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The Progressive Savage À La Fin De Siècle
The Progressive Savage à la Fin de Siècle Peter Stadius In considering images of the North, I wish to develop a case that exemplifies the versatility of latent images of the Scandinavian North. I will look briefly at some Continental assessments of two of the most prominent Scandinavian intellectual figures around 1900, August Strindberg and Henrik Ibsen, and point to how they were viewed in terms of the traditional and stereotypical images of the North and its people. The Nordic condition of semi-otherness as seen from a Continental perspective produces tension between the self and the other, resulting in ambiguity – and an oscillation between the approbation and rejection of all things Nordic. When new artistic influences reached Paris in the early 1890s, it was above all Russian novelists, German philosophers, and Scandinavian playwrights who drew the most attention. Henrik Ibsen was without doubt the single most important name on the Scandinavian horizon, but he also paved the way for others, amongst them Strindberg. Ibsen, and even more so Strind- berg, were considered radicals in their respective home countries in their own lifetime, but as representatives of Scandinavian drama they were to be studied as archetypes of their own culture and region. In reviewing certain plays, critics would refer to the faculties of the Scandinavian race or to the influence of the Nordic climate on its inhabitants. Thus even a discussion of staging techniques and new drama around 1900 would include many of the topics detected in imagological studies of the North and the Nordic region. Two factors stand out when examining how Ibsen and Strindberg were absorbed into a cultural construction of Scandinavia. -
Romantic and Realistic Impulses in the Dramas of August Strindberg
Romantic and realistic impulses in the dramas of August Strindberg Item Type text; Thesis-Reproduction (electronic) Authors Dinken, Barney Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 13:12:12 Link to Item http://hdl.handle.net/10150/557865 ROMANTIC AND REALISTIC IMPULSES IN THE DRAMAS OF AUGUST STRINDBERG by Barney Michael Dinken A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 STATEMENT BY AUTHOR This thesis has been submitted in partial fu lfillm e n t of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available,to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests fo r permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship, In a ll other instances, however, permission must be obtained from the author. -
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. -
Stockholm's Archipelago and Strindberg's
Scandinavica Vol 52 No 2 2013 Stockholm’s Archipelago and Strindberg’s: Historical Reality and Modern Myth-Making Massimo Ciaravolo University of Florence Abstract The Stockholm Archipelago is ubiquitous in the prose, poetry, drama and non-fiction of August Strindberg. This article examines the interaction in Strindberg’s oeuvre between the city of Stockholm as civilized space and the wild space surrounding it, tracing the development of a literary myth of Eden in his work. Strindberg’s representations of the shifting relations between city and nature, it is argued, played (and still play) an important role in the cultural construction of mythologies of the loss of the wild space. The environments described in Strindberg’s texts are subject to changes, shifts and repetitions with variations, such that the archipelago in itself can be read as a mirror of the polyphony of points of view, the variability and the ambiguities we find in his oeuvre at large. Keywords August Strindberg, Stockholm Archipelago, city in literature, nature in literature, mythologies 52 Scandinavica Vol 52 No 2 2013 August Strindberg’s home town of Stockholm, together with its wilder counterpart, the archipelago or skärgård (literally meaning group, or circle, of islands and skerries), plays a large part in Strindberg’s literary universe as well as in his life. The archipelago is ubiquitous in his oeuvre; it occurs in prose as well as in poetry and in drama, and it characterizes both fiction, autobiography and non-fiction (essays, letters and diaries). It can sometimes provide the setting to whole works, but in a series of other works it can be included as one of the settings, or even be mentioned peripherally. -
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. -
Strindberg.Pdf
AUGUST STRINDBERG ”Så har jag nu från ateismen fallit ner i den fullständigaste vidskepelse” - Strindbergs relation till makterna och Ockulta dagboken, till och med tidsperioden för handlingen i Inferno och Legender. Av: Bo-Eric Hellman Handledare: Nils Eriksson B-uppsats vt 2002 Institutionen för Idé- och lärdomshistoria Göteborgs universitet INNEHÅLLSFÖRTECKNING INLEDNING 3 1. Livet före 21/2 1896: ”Skaldejuvret” lämnar plats åt naturvetenskapen 5 1.1 ”Är icke Tyskland ett sämre Sverige?” 6 1.2 Zum Schwarzen Ferkel 7 2. Antibarbarus 7 2.1 Släkten, Swedenborg och Buddha 8 2.2 Strindberg, alkemisten och Frankrike 9 2.3 ”…min ockulte Vän” 9 3. Inferno 10 3.1 Vägen till Orfila 12 4. Ockulta dagboken 12 4.1 Ockultismens Zola 15 4.2 Swedenborg som handledare 15 4.3 Hem till Helfvetet 17 4.4 Återkomsten till Paris och tillkomsten av Legender 18 4.5 Nemesis Divina 18 SLUTSATSER 19 KÄLL- OCH LITTERATURFÖRTECKNING 20 2 Inledning August Strindberg (1849-1912) är, internationellt sett, kanske den mest berömde och främste svenska författaren genom tiderna. Även idéhistoriskt sett är Strindberg en guldgruva då han på väg mot sekelskiftet utvecklade ett starkt intresse för naturvetenskap, mystik och religion. Det är kring dessa ämnen jag valt att fokusera min uppsats. Strindberg har kännetecknats som trendmedveten och ivrigt strävande efter att framstå som upphovsman till nya svängningar inom litteraturen och har gått igenom flertalet faser av olika sorters inspiration, men syftet med denna uppsats är inte att analysera Strindberg som författare utan som idéförvaltare. Speciellt händelserik blev den kris Strindberg upplevde på 1890-talet då intrycken från religiösa verk blev betydande och samröret med ockulta sällskap blev frekvent. -
Strindberg on International Stages/ Strindberg in Translation
Strindberg on International Stages/ Strindberg in Translation Strindberg on International Stages/ Strindberg in Translation Edited by Roland Lysell Strindberg on International Stages/Strindberg in Translation, Edited by Roland Lysell This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Roland Lysell and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5440-9, ISBN (13): 978-1-4438-5440-5 CONTENTS Contributors ............................................................................................... vii Introduction ................................................................................................. 1 Section I The Theatrical Ideas of August Strindberg Reflected in His Plays ........... 11 Katerina Petrovska–Kuzmanova Stockholm University Strindberg Corpus: Content and Possibilities ........ 21 Kristina Nilsson Björkenstam, Sofia Gustafsson-Vapková and Mats Wirén The Legacy of Strindberg Translations: Le Plaidoyer d'un fou as a Case in Point ....................................................................................... 41 Alexander Künzli and Gunnel Engwall Metatheatrical -
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. -
Indras Dotter – Född Ur En Rysk Dröm1 Om Strindbergs Skuld Till Tjernysjevskij Av Mariusz Kalinowski
Indras Dotter – född ur en rysk dröm1 Om Strindbergs skuld till Tjernysjevskij Av Mariusz Kalinowski Sanningen är alltid oförsynt. (A. Strindberg, Mäster Olof, 1872) Tar jag något sceneri och rekvisita, kanske en scen ur en tarvlig, tämligen okänd historisk roman, så är dramat fortfarande mitt, ty romanförfattarens arbete var icke konstnärligt utarbetat. Men tar jag till exempel Ivanhoe och Rebecka utan att nämna Walter Scotts namn, då är jag inne på andras jaktmark. (A. Strindberg, Ur-tjuva, 1910) År 2008 presenterade jag i Gdańsk texten Fröken Julie – designed in Russia!2, där jag visar att den centrala scenen i Strindbergs drama (navet i dess omtalade ”fina symmetri”), namnen Julie och Jean samt huvuddragen i fröken Julies gestalt är lånade från den ryske författaren Nikolaj Tjernysjevskijs roman Vad bör göras?. Fröken Julie visar sig ha en rysk förlaga: en demimond från Petersburg. Då jag skrev texten trodde jag mig vara ensam om att ha uppmärksammat Tjernysjevskijs betydelse för Strindbergs dramatik. Nu kan jag modifiera uppfattningen i fråga. År 1975 skrev den ryske forskaren Sjarypkin: ”Porträtten av »gamla människor« i romanen Vad bör göras? har i viss mån blivit till litterära prototyper för hjältarna i Strindbergs »naturalistiska« dramer. Personagerna i Fröken Julie (1888), Julie själv och hennes älskare Jean, har inte bara getts samma namn som »de gamla människorna« hos Tjernysjevskij – Jean Solovtsov och fransyskan Julie – utan också liknande karaktärsdrag och liknande syn på livet; de har samma intressen och uppvisar 1 samma stereotypa beteenden.” Osv. Likheterna, skriver Sjarypkin, är ”knappast slumpartade”.3 Tjernysjevskijs inflytande på Strindberg slutar dock inte i och med svenskens ”naturalistiska” period. -
Proceedings First Annual Palo Alto Conference
