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賳賲丕蹖卮 蹖讴 乇賵蹖丕
氐亘丨 亘丕 丿乇丿蹖 丿乇 爻乇 亘蹖丿丕乇 賲蹖 卮賵賲 賵 丕蹖賳 丿乇丿 亘賴 賲賳 蹖丕丿丌賵乇蹖 賲蹖 讴賳丿 讴賴 丿蹖乇賵夭 卮丕丿蹖 讴乇丿賴 丕賲 賵 丕蹖賳 毓匕丕亘卮 丕爻鬲. 賵 賴賲賴 蹖 卮丕丿蹖 賴丕 賵 夭蹖亘丕蹖蹖 賴丕 賵 賱匕鬲 丿蹖乇賵夭 丿乇 賳馗乇賲 爻蹖丕賴 賵 倬賵趩 賵 賲囟丨讴 賲蹖 卮賵丿. 卮丕丿蹖賲 鬲亘丕賴 賲蹖 卮賵丿 賵 賱匕鬲 毓匕丕亘 賲蹖 卮賵丿
152 pages, Paperback
First published January 1, 1901
49 people are currently reading
2941 people want to read
About the author
August Strindberg
1,798听books743听followersJohan 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, S酶ren Kierkegaard, Selma Lagerl枚f, 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.
Johan August Strindberg painted. He alongside Henrik Ibsen, S酶ren Kierkegaard, Selma Lagerl枚f, 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.
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April 9, 2025
賲丕 讴卮鬲蹖賲卮...
賳賴 亘丕 禺卮賲貙 賳賴 亘丕 禺蹖丕賳鬲
亘丕 亘蹖鈥屫堌囒�.
亘丕 爻讴賵鬲鈥屬囏й屰� 讴賴 賴乇 乇賵夭 讴卮鈥屫ж必� 卮丿賳...
亘丕 賳诏丕賴鈥屬囏й屰� 讴賴 丕夭 乇賵蹖 賴賲 乇丿 卮丿賳...
毓卮賯 亘賵丿責
亘賵丿!
賴乇趩賳丿 讴賵趩讴... 賳丕夭讴... 丕賲丕 夭賳丿賴 亘賵丿
卮毓賱賴鈥� 囟毓蹖賮蹖 讴賴 亘丕 蹖讴 "丿賵爻鬲鬲 丿丕乇賲" 噩賵賳 賲蹖鈥屭辟佖�.
蹖丕 賱賲爻 丌乇賵賲 蹖讴 丿爻鬲 讴賴 乇賵蹖 卮賵賳賴鈥屫ж� 賲蹖鈥屬嗀簇池� 賵 趩蹖夭蹖 賳賲蹖鈥屬矩必驰屫� 賮賯胤 賲蹖鈥屬佡囐呟屫�.
賵賱蹖 亘毓丿...
丿蹖賵丕乇 亘蹖賳鈥屬呝堎� 亘丕賱丕 乇賮鬲貙 丌賴爻鬲賴...
蹖讴 丌噩乇賽 賮乇丕賲賵卮蹖...
蹖讴 丌噩乇賽 禺爻鬲诏蹖...
賵 蹖讴 丌噩乇賽 芦丨賵氐賱賴 賳丿丕乇賲 丕賱丕賳.禄
賴蹖趩鈥屭┴� 賳诏賮鬲 鬲賲賵賲 卮丿賴
賵賱蹖 丿蹖诏賴 讴爻蹖 賳禺賵丕爻鬲 賳诏丕賴 讴賳賴.
賵 趩蹖夭蹖 讴賴 丿蹖丿賴 賳卮賴貙 賲蹖鈥屬呟屫辟�.
賳賴 蹖讴鈥屫ㄘж辟�
丌乇賵賲... 賲孬賱 趩乇丕睾蹖 讴賴 讴爻蹖 禺丕賲賵卮卮 賳賲蹖鈥屭┵嗁囏� 賮賯胤 丿蹖诏賴 鬲賵卮 賳賮鬲 賳賲蹖鈥屫臂屫操�.
氐亘丨鈥屬囏� 賴賳賵夭 讴賳丕乇 賴賲 亘賵丿蹖賲...
賵賱蹖 丕賳诏丕乇 賴乇 讴丿賵賲 鬲賵蹖 蹖賴 爻蹖丕乇賴 丿賵乇.
卮亘鈥屬囏� 賴賳賵夭 鬲賵蹖 蹖賴 鬲禺鬲貙
賵賱蹖 乇賵蹖丕賴丕賲賵賳 賴賲 爻丕賱鈥屬囏� 丕夭 賴賲 丿賵乇 亘賵丿賳.
倬爻 毓卮賯 乇賮鬲.
賳賴 亘丕 诏乇蹖賴貙
賳賴 亘丕 亘蹖鈥屫佖з堌�.
鬲賵蹖 丕賵賳 賱丨馗賴鈥屫й� 乇賮鬲 讴賴 氐丿丕賲 夭丿蹖 賵 賲賳 噩賵丕亘 賳丿丕丿賲貙 趩賵賳 賲胤賲卅賳 亘賵丿賲 噩賵丕亘賲 賲賴賲 賳蹖爻鬲...
賵 丨丕賱丕 賮賯胤 氐丿丕蹖 禺蹖丕亘賵賳 鬲賵蹖 丕蹖賳 丕鬲丕賯 賲賵賳丿賴.
