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The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work.

Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty.

The theatre eventually went bankrupt in , but did not close until Strindberg's death in The newspapers wrote about the theatre until its death;. Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland.

During Christmas , Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer early signs of which had been felt in The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition.

He received many letters and telegrams from admirers across the country. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May.

According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am.


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The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60, people lined the streets. King Gustaf V sent a wreath for the bier. A multi-faceted author, Strindberg was often extreme.

His novel The Red Room made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Strindberg wanted to attain what he called "greater Naturalism. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe.

He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno —7 in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism.

Selected Plays, Volume II — University of Minnesota Press

Influenced by the history of the Paris Commune , during , young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion [] []. Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style — the military, the church , the monarchy , the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots — and he was not loyal to any party or ideology.

Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably.

Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society — in particular the upper classes, the cultural and political establishment, and his many personal and professional foes — he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. Strindberg, something of a polymath , was also a telegrapher , theosophist , painter, photographer and alchemist.

Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses.

Though Strindberg was friends with Edvard Munch and Paul Gauguin , and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis.

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Anders Zorn also did a portrait. His interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of Strindberg. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted;.

For me this means a great opportunity to demonstrate the real circumstances by means of my photographs made without a camera and lens, recording the firmament in early spring His interest in the occult in the 90s finds sympathy with the chance quality of these images, but for him they are also scientific. Alchemy , occultism , Swedenborgianism , and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious autobiographical work Inferno —a paranoid and confusing tale of his years in Paris, written in French—he claims to have successfully performed alchemical experiments and cast black magic spells on his daughter.

Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner — who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He was related to Nils Strindberg a son of one of August's cousins.

Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. It is now a museum.


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From Wikipedia, the free encyclopedia. For other uses, see Strindberg disambiguation. It is not to be confused with Black Banner. Playwright Novelist Essayist Poet Painter. Naturalism Expressionism. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: August Strindberg bibliography. Theatre portal Novels portal.

Adams, Ann-Charlotte Gavel, ed. Dictionary of Literary Biography. Detroit, MI: Gale. Carlson, Marvin. Expanded ed. Ithaca and London: Cornell University Press. Gunnarsson, Torsten. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. Innes, Christopher, ed.

Strindberg : Selected Plays and Prose

A Sourcebook on Naturalist Theatre. London and New York: Routledge. Lagercrantz, Olof. August Strindberg. Anselm Hollo. New York: Farrar Straus Giroux. Lane, Harry.