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Δεσποινίς Ζυλί - Η πιο δυνατή
Στα περισσότερα έργα του Στρίντμπεργκ οι γυναίκες είναι οι δήμιοι, όμως η Δεσποινίς Ζυλί η νεαρή κόρη του κόμη, γίνεται το θύμα του γοητευτικού υπηρέτη της Ζαν και το αντρικό φύλο δείχνει να παίρνει την εκδίκηση του.
Το σύντομο μονόπρακτο "Η πιο δυνατή" είναι ένας μονόλογος μιας παντρεμένης προς την αντίζηλο της κι ερωμένη του άντρα της, όπου περιγράφεται με οξυδέρκεια αυτή η αέναη πάλη του ανθρώπου, η ερωταπόκριση ανάμεσα στον εαυτό του "δικαστή" και στον εαυτό του "κατηγορούμενο".
Το σύντομο μονόπρακτο "Η πιο δυνατή" είναι ένας μονόλογος μιας παντρεμένης προς την αντίζηλο της κι ερωμένη του άντρα της, όπου περιγράφεται με οξυδέρκεια αυτή η αέναη πάλη του ανθρώπου, η ερωταπόκριση ανάμεσα στον εαυτό του "δικαστή" και στον εαυτό του "κατηγορούμενο".
104 pages, Paperback
First published January 1, 1977
2 people are currently reading
78 people want to read
About the author
August Strindberg
1,919 books773 followersJohan August Strindberg, a Swede, wrote psychological realism of noted novels and plays, including
Miss Julie
(1888) and
The Dance of Death
(1901).
Johan August Strindberg painted. He alongside Henrik Ibsen, Søren Kierkegaard, Selma Lagerlöf, Hans Christian Andersen, and Snorri Sturluson arguably most influenced of all famous Scandinavian authors. People know this father of modern theatre. His work falls into major literary movements of naturalism and expressionism. People widely read him internationally to this day.
https://en.wikipedia.org/wiki/August_...
Johan August Strindberg painted. He alongside Henrik Ibsen, Søren Kierkegaard, Selma Lagerlöf, Hans Christian Andersen, and Snorri Sturluson arguably most influenced of all famous Scandinavian authors. People know this father of modern theatre. His work falls into major literary movements of naturalism and expressionism. People widely read him internationally to this day.
https://en.wikipedia.org/wiki/August_...
Ratings & Reviews
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Displaying 1 - 10 of 10 reviews
April 12, 2009
I went on a tear on 2007 and read all of Henrik Ibsen and all of August Strindberg. Before I could get to all of Anton Pavlovich Chekhov, I had to turn back to writing, and I can't read while I write. Strindberg is wonderful. A bit more sarcastic than Ibsen and less tragedic. But both are great.
Though I'm not a big fan of Peer Gynt. Strindberg's parody of Peer Gynt, Lucky Per's Journey is a hoot. If you ever have a chance to see it performed, definitely go.
I haven't reviewed individual plays. Read them all, they're like popcorn.
This is my review for all of Strindberg.
Though I'm not a big fan of Peer Gynt. Strindberg's parody of Peer Gynt, Lucky Per's Journey is a hoot. If you ever have a chance to see it performed, definitely go.
I haven't reviewed individual plays. Read them all, they're like popcorn.
This is my review for all of Strindberg.
December 27, 2024
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Η ΔΕΣΠΟΙΝΙΣ ΤΖΟΥΛΙΑ είναι ένα δυνατο, τραγικό έργο, γραμμένο το 1888, που διαπραγματεύεται τη σχέση των τάξεων και των φύλων. Ο Στρίντμπεργκ επιλεγει το 'ασθενές φύλο να εκπροσωπεί την ανώτερη τάξη και το δυνατό (ο 'αντρας') να είναι υπηρέτης της, οδηγώντας την πλοκή στις αναπόφευκτες συγκρούσεις, και δημιουργώντας ένα βλάσφημο και αδυσώπητο έργο, που σύντομα (αλλά όχι απροσδόκητα) απαγορεύτηκε στην Σουηδία.
