, “What good were eyes to me? / Nothing I could see could bring me joy” (1474-75) as he realizes, “[t]he blackest things / a man can do, I have done them all!” (1543-44). The Chorus’ final words remark that “a black sea of terror has overwhelmed [Oedipus]” (1684). Oedipus’s darkness overtakes him figuratively and also literally, as he will no longer see, and no longer wishes to see, with his physical eyes ever again.

The Importance?

This theme of sight and blindness is as relevant for a contemporary audience as it was back in ancient Greece. There are so many ways a person can fail to see a situation clearly. A person can become blinded by emotions: it is said that love is blind, and a person can lash out in a blind rage. Ignorance can come about by a failure to truly see, or as a blissful ignorance where one does not even know that he or she is ignorant of anything at all. A person will always have a niggling fear that they are blind to something in his or her life that could cause them to make a terrible mistake. Oedipus Rex plays on these universal fears and strikes pity and horror into the hearts of an audience as they witness the story of someone who must face his darkest dreams.

Director's Vision & Design

(Black Box Theatre)

The ability to play up the theme of sight and blindness and darkness and light lies in the hands of a lighting designer and technician. These themes can be literally shown by the way the set and characters are lit. If the play is staged in a black box theatre, this will provide a dark background. (On a side note, a black box theatre will also provide a small, intimate space to stage the play. A smaller space will allow the audience to be closer to the actors, allowing for a more intimate and personable performance.) The lightning designer should trace the story of Oedipus from one of light to one of darkness. At the beginning of the play, Oedipus appears to be the “saviour” of Thebes and so he should be lighted by a spotlight that follows him around wherever he goes. The lighting designer can use an Ellipsoidal Reflector Spotlight to effectively provide a hard edge spotlight for Oedipus. Oedipus should be well-light while the rest of Thebes should be bathed in darkness and only dimly lit to represent the darkness of the plague and death that is ravaging the city, as well as the fact that the city is blind to the truth of Oedipus’s crimes.

(Lighting Instrument: Ellipsoidal Reflector)

As the story progresses, Oedipus becomes less like a “saviour” as he threatens Tiresias and Creon and as the innocence of his past is questioned. To represent this, the lighting should begin to change. Oedipus’s spotlight should grow continually dimmer as the play progresses, while the lights on Thebes should become gradually brighter. The “climax” of the story should be reflected in a dramatic change in the lighting. When Oedipus finally realizes who he is, and when he stabs out his eyes, he should be plunged into utter darkness. His spotlight is now non-existent. When he moves, the darkness should follow him. He should be portrayed as isolated and alone. If possible, the other actors should not even touch him, so Oedipus stands alone in the dark.

In contrast, the rest of Thebes should be bathed in light. As soon as the truth about Oedipus’s patricide and incestuous relationship with his mother is brought to light, Thebes should be immediately blasted with a short burst of light (all the lighting instruments should be programmed to 100% capacity). After this short burst of light, the lights should come down to a level that effectively lights Thebes, but allows Oedipus to remain in the dark. Naturally, this broad wash of light over Thebes will influence staging and allow Oedipus to be dimly lit. This is acceptable, as he should be visible, but only dimly. The effect of darkness and light should be obvious but all actors should always be lit in some capacity in order for the audience to see them.

Conclusion

The story of light and darkness, sight and blindness, in Oedipus Rex can be most effectively told through the lighting design. However, the lighting should not take over the show. The designer should find a balance between obviousness and subtlety; the lights must not take over the actors in the story they are telling. The role of the lights should be to light the actors but that does not mean they cannot be creative in telling the story in their own way.