蹖賴 丕鬲丕賯...
亘丕 丿賵 氐賳丿賱蹖
賵 蹖賴 诏賱丿賵賳 禺卮讴
讴賴 賴賳賵夭 鬲卮賳賴鈥� 賳賵乇賴..
賵賱蹖 倬賳噩乇賴 丿蹖诏賴 亘丕夭 賳賲蹖鈥屫促�.
......
讴鬲丕亘 倬賳噩賲
賴賲禺賵丕賳蹖 賴賮鬲鈥屫辟堌测€屬囐佖€屬嗁呚й屫促嗀з呝�
賳賴 亘丕 禺卮賲貙 賳賴 亘丕 禺蹖丕賳鬲
亘丕 亘蹖鈥屫堌囒�.
亘丕 爻讴賵鬲鈥屬囏й屰� 讴賴 賴乇 乇賵夭 讴卮鈥屫ж必� 卮丿賳...
亘丕 賳诏丕賴鈥屬囏й屰� 讴賴 丕夭 乇賵蹖 賴賲 乇丿 卮丿賳...
毓卮賯 亘賵丿責
亘賵丿!
賴乇趩賳丿 讴賵趩讴... 賳丕夭讴... 丕賲丕 夭賳丿賴 亘賵丿
卮毓賱賴鈥� 囟毓蹖賮蹖 讴賴 亘丕 蹖讴 "丿賵爻鬲鬲 丿丕乇賲" 噩賵賳 賲蹖鈥屭辟佖�.
蹖丕 賱賲爻 丌乇賵賲 蹖讴 丿爻鬲 讴賴 乇賵蹖 卮賵賳賴鈥屫ж� 賲蹖鈥屬嗀簇池� 賵 趩蹖夭蹖 賳賲蹖鈥屬矩必驰屫� 賮賯胤 賲蹖鈥屬佡囐呟屫�.
賵賱蹖 亘毓丿...
丿蹖賵丕乇 亘蹖賳鈥屬呝堎� 亘丕賱丕 乇賮鬲貙 丌賴爻鬲賴...
蹖讴 丌噩乇賽 賮乇丕賲賵卮蹖...
蹖讴 丌噩乇賽 禺爻鬲诏蹖...
賵 蹖讴 丌噩乇賽 芦丨賵氐賱賴 賳丿丕乇賲 丕賱丕賳.禄
賴蹖趩鈥屭┴� 賳诏賮鬲 鬲賲賵賲 卮丿賴
賵賱蹖 丿蹖诏賴 讴爻蹖 賳禺賵丕爻鬲 賳诏丕賴 讴賳賴.
賵 趩蹖夭蹖 讴賴 丿蹖丿賴 賳卮賴貙 賲蹖鈥屬呟屫辟�.
賳賴 蹖讴鈥屫ㄘж辟�
丌乇賵賲... 賲孬賱 趩乇丕睾蹖 讴賴 讴爻蹖 禺丕賲賵卮卮 賳賲蹖鈥屭┵嗁囏� 賮賯胤 丿蹖诏賴 鬲賵卮 賳賮鬲 賳賲蹖鈥屫臂屫操�.
氐亘丨鈥屬囏� 賴賳賵夭 讴賳丕乇 賴賲 亘賵丿蹖賲...
賵賱蹖 丕賳诏丕乇 賴乇 讴丿賵賲 鬲賵蹖 蹖賴 爻蹖丕乇賴 丿賵乇.
卮亘鈥屬囏� 賴賳賵夭 鬲賵蹖 蹖賴 鬲禺鬲貙
賵賱蹖 乇賵蹖丕賴丕賲賵賳 賴賲 爻丕賱鈥屬囏� 丕夭 賴賲 丿賵乇 亘賵丿賳.
倬爻 毓卮賯 乇賮鬲.
賳賴 亘丕 诏乇蹖賴貙
賳賴 亘丕 亘蹖鈥屫佖з堌�.
鬲賵蹖 丕賵賳 賱丨馗賴鈥屫й� 乇賮鬲 讴賴 氐丿丕賲 夭丿蹖 賵 賲賳 噩賵丕亘 賳丿丕丿賲貙 趩賵賳 賲胤賲卅賳 亘賵丿賲 噩賵丕亘賲 賲賴賲 賳蹖爻鬲...
賵 丨丕賱丕 賮賯胤 氐丿丕蹖 禺蹖丕亘賵賳 鬲賵蹖 丕蹖賳 丕鬲丕賯 賲賵賳丿賴.
蹖賴 丕鬲丕賯...
亘丕 丿賵 氐賳丿賱蹖
賵 蹖賴 诏賱丿賵賳 禺卮讴
讴賴 賴賳賵夭 鬲卮賳賴鈥� 賳賵乇賴..
賵賱蹖 倬賳噩乇賴 丿蹖诏賴 亘丕夭 賳賲蹖鈥屫促�.
......
讴鬲丕亘 倬賳噩賲
賴賲禺賵丕賳蹖 賴賮鬲鈥屫辟堌测€屬囐佖€屬嗁呚й屫促嗀з呝�
February 7, 2017
Homo Strindbergiensis - a sorry creature!
Reading Strindberg鈥檚 most famous play for the third time, having seen it on different stages (from outdoors summer theatre over school play to highly professional performance) several times as well, it strikes me as one of those texts that will be helplessly lost in translation.
