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  1. Strindberg and Food
  3. Reproducing nature – The photogram as second nature
  4. Read Strindberg And The Five Senses Studies In Strindbergs Chamber Plays 2001
Barry C Smith: We Have Far More Than Five Senses

A house has burned down leaving exposed a morass of family secrets. Where did the fire start? The cook is someone we never meet, yet there is a certain aura of suspicion about her. She has had a fight with the Stonecutter and is considered a dragon who haggles about vegetables, thus, no doubt, annoying the Gardener. Vesterlund, the innkeeper. It is suggested that the student might be having an affair with the cook, making her someone who supplies both food and sex, those physical needs. Almost everyone has some connection to this mysterious cook, whose closet is the source of the revealing fire.

All of the characters in the play are linked by blood or by crimes.

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In these first two Chamber Plays, food and food preparers play a minor, yet significant role. The student asks the cogent question of why the family still employs the cook. The Young Lady is quite literally wasting away, sick at the source of life. The entrance of the cook is the moment that makes the Student abandon his hopes and dreams of living a pleasant life in the house.

Strindberg and Food

This lack of food or nourishment is a sign of spiritual bankruptcy. The ghost suppers regularly held in the house are hollow rituals, where tea and sweet cakes, without much nutritional value, are consumed and the conversation is just as impoverished. Director Hummel is certainly both a material and spiritual vampire. There has been a revolution of sorts here, since Bengtsson is now the servant, obligated to serve Hummel at dinner.

As the Colonel is unmasked by Hummel, he is also revealed to have been a servant who sponged in the kitchen, so this seems a weirdly common occupation. Those who gain power, start by robbing others of nourishment. He has murdered, cut off the source of life: food. Instead, it is the mother of the family herself who deprives her family of food. Margaret the cook has done what she could to shield the children of the family, but her efforts have not been enough.

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Margaret is the antithesis of the vampire cook in The Ghost Sonata , but Elise seems to take after the Hummel family of vampires. The title is darkly ironic, since Elise is anything but a self-sacrificing maternal role model. Elise, who is not-at-all undernourished, in fact, quite plump, has taken the best pieces of food for herself. Quite irrationally, she has purchased the poorest food at the highest prices.

She sends her children to school on only a roll and some coffee substitute. She too has learned the secret of soy food coloring, but adds to her concoctions cayenne pepper to deaden the palate and discourage the diner from eating. She is accused of serving spiced air. Gerda charges her mother with not preparing a grouse properly, so that it is overcooked and tastes only of air. And where is the gravy? Her goal is to have the Captain certified insane so that he loses his legal claim to their daughter.

Her method is psychological torment: Only she, not he, can know whether Bertha is his natural child. Made suspicious by her suggestion, the Captain becomes obsessed with the need to know, devising biological, experiential, and literary tests to affirm his paternity, only to be driven to madness by the impossibility of knowing. My own child! Yet the play—and she herself— question how conscious her manipulations have been. Allusions throughout the play to Omphale and to other women in classical literature suggest that for Strindberg, Laura represents a prototypical evil, a curiously innocent power that is uniquely and naturally feminine.

Laura achieves control less by design than by instinct.



In a letter to Friedrich Nietzsche , Strindberg reported the reaction to the production of his play: One woman died, another miscarried, and most of the audience ran from the theater, bellowing. The battle, however, is a social conflict as well, and, in a dramatic suicide-seduction scene, Julie regains her social honor, leaving Jean to tremble at the return of her father, the count.

Despite persistent climbing, however, he never arrives at the first branch, much less the top. When Jean was younger, he once found himself in a compromising position. Since that time, he has been symbolically cleansing himself of the dirt and excrement that characterize his servile status, hoping to become proprietor of a Swiss hotel and, eventually, a Rumanian count.

Reproducing nature – The photogram as second nature

She is on top of a pillar, longing to descend to the ground, but she does not have the courage to jump. Just as Julie had flaunted her superiority before the sexual act, Jean flaunts his now, ruthlessly abusing the younger woman by refusing to be tender and by calling her a whore.

Julie reappears in traveling clothes, a smudge of dirt on her face, her pet bird in hand. Asserting his masculine strength, Jean refuses to let Julie take the bird along, decapitating it as Julie expresses a brutal death wish for the entire male sex. Recovering from the fantasy that allowed her hope, she urges Jean to seduce her into killing herself.

Similarly, Miss Julie, as the dramatic representation of that theory, and as an emotionally and intellectually engaging play as well, has become an acknowledged masterpiece of world drama. Though seemingly random, spontaneous, and formless, the action of the play is carefully contrived to re-create the unconscious and reveal inner truth. A Dream Play has a cast of thirty-nine, as well as a sizable number of walk-on performers.

Its central character is the supernatural Daughter of Indra, who visits Earth both as an observer and as a participant. As emissary of her father, she is to report back to him on whether human complaint is justified; as a result of her sojourn, she concludes that humankind is to be pitied. Roses in hand, the officer awaits Miss Victoria, who never appears. In the alley, there is a locked door with a cloverleaf cutout that presumably shields the mysteries of life, but a court order is needed to open it.

The office is transformed into a church, where a commencement ceremony, presided over by four deans of the faculties, is in progress. When the lawyer steps forward to receive his laurels, he receives only a crown of thorns. Locock, and C. Locock and Joan Bulman. Historiska miniatyrer. Tjanstekvinnans son. En bla bok.

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Oppna brev till Intima Teatern. Brev till Harriet Bosse. Ur ockulta dagboken, edited by Torsten Eklund. Bjurstrom, translated by Mary Sandbach, Letters , edited and translated by Michael Robinson. His international reputation, however, undoubtedly rests upon his plays. This is certainly not the case with the two sets of plays that Strindberg wrote with his sights already trained on the theatres of France and Germany, two countries where, after his attack on Swedish society in the satirical pamphlet Det nya riket [The New Kingdom] in , and his trial for blasphemy arising from the collection of stories Giftas Getting Married in , he was to spend several important years of his life.

Read Strindberg And The Five Senses Studies In Strindbergs Chamber Plays 2001

In Till Damaskus To Damascus , a sequence of three plays in which Strindberg projected his inner life through the figure of his protagonist, The Unknown, the picture-frame stage of the naturalists, with its abundance of realistic detail, gives way to the interior stage of the mind, a landscape through which The Unknown journeys as he delves into the past and encounters characters who are either aspects of his own personality or the product of his anxious imagination.

In Ett dromspel A Dream Play , meanwhile, which is generally regarded as. Nevertheless, A Dream Play initiated a succession of metatheatrical plays and marks the transition from a drama centred on plot and character to a theme-centred drama. Between and he spent much time on scientific studies which, in accord with the spirit of fin de siecle Paris where he lived for long periods, gravitated towards alchemy and magic.

Behind his apparently aimless experiments, however, lay the need to renew himself by the discovery of fresh ways of seeing and apprehending both the visible and invisible world.