Βαθειά νατουραλιστικό, ένα έργο ορόσημο για την εποχή του, με μόλις τρεις χαρακτήρες επί σκηνής. Χωρίς περιττές σκηνες ή το πλήθος των χαρακτήρων και τα εντυπωσιακά σκηνικά, ο Στρίντμπεργκ δημιουργεί ένα μοναδικό θεατρικό δωματίου, στο οποίο οι συγκρούσεις και τα πάθη επικρατούν.
Η δεσποινίς Τζούλια είναι δυνατή ως αριστοκράτισσα αλλά με αδύναμο χαρακτήρα (ως γυναίκα), οφειλόμενο στη σχέση των γονιών της που την κατατρέχει. Έτσι διολισθαίνει σταδιακά, αγγίζοντας τα όρια της λεγόμενης "υστερίας", μια προφανώς έμφυλη μεροληψια, με ρίζες στο Μεσαίωνα, που συνήθως χαρακτήριζε γυναίκες με έντονη σεξουαλικότητα. Η ηρωίδα επιδιώκει την καταστροφή της, αλλά ως γυναίκα δε μπορεί να αναλάβει το βάρος αυτής της ευθύνης. Αυτή θα της την επιβάλει ο άντρας, στον οποίο οικειοθελώς υποτάσσεται, κιας μην είναι παρά ένας υπηρέτης της. Γιατί οι ταξικές διαφορες παραμένουν κατώτερες των έμφυλων διακρίσεων.
Ο Ζαν, υπηρέτης κι εραστής της Τζούλιας, καιροσκόπος και φιλόδοξος μεν, παραλύει όταν ακούει το καμπανάκι του αφέντη του. Στο τέλος, η εξουσία του πατριάρχη αριστοκράτη θα καθυποταξει και τους δύο.
Η ΔΕΣΠΟΙΝΙΣ ΤΖΟΥΛΙΑ είναι ένα δυνατο, τραγικό έργο, γραμμένο το 1888, που διαπραγματεύεται τη σχέση των τάξεων και των φύλων. Ο Στρίντμπεργκ επιλεγει το 'ασθενές φύλο να εκπροσωπεί την ανώτερη τάξη και το δυνατό (ο 'αντρας') να είναι υπηρέτης της, οδηγώντας την πλοκή στις αναπόφευκτες συγκρούσεις, και δημιουργώντας ένα βλάσφημο και αδυσώπητο έργο, που σύντομα (αλλά όχι απροσδόκητα) απαγορεύτηκε στην Σουηδία.
Βαθειά νατουραλιστικό, ένα έργο ορόσημο για την εποχή του, με μόλις τρεις χαρακτήρες επί σκηνής. Χωρίς περιττές σκηνες ή το πλήθος των χαρακτήρων και τα εντυπωσιακά σκηνικά, ο Στρίντμπεργκ δημιουργεί ένα μοναδικό θεατρικό δωματίου, στο οποίο οι συγκρούσεις και τα πάθη επικρατούν.
Η δεσποινίς Τζούλια είναι δυνατή ως αριστοκράτισσα αλλά με αδύναμο χαρακτήρα (ως γυναίκα), οφειλόμενο στη σχέση των γονιών της που την κατατρέχει. Έτσι διολισθαίνει σταδιακά, αγγίζοντας τα όρια της λεγόμενης "υστερίας", μια προφανώς έμφυλη μεροληψια, με ρίζες στο Μεσαίωνα, που συνήθως χαρακτήριζε γυναίκες με έντονη σεξουαλικότητα. Η ηρωίδα επιδιώκει την καταστροφή της, αλλά ως γυναίκα δε μπορεί να αναλάβει το βάρος αυτής της ευθύνης. Αυτή θα της την επιβάλει ο άντρας, στον οποίο οικειοθελώς υποτάσσεται, κιας μην είναι παρά ένας υπηρέτης της. Γιατί οι ταξικές διαφορες παραμένουν κατώτερες των έμφυλων διακρίσεων.
