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Janel Miley Height: 5’5” Union Affiliation – EMC Weight: 112 lbs E-mail – [email protected] Hair: Brown Cell – 301.667.8425 Eyes: Hazel STAGE (selected): MUCH ADO ABOUT NOTHING Ursula Shakespeare Theatre Company Ethan McSweeny THE HEIR APPARENT (premiere) Isabelle (u/s-performed) Shakespeare Theatre Company Michael Kahn TWO GENTLEMEN OF VERONA Ursula & Silvia (u/s) Shakespeare Theatre Company PJ Paparelli THE TAMING OF THE SHREW Katherine (u/s) Folger Shakespeare Theatre Aaron Posner THE IMPORTANCE OF BEING EARNEST Gwendolyn Quintessence Theatre Alexander Burns COMEDY OF ERRORS Adriana Shakespeare & Company Dennis Krausnick THE VENETIAN TWINS Brighella Shakespeare & Company Jenna Ware REVOLUTIONARY MOMENTS Fanny Kemble Shakespeare & Company Tina Packer THE LIAR (staged reading) Clarice Shakespeare & Company Andrew B-Leslie PERICLES Dionyza Shakespeare & Company Dennis Krausnick MEASURE FOR MEASURE Juliet Eclectic Company (LA) Morgan Nichols PROOF Claire Eclectic Company (LA) Taylor Ashbrook COLLECTED STORIES Lisa Morrison ARK Theatre (LA) Zack Foulkes HECHO EN ECUADOR Miriam D.A.T. (Ecuador & NYC) Jamil Mangan MUCH ADO ABOUT NOTHING Margaret (u/s) Folger Shakespeare Theatre Nick Hutchison THE BORROWERS Arrietty Imagination Stage Janet Stanford MARY STUART Gertrude CENTERSTAGE Irene Lewis MONDO SHAKESPEARE JR. (tour) Lady Anne, Portia Baltimore Shakespeare Festival Jimi Kinstle 13 CHRISTS (premiere-Erik Ehn) Various Run of the Mill Jim Knipple TWELFTH NIGHT Viola Run of the Mill Neal Freeman MISS JULIE Miss Julie Run of the Mill Jim Knipple THE DANUBE Eve Run of the Mill Kathleen Amshoff TURN OF THE SCREW Governess Fells Point Corner Theatre Alex Willis *Nominated – Outstanding Actress, BTAs FILM (selected): The Scientific Method Diane (supporting) Leann Bowen, dir. Tongue-Tied Polly (lead) Jonathan Washington, dir. Azure Sorrow Coseras (lead) Brandon Kader, dir. Haunted House Amanda Jarvis (lead) Daniel Student, dir. TRAINING/MEMBERSHIPS (selected): Acting Fellowship 2011-2012 Shakespeare Theatre Company Michael Kahn, Alan Paul Member 2010-2011 Shakespeare & Company Tony Simotes, Artistic Dir. Voice/Linklater Temple University; Shakespeare & Co. Donna Snow; Dennis Krausnick Text/Speech Denver Center/NTC; Shakespeare Theatre Gary Logan; Ellen O’Brien Rhetoric & Shakespeare Shakespeare & Company Clare Reidy, Dennis Krausnick Clown/Movement Shakespeare & Co; SITI Training, LA Michael Toomey; Ellen Lauren Acting Denver Center/NTC; Gaiety School Larry Hecht; Patrick Sutton Stage Combat Shakespeare & Company; Temple U Tony Simotes; John Bellomo Improvisation Upright Citizens Brigade Joel Spence SKILLS: Music: Flute, Piano, Sightreading, Vocal Range: Mezzo Soprano; Dance: Modern, Jazz, Salsa, Cha-Cha; Gymnastics; Ear & Teleprompting; Accents: British, Irish, Cockney, Southern .

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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.
