Antigone is the play's tragic heroine. In the first moments of the play, Antigone is opposed to her radiant sister Ismene. Unlike her beautiful and docile sister, Antigone is scrawny, sallow, withdrawn, and recalcitrant brat. Like Anouilh's Eurydice, the heroine of his play Eurydice, and Joan of Arc, Antigone has a boyish physique and curses her girlhood. She is the antithesis of the melodramatic heroine, the archetypal blond ingénue as embodied in Ismene. Antigone has always been difficult, terrorizing Ismene as a child, always insisting on the gratification of her desires, refusing to "understand" the limits placed on her. Her envy of Ismene is clear. Ismene is entirely of this world, the object of all men's desires. Thus she will at one point rob Ismene of her feminine accoutrements to seduce her fiancé Haemon. She fails, however, as such human pleasures are not meant for her.
Generally audiences have received Anouilh's Antigone as a figure for French Resistance, Antigone appearing as the young girl who rises up alone against state power. Anouilh's adaptation strips Antigone's act of its moral, political, religious, and filial trappings, allowing it to emerge in all its gratuitousness. In the end, Antigone's tragedy rests in her refusal to cede on her desire. Against all prohibitions and without any just cause, she will bury her brother to the point of her own death. As we learn in her confrontation with Creon, this insistence on her desire locates her in a line of tragic heroes, specifically that of Oedipus. Like Oedipus, her insistence on her desire beyond the limits of reason render her ugly, abject, tabooed. In refusing to cede it, she moves outside the human community. As with Oedipus, it is precisely her moment of abjection, when she has lost all hope, when her tragic beauty emerges. Her beauty exerts a chilling fascination. As Ismene notes, Antigone is not beautiful like the rest, but beautiful in a way that stops children in the street, beautiful in a way that unsettles, frightens, and awes.