Ο Ζαν, υπηρέτης κι εραστής της Τζούλιας, καιροσκόπος και φιλόδοξος μεν, παραλύει όταν ακούει το καμπανάκι του αφέντη του. Στο τέλος, η εξουσία του πατριάρχη αριστοκράτη θα καθυποταξει και τους δύο.
June 10, 2024
"Your soul bored into mine like a worm into an apple, and ate and ate and burrowed and burrowed, till nothing was left but the skin and a little black mould" - Mrs. X, 'The Stronger'
'Miss Julie' deservedly remains a classic of psychological naturalism and Strindberg's misogynist views paradoxically become a social commentary on the way traditional gender dynamics cause a power imbalance that leads to women's suffering embodied in the tragic fate of Miss Julie.
'The Stronger' is probably a masterpiece in miniature form in its own right, though? It's interesting how one can also definitely notice the considerable influence it had on Ingmar Bergman's cinematic landmark 'Persona'.
'Miss Julie' deservedly remains a classic of psychological naturalism and Strindberg's misogynist views paradoxically become a social commentary on the way traditional gender dynamics cause a power imbalance that leads to women's suffering embodied in the tragic fate of Miss Julie.
'The Stronger' is probably a masterpiece in miniature form in its own right, though? It's interesting how one can also definitely notice the considerable influence it had on Ingmar Bergman's cinematic landmark 'Persona'.
August 12, 2014
My four-star rating implies that I “really liked” both of the plays in this volume, but that’s not quite true. It’s difficult to “like” Miss Julie, in the most common sense of the word. It is an ugly, depressing tale which paints an appalling picture of its title character. The question of August Strindberg’s misogyny – whether he genuinely hated women, or had a literary agenda behind his intensely anti-woman opinions – has been debated, but his depiction of the character of Miss Julie as a typically “hysterical” woman, with (in Strindberg’s words) a “weak and degenerate brain,” definitely seems to point towards the former theory. But Julie, the wild and thoughtless daughter of a titled landowner, isn’t the only example Strindberg gives us of an ugly character, nor is the playwright the only apparent misogynist at work in Miss Julie: Jean, the proud and sticky-fingered servant of Julie’s father, seduces Julie with falsehoods and a broken promise and mercenary motives, then treats her with cruelty and contempt. Meanwhile, Jean’s “intended” (named Kristin in this translation by Frank McGuinness, but more widely known as Christine) is pious but judgmental, and lacking in compassion. No character in this play is even remotely likable. And that is precisely what makes it an uncomfortably enjoyable read. Everyone’s behavior is so very atrocious that Miss Julie is fascinating in precisely the same manner as a train wreck, and because it exposes the brutality of power structures and of a human nature inclined towards hatred and passion.
The thematic strength of Miss Julie is hard to appreciate at first because the play puts forth ludicrously outdated explanations for Julie’s behavior – such as the influences of female hormones and of her mother’s belief in women’s emancipation and equality, which is portrayed as a misguided stance that leads Julie to treat her fiancé like a dog – which are not nearly as important to understanding her characterization as the power structures of gender and class which clash with one another throughout the play. Julie’s social position allows her to behave wildly and recklessly with few consequences, to imperiously command Jean and Kristin, and to treat them as beneath her – until Jean seduces her and gains the upper hand in their relationship, as his maleness protects him from the consequences which are certain to bring about Julie’s downfall. An affair with a male servant provokes the contempt even of the servant class and allows Jean and Kristin to assert social and moral superiority over Julie which they have previously been unable to express. Ongoing shifts in dominance between Julie’s class privilege and Jean’s male privilege, which expose deep-seated contempt, callousness, and powerlessness on both sides, are ultimately settled by the intrusion of the holder of ultimate privilege, Julie’s father, who never physically appears in the play but exerts tremendous influence over its proceedings. The play’s disturbing conclusion demonstrates how, in a society in which the rules are set by men like Julie’s father, the deck is stacked against women, and although Jean is apparently fated to neither fall nor rise, Julie’s class privilege is not enough to rescue her from a fall. For a play written by a man who espoused grossly misogynistic attitudes, and with a "heroine" who is often more caricature than character, Miss Julie does a surprisingly good job of demonstrating the cruelty of gender-based oppression. Although many of the attitudes on display in the play are (or at least should be) relics of a bygone era, its depictions of the injustice of double standards and of the complexity of the influences of power structures on an individual are still worthy of being read, performed, watched, and discussed.