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Introduction "Preface" to Miss Julie (1893)
Introduction August Strindberg (1849-1912) was a Swedish playwright. In his preface to Miss Julie, Strindberg speculates about bringing radical change to the theatre. "Preface" to Miss Julie (1893) As far as the scenery is concerned, I have borrowed from impressionistic painting its asymmetry, its quality of abruptness, and have thereby in my opinion strengthened the illusion. Because the whole room and all its contents are not shown, there is a chance to guess at things—that is, our imagination is stirred into complementing our vision. I have made a further gain in getting rid of those tiresome exits by means of doors, especially as stage doors are made of canvas and swing back and forth at the lightest touch. They are not even capable of expressing the anger of an irate pater familias who, on leaving his home after a poor dinner, slams the door behind him "so that it shakes the whole house." (On the stage the house sways.) I have also contented myself with a single setting, and for the double purpose of making the figures become parts of their surroundings, and of breaking with the tendency toward luxurious scenery. But having only a single setting, one may demand to have it real. Yet nothing is more difficult than to get a room that looks something like a room, although, the painter can easily enough produce waterfalls and flaming volcanoes. Let it go at canvas for the walls, but we might be done with the painting of shelves and kitchen utensils on the canvas. We have so much else on the stage that is conventional, and in which we are asked to believe, that we might at least be spared the too great effort of believing in painted pans and kettles.
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Daniel Thobias
Curriculum Vitae DANIEL THOBIAS The University of Toledo 2801 W Bancroft Street, MS 611 Toledo, OH 43606 (419) 530 2688 (office) (336) 549 5373 (c) [email protected] www.scenedesign.org EDUCATION MFA Scene Design (2011), University of North Carolina School of the Arts Properties Internship, winter and spring 2001, at Berkeley Repertory Theatre BA, Dramatic Arts (1999), University of California, Berkeley AA, Biology (1997), Orange Coast College PRODUCTION EXPERIENCE DESIGN (Set design unless other noted) Little Shop of Horrors Director: Edmund Lingan University of Toledo 2016 The Laramie Project Directors: Pete Cross & Mark Leasor University of Toledo 2015 Henry V Director: Irene Alby University of Toledo 2015 Gypsy Director: Peter Hackett New London Barn Playhouse 2015 Twelfth Night (set & costume) Director: Cornel Gabara University of Toledo 2015 Midsummer Night Mysteries (costume) Director: Cornel Gabara Toledo Symphony 2015 The Adding Machine Director: Irene Alby University of Toledo 2014 Cabaret Director: Irene Alby University of Toledo 2014 Daniel Thobias P a g e | 1 Amadeus (costume) Director: Cornel Gabara Toledo Symphony 2014 The Tender Land (Costume) Director: Don Bernadini University of Toledo 2013 Out To Lunch (Set and Costume) Director: Edmund Lingan University of Toledo 2013 Spamalot (costume) Director: Adam Karsten Weathervane Playhouse 2013 Moon Over Buffalo (costume) Director: Adam Karsten Weathervane Playhouse 2013 Oliver! (costume) Director: Steven Eng Weathervane Playhouse 2013 Around The World in 80 Days (costume)
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Netg Showcase Festival 2016-17 Nominations
N.E.T.G. SHOWCASE FESTIVAL 2016-17 NOMINATIONS WINNERS IN ITALICS (30 productions were adjudicated this season) KING COSTUME AWARD B.A.T.S: Little Shop of Horrors C.M.T.S. Youth: Alice in Wonderland The Essex Group: Puss in Boots Headgate Theatre Productions: Father Christmas Kelvedon Players: Camelot-the Panto KYDS: Aladdin Little Waltham Drama Group: Pirates of the Panto Manifest Theatre Group: Scrooge-the Musical Orpen Players: Snow White & the Seven Dwarfs Platform Musicals & Plays: On the Twentieth Century Tollesbury Amateur Players: Alice in Wonderland Village Players Nayland: Cinderella Wickham Bishops Drama Club: Babes in the Wood W.A.O.S: Spamalot Wivenhoe Pantomime Group: Alice in Wonderland JEAN JONES AWARD FOR SET DESIGN/CONSTRUCTION/DRESSING Bentley Green Players: Jack and the Beanstalk B.A.T.S: Little Shop of Horrors Brightlingsea Musical Theatre Group: Bad Girls-the Musical Colne Engaine Dramatic Society: Treasure Island Kelvedon Players: Camelot-the Panto Orpen Players: Snow White & the Seven Dwarfs Tollesbury Amateur Players: Alice in Wonderland Village Players Nayland: Cinderella Westcliff Youth Theatre: Oliver! W.O.W: Loserville Wivenhoe Pantomime Group: Alice in Wonderland TECHNICAL ACHIEVEMENT B.A.T.S: the construction & presentation of Audrey 2/ sound effects in Little Shop of Horrors Brightlingsea Musical Theatre Group: lighting/sound/projections in Bad Girls-the Musical The Essex Group: lighting/sound in Puss in Boots The Essex Group: lighting/sound Les Miserables Kelvedon Players: lighting in Camelot-the Panto
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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.
