DOCSLIB.ORG

Bergman's Theatre Is the Serious Game

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bergman's Theatre Is the Serious Game [ Theatralia 22 / 2019 / 1 (115—118) ] https://doi.org/10.5817/TY2019-1-11 Bergman’s Theatre Is The Serious Game David Drozd Egil Törnqvist. The Serious Game: Ingmar Bergman as Stage Director. Amsterdam University Press, 2015. 276 pp. ] The monograph The Serious Game: Ingmar A Life in Theatre co-authored by Lise-Lone Bergman as Stage Director is the last pub- and Frederick J. Marker’s (1992) or more lished book by Egil Törnqvist (1932–2015), than 300-page survey ‘Ingmar Bergman in reviews reviews theater and film scholar, specializing on the the Theatre’ in Ingmar Bergman: A Reference [ playwright August Strindberg and the the- Guide by Birgitta Steene (2015). Following atre- and filmmaker Ingmar Bergman. He these essential contributions, Törnqvist in- dedicated many papers and several books tends to introduce only chosen productions, to both of them (e.g., Strindberg’s Miss Julie: paying attention to details, subtle drama- A Play and its Transpositions, 1988; Between turgical changes, significant moments of Stage and Screen: Ingmar Bergman Directs, actor’s performance, creating rather ana- 1995; Strindberg’s The Ghost Sonata: From lytical, in-depth book complementing these Text to Performance, 2000; Strindberg on previous extensive publications. Drama and Theatre, 2007). An actual book The structure of the book corresponds on Bergman, finished shortly before his with this choice: after a short preface, death, could be seen as his final oeuvre. there is only one chapter entitled ‘B & The book is based on his previous papers Co.’ giving very brief but condensed and essays; it consists of series of analytical contextualization of Bergman’s work in chapters on particular performances, with theatre, followed by fourteen chapters, two contextual chapters at the beginning each dedicated to one production, and and the conclusion with the eponymous then short conclusion. These analytical title ‘The Serious Game’ – a formulation chapters on productions are quite inde- expressing Törnqvist’s interpretation of pendent, but Törnqvist is very methodi- Bergman’s theatre as such metaphorically. cal (and instructive) so that the chapters Törnqvist was one of the leading schol- have almost identical structure. He in- ars in the field of Scandinavian studies troduces the play, its key dramaturgi- and a significant part of his work aimed cal issues and shortly touches upon the at international, mainly English-speaking production’s context, then he goes into audiences, so it is not surprising that his detail. He describes general features of last book is carefully conceptualized to fit the stage design, the main dramaturgical in. In the preface, Törnqvist comments perspective, and then demonstrates it on on the previous publications of Bergman particular scenes. This is the strongest as- and his theatre work. The English reader pect of the book – Törnqvist’s ability of can already use many books providing the vivid description and thoughtful choice general overview, such as Ingmar Bergman: of evocative details of the production (he 115 text_theatralia_01_2019.indd 115 11.6.2019 10:45:37 David Drozd Bergman’s theatre is the Serious Game intently choose only productions he wit- the use of extras (representing figures of nessed himself or these which are video- servants) as living props. The final mo- documented, which allows him to pro- ment is of particular importance (and is vide, when necessary, detailed transcripts probably connected to Kott’s readings of stage action). of Shakespeare), as the only two surviv- The analytical chapters serve very well as ing allies, Edgar and Albany, cross their particular arguments supporting the gen- swords and this image disappears in dark- eral characterization of Bergman’s view on ness with the sound of thunder – so the ] theatre as shown in the preface. Törnqvist wheel of power struggle starts again. In describes him as a director heavily bearing Hamlet, Bergman searched for and high- on actors and acting, respecting their crea- lighted motives of sacrifice and passion in tivity but at the same time being very au- its very Christian sense – for example the reviews reviews [ thoritative. Bergman’s dramaturgy almost mad Ophelia handed Gertrude and oth- totally ignored the contemporary drama ers rusted nails instead of the ‘traditional’ (from the theatre of absurd onwards) flowers. and relied mainly on ‘classical’ text in its The respect for the author and the urge wide sense; Bergman himself often ex- to interpret the plays in the actual social pressed appreciation for these texts, their and emotional context might often lead to universality, and transcendent potential. (very thoughtful and concise) adaptation Even though Törnqvist very often quotes which goes against the author’s assumed in- Bergman’s statements and often speaks tention. For example in Ibsen’s Nora, there from his perspective, at this point he im- is only one child in the Helmer’s family, mediately states, that these declarations a girl, who