What makes this particular edition of Miss Julie especially worth picking up is the inclusion of another Strindberg play, The Stronger, which besides being less blatantly savage than Miss Julie is also probably the superior play, at least structurally. It’s a short piece, requiring only about ten minutes to perform and featuring only two characters, but Strindberg manages to pack in layers of meaning, and the play lends itself nicely to multiple and contrasting interpretations. Mme X, who does all of the speaking in the play, meets Mlle Y at a café, and in the course of their “conversation” – in which Mlle Y only laughs occasionally or looks as though she is about to attempt to get a word in edgewise, but never does – we learn that not only are the two theatrical rivals, but Mme X believes that her husband has, at the very least, engaged in emotional infidelity with Mlle Y. In this simplest of scenes, Mme X comes to regard herself as “the stronger” of the two because she occupies the role of wife and mother which she values highly and believes that Mlle Y cannot achieve, but the reader or audience is left questioning whether she actually is stronger than the calm and collected Mlle Y (whose implied independence and individuality appear to spare her from being troubled by the accusation), and even whether there is any truth to the accusation about Mlle Y’s fling with Mme X’s husband on which Mme X stakes her claim of superior strength. In fact, Mlle Y functions less as an independent character than as a sounding board, allowing Strindberg to demonstrate not objective truth, but the process by which a person like Mme X arrives at a belief or an individual truth through dialogue with herself. The slippery nature of truth in the play and the unresolved debate over the merits of the contrasting gender roles occupied by the two women make The Stronger an impressively dense and powerful piece of dramatic writing, and a palate-cleanser after the bitter and tragic story of Miss Julie.
The thematic strength of Miss Julie is hard to appreciate at first because the play puts forth ludicrously outdated explanations for Julie’s behavior – such as the influences of female hormones and of her mother’s belief in women’s emancipation and equality, which is portrayed as a misguided stance that leads Julie to treat her fiancé like a dog – which are not nearly as important to understanding her characterization as the power structures of gender and class which clash with one another throughout the play. Julie’s social position allows her to behave wildly and recklessly with few consequences, to imperiously command Jean and Kristin, and to treat them as beneath her – until Jean seduces her and gains the upper hand in their relationship, as his maleness protects him from the consequences which are certain to bring about Julie’s downfall. An affair with a male servant provokes the contempt even of the servant class and allows Jean and Kristin to assert social and moral superiority over Julie which they have previously been unable to express. Ongoing shifts in dominance between Julie’s class privilege and Jean’s male privilege, which expose deep-seated contempt, callousness, and powerlessness on both sides, are ultimately settled by the intrusion of the holder of ultimate privilege, Julie’s father, who never physically appears in the play but exerts tremendous influence over its proceedings. The play’s disturbing conclusion demonstrates how, in a society in which the rules are set by men like Julie’s father, the deck is stacked against women, and although Jean is apparently fated to neither fall nor rise, Julie’s class privilege is not enough to rescue her from a fall. For a play written by a man who espoused grossly misogynistic attitudes, and with a "heroine" who is often more caricature than character, Miss Julie does a surprisingly good job of demonstrating the cruelty of gender-based oppression. Although many of the attitudes on display in the play are (or at least should be) relics of a bygone era, its depictions of the injustice of double standards and of the complexity of the influences of power structures on an individual are still worthy of being read, performed, watched, and discussed.