Even though it is part of a European tradition, and strongly connects to modern theories on the subconscious and on dream experience, it is at the same time a very Swedish play, with the ambiguity of the Swedish language as one of its main themes and attractions.
In Strindberg鈥檚 short introduction, he mentions the power of the dreamer鈥檚 consciousness, which reigns over all characters in the play, and the Swedish word 鈥渕edvetande鈥� implicitly contains that specific power of knowing: consciousness/med-vetande: the dreamer shares the knowing with the characters. The Latin root of the English word indicates the same connection. And the main theme of the play - to feel pity for humans, 鈥渕edlidande鈥�, is expressed in the word for pity/med-lidande: the dreamer suffers with them.
Humans are sinful creatures, but we are supposed to pity them anyway, because they suffer. That is the fleeting, floating, recurring message of the dreamlike sequences. This is expressed in the language of the frequently repeated sentence:
鈥淒et 盲r synd om m盲nniskorna!鈥�
It is not possible to translate this directly into any other language I know. It means 鈥淗umans should be pitied鈥�, but the word 鈥渟ynd鈥� also means 鈥渟in鈥�, thus evoking the idea of 鈥淭here is sin around human beings鈥�, which is what we should pity them for.
Life is complicated, painful, hard, and sinful, but after a nightmare, when we wake up, we embrace it for a moment, just to escape the pain of sleep. And in the evening, sleep gives us a break from the pain of life. Twice a day, therefore, we escape the eternal trouble of conscious or subconscious pain for the fleeting moment when we change from sleep to waking and vice versa.
Strindberg鈥檚 take on life was dark, very dark, and he certainly knew and felt that he was human in his own double definition:
鈥淒et 盲r synd om Strindberg!鈥�
Prey and predator, passionate and active, a guilty victim. A dreamlike creature, and creator of nightmares.
My favourite part in the play features the anonymous POET, who tries to reconstruct the moment humans were made - from clay. His consciousness goes from ecstasy to skepticism, to irony, to sarcasm, and back to ecstasy again during the vague, dreamy creation process, which moves from one fragmentary association with clay to the next:
鈥淒iktaren (extatiskt) :
Av lera skapade guden Ptah m盲nniskan p氓 en krukmakarskiva, en svarv, - (Skeptiskt) eller vad fan som h盲lst annat! 鈥� (Extatiskt) Av lera skapar bildhuggaren sitt mer eller mindre od枚dliga m盲sterverk, - (Skeptiskt) som oftast 盲r bara skr盲p! (Extatiskt) Av lera tillverkas dessa f枚r skafferiet s氓 n枚dv盲ndiga k盲rl, vilka med ett gemensamt namn kallas krukor, tallrikar, - (Skeptiskt) - det r枚r mig s氓 lite f枚rresten vad de kallas! (Extatiskt) Detta 盲r leran! N盲r lera 盲r tunnflytande kallas den gyttja - C鈥檈st mon affaire! (Ropar) Lina!鈥�
[The poet (Ecstatic):
Out of clay the god Ptah created the human being on a potter鈥檚 wheel, - (Skeptical) or whatever the devil else! 鈥� (Ecstatic) Out of clay the sculptor creates his more or less immortal masterpiece, - (Skeptical) which most often is only trash! (Ecstatic) Out of clay are created these containers, so very necessary for the cupboard, which have the common name of pots, plates. - (Skeptical) - But I don鈥檛 care at all what they are called! (Ecstatic) This is the clay! When clay is diluted it is called mud - C鈥檈st mon affaire! (Calls) Lina!)]
Is this a conscious, or an unconscious, reference to Milton鈥檚 Paradise Lost, and his angry human, yelling out:
鈥淒id I request thee, Maker, from my clay
To mould me man? Did I solicit thee
From darkness to promote me?鈥�
Just like Mary Shelley chose this quote to begin her , it seems to accompany Strindberg鈥檚 pendulum movement between deep depression and exaltation, between the tedium of everyday life and art, between meaning and nonsense.
Still a favourite, after all those years!
Reading Strindberg鈥檚 most famous play for the third time, having seen it on different stages (from outdoors summer theatre over school play to highly professional performance) several times as well, it strikes me as one of those texts that will be helplessly lost in translation.
Even though it is part of a European tradition, and strongly connects to modern theories on the subconscious and on dream experience, it is at the same time a very Swedish play, with the ambiguity of the Swedish language as one of its main themes and attractions.
In Strindberg鈥檚 short introduction, he mentions the power of the dreamer鈥檚 consciousness, which reigns over all characters in the play, and the Swedish word 鈥渕edvetande鈥� implicitly contains that specific power of knowing: consciousness/med-vetande: the dreamer shares the knowing with the characters. The Latin root of the English word indicates the same connection. And the main theme of the play - to feel pity for humans, 鈥渕edlidande鈥�, is expressed in the word for pity/med-lidande: the dreamer suffers with them.
Humans are sinful creatures, but we are supposed to pity them anyway, because they suffer. That is the fleeting, floating, recurring message of the dreamlike sequences. This is expressed in the language of the frequently repeated sentence:
鈥淒et 盲r synd om m盲nniskorna!鈥�
It is not possible to translate this directly into any other language I know. It means 鈥淗umans should be pitied鈥�, but the word 鈥渟ynd鈥� also means 鈥渟in鈥�, thus evoking the idea of 鈥淭here is sin around human beings鈥�, which is what we should pity them for.