witnesses the crisis of her par- do not contradict the simple and evident ent’s relationship. This trauma will prob- fact that Bergman sometimes did quite es- ably influence the girl in future as Nora sential cuts and changes in his scripts. The herself is also a traumatized child. Such characterization of this dramaturgical ap- interpretation is possible partly through proach and its seemingly paradoxical na- tracing the changes of the text and is part- ture is one of the leitmotifs of the book. ly demonstrated in the added pantomime ] It is not surprising that among the ana- scenes which reshape a story of the play 1 lysed productions, there are works based into a new one. Subtle discussions of these on Shakespeare, Ibsen, and Strindberg, changes and their dramaturgical implica- / 2019 22 joined by Moliere, O’Neill, Schiller, and tions constitute the core of the book. [ Euripides, with Yukio Mishima’s Madame In the case of Miss Julie, Törnqvist pro- de Sade being the only ‘contemporary’, or vides the reader with detailed discussion to be more accurate, post-war drama. of different motivations for Julie’s suicide, There are many inspiring samples of demonstrating Strindberg’s intentions, Theatralia Bergman’s directing choices and solutions historical background as well as Berg- described. His version of King Lear, inter- man’s strategy of reinterpretation of these preted almost like a morality play, working motivations so that it would be credible for with the symbolic colours of costumes of his actual audience. Bergman eventually both competing sides, foregrounding the created complicated interplay between the topic of power and manipulation through stage and the costumes referring to the his- 116 text_theatralia_01_2019.indd 116 11.6.2019 10:45:37 David Drozd Bergman’s theatre is the Serious Game torical context (especially the stage design omnipotent director and his complex vi- setting the whole production to the period sion, contrasting with the director’s de- of the play’s origin) and searched for the pendence on and respect and love for actual significance of the production. For actors, the issues of modernization and Törnqvist, (theatre-) directing is evidently actualization (especially in terms of visu- the tool for controlling meaning and or- ality) but still attempting to preserve the Theatralia Theatralia ganizing spectator’s focus; in the descrip- original historical qualities of the drama. tion of the final scene inMiss Julie, he says: In stage design, there are also attempts ‘She held her lifted arms so her position to create a kind of community connec- ] expressed both desperation and protec- tion between the actors and the audience, [ 22 tion from the mortal blow; in addition the yet still preserving the artificial nature of / 2019 spectator’s gaze was directed to her neck theatre art. All these features are not just reviews reviews which was soon to be cut by her suicidal about Bergman’s theatre; they are much [ razor’ (49). This concept would be suitable more general. They are the founding ele- 1 ] for many directors of Bergman’s ‘genera- ments of the modern theatre as such – tion’ or period, an approach which might but they perfectly fit the Bergmanesque be called late modernist directing. No mat- context (and could be derived from Törn- ter how significant the alternations of the qvist detailed analyses and dramaturgical pretext are, Bergman still eventually cre- discussions in the book). ates his new coherent vision. (He, for in- The only limitation of the book is that stance, went so far, that he would insert Törnqvist focuses only at Bergman and his small, obviously autobiographical, details theatre, despite doing his best to provide into Ibsen’s Ghosts so that the production the reader with the period background. would in times resemble a very personal In the publication’s conclusion, he sums confession.) up all the features of Bergman’s approach The overall idea of Bergman as the late without any further contextualisation and modernist director emerges in all chap- theoretical conceptualisation. This omis- ters. The issues Bergman is dealing with, sion poses a challenge for the forthcoming the choices he is making and even the way generation of scholars, as there was quite he presents himself, remind methods and a lot of work done in providing descrip- rhetoric of directors like Giorgio Stehler, tions, overview and particular analysis, to Jean Villar or Otomar Krejča, to mention bring Bergman’s work from the closet of at least one widely known Czech based national genius, so he could be – together artist. Many issues discussed by the critics with his theatre productions – interpreted in Bergman’s case, might be heard and and evaluated in the European context. read across the European theatre in the In the preface, Törnqvist states: ‘Film is 1960s and the 1970s, and are of great sig- an international medium, theatre is a na- nificance to the late development of mod- tional one’ (9).
Load more

Recommended publications
  • Directing an Immersive Adaptation of Strindberg's a Dream Play
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true.