What makes this particular edition of Miss Julie especially worth picking up is the inclusion of another Strindberg play, The Stronger, which besides being less blatantly savage than Miss Julie is also probably the superior play, at least structurally. It’s a short piece, requiring only about ten minutes to perform and featuring only two characters, but Strindberg manages to pack in layers of meaning, and the play lends itself nicely to multiple and contrasting interpretations. Mme X, who does all of the speaking in the play, meets Mlle Y at a café, and in the course of their “conversation” – in which Mlle Y only laughs occasionally or looks as though she is about to attempt to get a word in edgewise, but never does – we learn that not only are the two theatrical rivals, but Mme X believes that her husband has, at the very least, engaged in emotional infidelity with Mlle Y. In this simplest of scenes, Mme X comes to regard herself as “the stronger” of the two because she occupies the role of wife and mother which she values highly and believes that Mlle Y cannot achieve, but the reader or audience is left questioning whether she actually is stronger than the calm and collected Mlle Y (whose implied independence and individuality appear to spare her from being troubled by the accusation), and even whether there is any truth to the accusation about Mlle Y’s fling with Mme X’s husband on which Mme X stakes her claim of superior strength. In fact, Mlle Y functions less as an independent character than as a sounding board, allowing Strindberg to demonstrate not objective truth, but the process by which a person like Mme X arrives at a belief or an individual truth through dialogue with herself. The slippery nature of truth in the play and the unresolved debate over the merits of the contrasting gender roles occupied by the two women make The Stronger an impressively dense and powerful piece of dramatic writing, and a palate-cleanser after the bitter and tragic story of Miss Julie.
August 24, 2021
Δεσποινίς Τζούλια
Δυνατή αρχή με τις λογομαχιες και τους υπαινιγμούς του Γιάννη προς την Δεσ. Τζούλια αλλά δυστυχώς έως εκεί φτάνει. Το τέλος φοβερα απογοητευτικό για εμένα.
Η Πιο Δυνατή
Ένας μονόλογος μιας ηθοποιού που βρίσκει μια παλια "φίλη" ηθοποιό. Ο λόγος του παραλόγου ήταν όλο το έργο, πιστεύω αν το έβλεπα αντί να το διάβαζα θα ηταν πολυ ενδιαφέρον να παρακολουθούν την απλή συζήτηση να καταλήγει σε παραλογισμό και υποψίες, φτάνοντας σε συμπεράσματα μόνη της, χωρίς να έχουμε καμία απολύτως απάντηση. Απλά μερικά ειρωνικά βλέμματα, και διαφορες εκφράσεις.
Δυνατή αρχή με τις λογομαχιες και τους υπαινιγμούς του Γιάννη προς την Δεσ. Τζούλια αλλά δυστυχώς έως εκεί φτάνει. Το τέλος φοβερα απογοητευτικό για εμένα.
Η Πιο Δυνατή
Ένας μονόλογος μιας ηθοποιού που βρίσκει μια παλια "φίλη" ηθοποιό. Ο λόγος του παραλόγου ήταν όλο το έργο, πιστεύω αν το έβλεπα αντί να το διάβαζα θα ηταν πολυ ενδιαφέρον να παρακολουθούν την απλή συζήτηση να καταλήγει σε παραλογισμό και υποψίες, φτάνοντας σε συμπεράσματα μόνη της, χωρίς να έχουμε καμία απολύτως απάντηση. Απλά μερικά ειρωνικά βλέμματα, και διαφορες εκφράσεις.
November 29, 2019
not as good as the 2014 movie because there were no images of colin farrell’s face :/
March 6, 2014
Miss Julie I have in another paper version and The Stronger I am viewing here: http://youtu.be/iNxBzw6vvYM
Very forced rendition however you get the gist.
Very forced rendition however you get the gist.
July 14, 2008
The Stronger is one of my favorite plays ever.
July 22, 2011
"the stronger" only
July 28, 2011
I read the stronger only and that was amezing short story i realy hate u Mrs. X u
venomous :@:@
venomous :@:@
Displaying 1 - 10 of 10 reviews