Life is complicated, painful, hard, and sinful, but after a nightmare, when we wake up, we embrace it for a moment, just to escape the pain of sleep. And in the evening, sleep gives us a break from the pain of life. Twice a day, therefore, we escape the eternal trouble of conscious or subconscious pain for the fleeting moment when we change from sleep to waking and vice versa.
Strindberg鈥檚 take on life was dark, very dark, and he certainly knew and felt that he was human in his own double definition:
鈥淒et 盲r synd om Strindberg!鈥�
Prey and predator, passionate and active, a guilty victim. A dreamlike creature, and creator of nightmares.
My favourite part in the play features the anonymous POET, who tries to reconstruct the moment humans were made - from clay. His consciousness goes from ecstasy to skepticism, to irony, to sarcasm, and back to ecstasy again during the vague, dreamy creation process, which moves from one fragmentary association with clay to the next:
鈥淒iktaren (extatiskt) :
Av lera skapade guden Ptah m盲nniskan p氓 en krukmakarskiva, en svarv, - (Skeptiskt) eller vad fan som h盲lst annat! 鈥� (Extatiskt) Av lera skapar bildhuggaren sitt mer eller mindre od枚dliga m盲sterverk, - (Skeptiskt) som oftast 盲r bara skr盲p! (Extatiskt) Av lera tillverkas dessa f枚r skafferiet s氓 n枚dv盲ndiga k盲rl, vilka med ett gemensamt namn kallas krukor, tallrikar, - (Skeptiskt) - det r枚r mig s氓 lite f枚rresten vad de kallas! (Extatiskt) Detta 盲r leran! N盲r lera 盲r tunnflytande kallas den gyttja - C鈥檈st mon affaire! (Ropar) Lina!鈥�
[The poet (Ecstatic):
Out of clay the god Ptah created the human being on a potter鈥檚 wheel, - (Skeptical) or whatever the devil else! 鈥� (Ecstatic) Out of clay the sculptor creates his more or less immortal masterpiece, - (Skeptical) which most often is only trash! (Ecstatic) Out of clay are created these containers, so very necessary for the cupboard, which have the common name of pots, plates. - (Skeptical) - But I don鈥檛 care at all what they are called! (Ecstatic) This is the clay! When clay is diluted it is called mud - C鈥檈st mon affaire! (Calls) Lina!)]
Is this a conscious, or an unconscious, reference to Milton鈥檚 Paradise Lost, and his angry human, yelling out:
鈥淒id I request thee, Maker, from my clay
To mould me man? Did I solicit thee
From darkness to promote me?鈥�
Just like Mary Shelley chose this quote to begin her , it seems to accompany Strindberg鈥檚 pendulum movement between deep depression and exaltation, between the tedium of everyday life and art, between meaning and nonsense.
Still a favourite, after all those years!
April 10, 2025
"趩乇丕 賲乇丿賲 賵賯鬲蹖 睾賲诏蹖賳 賲蹖 卮賵賳丿 诏乇蹖賴 賲蹖 讴賳賳丿責... 诏賮鬲 趩賵賳 賱丕夭賲 丕爻鬲 鬲丕 趩卮賲 賴丕蹖卮丕賳卮爻鬲賴 卮賵賳丿 賵 丿賳蹖丕 乇丕 賵丕囟丨 鬲乇 亘亘蹖賳賳丿"
丕夭 噩賴丕鬲蹖 賲賳 乇賵 蹖丕丿 丿丕爻鬲丕賳 卮丕夭丿賴 讴賵趩賵賱賵 丕賳丿丕禺鬲貙 噩賮鬲卮賵賳 蹖賴 爻乇蹖 賯賵丕賳蹖賳 賳丕賳賵卮鬲賴 丿賳蹖丕蹖 丌丿賲賴丕 乇賵 夭蹖乇 爻賵丕賱 亘乇丿賳丿.
亘賴鬲乇蹖賳 賳賲丕蹖卮賳丕賲賴 趩丕賱卮 賳賲丕蹖卮賳丕賲賴鈥屫堌з嗃� 鬲丕 丕蹖賳噩丕
賲乇爻蹖 丕夭 乇賵蹖丕
丕夭 噩賴丕鬲蹖 賲賳 乇賵 蹖丕丿 丿丕爻鬲丕賳 卮丕夭丿賴 讴賵趩賵賱賵 丕賳丿丕禺鬲貙 噩賮鬲卮賵賳 蹖賴 爻乇蹖 賯賵丕賳蹖賳 賳丕賳賵卮鬲賴 丿賳蹖丕蹖 丌丿賲賴丕 乇賵 夭蹖乇 爻賵丕賱 亘乇丿賳丿.
