August Strindberg

August Strindberg is one of the founders of the modern theater. George Bernard Shaw considered him "the only genuinely Shakespearian modern dramatist," Sean O'Casey called him "the greatest of them all." And to Eugene O'Neill he was "the greatest interpreter in the theater of the characteristic spiritual conflicts of our lives today." Twelve Major Plays includes the most famous and most characteristic Strindberg plays. This selection is particularly interesting in its depiction of the great range of Strindberg's moods and styles, from naturalism to expressionism, from ironic comedy to bitter tragedy. It displays his great gift for symbolic, mystical verse as well as his command of dramatic prose. In issues of sex and gender, Strindberg anticipated the modern temperament in society and drama alike. These translations gave American readers their first opportunity to know the true genius of Strindberg. Most previous versions in English had been based on existing German translations. Elizabeth Sprigge's unique achievement was to render the original Swedish texts into English that is at once fluent and accurate and that captures the full vigor and impact of the original plays.

Zu Strindbergs Zeit gingen starke künstlerische Impulse von Skandinavien aus. Was in Norwegen von Personen wie Ibsen oder auch Munch getragen wurde und sich auf mehrere Schultern verteilte, schuf Strindberg auf der schwedischen der Seite zum großen Teil allein. Zahlreiche deutsche Künstler ließen sich inspirieren, bereisten den Norden und beherrschten skandinavische Sprachen. Die Originalfassung von August Strindberg ist in diesem Buch der deutschen Übertragung gegenübergestellt. Jeweils links befindet sich der originale schwedische Text und rechts die deutsche Übertragung. Dem Leser eröffnet sich somit die Möglichkeit, auf das zugrunde liegende schwedische Werk und die deutsche Übersetzung gleichzeitig zurückzugreifen. Da der Text nicht mit Kommentaren versehen ist, bietet die Gestaltung des Buches aber auch die Gelegenheit, jede Fassung jeweils nur für sich zu lesen. Mit dem vorliegenden Buch steht interessierten Lesern der originale Text von Strindberg und die deutsche Interpretation gleichzeitig zur Verfügung.

I boxen ingår följande titlar ut August Strindbergs produktion:Giftas, Inferno, En dåres försvarstal, Tjänstekvinnans son och Svarta fanor.

Zu Strindbergs Zeit gingen starke künstlerische Impulse von Skandinavien aus. Zahlreiche deutsche Künstler ließen sich inspirieren, bereisten den Norden und beherrschten skandinavische Sprachen. Die Originalfassung von August Strindberg ist in diesem Buch der deutschen Übertragung gegenübergestellt. Jeweils links befindet sich der originale schwedische Text und rechts die deutsche Übertragung. Dem Leser eröffnet sich somit die Möglichkeit, auf das zugrunde liegende schwedische Werk und die deutsche Übersetzung gleichzeitig zurückzugreifen. Da der Text nicht mit Kommentaren versehen ist, bietet die Gestaltung des Buches aber auch die Gelegenheit, jede Fassung jeweils nur für sich zu lesen. Mit dem vorliegenden Buch steht interessierten Lesern der originale Text von Strindberg und die deutsche Interpretation gleichzeitig zur Verfügung.

Zu Strindbergs Zeit gingen starke künstlerische Impulse von Skandinavien aus. Zahlreiche deutsche Künstler ließen sich inspirieren, bereisten den Norden und beherrschten skandinavische Sprachen. Von bekannten Autoren und Literaten liegen Übersetzungen skandinavischer Werke vor. Eine sehr gelungene Übertragung der Gespenstersonate stammt von Mathilde Mann. Der Text wurde bearbeitet und neu herausgegeben.

