Michael Robinson Oxford. Brian Fallon. Editor's Choice Most Viewed.
Watch More Videos. Most Read in News. Chief suspect in Lunney kidnapping a storied villain. Latest News. Oct 10, Pol rated it really liked it Shelves: read-in-part. Crisp translations, but this volume is let down by the editor's decision to leave out 'Dance of Death' part II. Jul 31, Winmonroe rated it really liked it. Laura, in contrast, is devious, instinctive, and superstitious.
For example, he only cares about his daughter if she is biologically his, providing him some kind of secular afterlife. I want to be myself! It follows a woman "fighting against her feminine nature" and the havoc that is wreaked as a consequence. In particular, as she falls socially and spiritually, a calculating servant she sleeps with has been rising and their lives are contrasted.
Beyond the fact that the play puts on display Strindberg's wide array of prejudices and misogynistic tendencies, the play also feels more rushed and chaotic than the nice structured preceding play, The Father, dispensing with many standard features such as breaking the action up into acts or having a host of minor characters. Instead, we really only have 2 characters in one long act.
Miss Julie and Other Plays (Kobo eBook)
While this organization gives the play a whirlwind feel - one of an impulsive love affair racing through the night - it also makes it hard to follow at times. Think the movie Breathless. Perhaps this lends itself to a more life-like representation of events, but either way it is a major stylistic change from the previous play. However, perhaps for the same reason it feels hard to be invested in the characters. Both are detestable in their own ways though particularly Jean , but I also had difficulty understanding their motivations which are frequently alluded to but rarely shown.
An exception is Jean's "refinement" which he demonstrates with things like his use of french. Otherwise the rest feels like reporting - Jean's love for the master, Julie's "boyish ways" and so on are told, but not seen and thus not believed as strongly as their simple actions. Thus the characters often feel reduced to things like Jean's cruel treatment of a lover and Julie's foolish choices. Ultimately the play is interesting to read both because of its historical importance and because of innovative style and structure, but, for me, Miss Julie is a less compelling play than The Father.
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While the psychological motivations of each character are still treated with nuanced care, this play is as interested in relationships as individual identity. Perhaps one of the more startingly features about the play is the change in attitude roughly half way through. Another strange feature of the play is an increasingly mystical, occult, and superstitious environment.
Previously, Strindberg has glorified science, rationality, and degenerated religion and superstition. However now spirits and vampires are circling the castle as the wind whispers like ghosts coming through the tower windows. Strindberg has moved from the dawrinian competition of individual rational intellects to an emotional and ethical tension arises from the tie between people that is more than just the sum of each individual.
- Will Storr Vs. The Supernatural: One mans search for the truth about ghosts.
- Regina (Magic Circle).
- Full text of "Miss Julie and other plays".
- The Bridegroom and The Elf Maiden;
- Brennende Lust (German Edition).
- Il diario del vampiro. La messa nera (Italian Edition).
The bits of magic one finds lurking in the corners of Dance of Death have completely taken over now. I suspect that this play is better seen performed than read. The play uses chaotic dream associations to jump from one episode to the next.
Miss Julie and Other Plays
In the preface Strindberg says "The characters split, double, multiply, evaporate, condense, dissolve and merge. The first half of the play I found slow and bewildering, but as the play progressed and some themes began to accrue more weight through multiple visitations, it improved. Despite some of these challenges there are some parts that even then still stick out especially in terms of theater: sudden changes in scenery like being transported into a cave or castles in the background growing like flowers are as audacious stage directions as I have ever read.
I'm not sure what to think of the play. Reading it was at times a brutally unpleasant experience, and yet it offered so much strange and new that I want to give it the benefit of doubt.
Perhaps seeing it performed or rereading it would help. Instead the emphasis is on other dichotomies of private lives than just the 'battle of the sexes' of his previous work: outer-opulence vs inner-poverty, masters vs servants, revenge vs salvation. The play begins on the outside, looking into the home of a wealthy family and as it progresses the audience moves from their doorstep, to their reception hall, to the dining table and eventually in to the depths of their lives.
As the audience is brought closer, the house hold is found to be haunted by monsters, curses and ghosts whose existence are not metaphysical but rather symbolic, manifest in cruelty, vengeance, and visitations of the past upon the present. Interestingly, the play culminates in a theme developed by Strindberg's rival Ibsen in "Ghosts" that children are haunted by their parents' "ghosts" ranging from revenge on their family's fortunes due to their parents actions to biological diseases passed down to the new generation.
Well written and thought provoking, it is one of my favorites in this collection. Jan 09, Ben Houge rated it liked it. I dunno The marital disputes in Father and Dance of Death, for example I seriously wasn't sure at first if it was supposed to be played for laughs. Been doing a deep dive into Ingmar Bergman's oeuvre hardly a saint himself , which led me here, and so also interesting from that perspective. Also worthwhile in that it pointed me towards other things I want to read, Zola and Kierkegaard on repetition. May 25, Richard S rated it really liked it Shelves: powys-list-inspired.
Miss Julie and Other Plays by August Strindberg, Paperback | Barnes & Noble®
Miss Julie was excellent, a bit better than Doll House. The Father was also good, but it had a bit of Strindberg's misogyny. I liked Dance of Death, it was kind of absurd. I gave up with Dream Play however, too much meaningless abstraction. Strindberg is difficult, he's a bit of an odd duck, the Scandinavian artists of all sorts are a little bit off, I think it's the incredibly short days in the winter. May 27, Richard Cubitt rated it really liked it.
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Excellent collection of Strindberg's plays. Naturalist in presenting psychologically realistic characters, depicting the dream state. Married couples locked together in conflict; misery, cruelty, death. Generally, a justified depiction of how horrible people are, and how backwards society is. Strindberg also doesn't seem to like women very much, so be prepared for some misogyny. Aug 17, David rated it liked it. Apr 10, Ariel Waissbein rated it it was amazing. I loved reading Strindberg. One of the very few theater authors I like. I enjoyed the way his sadistic and gullible characters fall with each other, if you do not mind a few little deviations.
I actually consider myself quite good at reading plays, they often play out quite well in the theater of my imagination. My inner director takes the suggestions of the writer into consideration, but ultimately does her own thing. For example, August Strindberg, in his prologue to Miss Julie , seems to think I should portray the title character as the poster-child of all things wrong with the fairer se 5 stars for Miss Julie , 4 stars for A Dream Play , and an uncertain 3 stars for The Father, Dance of Death, and A Ghost Sonata.
For example, August Strindberg, in his prologue to Miss Julie , seems to think I should portray the title character as the poster-child of all things wrong with the fairer sex.
I'm sorry, Mr. Strindberg's masterpiece caused a scandal when first produced - and has been hugely popular ever since - for its viscerally honest portrait of the class system and human sexuality. The conflict between sexual passion and social position is presented in Miss Julie with startling modernity. The play's premiere at Strindberg's experimental theatre in Denmark in was banned by the censor and its first public production three years later in Berlin aroused such protests that it was withdrawn after one performance.
Miss Julie has since become one of Strindberg's most popular and frequently performed plays. This new version by highly-acclaimed playwright and translator David Eldridge is contemporary but faithful, and combines accessibility with fluency. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter.