Robinson Studies in Strindberg
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17 by Francis Mallett and Simon Obert on 20 June 1962 Johanna
Beiträge A Case of Mistaken Identity? The Jalowetz Portrait by Richard Gerstl by Francis Mallett and Simon Obert On 20 June 1962 Johanna Jalowetz, the widow of the conductor and Schoenberg pupil Heinrich Jalowetz (d. 1946), wrote a letter to the art historian Otto Breicha. In those years Breicha was conducting research into the painter Richard Gerstl, in particular gathering information for a cata- logue of his works. In this connection he turned to Johanna Jalowetz, knowing that she owned “a painting by the artist.”1 Johanna Jalowetz re- sponded to his questions by noting that she possessed a Gerstl self-portrait, a “pointillist drawing” in ink on paper that probably “dates from the year 1906/7.” It bore, she continued, an “extraordinary resemblance” to the artist and was “a gift from him.”2 But she then added a paragraph whose contents can only have taken Breicha by surprise: At the same time, Gerstl painted to order a life-size three-quarter-length oil portrait of my husband in a pointillist technique. When we moved away from Vienna we left the said portrait for safekeeping with a relative, Alois Kurzweil. Our many changes of residence (at that time an opera conductor’s lot) made it impossible for us to look after the painting. And by the time we became more settled, after the First World War, we had lost all contact with and trace of Alois Kurzweil.3 1 Otto Breicha, letter of 4 June 1962 to Johanna Jalowetz, carbon copy in the Otto Breicha Archive, Leopold Museum, Vienna. We wish to thank Dominik Papst of the Leopold Museum for making available to us this and the following letter (see note 3). -
Dream and Life in Metamorphosis by Beijing Opera
International Journal of Humanities and Social Sciences (IJHSS) ISSN(P): 2319-393X; ISSN(E): 2319-3948 Vol. 4, Issue 3, Apr - May 2015, 9-14 © IASET DREAM AND LIFE IN METAMORPHOSIS BY BEIJING OPERA IRIS HSIN-CHUN TUAN Associate Professor, National Chiao Tung University, Hsinchu City, Taiwan ABSTRACT Theatre has historically served as a space of dreaming, a place of escape or a retreat, a reflection of reality, and simulacra of existence. From Strindberg ( The Dream Play ), to Chuang-Tze (who has building his nice dream in jail to die one night before to escape from beheading ordered by the bad emperor the next morning), to Shakespeare ( AMidsummer Night’s Dream ), to Calderón ( Life is a Dream ), to Wu Hsing-Kuo( Metamorphosis ) to any of hundreds more, playwrights and directors have used the stage to make the ethereal, metaphysical and philosophical visible. Wu, Artistic Director and Lead Actor of The Contemporary Legend Theatre , theatrically adapts Franz Kafka’s short fiction Die Verwanglung (The Metamorphosis ) in which the protagonist wakes up from his dream to find out in shock that he becomes a big insect, and represents this story viare the atricalization. Wu’s solo performance (in which he plays multiple roles) in the Edinburgh International Festival in summer 2013 received considerable critical acclaims, reviews and TV interviews. In Metamorphosis (National Theater, Taipei, Dec. 2013), Wustages this whole story about the metamorphosed big insect by spectacular costume, performing in Beijing Opera, to manifest the metaphysical existential pain and meaning of life. As Wu’s highly praised Kingdom of Desire (adapted from Macbeth ) and Lear Is Here (adapted from King Lear ), we look forward to how Wu’s new work Metamorphosis represents the desert if no compassion. -
A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino
Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi. -
Howwas Ibsen's Modern Drama Possible?