This exciting anthology of one-act plays includes classics such as Anton Chekhov's "The Boor" and John Millington Synge's "Riders to the Sea" as well as lesser-known gems such as Alice Gerstenberg's "Fourteen" and Percival Wilde's "The Sequel." Other plays in the collection include August Strindberg's "The Stronger," Moliere's "The Pretentious Young Ladies," Neith Boyce's "Enemies," Horace Holley's "The Genius," Susan Glaspell's "Trifles," and Ferenc Molnar's "A Matter of Husbands." Best of all, every play in this anthology is in the public domain and may, therefore, be performed without paying royalties, making this a great resource for theatres or schools with limited budgets.

Denne utviklingsromanen tar for seg et år i den unge dikteren Arvid Falks liv. Falk beveger seg i en serie tablåer som gir leseren et historisk bilde av Sverige omkring 1870. Som tidsbilde gir romanen interiører fra hjem og kro, forlag og parlament, teater- og bohemmiljø. Romanen er en satire over det borgerlige samfunn.

This is a fully edited translation of a series of essays by the great Swedish dramatist August Strindberg. The essays, edited and translated by Michael Robinson, have been selected for the light they shed, both directly and indirectly, on Strindberg's contribution to the European theatre, firstly in such masterpieces of psychological realism as The Father and Miss Julie, and subsequently in those works, including A Dream Play and The Ghost Sonata, with which he largely established a basis for theatrical modernism. Together with the accompanying notes and commentary, these essays on psychology, history, painting, natural history and alchemy as well as the theatre, help to clarify the multifaceted nature of Strindberg's project. Idiosyncratic and lively, they offer crucial insights into the intellectual history of the late nineteenth century, while their personal nature draws the reader into an intimate relationship with the writer and his wide range of interests.

As all the great dramatists since the Greek tragedians have known, class and gender roles continue to remain the two fundamental determinants of the social fabric of any culture--even one, like our own, in which the boundaries of those identities have become fluid, situational and transitory. David French's adaptation of August Strindberg's disturbing and enduring drama of the transgressive affair between the daughter of a count and the count's man-servant has an eerie feel of the contemporary about it. In this adaptation of Miss Julie, French has sharpened the psychodramas of the original--scenes of conflict, desire, anger, jealousy, coercion, manipulation, exploitation, arrogance, dominance, submission and deceit--and backgrounded the historical elements of the play which have made it a favourite "period-piece" of the repertory theatre circuit. His revisioning of Miss Julie foregrounds the ruptures of identity and faith that ambition and desire eternally work in their rending of social norms, strictures and conventions, and he has re-enacted them in a contemporary idiom and vernacular that virtually cries out for the casting-call of a Paris Hilton to play the lead role. As with his adaptation of Chekhov's The Seagull, David French, one of Canada's best-loved playwrights, has here once again paid homage to one of the enduring masters who have brought to the stage the most elemental and universal dramas of the human condition.

August Strindberg's gripping psychological drama about the battle of the sexes, in a version by Mike Poulton. Strindberg's play The Father is about a marriage wrecked by the parents' need to claim exclusive rights to their daughter's love, and to determine her future. By turns comic and deeply tragic, it shows an affable, scholarly father fall victim to a once loving wife who will stop at nothing to do what she thinks is right for her child. The only possible outcome is a grim, yet thrilling fight to the death in circumstances of almost unbearable tension. Written in 1887, The Father was first staged in Berlin in 1890. This English version by Mike Poulton was first staged at the Minerva Theatre, Chichester, in 2006.

Miss Julie (1888), written in a fortnight, was regarded by Strindberg as his masterpiece, 'the first naturalistic tragedy of the Swedish drama'. Shocking in subject-matter, revolutionary in technique, it was fiercely attacked on publication for immorality. On Midsummer Eve, Miss Julie, the daughter of a count, sleeps with her father's valet, Jean. The subsequent conflict between sexual passion and social position, which leads to her suicide, is presented with startling modernity. The play's premiere at Strindberg's experimental theatre in Denmark in 1889 was banned by the censor and its first public production three years later in Berlin aroused such protests that it was withdrawn after one performance. Miss Julie has since become one of Strindberg's most popular and frequently performed plays. Commentary and notes by David Thomas and Jo Taylor.