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Arvet Efter Strindberg Roskilde University Strindbergs Inferno som ballast i Lars von Triers Antichrist svendsen, erik Published in: Arvet efter Strindberg Publication date: 2014 Document Version Også kaldet Forlagets PDF Citation for published version (APA): svendsen, E. (2014). Strindbergs Inferno som ballast i Lars von Triers Antichrist. I D. Gedin, R. Lysell, W. Sauter, & P. Stam (red.), Arvet efter Strindberg: Elva bidrag från den artonde internationella Strindbergkonferensen (56 udg., s. 119-132). [9] Stockholm Universitet. Stockholm Studies in History of Literature Bind 56 http://www.littide.su.se/polopoly_fs/1.89238.1338375939!/menu/standard/file/PROGRAM_THE%20STRINDBER G%20LEGACY-1.pdf General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 ACTA UNIVERSITATIS STOCKHOLMIENSIS Stockholm Studies in History of Literature 56 Arvet efter Strindberg – The Strindberg Legacy Elva bidrag från den artonde internationella Strindbergskonferensen Red. David Gedin, Roland Lysell, Willmar Sauter, Per Stam © Respektive författare och Acta Universitatis Stockholmiensis 2014 Omslag: August Strindberg ”Kustlandskap II”. Carl Larsson ”August Strindberg” Omslagsformgivning: David Gedin, Kalle Westerling Formgivning: David Gedin ISBN elektronisk form 978-91-87235-97-9 ISBN tryckt form 978-91-87235-98-6 ISSN 0491-0869 Tryckeri: US-AB, Stockholm, 2014 Distributör: Stockholms universitetsbibliotek Allt kan ske, allt är möjligt och sannolikt. Tid och rum existera icke; på en obetydlig verklighetsgrund spinner inbillningen ut och väver nya mönster. Erinran. Ett drömspel Everything can happen, everything is possible and probable. Time and place do not exist; on an insignificant basis of reality the imagination spins, weaving new patterns. Author’s note. A Dream Play Innehåll INTRODUKTION ............................................................................................................. 9! DAVID GEDIN Med sådana fiender behöver man inga vänner – Strindbergs strategier ................................................................................................ 15! PER STAM ”Denna Dagbok får aldrig tryckas! Detta är min sista vilja! som måste uppfyllas!” – Om att utge Strindbergs dagbok i Samlade Verk .............................................................................................................. 33 VERA GANCHEVA Mysterium Tremendum: Strindberg’s Occult Diary and Swedenborg’s Journal of Dreams – through the Labyrinth. Between Different Realities ................................................................. 47! MARIUSZ KALINOWSKI Om konsten att läsa sin Bibel. Några förbisedda bibelallusioner i Strindbergs Inferno ................................................. 59 MARIA MÅRSELL Mot expressionism – en kontextualisering av August Strindbergs Ett drömspel och Anne Charlotte Lefflers Sanningens vägar ......................................................................................................... 75! ANNIE BOURGUIGNON 40-talisterna och Strindberg ......................................... 83! RICHARD BARK Skådespelaren Lars Hanson som Strindbergstolkare ..................................................................................................... 93! BIRGITTA STEENE Strindbergs betydelse för Ingmar Bergman: Mentor, Dramaturgisk stigfinnare, Dämon ........................................................ 109! ERIK SVENDSEN Strindbergs Inferno som ballast i Lars von Triers Antichrist ................................................................................................................... 119! LARS LILJEGREN Strindberg i engelsk översättning – censur i ett post-viktorianskt England och dess betydelse idag .................................... 133! VÍCTOR GROVAS Staging Strindberg at Three Moments in the History of Mexican Theatre ...................................................................... 145! MEDVERKANDE .......................................................................................................... 157! STRINDBERG ON INTERNATIONAL STAGES / STRINDBERG IN TRANSLATION ............................................................................................................ 