PROCEEDINGS OF THE FIRST ANNUAL PALO ALTO CONFERENCE An International Conference on the Mexican-American War and its Causes and Consequences with Participants from Mexico and the United States. Brownsville, Texas, May 6-9, 1993 Palo Alto Battlefield National Historic Site Southwest Region National Park Service I Cover Illustration: "Plan of the Country to the North East of the City of Matamoros, 1846" in Albert I C. Ramsey, trans., The Other Side: Or, Notes for the History of the War Between Mexico and the I United States (New York: John Wiley, 1850). 1i L9 37 PROCEEDINGS OF THE FIRST ANNUAL PALO ALTO CONFERENCE Edited by Aaron P. Mahr Yafiez National Park Service Palo Alto Battlefield National Historic Site P.O. Box 1832 Brownsville, Texas 78522 United States Department of the Interior 1994 In order to meet the challenges of the future, human understanding, cooperation, and respect must transcend aggression. We cannot learn from the future, we can only learn from the past and the present. I feel the proceedings of this conference illustrate that a step has been taken in the right direction. John E. Cook Regional Director Southwest Region National Park Service TABLE OF CONTENTS Introduction. A.N. Zavaleta vii General Mariano Arista at the Battle of Palo Alto, Texas, 1846: Military Realist or Failure? Joseph P. Sanchez 1 A Fanatical Patriot With Good Intentions: Reflections on the Activities of Valentin GOmez Farfas During the Mexican-American War. Pedro Santoni 19 El contexto mexicano: angulo desconocido de la guerra. Josefina Zoraida Vazquez 29 Could the Mexican-American War Have Been Avoided? Miguel Soto 35 Confederate Imperial Designs on Northwestern Mexico. -
Technologies of the Self: a Seminar with Michel Foucault
Technologies OF THE Self A SEMINAR WITH MICHEL FOUCAULT EDITED BY LUTHER H. MARTIN HUCK GUTMAN PATRICK H. HUTTON TAVISTOCK PU!lLICATIONS LI CONTENTS Introduction Truth, Power, Self: An Interview with Michel Foucault 9 RUX MARTIN Technologies of the Self I 6 MICHEL FOUCAULT Technologies of the Self and Self-knowledge in the Syrian Copyright © 1988 by The University of Massachusetts Press Thomas Tradition 50 All rights reserved LUTHER IL MARTIN Published in 1988 in Great Britain by Tavistock Publications 4 Theaters of Humility and Suspicion: Desert Saints and New Ltd, 11 New Fetter Lane, London, EC4P 4i:i: England Puritans 64 ISBN O 422 62570 1 WILLIAM E. PADEN Printed in the United States of America Hamlet's "Glass of Fashion": Power, Self, and the Reformation LC 87-10756 So KENNETH S. ROTHWELL ISBN 0-87023-592-3 (cloth); 593-1 (paper) 6 Rousseau's Confessions: A Technology of the Self Designed by Barbara Wcrdcn 99 HUCK GUTMAN Set in Linotron Janson at Rainsford Type 7 u , I2 I Printed by Cushing-Malloy and bound by John Dekker & Sons Fouca lt Freud, and the Technologies of the Self PATRICK H. HUTTON Library of Congress Cataloging-in-Publication Data 8 The Political Technology of Individuals 145 Technologies of the self. MICHEL FOUCAULT 1. Self (Philosophy) 2. Foucault, Michel Afterword I63 Contributions in concept of the self. I. Foucault, Contributors I 65 Michel. II. Martin, Luther H., 1937- III. l.utman, Huck, 1943- IV. Hutton, Patrick H. Rn450.T39 126 ISBN 0-87023-592-3 (alk. paper) ISBN 0-87023-593-1 (pbk.: alk. -
Mikael Van Reis
Egil Törnqvist The “new technique” in Strindberg’s Kristina n his influential book Theorie des modernen Dramas (1880-1950), Peter Szondi argues that the drama from Ibsen onwards has I replaced essentially dramatic qualities with epic ones. For each dramatist discussed Szondi focuses on one epic aspect, for Ibsen the tendency to position the most dramatic events in the past rather than in the present, for Strindberg the inclination to subjectify the drama by making the central character subsume the ones surrounding him or her, the tendency to create what the Germans refer to as Ich-Drama. Szondi does not discuss the way dramatists in the period concerned have handled stage and acting directions. This is surprising, since it is in this area that we could find some of the most obvious examples of the epification of drama that concerns him. The trend is apparent already with Ibsen, where it culminates in Hedda Gabler (1890). It is much more prominent in Strindberg’s historical drama Kristina which actually has much in common with Ibsen’s drama.1 Strindberg’s Kristina has hitherto been discussed primarily from a biographical and genetic point of view. By contrast, my focus is less 1 Barbro Ståhle Sjönell, Review of Ola Kindstedt, Strindbergs Kristina, in Samlaren, 1990, p. 122. © TijdSchrift voor Skandinavistiek vol. 25 (2004), nr. 1 [ISSN: 0168-2148] 4 TijdSchrift voor Skandinavistiek on the writer-producer of the play and more on the potential consumer of it, especially the recreators of it: the actors, and the spectators. But primarily I am concerned with the need for both factual and terminological distinctions within the field of drama analysis, Strindberg’s Kristina serving as a paragon.