By August Strindberg
This variation embraces Strindberg's an important transition from Naturalism to Modernism, from his best achievements as a mental realist, The Father and Miss Julie, to the 3 performs within which he redefined the probabilities of ecu drama following his go back to the theatre in 1898, A Dream Play, The Ghost Sonata, and The Dance of Death. Michael Robinson's hugely performable translations are according to the authoritative texts of the recent version of Strindberg's accumulated works in Sweden and contain the Preface to Miss Julie, Strindberg's manifesto of theatrical naturalism
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Extra info for Miss Julie and Other Plays : And Other Plays
In particular, we should be aware of the way dialogue, setting and characters function on a symbolic as well as a realistic level. ’ in the play’s opening line, the word ‘play’ has associations with his wife’s past as an actress whose career marriage has cut short, and to the role-playing in which they both indulge. As to setting, the circular granite island fortress in which they are confined is only nominally a realistic location, and is designed to conjure up an image that is essentially the crux of the situation depicted in the play.
Miss Julie Miss Julie, like The Father, is remarkable for the rapidity with which the action unfolds within a concentrated formal structure. ’, precipitate the audience directly into the action, which develops with virtually no exposition, and then holds and intensifies their attention as the protagonist is caught in an elaborately motivated trap which hinges on her offstage coupling with her servant Jean, then tightens its grip until the release of her suicide and the final line: ‘It’s horrible!
A Dream Play was written in 1901, and has been readily associated with two very different people, the Norwegian actress Harriet Bosse and Sigmund Freud. The dual role of Agnes and Indra’s Daughter was in fact created with Bosse in mind, and in due course she would perform it when it finally reached the stage on 17 April 1907. Graced with an exotic beauty which critics sometimes described as ‘oriental’, she had first come to Strindberg’s attention as Puck in another dream play, A Midsummer Night’s Dream.