亘賴鬲乇蹖賳 賳賲丕蹖卮賳丕賲賴 趩丕賱卮 賳賲丕蹖卮賳丕賲賴鈥屫堌з嗃� 鬲丕 丕蹖賳噩丕
賲乇爻蹖 丕夭 乇賵蹖丕
April 11, 2025
賴賮鬲 乇賵夭- 賴賮鬲 賳賲丕蹖卮賳丕賲賴. 賳賲丕蹖卮賳丕賲賴鈥屰� 倬賳噩賲
April 7, 2018
Agnes ou In锚s , filha do deus Indra,茅 enviada a terra para 听tentar entender a raz茫o dos sentimentos humanos; suas dores ,seus sofrimentos , suas afli莽玫es e suas melancolias. As conclus玫es que esse ser divino tira dos mortais da terra s茫o muito negativas: 鈥渙s homens s茫o dignos de l谩stimas鈥� In锚s v锚 o ser humano como triste, amargo e frustado. Como 茅 um sonho, tudo pode acontecer (um admirador espera 听听a vida inteira 脿 porta de um teatro para ver sua amada Vit贸ria, chaveiros s茫o chamados para abrirem portais para o infinito) e realmente acontece pois h谩 mais de 40 personagens diferentes.Strindberg criou um mundo misterioso e enigm谩tico ,onde s贸 talvez for莽as divinas possam ajudar o ser humano a sair desse marasmo e sofrimento.
November 18, 2015
. . .And since dreams are more often painful than happy, a tone of melancholy, and of compassion for all living things, runs through the swaying narrative. Sleep, supposedly a liberator, is often a torturer, but when torment is at its worst, an awakening reconciles the sufferer with reality. No matter how agonizing reality can be, at this moment, compared with a tormenting dream it is a pleasure.
August Strindberg frequently referred to A Dream Play as his "favorite" work, but he also referred to it as "the child of my greatest pain." Just as was the case with Ingmar Bergman's Persona, Strindberg's A Dream Play is not only among the artist's most important works, but was a work with dreamlike and surrealist elements that followed from a nervous breakdown. Is madness the price one pays to create great art? Sometimes it seems.
One thing is for certain, A Dream Play is certainly a revolutionary work, with Strindberg furthering his break away from realism and naturalism in much the same way that Federico Fellini (and Ingmar Bergman in his own way) would do in film, moving from neorealism ultimately to surrealism, blending the dreamworld with the waking world. Although To Damascus (a play that I've yet to read, and one that is considered by some to be Strindberg's true "masterpiece") preceded A Dream Play by two years (both starring Strindberg's third wife, Harriet Bosse, when initially produced in Sweden), it is interesting that Strindberg didn't consider its style an experimentation that he would just as soon abandon when working on his next play (as is the case with some of his decisions in Miss Julie), but would instead expand on these, taking some great leaps forward, giving A Dream Play a very contemporary and even postmodern feel.
Apparently when he first wrote To Damascus, Strindberg had sent a copy of that work to his contemporary Henrik Ibsen, whom Strindberg referred to as "the Master, from whom he learned much." Not having read that earlier work, but having read the author's note at the beginning of A Dream Play, in which he writes that in both plays he "has attempted to imitate the disconnected but seemingly logical form of a dream," I feel that in both cases Strindberg perhaps owes some debt to the early Ibsen's Peer Gynt, which like A Dream Play not only blends reality and illusion or fantasy, but has an impressively long cast of characters (unlike Strindberg's earlier plays and, likewise, unlike Ibsen's later plays). And like Peer Gynt it seems that A Dream Play, fascinating as it is, would present extraordinary technical difficulties, with rapidly changing scenes and images like castles that grow from the ground and later burn and then blossom.
The difficulties in staging such a play are highlighted by Ingmar Bergman in his illuminating autobiography, A Magic Lantern. He stated of his later difficulties in staging some of Strindberg's works (though less due to technical issues than personal problems for him and his cast, though he does discuss general production issues with A Dream Play as well) that it seemed as though Strindberg's ghost was standing in his way:
Strindberg has been showing displeasure with me in recent years. . . . [He goes on to give several examples]. That number of misfortunes is no coincidence. For some reason, Strindberg did not want me. The thought saddened me, for I love him.
For Bergman it seemed, the plays of Strindberg were his MacBeth, Shakespeare's supposedly cursed "Scottish play."
Because of the difficulties that the play presents to theatre directors this would be a very fascinating play to see staged, and it would be even more interesting to compare different productions of it to see how different directors and theatre companies transcend the technical obstacles which the play presents.
In terms of content, interestingly, while there is no evidence suggesting that Strindberg read Sigmund Freud (just as there is no evidence that Proust read Freud, despite surprising similarities), his writing on dreams (which he explores through art) is very similar to that of Freud. Perhaps cosmically or historically there is something to this and many artists and thinkers were making the same realizations at the same time for whatever reason, drawing from the same universal pool of knowledge (perhaps someone has written on this; if so it would be an interesting read, I'm sure, and if not here's an idea for exploration -- provided one has the time to commit the endless hours of research time to this task).
A Dream Play is seen by some as a forerunner to Expressionism and Surrealism and, as in a dream, scenes shift rapidly and with little logical reason, characters come and go and different symbols emerge here and there (a few very sexual), some more obvious than others, just as in Freud's theories on dreams.
As with many a Strindberg play, although this one is in a different style from his early works, there is still an autobiographical strand in this work. Strindberg had just gone through a third divorce, this time with Harriet Bosse, who played the lead in the original production of this work, and had (as with his other relationships) turned the gritty side of them into artistic material. And, also as with Strindberg's other works, this play operates in a mythical world and draws on certain familiar motifs from fairy tales, though unlike his earlier works (because of its dreamlike qualities) it is harder to pin down in a specific socio-historical period.
