ABSTRACT
In terms of their relationship on the page, Lacoue-Labarthe takes as his main object an unusual area of Holderlin's work, the translations of Sophocles, a subject given relatively little attention by Heidegger. The interactions between ancient and modern, foreign and non-foreign must rely at some stage on translation. The tensions and negotiations between principle and practice in Lacoue-Labarthe's work can also be seen in his staging of the two plays emerging from his translations of Holderlin's version of Sophocles. Antigone was twice staged by Lacoue-Labarthe and Michel Deutsch, first in 1978 and then also the following year, with the first production taking place in the abandoned Arsenal buildings in Strasbourg. Instead of projecting outwards or constructing a theory, Lacoue-Labarthe's interest in the tragic stage is a thinking that relates to that which precedes it and lies outside a control: a mimesis.
