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  • Studies in Strindberg

    Michael Robinson

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    In this volume Strindbergs accomplishments as a dramatist are set against his achievements in other fields, as an autobiographer, painter, letter writer and theatre director.There are studies of individual plays, in which Strindbergs theatre is related both to naturalism and the theatre of the absurd, and of the role played by his life-long interest in historical drama. Other essays range from studies of the problems posed by Strindbergs preoccupation with converting his own life into literature to a consideration of the importance he placed on letterwriting as a model for writing of all kinds. His letters are also used to explore his ideas about the theatre. A recurring concern is with the period of turmoil known as the Inferno Crisis, in which Strindberg refashioned himself as a writer. Robinson examines the importance of Strindbergs painting for his renewal as a writer and situates the achievement of his later works in relation to Symbolism and to Musical Expressionism.

    Table of Contents

    Studies in Strindberg TOC

    • A Note on the Text

    • Leaving Gravesend at Last, or Introducing Strindberg to England

    • Translating the Self

    • Life Plots and Letters

    • History and His-Story

    • ‘P-aris’: Note for an Unwritten Volume of Strindberg’s Autobiography

    • Naturalism and the Plot in Creditors

    • Prisoners at Play: Form and Meaning in The Dance of Death and Beckett’s Endgame

    • ‘Spela den så att Pontoppidan och Fru Nansen få blåskatarrh’: Strindberg’s Correspondence with Actors and Directors

    • Towards a New Language: Strindberg’s Break with Naturalism

    • ‘New Arts, New Worlds!’: Strindberg and Painting

    • Strindberg and Musical Expressionism in Vienna

    • Acting Women or The Performing Self

    • Notes

    • Index

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    How to cite
    Robinson, M. 2013. Studies in Strindberg. London: Ubiquity Press. DOI: http://dx.doi.org/10.5334/bac

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    Published on 15 May 2013




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