    [Show full text]
  • Miss Julie by August Strindberg
    MTC Education Teachers’ Notes 2016 Miss Julie by August Strindberg – PART A – 16 April – 21 May Southbank Theatre, The Sumner Notes prepared by Meg Upton 1 Teachers’ Notes for Miss Julie PART A – CONTEXTS AND CONVERSATIONS Theatre can be defined as a performative art form, culturally situated, ephemeral and temporary in nature, presented to an audience in a particular time, particular cultural context and in a particular location – Anthony Jackson (2007). Because theatre is an ephemeral art form – here in one moment, gone in the next – and contemporary theatre making has become more complex, Part A of the Miss Julie Teachers’ Notes offers teachers and students a rich and detailed introduction to the play in order to prepare for seeing the MTC production – possibly only once. Welcome to our new two-part Teachers’ Notes. In this first part of the resource we offer you ways to think about the world of the play, playwright, structure, theatrical styles, stagecraft, contexts – historical, cultural, social, philosophical, and political, characters, and previous productions. These are prompts only. We encourage you to read the play – the original translation in the first instance and then the new adaptation when it is available on the first day of rehearsal. Just before the production opens in April, Part B of the education resource will be available, providing images, interviews, and detailed analysis questions that relate to the Unit 3 performance analysis task. Why are you studying Miss Julie? The extract below from the Theatre Studies Study Design is a reminder of the Key Knowledge required and the Key Skills you need to demonstrate in your analysis of the play.
    [Show full text]
  • Preliminary Pages
    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting.
    [Show full text]
  • Alexandra Dahlström Rehearsing Her Role As Alexandra/Julie at the Schoolhouse Theater, Croton Falls, New York
    Alexandra Dahlström rehearsing her role as Alexandra/Julie at The Schoolhouse Theater, Croton Falls, New York. Still from Fia-Stina Sandlund’s film She’s Staging It, 2012. Photographer: Marius Dybwad Brandrud. Copyright CC-BY-NC-ND. 8. From Here to Eternity: Miss Julie Strikes Back and Refuses to Die Arrange for the bored and possibly clueless daughter of a count to find herself in the presence of a handsome servant with social ambi- tions. Add a maid who represents order, morality, and common sense. Immerse them in the Swedish midsummer night with its atmosphere of sexuality and magic. The result is the August Strindberg classic, Miss Julie, a play that has never ceased to fascinate directors, actors, and audiences since it was first staged in Copenhagen in 1889.1 It has long been claimed that A Doll’s House was the world’s most performed play. Today Miss Julie seems about to edge Henrik Ibsen’s drama from the top position. European theatres have recent- ly presented Miss Julie in a variety of interpretations, including a British update by Patrick Marber directed by Natalie Abrahami at Young Vic in London; a multimedia version by Katie Mitchell and Leo Warner at the Schaubühne in Berlin; and a French mise-en-scène by Frédéric Fisbach, in which Juliette Binoche makes one of her rare appearances on stage. The Schaubühne’s director and CEO, Thomas Ostermeier, has set his Miss Julie in contemporary Moscow. As in the same director’s earlier productions of A Doll’s House and Hedda Gabler, Miss Julie is trapped in a claustrophobic middle-class setting from whose social patterns she is unable to break free.
    [Show full text]
  • 'I'm a Devilish Fellow Who Can Do Many Tricks'
    FACTS ABOUT SWEDEN | AUGUST STRINDBERG sweden.se P P H H O O T T O: O: S N T ORDI RIND S B K ER A MU GS MU S EE S T EE T August Strindberg: self-portrait from Gersau, Switzerland, 1886. Jealousy Night, painted by Strindberg in Berlin, Germany, 1893. AUGUST STRINDBERG: ‘I’M A DEVILISH FELLOW WHO CAN DO MANY TRICKS’ A hundred years after his death, August Strindberg (1849–1912) continues to fascinate. He was a trailblazer and innovator in his time and still manages to provoke audiences in theaters around the world. There is always an aspect of Strindberg’s everyday language, and today his texts led. His literary development largely fol- character – from the raging sociopoliti- feel remarkably modern. lowed the twists and turns of his private cal polemicist to the psychologically life, including the crises arising from his introspective writer – that fits the prevail- Man of many talents marriage break-ups and political contro- ing spirit and intellectual climate of the People are amazed by Strindberg’s ver- versies. times. His thoughts on morality, class, satility. He tackled most genres. Aside power structures and familial politics from being an innovator in drama and Upbringing and studies are still relevant today. The unflagging prose, he was a poet, a painter, a pho- Johan August Strindberg was born on struggle for free thinking and free speech tographer, even a sinologist. 22 January 1849. He would later claim that he waged throughout his life is more Strindberg’s stormy private life also that his childhood was one of poverty important than ever in a time when cen- explains his enduring appeal, especially and neglect but the family was not poor.