Journal of World Literature 1 (2016) 449–465 brill.com/jwl How Was Ibsen’s Modern Drama Possible? Narve Fulsås University of Tromsø—The Arctic University of Norway [email protected] Tore Rem University of Oslo [email protected] Abstract One of the major renewals in the history of drama is Henrik Ibsen’s “modern tragedy” of the 1880s and 1890s. Since Ibsen’s own time, this renewal has been seen as an achievement accomplished in spite, rather than because, of Ibsen’s Norwegian and Scandinavian contexts of origin. His origins have consistently been associated with provinciality, backwardness and restrictions to be overcome, and his European “exile” has been seen as the great liberating turning point of his career. We will, on the contrary, argue that throughout his career Ibsen belonged to Scandinavian literature and that his trajectory was fundamentally conditioned and shaped by what happened in the intersection between literature, culture and politics in Scandinavia. In particular, we highlight the continued association and closeness between literature and theatre, the contested language issue in Norway, the superimposition of literary and political cleavages and dynamics as well as the transitory stage of copyright. Keywords Ibsen – tragedy – printed drama – The Modern Breakthrough – Georg Brandes – national literature – copyright On several occasions, Franco Moretti has highlighted the reverse relation between the geography of the novel and the geography of “modern tragedy.” Ibsen, whom he holds to be the key figure in this respect, is seen as belonging “to a Scandinavian culture which had been virtually untouched by the novel,” © koninklijke brill nv, leiden, 2016 | doi: 10.1163/24056480-00104003 Downloaded from Brill.com09/26/2021 08:35:18AM via free access 450 fulsås and rem and as causing the most heated controversies exactly in the “great powers” of novelistic production, France and England (Moretti “Moment” 39). -
"Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
"Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period. -
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. -
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. -
Museums in Stockholm
Museums in Stockholm PHOTO: OLA ERICSON FOR THE LATEST UPDATES ON STOCKHOLM, VISIT THE OFFICIAL WEBSITE VISITSTOCKHOLM.COM Museums in Stockholm BERGIANSKA TRÄDGÅRDEN BERGIUS BOTANIC GARDEN Discover Stockholm´s museums with their world-class collections, pioneering exhibitions and extraordinary historical objects. Botanical garden beautifully situated at Lake Brunnsviken. A paradise for plant enthusiasts with thousands of trees, shrubs and herbs from around the world. Exotic, heat-loving plants thrive in the Victoria House and Edvard Anderson Conservatory. AQUARIA VATTENMUSEUM Café, shop and restaurant. AQUARIA WATER MUSEUM Opening hours: The Park daily. Edvard Anderson Conservatory: Oct-Mar Mon- Fri 11am- 4pm, Sat- Sun Falkenbergsgatan 2. Djurgården 11am-5pm Apr-Sep daily 11am- 5pm. www.aquaria.se The Victoria House: May-Sep Mon- Fri 11am- 4pm, Sat-Sun 11am-5pm. ARKITEKTURMUSEUM Metro station: Universitetet, Bus:40 MUSEUM OF ARCHITECTURE Bergianska trädgården All you need to know about Swedish architecture and construction from +46 (0) 8 545 91 700 the 19th century until today. Exhibitions featuring drawings, models, design www.bergianska.se and examples of sustainable urban development. Take a tour and participate in creative activities for children on Sundays. Library, BIOLOGISKA MUSEET collections, book store and café. BIOLOGICAL MUSEUM Opening hours: Tues 10am- 8pm, Wed-Sun Lejonslätten, Djurgården 10am-6pm. www.biologiskamuseet.com Metro station: Kungsträdgården Bus: 2, 55, 62, 65, 76 Skeppsholmen BONNIERS KONSTHALL +46 (0) 8 587 270 00 BONNIERS CONTEMPORARY ART www.arkitekturmuseet.se Torsgatan 19. Norrmalm ARMÉMUSEUM www.bonnierskonsthall.se ARMY MUSEUM CARL ELDHS ATELJÉMUSEUM Riddargatan 13. Östermalm CARL ELDH’S STUDIO MUSEUM www.armemuseum.se Lögebodavägen 10. -
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.