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Manhattan School of Music OPERA THEATER DONA D
Manhattan School of Music OPERA THEATER DONA D. VAUGHN, ARTISTIC DIRECTOR Manhattan School of Music wishes to express its gratitude to the Joseph F. McCrindle Foundation for its generous endowment gif to fund Opera Theater productions. Manhattan School of Music is privileged to be able to honor the legacy of Joseph F. McCrindle through its Opera Studies Program. MSM OPERA THEATER Dona D. Vaughn, Artistic Director EMMELINE An opera in two acts by Tobias Picker (BM ’76) Based on the novel by Judith Rossner Libretto by J. D. McClatchy George Manahan (BM ’73, MM ’76), Conductor Thaddeus Strassberger, Director Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Helicon Music Corporation, publisher and copyright owner. For this production of Emmeline some sections of the original text and music have been amended by the composer and director to reﬂect the contemporary setting. THURSDAY–SATURDAY, APRIL 25–27, 2019 | 7:30 PM SUNDAY, APRIL 28, 2019 | 2:30 PM NEIDORFF-KARPATI HALL A warm welcome to MSM Opera Theater’s spring mainstage production in Neidorf-Karpati Hall! It has been a wonderful year for MSM Opera Theater as we have joined in the celebration of Manhattan School of Music’s Centennial, programming works that celebrate our past productions, our distinguished alumni composers, and our current talented young artists. Our opera season began in November at The Riverside Church with two performances of Opera Scenes. The program included scenes from Marc Blitzstein’s The Harpies (premiered at MSM in 1953), Scott Eyerly’s The House of the Seven Gables (premiered at MSM in 2000), Richard Strauss’s Ariadne auf Naxos, and Puccini’s Gianni Schicchi, which was given its ﬁrst performance at the Metropolitan Opera in 1918, the year of MSM’s founding.
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Violin Concerto, the Second and Most Substantial of His Six Concertos, Is Romantic and Rhapsodic in Nature
NAXOS NAXOS Naxos’s many highly-praised recordings of William Alwyn’s music have done much to revive excitement among today’s listeners for this British composer who is best known for his 200 or so film scores. His bravura Violin Concerto, the second and most substantial of his six concertos, is romantic and rhapsodic in nature. The Miss Julie Suite takes episodes from his last completed opera based on Strindberg’s tragic play, while the Fanfare for a Joyful Occasion pays tribute to 8.570705 ALWYN: ALWYN: the late percussionist James Blades. Juilliard School-trained violinist Lorraine McAslan has been ALWYN: praised by The Strad as ‘one of the most distinguished British violinists of her generation’. DDD William Playing Time ALWYN 58:19 Violin Concerto • Miss Julie Suite Violin (1905-1985) Concerto • Miss Julie Suite Violin Violin Concerto Violin Concerto* 36:57 1 I. Allegro ma non troppo 18:27 2 II. Allegretto e semplice 9:30 3 III. Allegro moderato alla marcia 9:00 4- 6 Miss Julie Suite www.naxos.com Made in Germany Booklet notes in English ൿ (arranged by Philip Lane) 17:28 & Ꭿ 7 Fanfare for a Joyful Occasion 3:54 Naxos Rights International Ltd. 2011 Lorraine McAslan, Violin* Royal Liverpool Philharmonic Orchestra • David Lloyd-Jones This recording was made with financial assistance from The William Alwyn Foundation A full track list can be found on page 2 of the booklet Recorded at Liverpool Philharmonic Hall, England, on 5th January and 23rd June, 2010 (tracks 1-3) and 8th June, 2007 (tracks 4-7) 8.570705 8.570705 Producer and editor: Andrew Walton (K&A Productions Ltd.) • Engineer: Phil Rowlands Publisher: The William Alwyn Foundation • Booklet notes: Andrew Knowles Cover painting: Panshanger Park by Spencer Frederick Gore (1878-1914) (Royal Albert Memorial Museum, Exeter, Devon, UK / The Bridgeman Art Library).
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Alwyn Miss Julie
SUPER AUDIO CD Alwyn Miss Julie Anna Patalong soprano Rosie Aldridge mezzo-soprano Samuel Sakker tenor Benedict Nelson bass-baritone Sakari Oramo William Alwyn,1978 William Courtesy of The William Alwyn Foundation William Alwyn (1905 – 1985) Miss Julie (1973 – 76) An Opera in Two Acts Based on the Play by August Strindberg (1849 – 1912) Libretto by William Alwyn Miss Julie .......................................................................Anna Patalong soprano Jean, the Count’s valet ...............................Benedict Nelson bass-baritone Kristin, the cook .............................................Rosie Aldridge mezzo-soprano Ulrik, the gamekeeper ................................................... Samuel Sakker tenor The action takes place in the Count’s country house in Sweden on Midsummer Night in 1895. BBC Symphony Orchestra Igor Yuzefovich leader Sakari Oramo 3 COMPACT DISC ONE Acte I Scene 1 25:40 1 [Orchestral Introduction.] Allegro. Valse Tempo – A tempo, grazioso – 1:04 2 Jean: ‘Miss Julie is crazy’ – 1:36 3 Kristin: ‘But the Count...’ – 4:41 4 Jean: ‘By God, I’m thirsty!’ – 3:18 5 Miss Julie: ‘Kristin, Kristin, Kristin!’ – 2:28 6 Jean: ‘Well, I’ve travelled around’ – 4:28 7 Miss Julie: ‘There’s a new dance starting’ – 2:01 8 Miss Julie: ‘You know why I came here tonight?’ – 1:48 9 Miss Julie: ‘Midsummer Night, O, night of magic’ – 3:38 10 Kristin: ‘I’m ready, Jean!’ 0:34 4 Scene 2 35:14 11 [Orchestral Introduction.] Andante sostenuto (Poco adagio) – Poco più mosso (a tempo di valse) – Andante sostenuto – Poco più
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7 the PRE-MODERN STRINDBERG. SEX, GENDER, SEXUALITY Ann
THE PRE-MODERN STRINDBERG. SEX, GENDER, SEXUALITY Ann-Sofie Lönngren Department of Literature and the Center for Gender Research, Uppsala University [email protected] Abstract In this article the claim is made that some of the representations of “sex”, “gender”, and “sexuality” in Strindberg’s authorship point to the influence of pre-modern discourses rather than modern ones. First, there is a discussion about the pre-modern influences on the sex-gender distinction in Creditors (1888) and There Are Crimes and Crimes (1899), an analysis which shows that in these texts, “sex” is perceived as one rather than two, and, moreover, organized hierarchically rather than dichotomously. Furthermore, it is argued that in these texts, “gender”, in fact, supersedes “sex”, something that is understood within the theoretical frameworks provided by, for example, Thomas Laqueur, Maja Bondestam and Carol Clover. Secondly, it is argued that in Playing with Fire (1892) and other texts, the definition of gender is intimately linked to the sexual desires represented in Strindberg’s authorship. This points to influences from what, for example, R.A. Nye has claimed to be pre-modern understandings of gender and sexuality as a unit rather than two distinct concepts, adding a historical perspective to the play between norm and subversion in the fictional texts. Also on a more general level, for example, in Getting Married, Parts I and II (1894, 1896), “sexuality” seems to be phrased according to the difference previously pointed out by Michel Foucault, as acts (pre- modern discourse) rather than identity (modern discourse). In addition, it is argued that when discussing the (for Strindberg) burning question of feminism, pre-modern and modern discourses are simultaneously employed.
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Commencement 1986
Thirty-first Annual Commencement Exercises Covenant College Lookout Mountain Tennessee Saturday May 10 Nineteen hundred eighty-six 10 o'clock a.m. 7 Program President Martin Essenburg, Presiding *Processional Mr. Henry D. Frantz, Jr. Scottish Marches piper *Invocation Professor Charles W. Anderson *Hymn "Lead On, 0 King Eternal" Senior Testimony Mr. Daniel Paul MacDonald Reading of Scripture Professor Susan Van Zanten Gallagher Acts 1:1-11 Commencement Address Dr. D. James Kennedy "Only One Life" *Hymn "Rock of Ages" Senior Testimony Miss Cynthia Ann Smallman Vocal Solo Miss Julie Varina Bell, soprano "The Twenty-third Psalm" Charge to the G1·aduates Professor Donovan L. Graham • Audience Standing Presentation Professors Nicholas P. Barker of the Candidates and Rudolph F. Schmidt Awarding of the Associate and Baccalaureate Degrees President Essenburg Prayer for the Graduates Professor Roger L. Lambert Awarding of the Honorary Degree President Essenburg Rev. Glen C. Knecht *Covenant College Hymn "All for Jesus" All for Jesus! All for Jesus! All my being's ransomed powers, All my thoughts, and words, and doings, All my days and all my hours. Let my hands perform His bidding, Let my feet run in His ways, Let mine eyes see Jesus only, Let my lips speak forth His praise. Worldlings prize their gems of beauty, Cling to gilded toys of dust, Boast of wealth, and fame, and pleasure, Only Jesus will I trust. Since mine eyes were fixed on Jesus, I've lost sight of all beside So enchained my spirit's vision, Looking at the Crucified. Oh, what wonder! How amazing! Jesus, glorious King of kings, Deigns to call me His beloved, Lets me rest beneath his wings.
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Jason Contini Resume 2020
Jason Contini Represented by West Model and Talent Management SAG/Aftra - AEA Gail Lasater Height: 6’ 636-527-7473 Weight: 190 Eye Color: Brown Hair: Brown Film Four Color Eulogy Chris-Lead Archlight Ent. & Pirate Pictures Shadowland Julian-Lead Pirate Pictures The Anniversary Sid - Lead John Campea, Director About A Girl Mark-Lead Mike Dorn, Director April Is My Religion Phil- Supporting Lead Bill Boll, Director Khyber Misha - Supporting Kermit C. Graham, Director Thanxgiving Craig - Supporting Bobby Ray Akers Jr., Director Five Dad - Supporting Jessie Seitz, Director Killers By Nature Cory - Lead Eric Spudic, Director Theater Death of a Salesman Happy Loman Insight Theatre Oliver! Bill Sykes Bluff City Theater Glass Menagerie Gentleman Caller Upstream Theatre Miss Julie Jean Bankside Repertory The Heiress Morris Townsend Bluff City Theater Inherit The Wind E.K. Hornbeck Insight Theatre Seminar Martin St. Louis Actor’s Studio Godspell Jesus Meramec Theatre The Weir Jim Cocktails & Curtain Calls The Nerd Willum Cubbert Dramatic License Working! Migrant Worker Coffee House Players Cotton Patch Gospel Matthew RK Theatre Man of La Mancha Ensemble STAGES St. Louis Macbeth Macbeth Imaginary Theatre Company All My Sons Chris Keller Coffee House Players 42nd Street Julian Marsh (Stand-in) The MUNY The King & I Ensemble The MUNY Awards Theater Circle Award Winner Supporting Actor - Drama - Death of a Salesman “Happy Loman” Broadway World Award Winner Supporting Actor - Drama - Death of a Salesman “Happy Loman” Theater Circle Award Nominee Supporting Actor - Drama - Glass Menagerie “Gentleman Caller” Kevin Kline Award Winner Ensemble Production Young Audiences - Bah! Humbug! “Bob Cratchit” Special Skills Good ear for dialects - Teleprompter training - Basic broadsword training - Sequential Artist - Vocal range baritone - Screenwriter - Director - Producer - Video Editing - “Police procedure for the actor” training .
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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.
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