There was so much to this short play -- too much to elaborate on here (though if I pick this play up again I'd like to expand on the many thematic points that I left out of this review) -- and it was constantly drawing my mind this way and that to other works that I've read, some of which Strindberg may or may not have been intentionally alluding to (the stories of Balzac, the poetry of William Blake and Edgar Allan Poe, the plays of Ibsen, the work of Freud and Marx) and to so many works that seemed to owe a great deal to this play (like Beckett's Waiting for Godot and, of course, the films of Bergman and Fellini).
I suppose that insomuch as the themes are so similar to other Strindberg plays, while the structure, form and setting are so different, that it is probably more justifiable that I focus in this review on the latter points. In my review of Strindberg's The Dance of Death, after all, I note that (like many artists) his work dealt with recurring themes (which are identified in that review). This play took many of those same familiar themes and did something new and exhilarating with them, making it instantly my favorite of the four Strindberg plays that I've read to date.
August Strindberg frequently referred to A Dream Play as his "favorite" work, but he also referred to it as "the child of my greatest pain." Just as was the case with Ingmar Bergman's Persona, Strindberg's A Dream Play is not only among the artist's most important works, but was a work with dreamlike and surrealist elements that followed from a nervous breakdown. Is madness the price one pays to create great art? Sometimes it seems.
One thing is for certain, A Dream Play is certainly a revolutionary work, with Strindberg furthering his break away from realism and naturalism in much the same way that Federico Fellini (and Ingmar Bergman in his own way) would do in film, moving from neorealism ultimately to surrealism, blending the dreamworld with the waking world. Although To Damascus (a play that I've yet to read, and one that is considered by some to be Strindberg's true "masterpiece") preceded A Dream Play by two years (both starring Strindberg's third wife, Harriet Bosse, when initially produced in Sweden), it is interesting that Strindberg didn't consider its style an experimentation that he would just as soon abandon when working on his next play (as is the case with some of his decisions in Miss Julie), but would instead expand on these, taking some great leaps forward, giving A Dream Play a very contemporary and even postmodern feel.
Apparently when he first wrote To Damascus, Strindberg had sent a copy of that work to his contemporary Henrik Ibsen, whom Strindberg referred to as "the Master, from whom he learned much." Not having read that earlier work, but having read the author's note at the beginning of A Dream Play, in which he writes that in both plays he "has attempted to imitate the disconnected but seemingly logical form of a dream," I feel that in both cases Strindberg perhaps owes some debt to the early Ibsen's Peer Gynt, which like A Dream Play not only blends reality and illusion or fantasy, but has an impressively long cast of characters (unlike Strindberg's earlier plays and, likewise, unlike Ibsen's later plays). And like Peer Gynt it seems that A Dream Play, fascinating as it is, would present extraordinary technical difficulties, with rapidly changing scenes and images like castles that grow from the ground and later burn and then blossom.
The difficulties in staging such a play are highlighted by Ingmar Bergman in his illuminating autobiography, A Magic Lantern. He stated of his later difficulties in staging some of Strindberg's works (though less due to technical issues than personal problems for him and his cast, though he does discuss general production issues with A Dream Play as well) that it seemed as though Strindberg's ghost was standing in his way:
Strindberg has been showing displeasure with me in recent years. . . . [He goes on to give several examples]. That number of misfortunes is no coincidence. For some reason, Strindberg did not want me. The thought saddened me, for I love him.
For Bergman it seemed, the plays of Strindberg were his MacBeth, Shakespeare's supposedly cursed "Scottish play."
Because of the difficulties that the play presents to theatre directors this would be a very fascinating play to see staged, and it would be even more interesting to compare different productions of it to see how different directors and theatre companies transcend the technical obstacles which the play presents.
In terms of content, interestingly, while there is no evidence suggesting that Strindberg read Sigmund Freud (just as there is no evidence that Proust read Freud, despite surprising similarities), his writing on dreams (which he explores through art) is very similar to that of Freud. Perhaps cosmically or historically there is something to this and many artists and thinkers were making the same realizations at the same time for whatever reason, drawing from the same universal pool of knowledge (perhaps someone has written on this; if so it would be an interesting read, I'm sure, and if not here's an idea for exploration -- provided one has the time to commit the endless hours of research time to this task).
A Dream Play is seen by some as a forerunner to Expressionism and Surrealism and, as in a dream, scenes shift rapidly and with little logical reason, characters come and go and different symbols emerge here and there (a few very sexual), some more obvious than others, just as in Freud's theories on dreams.
As with many a Strindberg play, although this one is in a different style from his early works, there is still an autobiographical strand in this work. Strindberg had just gone through a third divorce, this time with Harriet Bosse, who played the lead in the original production of this work, and had (as with his other relationships) turned the gritty side of them into artistic material. And, also as with Strindberg's other works, this play operates in a mythical world and draws on certain familiar motifs from fairy tales, though unlike his earlier works (because of its dreamlike qualities) it is harder to pin down in a specific socio-historical period.
There was so much to this short play -- too much to elaborate on here (though if I pick this play up again I'd like to expand on the many thematic points that I left out of this review) -- and it was constantly drawing my mind this way and that to other works that I've read, some of which Strindberg may or may not have been intentionally alluding to (the stories of Balzac, the poetry of William Blake and Edgar Allan Poe, the plays of Ibsen, the work of Freud and Marx) and to so many works that seemed to owe a great deal to this play (like Beckett's Waiting for Godot and, of course, the films of Bergman and Fellini).
