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Titles By August Strindberg
* Beautifully illustrated with images relating to Strindberg’s life and works
* Concise introductions to the major plays and other texts
* 29 plays, with individual contents tables
* Features rare plays appearing for the first time in digital publishing, including ‘Mother Love’ and ‘The Saga of the Folkungs’
* Early twentieth century translations by Warner Oland, Edwin Björkman, Claud Field, Ellie Schleussner and more (too many to list in this description; each translator’s name appears at the beginning of each work)
* Excellent formatting of the texts
* 6 novels by Strindberg
* A wide selection of short story collections
* Special chronological and alphabetical contents tables for the short stories
* Easily locate the short stories you want to read
* Selection of Strindberg’s non-fiction
* Special criticism section, with 4 essays evaluating Strindberg’s contribution to literature
* Features a bonus biography - discover Strindberg’s literary life
* Scholarly ordering of texts into chronological order and literary genres
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Debit and Credit
The First Warning
The Road to Damascus
There are Crimes and Crimes
The Saga of the Folkungs
The Dance of Death
The Bridal Crown
The Dream Play
After the Fire
The Red Room
The Son of a Servant
The Confession of a Fool
On the Seaboard
The Growth of a Soul
The Short Story Collections
Fair Haven and Foul Strand
The German Lieutenant and Other Stories
In Midsummer Days and Other Tales
The Short Stories
List of Short Stories in Chronological Order
List of Short Stories in Alphabetical Order
Zones of the Spirit
Legends: Autobiographical Sketches
August Strindberg by James Huneker
The Eccentricity of August Strindberg by Otto Heller
August Strindberg by Horace Barnett Samuel
The Madness of Strindberg by Robert Lynd
August Strindberg: The Spirit of Revolt by L. Lind-af-Hageby
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`Ibsen can sit serenely in his Doll's House,' Sean O'Casey remarked, `while Strindberg is battling with his heaven and his hell.'
Strindberg was one of the most extreme, and ultimately the most influential theatrical innovators of the late nineteenth century. The five plays translated here are those on which Strindberg's international reputation as a dramatist principally rests and this edition embraces his crucial transition from Naturalism to Modernism, from his two finest achievements as a psychological realist, The Father and Miss Julie, to the three plays in which he redefined the possibilities of European drama
following his return to the theatre in 1898. Michael Robinson's highly performable translations are based on the authoritative texts of the new edition of Strindberg's collected works in Sweden and include the Preface to Miss Julie, Strindberg's manifesto of theatrical naturalism.
Introduction Textual Note Bibliography Chronology Explanatory Notes
ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This collection brings together the best Scandinavian holiday stories, including classics by Hans Christian Andersen of Denmark; Nobel Prize winner Selma Lagerlöf, August Strindberg and Hjalmar Söderberg of Sweden; as well as the popular contemporary Norwegian author Karl Ove Knausgaard. These Nordic tales—coming from the very region where so much of traditional Christmas imagery originates—convey a festive and contemplative spirit laden with lingonberries, elks, gnomes, Sami trolls, candles, church spires, gingerbread, and aquavit in abundance. These unexpected literary gifts are sure to provide plenty of pleasure and hygge, that specifically Scandinavian blend of coziness and contentment.
Caryl Churchill's spare and resonant version of Strindberg's enigmatic masterpiece.
Written in 1901, a mysterious amalgam of Freud, Alice in Wonderland and Strindberg's own private symbolism, A Dream Play follows the logic of a dream:
A young woman comes from another world to see if life is really as difficult as people make it out to be. Characters merge into each other, locations change in an instant and a locked door becomes an obsessive recurrent image. As Strindberg wrote in his preface, he wanted 'to imitate the disjointed yet seemingly logical shape of a dream. Everything can happen, everything is possible and probable. Time and place do not exist.'
From a literal translation by Charlotte Barslund. Introduction by Caryl Churchill.
'elegant yet funereal and, like dreams, paradoxically serene and fraught'- Independent on Sunday
'100 minutes of disconcerting theatrical brilliance... spellbinding'- Daily Telegraph
A funny, satirical look at 19th century bourgeois attitudes, "The Red Room" presents a loosely-connected group of counter-cultural artistic types and has them confront their counter-cultural and progressive ideals with those of conservative, mainstream society. Most of them are poor (well, poor bourgeois types), making ends meet by pawning each other’s possessions and taking on hack work that’s beneath their dignity. Their goal is to be recognised as master-level artists by the stodgy mainstream, without having to give up their anti-mainstream ideals.
Strindberg wrote funny observations of people and attitudes, and the situations he throws at his characters are frequently entertainingly absurd.
Het is bijzonder verheugend dat naast het prozawerk van de Zweedse schrijver August Strindberg nu een deel van zijn dramatisch oeuvre, gedeeltelijk voor het eerst in vertaling is verschenen. Het betreft tien eenacters, ontstaan tussen 1888 en 1892, waaronder het beroemde stuk "Freule Julie". Ze werden in het seizoen 1984/85 met groot succes ten tonele gebracht door de theatergroep Persona. De uitgave wordt voorafgegaan door een uitstekende algemene inleiding over leven en werken van Strindberg (10 blz.) en over de eenacters zelf (ruim 6 blz.). Het theaterhistorisch zeer belangrijke voorwoord bij "Freule Julie" van 1888 is tevens opgenomen. In de vertalingen zijn de nieuwste tekstgegevens verwerkt uit de verzamelde werken die in Zweden bezig zijn te verschijnen. Op een na zijn de vertalingen van Karst Woudstra. De uitgave is nogal slordig gecorrigeerd. Deze bundel mag in geen bibliotheek ontbreken.
