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Miss Julie and Other Plays : And Other Plays by August Strindberg

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By August Strindberg

This version embraces Strindberg's the most important transition from Naturalism to Modernism, from his most interesting achievements as a mental realist, The Father and Miss Julie, to the 3 performs during which he redefined the chances 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 hot version of Strindberg's accrued 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

Sample text

In fact this is an alarmingly partial view which, ironically, fails to distinguish between the writer and his work, and assumes that because the protagonist of a play like The Father or the narrator of an autobiographical fiction like Inferno is arguably deranged, their author must be too. —as a novelist, short-story writer, historian, poet, autobiographer, essayist—and to recognize that in every one of these genres he demonstrates an artistry that goes far beyond what is often regarded as merely the direct transposition of his lived experience into words.

Moreover, Freud’s retrospective method, in which the past is uncovered piecemeal to the present consternation of those who lived it, owes perhaps as much to the naturalist drama of Ibsen as it does to the Oedipus of Sophocles. The only reference to Strindberg in Freud’s work comes in The Psychopathology of Everyday Life, where he quotes from the novel Gothic Rooms (1904), although not the passage in which, in one of many remarkable pre-echoes of Freudian motifs, the heroine makes love and then tells her partner, ‘you seemed to be my father, and I feel ashamed and disgusted’ (SS 40, 244).

Sweden, too, had proved a disappointment following his return from self-imposed exile in 1889. The theatres showed little interest in his plays, and the kind of scientific naturalism with which he was associated was in the process of being supplanted by the inward-looking neo-romanticism of a new generation of authors. In any case, imbued as he was with vestiges of his youthful pietism, he still found writing, which came so easily to him and gave him pleasure, problematic. As he told his brother, Axel, ‘I still have probably 30 years to live.

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