This is the first 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.

August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognised novelist, autobiographer, and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg's highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the Naturalist Dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on much later twentieth-century drama. His plays are contextualised for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics, and the visual arts.

August Strindberg and Visual Culture addresses the multiplicity of Strindberg's artistic and literary output. The book charts the vital intersections between theatre, aesthetic theory, and visual elements in his work that have been left largely unexplored. Rather than following traditional genre-bound critical approaches, this book focuses on the intermediality of individual works, the corpus as a whole, and their connections to a wide array of historical and contemporary artists, writers, photographers, film, theatre and museum practitioners. The book is beautifully illustrated, with many never-before-seen images from Strindberg's work, and includes contributions from actress Liv Ullmann, director Robert Wilson, and curator and museum director Daniel Birnbaum.

A Study Guide for August Strindberg's "The Stronger," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.

The International Strindberg presents the latest research on the Swedish playwright August Strindberg and his relation to modern and contemporary literature and art. Strindberg's career spanned the late nineteenth and early twentieth century.

The recent sesquicentennial of August Strindberg's (1849-1912) birth was an appropriate occasion for investigating the role of this towering figure in Nordic literature. By Eugene O'Neill once labeled the most modern of moderns, Strindberg the playwright has commanded a prophetic influence on 20th century drama and theater, and his voluminous production in several other genres continues to constitute a watershed and some of the highpoints in Swedish letters. Yet, Strindberg remains as controversial today as he was in his lifetime. The nature and degree of his modernity are still under discussion, and so is the impact of his remarkable genre-proliferation and border-transgressing Swedishness. Once considered too unruly for the pillars of society and too pious for the radicals, his artistic and existential points of gravity remain in critical dispute. Generally subjected to traditional modes of inquiry, Strindberg's complexity calls for new critical approaches. Strindberg and the Other brings together scholars, younger and older, from Scandinavia and abroad, who either venture such new approaches or engage their practitioners in fruitful dialogue. Especially promising among the volume's methodological and theoretical propositions is the notion of the 'other' and 'otherness.' Indeed, the image of August Strindberg himself is quite an-other at this millennium than it was just half a century ago.

In this volume Strindberg’s 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 Strindberg’s 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 as a means of mirroring his own experience. Other essays consider the problems posed by Strindberg’s preoccupation with converting his own life into literature and the relationship between his later plays and the musical Expressionism of Schoenberg and Berg as well as the importance he placed on letter-writing as a model for writing of all kinds; these letters are also used to explore his ideas about acting and theatre generally. A recurring concern is with the extraordinary period of mental and emotional turmoil, known as the Inferno Crisis, in which Strindberg refashioned himself as a writer; not least through his ground-breaking work as a painter. The collection is prefaced by an account of the difficulties Strindberg’s works have encountered in their reception in England and concludes with a ‘ penance for Strindberg’ in the form of a wide-ranging study of the nineteenth century actress that re-examines the concern with character and theatricality of the earlier essays in a new context.