A CHRONOLOGICAL LIST OF AUGUST STRINDBERG'S MAIN WORKS
THE DREAM PLAY
THE DANCE of DEATH, PART I
THE DANCE of DEATH, PART II
Boken handlar om Arvid Falk. Arvid strävar efter frihet och sanning - pengar och ära kommer i andra hand. Hans äldre och dominerande bror som däremot strävar efter motsatsen blir mycket arg och skamsen när Arvid påstås ha skickat in en avslöjande artikel till en tidning. Han hävdar att denna handling smutsar ner familjenamnet. Arvid tar sedan olika jobb, bland annat hos förläggaren Smith - som ber honom skriva en reklamartikel, vilken ska få folk att köpa sjöförsäkringar. Arvid tycker inte om hyckleri, och tackar därför nej till jobbet, trots att han behöver pengarna. Boken handlar mycket om detta - att samhället inte är idealiskt, och att det ibland bara är olönsamt att försöka vara hederlig. Arvid blir dock till slut en känd diktare och författare, men inser att vad han till början trodde var idealistiskt, kanske inte alltid är idealistiskt.
Miss Julie (Swedish: Fröken Julie) is a naturalistic play written in 1888 by August Strindberg dealing with class, love, lust, the battle of the sexes, and the interaction among them. Set on a midsummer night of 1874, on the estate of a Count in Sweden, the young woman of the title, attempting to escape an existence cramped by social mores and have a little fun, dances at the servants' annual midsummer party, where she is drawn to a senior servant, a footman named Jean, who is particularly well-traveled, well-mannered and well-read. The action takes place in the kitchen of Miss Julie's father's manor; here Jean's fiancée, a servant named Christine, cooks and sometimes sleeps while Jean and Miss Julie talk.
The plot is primarily concerned with power in its various forms. Miss Julie has power over Jean because she is upper-class. Jean has power over Miss Julie because he is male and uninhibited by aristocratic values. The count, Miss Julie's father (an unseen character), has power over both of them since he is a nobleman, an employer, and a father.
On this night, behavior between Miss Julie and Jean which was previously a flirtatious contest for power rapidly escalates to a love relationship—or is it just lust?—that is fully consummated. Over the course of the play, Miss Julie and Jean battle for control, which swings back and forth between them until Jean convinces her that the only way to escape her predicament is to commit suicide.
Creditors (Swedish: Fordringsägare) is a naturalistic tragicomedy. It was written in Swedish during August and September 1888 in Denmark. It was first published in Danish in February 1889 and appeared in Swedish in 1890. It premièred at the Dagmar Theatre in Copenhagen in March 1889. It is seen as one of Strindberg's most powerful plays. Strindberg himself, writing in 1892, described it as his "most mature work."
The depressed Adolf is visited by his new friend Gustav. Adolf consults with him on what to do about his wife Tekla, who toys with him all the time. He suspects her of infidelity, the way she runs about at night. What he doesn't know is that Gustav once was married to Tekla and now has come, like a creditor, to take her back. Gustav intends this to happen by making Adolf understand that he must leave Tekla.
August Strindberg (22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.
In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.
The republication of The Confession of a Fool represents the last link in the chain of Strindberg's autobiographical novels. A German version of the book was published as far back as 1893, but it was mutilated, abbreviated, corrupted, and falsified to such an extent that the attorney-general, misled by the revolting language, blamed the author for the misdeeds of the translator and prohibited the sale of the book. This was a splendid advertisement for this profound work, but there were many who would have rejoiced if the translation had been completely ignored. It distorted Strindberg's character and was the cause of many prejudices which exist to this day.
Schering's new translation is an attempt to make reparation for this crime. "It is impossible," he says, "that any attorney-general can now doubt the high morality of this book." Strindberg himself has called it a terrible book, and has regretted that he ever wrote it. He has never published it in Swedish, his own language, because not only is it too personal in character, but it also revealed a still bleeding wound. It contains the relentless description of his first marriage, so superbly candid an account, that one is reminded of the last testament of a man for whom death has no longer any terror. We know from his fascinating novel Separated, how painful the burden was which he had to bear, and how terribly he suffered during the period of his first marriage. So much so, indeed, that he had to write this book before he could face the thought of death with composure. Doubtless, a man for whom life holds no longer any charm would give us a genuinely truthful account of his inner life, and there is no denying that a book which takes its entire matter from the inner life is of vastly greater importance and on an immeasurably higher level than a million novels, be they written ever so well. The great importance of The Confession of a Fool lies in the fact that it depicts the struggle of a highly intellectual man to free himself from the slavery of sexuality, and from a woman who is a typical representative of her sex.
Apart from this, it is an intense joy from an artistic point of view to follow the "confessor" through the book, as he looks at himself from all sides in order to gain self-knowledge; that he conceals nothing from us, not even those deep secrets which he would fain keep even in the face of death. One sees Strindberg brooding over his own soul to fathom its depths. He plumbs its hidden profoundnesses, he takes to pieces the inner wheels of his mechanism, so as to know for himself and to show us how he is made and what is the cause of the instinct which drives him to confess and to create. He opens wide his heart and lets us see that he carries in his breast his heaven and also his horrible hell. We see angels and devils fighting in his soul for supremacy, and the divine in him stepping between them with its creative Let there be!