I suppose that insomuch as the themes are so similar to other Strindberg plays, while the structure, form and setting are so different, that it is probably more justifiable that I focus in this review on the latter points. In my review of Strindberg's The Dance of Death, after all, I note that (like many artists) his work dealt with recurring themes (which are identified in that review). This play took many of those same familiar themes and did something new and exhilarating with them, making it instantly my favorite of the four Strindberg plays that I've read to date.
May 28, 2017
Here is a book I got to know thanks to Bergman's Fanny & Alexander. The following quote, is Bergman's filmography in a nutshell.
鈥淓verything can happen. Everything is possible and probable. Time and space do not exist. On a flimsy framework of reality, the imagination spins, weaving new patterns.鈥�
鈥淓verything can happen. Everything is possible and probable. Time and space do not exist. On a flimsy framework of reality, the imagination spins, weaving new patterns.鈥�
January 18, 2025
Flicking through this I was intrigued, I am drawn to stories with a surreal quality, here it was the fluidity of how characters, sets and props change seamlessly. These are the kind of stories that appeal to me.
As a play the story is more a quest that looks at human suffering. There鈥檚 no story arc and is more like a poem.
I really liked the surreal aspect but as a read, many of the Christian references went over me, and the translation in the public domain by Edwin Bj枚rkman gave me enough of a flavour to want to watch this. I think this would be a very difficult play to produce for the stage, but the magic of CGI on screen would bring out the surreal qualities just beautifully, now that would definitely be worth seeing.
As a play the story is more a quest that looks at human suffering. There鈥檚 no story arc and is more like a poem.
I really liked the surreal aspect but as a read, many of the Christian references went over me, and the translation in the public domain by Edwin Bj枚rkman gave me enough of a flavour to want to watch this. I think this would be a very difficult play to produce for the stage, but the magic of CGI on screen would bring out the surreal qualities just beautifully, now that would definitely be worth seeing.
January 23, 2015
BLIND MAN: ...I once asked a little boy why the sea was salt, and the boy, whose father was away on a long journey, said right away, "The sea is salt because the sailors cry so much." "But why do the sailors cry so much?" I asked. "Because," he said, "they always have to go away from home- and that's why they're always drying their handkerchiefs up on the masthead!" And then I asked him, "But why do people cry when they're sad?" And he said, "That's because they have to wash the glasses of their eyes so they can see better."
A Dream Play is one of Strindberg's plays that deals with what is real and what is not- essentially, it is set up to feel like a dream, with characters blending together and the story wandering from place to place, just as a dream would wander. I have seen this done by him before, particularly in To Damascus, but this work really masters the technique that I sense he was working to accomplish. I am glad that this play is so different than his other works, because it's fantastic and new for Strindberg.
The story, from what I can tell, is about the daughter of Indra coming down to Earth to see how the humans live. She meets a plethora of characters, including an Officer who pines over the ever-present Victoria, a Stage-Door Keeper who used to be a prima ballerina, and a Poet who insists that everything is a dream. There is no cast list at the beginning of the play, so there have been a lot of productions that have had enormous casts covering all parts, but I think that Strindberg made all of these characters to be multiple individuals; therefore, there have been small casts for this play as well. I enjoy the confusion taking place, mostly because it really feels like a dream; things wander in and out , the scene changes rapidly and illogically, unknown time lapses happen. How odd, but how brilliant!
While being weird, this play is also very much a poignant play exposing the facets of the human psyche. every character has a flaw that makes him or her a "poor soul" according to the daughter of Indra. Every character is fixated on something or another, and in that way, they have a problem. I really was able to get emotional in many places because some of the stories told by characters were very sad or very poignant. It's incredible that such a surreal play can still make me feel something.
All I can really say to sum this up is that I would absolutely love to see this play performed. It is so surreal, and the sets are so complex and rapidly changing. I'm sure that it would be lots of fun to see on the stage.
A Dream Play is one of Strindberg's plays that deals with what is real and what is not- essentially, it is set up to feel like a dream, with characters blending together and the story wandering from place to place, just as a dream would wander. I have seen this done by him before, particularly in To Damascus, but this work really masters the technique that I sense he was working to accomplish. I am glad that this play is so different than his other works, because it's fantastic and new for Strindberg.
The story, from what I can tell, is about the daughter of Indra coming down to Earth to see how the humans live. She meets a plethora of characters, including an Officer who pines over the ever-present Victoria, a Stage-Door Keeper who used to be a prima ballerina, and a Poet who insists that everything is a dream. There is no cast list at the beginning of the play, so there have been a lot of productions that have had enormous casts covering all parts, but I think that Strindberg made all of these characters to be multiple individuals; therefore, there have been small casts for this play as well. I enjoy the confusion taking place, mostly because it really feels like a dream; things wander in and out , the scene changes rapidly and illogically, unknown time lapses happen. How odd, but how brilliant!
While being weird, this play is also very much a poignant play exposing the facets of the human psyche. every character has a flaw that makes him or her a "poor soul" according to the daughter of Indra. Every character is fixated on something or another, and in that way, they have a problem. I really was able to get emotional in many places because some of the stories told by characters were very sad or very poignant. It's incredible that such a surreal play can still make me feel something.
All I can really say to sum this up is that I would absolutely love to see this play performed. It is so surreal, and the sets are so complex and rapidly changing. I'm sure that it would be lots of fun to see on the stage.
