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1. August Strindberg, Letters to the Intimate Theatre, Tr. Walter Johnson (London, 1967) P

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1. August Strindberg, Letters to the Intimate Theatre, Tr. Walter Johnson (London, 1967) P Notes Chapter 1 Te:xtual, Aural, Audiovisual 1. August Strindberg, Letters to the Intimate Theatre, tr. Walter Johnson (London, 1967) p. 37. 2. Cf. Keir Elam's distinction between dramatic text ('that composed for the theatre') and performance text ('that produced in the theatre'): The Semiotics of Theatre and Drama (London, 1980) p. 3. Similarly, Erika Fischer-Lichte contrasts the literary text (literarische Text) with the theatrical text (theatralische Text): Semiotik des Theaters (Tiibingen, 1983) ill, 10-22. We may, in addition, distinguish between the performance text (the species) and the individual, factual perform­ ance. 3. Anne Ubersfeld, Lire Ie theatre (Paris, 1977) p. 8. 4. Ibid., p. 16. 5. Ibid. 6. Eric Bentley, The Life of the Drama (London, 1965) p. 148. 7. Julian Hilton, Performance (London, 1987) p. 6. 8. Cf. Wiebe Hogendoorn, Lezen en zien spelen: een studie over simultanefteit in het drama (Leiden, 1976); with a summary in French. 9. Peter Piitz, Die Zeit im Drama: zur Technik dramatischer Spannung (Gottingen, 1970) pp. 15-16. 10. a. Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca, NY, 1978) pp. 62-84. 11. Manfred Pfister, Das Drama (Munich, 1977) pp. 7~9. 12. A recent contribution is Egil Tornqvist and Barry Jacobs, Strindberg's 'Miss Julie': A Play and its Transpositions (Norwich, 1988). 13. Most studies of adaptations concern the transposition from prose work (usually novel) to teleplay (TV series) or film. Thus, of the twenty-three film adaptations analysed in Andrew S. Horton and Joan Magretta (eds), Modem European Filmmakers and the Art of Adaptation (New York, 1981), only two are based on plays. 14. Fischer-Lichte, Semiotik des Theaters, I, 82. 15. Elam, The Semiotics of Theatre and Drama, p. 15. 16. Roman Ingarden, Das Literarische Kunstwerk, 2nd edn (Tiibingen, 1960) p. 120. 17. Fischer-Lichte, Semiotik des Theaters, I, 28. 194 Notes 18. Patrice Pavis, Languages of the Stage: Essays in the Semiology of Theatre, tr. Susan Melrose et al. (New York, 1982) p. 141. 19. a. Tornqvist and Jacobs, Strindberg's 'Miss Julie', pp. 138-41. 20. For useful surveys of theatrical proxemics (shape of theatre and spatial organisation), see Elam, The Semiotics of Theatre and Drama, pp. 56-69; and Hilton, Performance, pp. 19-26. 21. Stanley Wells, Literature as Drama (London, 1970) p. 7. 22. Martin Esslin, Mediations: Essays on Brecht, Beckett and the Media (London, 1980) p. 177. 23. Ibid., p. 183. 24. William Ash, The Way to Write Radio Drama (London, 1985) p. 43. 25. John Fiske and John Hartley, Reading Television (London, 1978) p.109. 26. George W. Brandt (ed.), British Television Drama (Cambridge, 1981) p.27. 27. Werner and Rose Waldmann, Einfiihrung in die Analyse von Fernseh- spielen (Tiibingen, 1980) p. 110. 28. Brandt, British Television Drama, p. 8. 29. Jan Bussell, The Art of Television (London, 1952) p. 103. 30. Ibid., p. 105. 31. David Bordwell and Kristin Thompson, Film Art: An Introduction, 2nd edn (New York, 1986) pp. 147,387. 32. Sergei Eisenstein's Film Form (1949) and The Film Sense (1942), ed. and tr. Jay Leyda in the same volume (New York, 1957), penetratingly discuss problems related to these aspects of film-making. 33. S. A. Elghazali, Literatur als Fernsehspiel (Hamburg, 1966) p. 79. 34. Andre Bazin, What is Cinema?, tr. Hugh Gray (Berkeley, Calif., 1967) I, 102. 35. Peter Szondi, Theorie des modernen Dramas (1880-1950), 7th edn (Frankfurt, 1970). 36. Bazin, What is Cinema?, I, 99. 37. Th. Borup Jensen, Roman og drama bli'r tilfilm (Copenhagen, 1975) p.30. 38. Elam, The Semiotics of Theatre and Drama, p. 47. 39. Ibid., p. 46. 40. Paris, Language of the Stage, p. 126. 41. Ibid., p. 111. 42. Elam, The Semiotics of Theatre and Drama, pp. 184-207. For a less formal and detailed attempt at close-reading notation of a play­ opening (in this case of The Dance of Death), see Egil Tornqvist, Strindbergian Drama: Themes and Structure (Stockholm, 1982) pp.119-47. 43. Bordwell and Thompson, Film Art, p. 388. Notes 195 Chapter 2 Variations on the Audiovisual: Shakespeare's Macbeth (c. 1606) 1. William Shakespeare, Macbeth, Arden edn, ed. Kenneth Muir (London, 1986) p. xxxii. 2. John Russell Brown (ed.), Focus on 'Macbeth' (London, 1982) p. 243. 3. A. M. Nagler, Shakespeare's Stage (New Haven, Conn., 1958) p. 29. 4. Jack J. Jorgens, Shakespeare on Film (Bloomington, Ind., 1977) p. 171. 5. Quoted ibid. 6. Quoted from Muir's edition of Macbeth, p. 3. 7. Marvin Rosenberg, The Masks of Macbeth (Berkeley, Calif., 1978) p.21. 8. Ann Friden, 'Macbeth' in the Swedish Theatre 1838-1986 (Malmo, 1986) p. 190. 9. Ibid., p. 205. 10. Ibid., p. 204. 11. Gordon Williams, 'Macbeth': Text and Performance (London, 1985) pp.61-2. 12. Gareth Lloyd Evans, 'Macbeth: 194(r8() at Stratford-upon-Avon', in Brown, Focus on 'Macbeth', p. 107. 13. Jorgens, Shakespeare on Film, pp. 161-3. 14. Wolfgang Clemen, The Development of Shakespeare's Imagery (Cambridge, Mass., 1951) p. 101. 15. Rosenberg, The Masks of Macbeth, p. 315. 16. Muir (ed.), Macbeth, p. 91. 17. A. C. Bradley, Shakespearean Tragedy, 2nd edn (London, 1963) pp. 425--6. IS. Michael Mullin, 'Stage and Screen: The Trevor Nunn Macbeth', in Robert L. Erenstein (ed.), Theatre and Television (Amsterdam, 1988) p. lOS. 19. Roger Manvell, Shakespeare and the Film (London, 1971) p. 5S. 20. Rosenberg, The Masks of Macbeth, p. 64S. 21. Ibid., p. 647. 22. Ibid., p. 649. 23. Quoted from Brown, Focus on 'Macbeth', p. 232. 24. Marshall McLuhan, The Medium is the Message (London, 1967). 25. Mullin, in Erenstein, Theatre and Television, pp. 107, 110. Chapter 3 Representing the Source Text: Ibsen's Et DukkehjemlA DoU's House (1879) 1. Einar Haugen, Ibsen's Drama: Author to Audience (Minneapolis, 1979) p. 103. 2. Introduction to Henrik Ibsen, The Complete Major Prose Plays, tr. Rolf Fjelde (New York, 1965) p. xxxvi. 3. Henrik Ibsen, Samlede Verker, ed. Francis Bull et al. (Oslo, 1933) VIII,368. 196 Notes 4. Austin E. Quigley, The Modem Stage and Other Worlds (New York, 1985) p. 93. 5. Peter Reynolds, Drama: Text into Performance (Harmondsworth, 1986) p. 78. 6. Ibid., p. 79. 7. Frederick J. and Lise-Lone Marker, Ingmar Bergman: A Project for the Theatre (New York, 1983) p. 20. 8. Ibid., p. 19. 9. Bergman as quoted ibid., p. 3. 10. J. L. Styan, 'The Opening Moments of A Doll's House: For Perform­ ance and Analysis in Class', in Yvonne Shafer (ed.), Approaches to Teaching Ibsen's 'A Doll's House' (New York, 1985) p. 94. 11. John Northam, Ibsen's Dramatic Method (London, 1953) p. 19. 12. Quigley, The Modem Stage, pp. 99--100. 13. Henrik Ibsen, A Doll's House, tr. James W. McFarlane, in The Oxford Ibsen, v (London, 1961); Henrik Ibsen, A Doll's House and Other Plays, tr. Peter Watts (Harmondsworth, 1965). 14. Marker and Marker, Ingmar Bergman, p. 23. 15. Ibid., p. 49. 16. Quoted from Gunnar Hallingberg, Radio och TV-drainatik (Lund, 1973) p. 172. 17. Birgitta Steene, 'Film as Theater: Geissendorfer's The Wild Duck (1976) from the Play by Henrik Ibsen', in Horton and Magretta, Modern European Filmmakers, p. 297. 18. Foster Hirsch, Joseph Losey (Boston, Mass., 1980) p. 200. 19. Ibid., pp. 202-3. 20. Bazin, What is Cinema?, p. 90. 21. Quigley, The Modem Stage, p. 107. 22. Marker and Marker, Ingmar Bergman, p. 27. 23. Michael Meyer, Ibsen: A Biography (London, 1971) p. 454. 24. Quoted from Northam, Ibsen's Dramatic Method, p. 25. 25. Quigley, The Modem Stage, p. 91. 26. Ibid., p. 100. 27. Marker and Marker, Ingmar Bergman, p. 99. 28. Bergman as quoted ibid., pp. 12-13. 29. C. Braad Thomsen, 'Et Dukkehjem. R. W. Fassbinder: Nora Helmer', in UUa StrllSmberg and Jytte Wiingaard (eds), Den levende Ibsen: analyser af udvalgte Ibsen-forestillinger 1973-78 (Copenhagen, 1978) p.82. Chapter 4 Between Stage and Screen: Strindberg's Spij1csolllllenlThe Ghost Sonata (1907) 1. Ingmar Bergman as quoted in Egil Tornqvist, 'Ingmar Bergman Directs Strindberg's Ghost Sonata', Theatre Quarterly, m, no. 2 (1973) 3. 2. Strindberg, Letters to the Intimate Theatre, p. 19. Notes 197 3. Ibid. 4. August Falck, Fem ar med Strindberg (Stockholm, 1935) p. 53. 5. Sarah Bryant-Bertail, 'The Tower of Babel: Space and Movement in The Ghost Sonata', in Goran Stockenstrom (ed.), Strindberg's Dramaturgy (Minneapolis, 1988) p. 307. 6. Freddie Rokem, Theatrical Space in Ibsen, Chekhov and Strindberg: Public Forms of Privacy (Ann Arbor, Mich., 1986) pp. 66-8. 7. John Northam, 'Strindberg's Spook Sonata', in Carl Reinhold Smed­ mark (ed.), Essays on Strindberg (Stockholm, 1966) p. 41. 8. Ibid., pp. 41,48. 9. Arvid Paulson (tr.), in August Strindberg, Eight Expressionist Plays (New York, 1965) pp. viii, 463. 10. Elizabeth Sprigge's translation in Six Plays of Strindberg (Garden City, NY, 1955). 11. Evert Sprinchorn's translation in August Strindberg, The Chamber Plays (New York, 1962). 12. Paulson's translation in Strindberg, Eight Expressionist Plays. 13. Translation by Erik Palmstierna and James Bernard Fagan in August Strindberg, Easter and Other Plays (London, 1929). 14. Sprigge's translation and note in Six Plays of Strindberg. 15. Harry Carlson's version in August Strindberg, Five Plays (Berkeley, Calif., 1981). 16. Carl Richard Mueller's version in August Strindberg, The Ghost Sonata (San Francisco, 1966). 17. For an extensive discussion of problems related to the translation of The Ghost Sonata into English, see Tornqvist, Strindbergian Drama, pp.220-42. 18. Sprigge's translation in Six Plays of Strindberg. 19. Michael Meyer's translation in August Strindberg, Plays: One (London, 1964).
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