August Strindberg (1849-1912) is considered Sweden's greatest author. Although his reputation outside Sweden rests on his plays, in Sweden he is equally important for his stories, novels, poetry, and ...
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August Strindberg is considered to be the father of modern literature in Sweden. He is the most important representative of the so-called Modern Breakthrough in Swedish literature, a literary movement...
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In the following essay, Carlson examines the progrss of Strindberg's naturalistic period, from The Father through Miss Julie to The Creditors.
The sheer intense virtuosity of Strindberg'...
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In the following essay, Blackwell discusses contemporary attitudes toward sex roles and how Strindberg expressed them in his plays.
As the erosion of European patriarchal structures accelerated throug...
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In the following essay, Bellquist presents a detailed examination of Fadren.
As part of the Strindberg Festival held in Stockholm during May, 1981, the Stockholm Stadsteater presented a putatively pol...
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In the following essay, Weinstein highlights the child's voice in Fadren.
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Fadren has long been seen as predominantly a war between the sexes, and it is hard not to view the role of the child,...
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In the following essay, Davy analyzes Crimes and Crimes as a tragicomedy.
How could a play entitled Crime and Crime and obviously preoccupied with a conflict between forces of good and evil be devoid ...
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In the following essay, Bart explores Strindberg's use of the “dream play” technique.
When Strindberg wrote his preface to A Dream Play, he called To Damascus (I) “his form...
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In the following essay, Wirmark considers the relevance of the play-within-a-play in Queen Christina.
In the fourth act of Strindberg's drama Queen Christina (Kristina, 1901), there is a play w...
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In the following essay, Carlson provides an in-depth view of the play Easter.
One might argue that Easter only narrowly deserves to be included among Strindberg's major plays. Although audience...
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In the following essay, Loomis describes the religious and Biblical reference in the play Easter.
August Strindberg's Easter has been called a “Passion Play,”1 and in a special wa...
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In the following essay, Mitchell discusses the influence of Emmanuel Swedenborg's philosophy on Strindberg while he was writing Easter.
Response to the 1901 Swedish première of Easter, S...
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Below, Kingston presents a review of the production of Swanwhite directed by Timothy Walker.
This charmingly peculiar fairytale shows how much there is of Strindberg that most of us know absolutely no...
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In the following essay, Brantly examines Carl XII and considers its place in Strindberg's oeuvre.
In the cycle of twelve historical plays written after Inferno (1897), Strindberg is constantly ...
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In the following essay, Törnqvist breaks down Carl XII into its dramatic elements.
The double status of drama as verbal text and visual presentation gives rise to a number of fundamental questi...
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In the following essay, Roken spotlights Strindberg's presentation of visual information as an element of his narrative technique.
The question of how that which the writer-dramatist wants to c...
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In the following essay, Wilkander critiques Gustav III.
Strindberg's interest in Sweden's Gustav III, founder of the Swedish Academy and both the Royal Opera and the Royal Theatre, began...
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In the following essay, Wilander compares the way that three history plays, including Strindberg's Gustav III, treat their subjects.
Shakespeare är providentialist som antikens trag�...
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Below, Jenkins reviews a production of The Ghost Sonata performed at the National Theater in Oslo by the Royal Dramatic Theater of Sweden and directed by Ingmar Bergman.
“We are bound to each o...
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In the following essay, Walsh remarks on the mixture of dramatic styles Strindberg used in The Pelican.
Despite its popularity in Scandinavia, The Pelican has been performed only rarely in the United ...
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In the following essay, Ekman critiques Abu Casems tofflor.
Strindberg criticism seems to agree on at least one point: that his 1908 sagospel (fairy tale) in five acts, Abu Casems tofflor, is the weak...
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In the following essay, Rokem follows a production of The Black Glove, directed by Wilhem Carlsson and performed by the Royal Dramatic Theatre of Sweden, through rehearsals, noting changes and additio...
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In the following essay, based on the notes in Strindberg's “green bag,” Sjönell describes Strindberg's construction of the history plays and his plans to complete a ...
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In the following essay, Jacobs discusses Strindberg's comedy and fantasy plays.
In Tjänstekvinnans son, Strindberg dismisses Lycko-Pers resa, the sagospel (fairy-tale play) that had been...
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In the following essay, Lide looks at the body of Strindberg's work that can be classified as comedy.
In an article entitled ‘Why We Can't Help Genre-alizing and How Not to Go Abo...
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In the following essay, Wirmark discusses Strindberg's history plays.
At the turn of the year 1898-9 Strindberg entered upon an intense period of dramatic writing. ‘Jag har nu lagt undan...
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In the following essay, Wilkinson examines a group of five plays known as the Chamber Plays: Oväder (Storm Weather), Brända temten (The Burned House), Spöksonaten (Ghost Sonata), ...
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In the following essay, Törnqvist examines Strindberg's one-act plays.
Strindberg's international reputation as a dramatist is usually connected with two enterprises. Before the s...
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August Strindberg
(Johan) August Strindberg
