Plays by August Strindberg: Second Series: There Are Crimes and Crimes, Miss Julia, the Stronger, Creditors, Pariah

by August Strindberg, Edwin Björkman

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Genres: Plays, Fiction, Classics

266 pages, Paperback

First published February 1, 1913

About the author

Johan 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_...

Reviews

[Ashlee Bree · Rating 3 out of 5]

While Strindberg's plays don't necessarily rank among my favorites, I'm still glad I picked this up because I enjoyed his exploitation of theatrical realism and also his ability to manipulate dialogue. There was a scene in this book between a Mrs. X and a Miss Y where only one of the characters spoke while the other listened and reacted in pantomime, and I found that to be a striking - not to mention challenging - writing exercise which he pulled off successfully. It was intriguing because, as a reader, I was able to glean information and insight about both characters in equal measure.

The author also has a knack for crafting character-specific speech patterns so that they sounded real; so that the characters he created mimicked real conversational ebbs, flows, and deviations. That's a skill which is difficult to achieve in writing at times, yet also wholly necessary for stories told almost exclusively in dialogue. It's for that reason I love to read plays. They offer a wealth of opportunity for me to study the art of creating realistic and engaging dialogue.

[Ali · Rating 2 out of 5]

دو نمایش نامه از این مجموعه، یکی به نام "عید پاک" توسط اکبر فلاح زاده به فارسی ترجمه شده که جهاد دانشگاهی در 1366 آن را منتشر کرده، و "توده هیزم" توسط پرویز تاییدی ترجمه شده و فکر کنم در 1350 منتشر شده باشد.
استریندبرگ را با خواندن "مادموازل ژولی" شناختم. بعدها که آثار دیگری از او و ایبسن، نویسنده ی نروژی خواندم، بنظر می رسید حس غریب غربتی مشابه، همه جای فضا و شخصیت های آثار این دو نمایش نامه نویس را انباشته است. با دیدن فیلم های "برگمان" (سوئدی)، حس کردم با فضاهای ملانکولیک او پیش از آن آشنا بوده ام. چند سالی که ساکن جوامع اسکاندیناوی باشی این ملانکولی را بهتر درک می کنی؛ روزهای کوتاه و تاریک زمستان های بلند، و روزهای بلند و روشن تابستان های کوتاه! از دانمارک و سوئد که بالاتر بروی، تا نروژ و فنلاند و ایسلند، با تجربه ی شبی به بلندی چهارماه زمستان، و روز کشداری به وسعت سه ماه تابستان، و بادها و ابرهای عجولی که در چند لایه در گذر اند، و... دلزدگی ملانکولیکی در سینه ات انباشته می شود، به ویژه که از سمت "آفتاب" آمده باشی.
کتمان نمی توان کرد که بسیاری از تحولات شگرف جوامع اسکاندیناوی مدیون نگاه پیشرو نویسندگانی چون ایبسن و استریندبرگ است که در اواخر قرن نوزده و ابتدای قرن بیستم زندگی می کردند. استریندبرگ اما بیش از ایبسن، درگیر مبارزه میان مذهب و آموزش مذهبی، با جهان تازه ای ست که بخش غربی اروپا را فراگرفته بود و به شکلی آرام، گسترده می شد. همان تقابل ها که در فیلم های برگمان دیده می شود.
یوهان اگوست استریندبرگ (1912-1849)، در مکاتب مختلف تیاتری، نمایش نامه نوشته. او به عنوان پدر ادبیات مدرن، و "اتاق قرمز" یکی از اولین قصه هایش (1879)، به عنوان اولین رمان مدرن سوئد شناخته می شود. عمده ترین نمایش نامه های استریندبرگ، آنهایی هستند که از سوی کلیسای مسلط، مذموم شناخته شدند. به علت مخالفت کلیسا و جامعه ی مذهبی، استریندبرگ مدتی ساکن آلمان و فرانسه بود.

[Chloe Frances · Rating 2 out of 5]

This is a review just of Miss Julie (or Miss Julia in this translation). It was very interesting to see the beginning (or near to the beginning) of a lot of the central conventions of theatrical naturalism. In Stringberg's preface he mentions a number of new ideas and techniques he is using with the play. Almost all of them now seem standard and perhaps even old fashioned. E.g. Small cast with no subplots, a single location, 'three dimensional' characters (it's debatable how much he actually follows through on this one I think), a built set rather than painted backdrops.

For me the plays suffers a bit from the 'revolutionary in its time, nothing new in ours.' syndrome. I didn't find it particularly gripping personally.

Strindberg's misogyny comes through pretty clearly of course.

I quite liked the parts (or was it only one part?) with a single character onstage going about their business in silence between the exit and entrance of other characters.

[Nick · Rating 3 out of 5]

Strindberg has a strong collection of plays that are proto-existentialist. I think Miss Julia stands out as the best of the collection. Some of them, the shorter plays, were a bit weak.