This paper presents a rereading of the interpretations of Antigone by Hegel and Kierkegaard on the grounds of research of Sophocles' text and its performance in Athenian theatre in the context of socio-political climate of the fifth century Athens. Focus is placed on the political aspect of theatre, as well as on the figure of Antigone, her voice and her action, which is the subject recognized by Hegel. However, what this interpretation lacks is the notion that Antigone is political and not pre-political figure. This political aspect reveals itself within the research of ancient Greek lamentation and funeral ritual as an exclusively female practice in ancient Greek tradition, which was subjected to regulations and control in particular by the law of Solo (6th ct. BC). However, new political organization was not based on family relation and aristocratic clans, as before, but exclusively on political bodies. So, for example the vendetta, which was formulated by women during the lamentation, was banned by law. Still, in spite of many laws and regulations by the state, and later on (in the Byzantine period) the church, women in Greece succeeded in keeping their important position in all the practices around the dead, almost until the end of the XX century. So, we see the example of traditional practice that functions on the margins of the society endangering and controlling its official political structure in pre-modern societies. What are the echoes of the political figure of Antigone, as a woman in charge of the family funeral duties, in the text of Hegel and in the text of Kierkegaard. Where is her voice? And does she act politically or privately?