    [Show full text]
  • The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More Information
    Cambridge University Press 978-0-521-60852-7 - The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More information the cambridge companion to august strindberg August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognized novelist, autobiographer and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg’s highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the naturalist dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on later twentieth-century drama. His plays are contextualized for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics and the visual arts. michael robinson is Professor Emeritus of Drama and Scandinavian Studies at the University of East Anglia, Norwich. He is the author of Strindberg and Autobiography (1986) and Studies in Strindberg (1998), and has translated a two-volume selection of Strindberg’s letters (1992), a collection of his essays (1996) and five of the plays (1998). He has edited five volumes of essays on Strindberg and Ibsen, and is also the General Editor of the Cambridge Plays in Production series. His three-volume International Annotated Bibliography of Strindberg Studies was published by the MHRA in 2008.
    [Show full text]
  • Movie Time Descriptive Video Service
    DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list.
    [Show full text]
  • Ballad Opera in England: Its Songs, Contributors, and Influence
    BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.
    [Show full text]
  • Egil Törnqvist, Strindbergian Drama. Themes and Structure
    Samlaren Tidskrift för svensk litteraturvetenskaplig forskning Årgång 103 1982 Svenska Litteratursällskapet Distribution: Almqvist & Wiksell International, Stockholm Detta verk har digitaliserats. Bilderna av den tryckta texten har tolkats maskinellt (OCR-tolkats) för att skapa en sökbar text som ligger osynlig bakom bilden. Den maskinellt tolkade texten kan innehålla fel. REDAKTIONSKOMMITTÉ Göteborg: Lars Lönnroth Lund: Louise Vinge, Ulla-Britta Lagerroth Stockholm: Inge Jonsson, Kjell Espmark, Vivi Edström Umeå: Magnus von Platen Uppsala: Thure Stenström, Lars Furuland, Bengt Landgren Redaktör: Docent Ulf Wittrock, Litteraturvetenskapliga institutionen, Humanistiskt-Samhällsvetenskapligt Centrum, Box 513, 75120 Uppsala Utgiven med understöd av Humanistisk-Samhällsvetenskapliga Forskningsrådet ISBN 91 -22-00615-X (häftad) ISBN 91-22-00617-6 (inbunden) ISSN 0348-6133 Printed in Sweden by Almqvist & Wiksell, Uppsala 1983 Övriga recensioner 175 Egil Törnqvist: Strindbergian Drama. The mes and Struc- ly from a strictly dramaturgic point of view. That this has ture. (Svenska Litteratursällskapets skrifter, vol. 37.) been so is no doubt partly due to the somewhat unfor­ Almqvist & Wiksell International. Sthlm 1982. tunate academic division of disciplines: while literary scholars tend to study the plays as literature, theatre Det mesta som står att läsa i Egil Törnqvists nya bok har scholars tend to examine them in their staged versions; tidigare varit publicerat som separata studier, och många the former ignore the fact that we deal with plays by av de enskilda analyser som ges i Strindbergian Drama Strindberg, the latter that we deal with plays by Strind­ torde vid det här laget vara välkända. Jag har därför inte berg. Attention to both aspects has mostly come from sett det nödvändigt att här redogöra för tolkningen av alla non-Swedish scholars - with all the obligatory disadvan­ de dramer som ingår i Törnqvists undersökning; i stället tages just indicated.» (s.
