Abstract At the center of Sophocles’ Antigone is a struggle to reconcile personal beliefs with the needs or dictates of society. At no time is such a struggle more relevant than in periods of war, so it is not surprising that new adaptations of Antigone cluster around periods of armed conflict, whether between nations or within a single nation itself. In Luis Rafael Sánchez’s The Passion of Antígona Pérez (1968)—the subject of this essay—the nation or territory in question is one not typically featured in Western anthologies of drama: Puerto Rico, in the troubled possession of the United States.

中文翻译：

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便携式安提戈涅：路易斯·拉斐尔·桑切斯 (Luis Rafael Sánchez) 的戏剧安蒂戈纳·佩雷斯 (Antígona Pérez) 的激情

摘要 索福克勒斯的《安提戈涅》的核心是使个人信仰与社会需求或指令相协调的斗争。这种斗争在任何时候都比战争时期更有意义，因此安提戈涅的新改编围绕着武装冲突时期聚集在一起也就不足为奇了，无论是在国家之间还是在一个国家内部。在路易斯·拉斐尔·桑切斯 (Luis Rafael Sánchez) 的《安蒂戈纳·佩雷斯 (Antígona Pérez) 的激情 (1968)》（本文的主题）中，所讨论的国家或领土是西方戏剧选集中没有的典型特征：波多黎各，美国陷入困境。