August Strindberg In Miss Julie, a willful young aristocrat, whose perverse nature has already driven her fiancé to break off their engagement, pursues and effectively seduces her father's valet during the course of a Midsummer's Eve celebration. The progress of that seduction and the play's stunning denouement shocked Swedish audiences who first attended the play in 1889. Despite its controversial debut, this now-classic drama, inspired by the new ideas of naturalism and psychology that swept Europe in the late 19th century, helped to shape modern theater, and remains one of the most potent-and most frequently performed-of modern plays. The full text of Miss Julie is reprinted here as translated by Edwin Björkman, complete with Strindberg's critical preface to the play, considered by many to be one of the most important manifestos in theater history.
August Strindberg This collection of plays by Swedish playwright and writer, August Strindberg, are a testimony to his title as "the father of modern literature" in Sweden, as well as to his distinction as one of the most important playwrights of the 20th century. Beginning with two of his popular, early plays, "The Father" and "Miss Julie," this edition explores Strindberg's crucial transition from Naturalism to Modernism, concluding with "The Dance of Death," "A Dream Play," and "The Ghost Sonata." As an author unafraid of exploring new possibilities in dramatic fiction, Strindberg is noted for his psychological realism, blatant misogyny, symbolism, and his utterly fluid and subjective sequences of events. His works bore intense scrutiny in their time, but have since been recognized for the prodigious influence they exhibited not only in the Naturalist and Expressionist genres, but on modern theatre as a whole.
August Strindberg [The sitting room at the Captain’s. There is a door a little to the right at the back. In the middle of the room, a large, round table strewn with newspapers and magazines. To right a leather-covered sofa and table. In the right-hand corner a private door. At left there is a door leading to the inner room and a desk with a clock on it. Gamebags, guns and other arms hang on the walls. Army coats hang near door at back. On the large table stands a lighted lamp.]
August Strindberg August Strindberg (1849-1912) has been referred to as "the father of modern literature" in Sweden, and has earned the distinction of one of the most important playwrights of the 20th century. As an author unafraid of exploring new possibilities in dramatic fiction, Strindberg is noted for his psychological realism, blatant misogyny, symbolism, and his utterly fluid and subjective sequences of events. His works bore intense scrutiny in their time, but have since been recognized for the prodigious influence they exhibited not only in the Naturalist and Expressionist genres, but on modern theatre as a whole. His catalogue includes over sixty plays and more than thirty works of fiction. This collection includes: "Comrades", "Facing Death", "Pariah", or "The Outcast, Easter", "The Father", "Miss Julie", "The Outlaw", "The Stronger", "The Dance of Death", "A Dream Play", and "The Ghost Sonata".
August Strindberg This book is not concerned with Sweden, nor with Natural History. A philosopher and poet here describes the visions which a study of the history of mankind has called up before his inner eye. Julian the Apostate and Peter the Hermit appear on the stage, together with Attila and Luther, Alcibiades and Eginhard.
August Strindberg Strindberg's art in Married is of the propagandist, of the fighter for a cause. He has a lesson to convey and he makes frankly for his goal without attempting to conceal his purpose under the gloss of "pure" art. He chooses the story form in preference to the treatise as a more powerful medium to drive home his ideas. That the result has proved successful is due to the happy admixture in Strindberg of thinker and artist. His artist's sense never permitted him to distort or misrepresent the truth for the sake of proving his theories. In fact, he arrived at his theories not as a scholar through the study of books, but as an artist through the experience of life. When life had impressed upon him what seemed to him a truth, he then applied his intellect to it to bolster up that truth. Hence it is that, however opinionated Strindberg may at times seem, his writings carry that conviction which we receive only when the author reproduces' truths he has obtained first hand from life. One sided he may occasionally be in Married, especially in the later stories, but rarely unfaithful. His manner is often to throw such a glaring searchlight upon one spot of life that all the rest of it stays in darkness; but the places he does show up are never unimportant or trivial.
August Strindberg A beautiful collection of short stories. The writing is lovely and captures the magic of midsummer. The animals sometimes talk and the supernatural is very much alive. Each story is different, but there is an underlying theme of music, magic and a touch of sadness, love and loss.
August Strindberg Strindberg was fifty years old when he wrote “There Are Crimes and Crimes.” In the same year, 1899, he produced three of his finest historical dramas: “The Saga of the Folkungs,” “Gustavus Vasa,” and “Eric XIV.” Just before, he had finished “Advent,” which he described as “A Mystery,” and which was published together with “There Are Crimes and Crimes” under the common title of “In a Higher Court.” Back of these dramas lay his strange confessional works, “Inferno” and “Legends,” and the first two parts of his autobiographical dream-play, “Toward Damascus”—all of which were finished between May, 1897, and some time in the latter part of 1898. And back of these again lay that period of mental crisis, when, at Paris, in 1895 and 1896, he strove to make gold by the transmutation of baser metals, while at the same time his spirit was travelling through all the seven hells in its search for the heaven promised by the great mystics of the past.
August Strindberg This is one of the three plays which Strindberg placed at the head of his dramatic production during the middle ultra-naturalistic period, the other two being “The Father” and “Miss Julia.” It is, in many ways, one of the strongest he ever produced. Its rarely excelled unity of construction, its tremendous dramatic tension, and its wonderful psychological analysis combine to make it a masterpiece.
August Strindberg The stormy personal life of the great Swedish dramatist August Strindberg was punctuated with duels between the sexes, with ruthless, aggressive women usurping the supposedly male prerogative of decision-making and leadership. More than in any of his other plays, Strindberg explores this theme in depth in The Father. In exploring the emotionally charged battle of the sexes and the clashes between scientific and religious convictions, The Father vividly delineates the essential quality of a man’s relationship with his wife and his daughter. The problem of paternity, trivial at the outset, develops into marital upheaval and a no-holds-barred struggle between man and woman. Widely regarded as one of Strindberg's best literary efforts, The Father remains one of the most gripping psychological dramas of the theater.
August Strindberg A young woman's life is ruined when she enters into an affair with her father's worldly and ambitious valet.
Seeing the heiress as the means to acquiring the inn he one day wishes to run, Jean both encourages Julie's affections and pushes her away before callously ending the affair when Julie's father, a count, returns home.
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