    [Show full text]
  • A Dream Play Background Pack
    Education A Dream Play Background Pack Contents A Dream Play 2 Introduction 3 The Original Play 4 The Director: Interview with Katie Mitchell 5 The Actor: Interview with Angus Wright 9 The Designer: Interview with Vicki Mortimer 12 Activities and Discussion 15 Related Materials 16 ADreamPlay By August Strindberg in a new version by Caryl Churchill with additional material by Katie Mitchell and the Company Angus Wright Photo: Stephen Cummiskey A Dream Play Background pack written by NT Education Background pack By August Strindberg, in a Jonathan Croall, journalist National Theatre © Jonathan Croall new version by Caryl Churchill and theatrical biographer, and South Bank The views expressed in this With additional material by author of three books in the London SE1 9PX background pack are not Katie Mitchell and the series ‘The National Theatre T 020 7452 3388 necessarily those of the Company. at Work’. F 020 7452 3380 National Theatre Director Editor E educationenquiries@ Katie Mitchell Emma Thirlwell nationaltheatre.org.uk Further production details Design www.nationaltheatre.org.uk Patrick Eley, Lisa Johnson A Dream Play CAST (IN ALPHABETICAL ORDER) KATIE MITCHELL Director VICKI MORTIMER Designer MARK ARENDS CHRIS DAVEY Lighting Designer Young George, the broker’s brother KATE FLATT Choreographer Geoffrey, Victoria’s lover SIMON ALLEN Music Director and Arranger ANASTASIA HILLE CHRISTOPHER SHUTT Sound Designer Christine, the broker’s mother KATE GODFREY Company Voice Work KRISTIN HUTCHINSON Rachel, the broker’s first wife Music played live by: Paul Higgs Associate MD/piano/keyboard SEAN JACKSON Joe Townsend violin Security Supervisor Katja Mervola viola Port Health Officer Penny Bradshaw cello CHARLOTTE ROACH Schubert’s ‘Nacht und Träume’ specially Lina the maid recorded by: Ugly Edith, the broker’s co-respondent Mark Padmore tenor DOMINIC ROWAN Andrew West piano Herbert, the broker’s father Adult George, the broker’s brother This production opened at the National’s JUSTIN SALINGER Cottesloe Theatre on 15 February 2005.
    [Show full text]
  • (Ed.): the Cambridge Companion to August Strindberg
    SCANDINAVICA Vol 49 No 2 2010 MICHAEL ROBINSON (ed.): The Cambridge Companion to August Strindberg. Cambridge University Press, 2009. Pp. xxxvi + 187. ISBN: 978-0-521-60852-7. Cambridge has taken its time to get around to accompanying James McFarlane’s 1994 Ibsen companion with one on Strindberg, the only two Scandinavians in their list. It is a brave scholar who attempts to compass Strindberg in a series of slim essays. Robinson’s volume, however, makes a good introduction to current concerns with this knotty writer. Its thirteen topical essays, by many of the scholars who have been writing in English about Strindberg today, give us a broad survey of the main material and contemporary issues around it. The volume opens with two compilations. The first is a fairly detailed chronology of Strindberg’s life, which can be recommended as a most useful review before one undertakes the essays themselves. The second is a generically organised chronological list of Strindberg’s writings, a list which must always give anyone pause at its sheer prodigality, its breadth, and its astonishing quality. And this doesn’t even reckon a dozen or so volumes of his letters. Robinson then divides his collection into three parts, Strindberg in Context, The Works, and Performance and Legacy. The initial essays, by Linda Haverty Rugg, ‘August Strindberg and the art and science of self-dramatization,’ and by Margaretha Fahlgren, ‘Strindberg and the woman question,’ come at once to what seem to be the most persistent issues in Strindberg scholarship, the relation of his life to his works—especially, as here, the use Strindberg makes of autobiography— and his depiction of women.
    [Show full text]
  • A Dream Play and the Ghost Sonata – in Connection with Sigmund Freud's
    Sajjad Ali Khan* The Study of Dream in August Strindberg’s Plays – A Dream Play and The Ghost Sonata – in connection with Sigmund Freud’s Interpretation of Dreams Abstract This research paper aims to examine Strindberg’s artistic dreams in A Dream Play and The Ghost Sonata. Strindberg did not take the conception of dreams from Freud but Freud is helpful in interpreting the nature and structure of these plays. In a Freudian sense, dream becomes a fit prop for Strindberg to appropriate the conventions of phenomenal reality. In Interpretation of Dreams, Freud acknowledges the power of dreams in shaping the human personality and the material of art. A Dream Play looks like an anxiety dream but it does not end on a nightmare. It ends on a cosmic vision about the salvation of humankind through the fire of suffering and misery. In The Ghost Sonata, Strindberg exposes the absurdity of existence through the structure of the absurd dream logic. In fact, the play is an outcome of a final balancing of accounts of his life before the final preparation for his death. In spite of the nightmarish representation of reality in both plays, Strindberg holds the affirmative view of life. Strindberg’s dream, in a Freudian sense, is a wish-fulfilment – a wish to see humankind stripped off morbid illusions, and a wish to recover humane values by means of increasing consciousness. Introduction Most of the critics tend to recognize the autobiographical nature of both A Dream Play (1901) and The Ghost Sonata (1907) because the subject-matter of these plays seems to have originated from a personal crisis, – Strindberg‟s troubled relationship with his young wife, Harriet, – acute physical pain and mental suffering.
    [Show full text]