In this rendition of the classic Greek tragedy, Teatro La Candelaria addresses once again the horrors of political and social violence in Colombian society. When director and writer Patricia Ariza visited Urabá, a region in Colombia, she talked to a group of women who could not bury their dead husbands, killed in the civil war. She connected this awful situation to the myth of Antigone and read it to the collective. This version of La Candelaria involves a series of transformations to the original myth. At the beginning, we see Tiresias walking around an empty space; taking the place of the chorus, he gives the audience the historical context, recounting background events that are important for a proper understanding of the play. The play presents three Antigones and two Ismenes who discuss the possibility of violating Creonte's rules in order to bury their brothers according to tradition. The discussion is thus polyphonic.