Henrik Ibsen, Anton Chekhov and August Strindberg--innovators of modern drama--created characters whose reckless pursuits of irrational objectives blind them to better options. Ibsen's protagonists in A Doll's House, Hedda Gabler and The Master Builder try to bend the world to conform to their personal visions--with disastrous results. Chekhov's characters refuse to do anything, instead dramatizing their lives as if they were actors in a play (which they are). Rehearsing the intractable squabbles between men and women in The Dance of Death and The Ghost Sonata, Strindberg suggests that only in life beyond death can humanity transcend the brutality of existence. Together, the lives of these characters offer a study of the individual's struggle with modernity.

I Part 2 : Strindberg (s. 106-184) behandlas TV-teaterföreställningar av Fadren (s. 106-116), Fröken Julie (s. 117-126), Den starkare (s. 127-133), Ett drömspel (s. 134-145), Oväder (s. 146-154), Spöksonaten (s. 155-171) och Pelikanen (s. 172-184).

Prominent Scandinavian authors from the end of the 19th century struggled with the classical themes of myth and religion, and the modern concepts of Freud and Darwin. The reconciliation of these counterpoints in the work of Norway's Henrik Ibsen, Sweden's August Stringbberg and Denmark's J P Jacobsen, forms the core of this analysis. Incorporating Diderot's definition of theatricality in painting, this study shows the tension between the image and a concomitant distrust of its reality in three of Ibsen's plays: A Doll's House; Ghosts; and The Wild Duck. Investigating the mythical patterns beneath the text, Osterud suggests that Ibsen's naturalist drama is two-fold: a clash between the sacred (myth, allegory and ritual performance) and avant-garde (utopian visions and transgressive acts). Probing Strindberg's 'The Black Glove', the book demonstrates that this challenging re-telling of the Nativity story creates a modern version of a medieval ritual drama, whereby the logic of place overrides the logic of chronology in the traditional theatre of naturalism. Jacobsen's novella 'Mogens' was said to introduce naturalism into Denmark. Osterud confronts the usual query concerning the balance between Jacobsen as a Darwinist scholar and as a fiction writer. He concludes that, rather than seeing nature as an explanation of the author's narrative, nature is an unsolved riddle to which religion and Dawinism give competing answers, creating a hermeneutic dialogue within the text.

The essential, concise and readable guide to the plays of Ibsen, Chekhov and Strindberg. Are you looking for an overview of the major work of these three leading playwrights? Are you going to see a play by Ibsen, Chekhov or Strindberg and want a run-down of the storyline? Do you want to know why these three are considered major writers? A Pocket Guide to Ibsen, Chekhov and Strindberg gives you all this and more: An introduction to each playwright Historical and theatrical context to their plays A synopsis for and analysis of each of the major plays Details of productions around the world A chronology of plays during the period Henrik Ibsen (1828-1906), Anton Chekhov (1860-1904) and August Strindberg (1848-1912) are acknowledged masters of their craft. This handy reference book aims to tell you why they should be considered as such, as well as giving you a snapshot view of the plays and a considered view of the writers. Faber's 'Pocket Guide' series includes: A Pocket Guide to Shakespeare's Plays, A Pocket Guide to the 20th Century Theatre, A Pocket Guide to Opera and A Pocket Guide to Alan Ayckbourn's Plays.

De Zweedse August Strindberg (1849-1912) wordt gezien als een van de meest belangrijke toneelschrijvers van rond de eeuwwisseling. Zijn choquerende theaterstukken had veel weerklank bij het publiek in die tijd, en inspireert tot op de dag van vandaag toneelschrijvers en publiek. Strindberg was een onophoudelijke innovator van verschillende theatervormen, een bron van inspiratie voor onder meer Eugene O'Neill, Samuel Beckett en Ingmar Bergman en heeft een vruchtbare bodem gelegd voor het moderne toneel. Zijn voorwoord voor Miss Julie en zijn inleiding bij A Dream Play zijn alom bekend en vaak herdrukt. Wat minder bekend is, is dat Strindberg veel toneelstukken recenseerde en kritieken schreef over het theater in z'n algemeen, en zijn toneelstukken in het bijzonder. Dit boek bevat de meest belangrijke van zijn kritieken, chronologisch weergegeven en geannoteerd, waarvan vele voor het eerst in het Engels.

In the history of modern theatre, Ibsen is one of the dominating figures. The sixteen chapters of this 1994 Companion explore his life and work, providing an invaluable reference work for students. In chronological terms they range from an account of Ibsen's earliest pieces, through the years of rich experimentation, to the mature 'Ibsenist' plays that made him famous towards the end of the nineteenth century. Among the thematic topics are discussions of Ibsen's comedy, realism, lyric poetry and feminism. Substantial chapters account for Ibsen's influence on the international stage and his challenge to theatre and film directors and playwrights today. Essential reference materials include a full chronology, list of works and essays on twentieth-century criticism and further reading.