159! Introduktion ROLAND LYSELL Den artonde internationella Strindbergskonferensen Arvet efter Strindberg/ The Strindberg Legacy ägde rum i Aula Magna vid Stockholms universitet 31.5I3.6 2012. Medarrangör till Stockholms universitet var Strindbergssällskapet. På Frescati samlades närmare åttio forskare från hela världen för att dela med sig av insikter och upptäckter under tre dagar. Fokus låg på Strindberg från vår tids utsiktspunkt. Hans inflytande har format teaterns, litteraturens och måleriets utveckling. Verken fungerar fortfarande som utgångspunkt och kommentar till den samtida debatten – inte bara i Sverige eller Norden utan över stora delar av världen Detta gör forskningen kring Strindberg och hans verk angelägen ännu hundra år efter hans död. Föredragen har samlats dels i den engelskspråkiga antologin Strindberg on International Stages/Strindberg in Translation utgiven på förlaget Cambridge Scholars Publishing 2014 (se innehållsförteckning i slutet av denna bok), dels i föreliggande volym med artiklar på svenska, danska och engelska. Tidigare har ytterligare två föredrag publicerats, rektor Kåre Bremers öppningsanförande ”Den praktfulla militärorchis i havsbandet” (Strindbergiana 29, 2014), och Björn Meidals plenarföreläsning ”Strindberg – in Sweden and in the World” (Tidskrift för litteraturvetenskap 2012:2I3). Volymen inleds med David Gedins artikel ”Med sådana fiender behöver man inga vänner – Strindbergs strategier”. Gedin argumenterar för att Strindbergs mest våldsamma angrepp på sina kolleger – Anne Charlotte Leffler, Alfhild Agrell, Oscar Levertin, Verner von Heidenstam, Gustaf af Geijerstam och Carl Larsson – inte var så irrationella som tidigare biografiska analyser ger intryck av. Tvärtom handlade det om att desarmera de hårdaste konkurrenterna, med rötterna i åttiI talet, inför den samtida och framtida litteraturhistorieskrivningen. Något som 9 Introduktion kastar nytt ljus över hans plötsliga utbrott mot Carl Larsson. Det var också den litterära produktionen som utgjorde fokus för hans attacker. Men istället för att enbart avfärda denna försökte han i flera centrala fall ingjuta sin egen tolkning i verken och därmed göra dem till ’sina’. Brutalast, konsekventast och antagligen mest framgångsrikt ifråga om Gustaf af Geijestams succé Boken om lilleDbror. Ur Geijerstams autofiktiva skildring av sin sons och hustrus död tog Strindberg de centrala skildringarna och parodierade och karikerade dem i Svarta fanor, i vissa fall närmast ord för ord. Per Stam presenterar och diskuterar den vetenskapliga editionen av Ockulta Dagboken i artikeln ”’Denna Dagbok får aldrig tryckas! Detta är min sista vilja! som måste uppfyllas!’ – Om att utge Strindbergs dagbok i Samlade Verk”. Strindbergs dagbok från 1896 till 1908, vilken han kom att kalla Ockulta DagboD ken, utgavs i nationalupplagan för första gången som etablerad typograferad text och som faksimil i färg av handskriften, med utgivarnas kommentarer i ett tredje band. Stam redogör för dagbokens inre och yttre historia, samt diskuterar de problem som utgivarna har ställts inför och de lösningar som har valts. I artikeln berörs följande frågor: Varför skrev Strindberg dagbok? Vad består dagboken av? Och vad innebär det att utge ett personligt dokument som upphovsmannen tycks ha förbjudit tryckning av? Vid Ockulta Dagboken uppehåller sig även Vera Gancheva i ”Mysterium Tremendum: Strindberg’s Occult Diary and Swedenborg’s Journal of Dreams – through the Labyrinth. Between Different Realities”. Gancheva fäster uppmärkI samheten vid paralleller mellan Swedenborgs Drömboken och Strindbergs OckD ulta dagboken och arten av deras mystiska erfarenheter. Båda försöker förstå obehagliga och förvirrande inre erfarenheter i ljuset av en världsförklaring som inte bara beaktar den empiriska världen utan även världen hinsides. Gancheva diskuterar de båda diktarnas syn på korrespondenser och analogier. Båda förfatI tarna är extremt lärda och båda ser förnuftet som porten mellan den inre och den yttre världen. Gancheva tecknar även en bild av det intellektuella klimatet i 1890Italets Paris, där ett nytt intresse för hermetiska och mystiska riktningar, Kabbalah och indisk filosofi uppstått. Strindberg kom att omvärdera sin tidigare världsuppfattning som byggde på Darwin, Spencer och Nietzsche i den europeI iska metropol som Gancheva beskriver som ”a cauldron teeming with conflicting ideas”. Strindbergs utnyttjande av Swedenborg och andra föregångare är dock idiosynkratiskt och kan beskrivas som en appropriering. Artikeln, som sätter in de båda diktarna i ett rikt komparativt perspektiv, avslutas med en översikt över
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