November 24, 2018
That was surprisingly good. I'd be really interested in seeing it staged. Simple, but effective, and satisfying, somehow, by virtue of its oneiricity.
January 23, 2024
Till f枚r att uppleva, inte l盲sa.
April 28, 2017
English title: A Dream Play.
I haven麓t read anything by August Strindberg before, but growing up in Sweden it麓s completely impossible not being raised into knowing and believing he is one of the greatest authors coming from this long, northern country of ours. In the context and on the topic of his words, it feels impossible not starting to formulate your sentences with more metaphors, with more angst and drama and with just more than you normally would. You almost unconsciously know you should respect him and that his work is something which we should appreciate and bow before.
Now, I have some mixed opinions on this after finally getting a taste of my own, but I麓m choosing to leave it for my future review on Miss Julie, where I麓m already suspicioning I will have a long debate ahead of me to try to type out.
But for now, the Dream.
I haven麓t started reading Miss Julie yet, but I麓ve watched the recording of it played by Bibi Andersson and Thommy Berggren from 1969 in class the other week. While, once again, that tragedy certainly caused some knots to inflict themselves in my otherwise quite clear view of Strindberg, just hearing the language, the old and dramatic that some consider pretentious and ostentatious, put a kind of spell on me and I found it was exactly the type of words that I like. The type of words that don麓t just make me love the story, but it makes me love the story and the dialog and each and every little word and this passage and that. It makes me appreciate words and it makes me want to make my own.
So when the copy of Miss Julie given to me from school also included A Dream Play, I got a whim this Sunday to maybe just try reading it. I didn麓t really want to take a break from reading Strange the Dreamer (apparently April weather is making me want nothing but dreams) but something in me just wanted to see more. I wanted to hear more, see if that thing bothering me in Miss Julie would continue and more importantly, I wanted more of his beautifully put words that (even if this sounds like a drama in itself) reminded me how beautiful my mother tongue can be.
So, down I sat, book and coffee in hand. I thought that maybe it was going to be too hard, the language too old and complicated to be available for someone like me. I also thought that even if it is, what is the worst thing that can happen? So in I went 鈥� and let me tell you, the dream swallowed me whole and kept me for one long sitting until it was finished.
A Dream Play, is written in a form that revolutionized the idea of how dramas can be created and played and it certainly surprised 鈥� not to mention confused 鈥� me when reading. There is structure, but it麓s constantly moving and it flows in and out of different scenes. At one point I found myself flicking back and forth a few pages, realizing the scene and the characters had morphed into something else and left me without any clue as to when this actually happened. It made me a little annoyed the first couple times it occurred, I felt like I just wasn麓t getting it, but then I realized that is the exact point. It麓s all a dream, and just like our dreams it flowed in and out and it made things turn into new things without making any sense or being logical at all. At one point you麓re following the officer and then the lawyer takes over and at one point the oak tree is just a tree, then in the next, it has conveniently turned into a coat hanger and I almost want to laugh because while reading, this all made perfect sense. When explaining it afterward, it sounds like complete nonsense, but in the moment, it was logical and clear and it really is like trying to explain a dream.
Not only has Strindberg managed to replicate the lucid nature of dreaming, he is also using plenty of symbols and there麓s many dialogues and lines where I was smiling at how brilliantly 鈥� how cleverly 鈥� you can formulate words and sentences.
There is one quite known one where I actually had to just pause and appreciate it, and it goes something like this:
A blind man asks a boy why the sea is salt, the boy replies saying it麓s because sailors cry so much. The man goes on to ask why the sailors cry so much and the boy replies and says it麓s because they have to go away from home for very long, which is why they dry their handkerchiefs on the masthead. Finally, the blind man asks why people cry when they are sad. The boy replies, 鈥淭hat鈥檚 because they have to wash the glasses of their eyes so they can see better.鈥�
*swoons*
Finally, we are led to realize the whole thing has been a dream of the character 鈥渢he Daugther鈥� also known as Agnes. We also find out that she is actually the Daughter of Indra, who according to Indian folktale is the god who sent his daughter to earth so she could see how the humans are living.
It all wraps up and as you get closer and closer towards the end of the drama things get clearer and clearer. You realize it麓s all a dream and it all ends in fire, as well as the constantly growing fairytale castle stopping to bloom its giant chrysanthemum crown.
It kept me locked down, completely submerged in this state of dreaming, and waking I find I want to see more.
5/5 stars.
I haven麓t read anything by August Strindberg before, but growing up in Sweden it麓s completely impossible not being raised into knowing and believing he is one of the greatest authors coming from this long, northern country of ours. In the context and on the topic of his words, it feels impossible not starting to formulate your sentences with more metaphors, with more angst and drama and with just more than you normally would. You almost unconsciously know you should respect him and that his work is something which we should appreciate and bow before.
Now, I have some mixed opinions on this after finally getting a taste of my own, but I麓m choosing to leave it for my future review on Miss Julie, where I麓m already suspicioning I will have a long debate ahead of me to try to type out.
But for now, the Dream.
I haven麓t started reading Miss Julie yet, but I麓ve watched the recording of it played by Bibi Andersson and Thommy Berggren from 1969 in class the other week. While, once again, that tragedy certainly caused some knots to inflict themselves in my otherwise quite clear view of Strindberg, just hearing the language, the old and dramatic that some consider pretentious and ostentatious, put a kind of spell on me and I found it was exactly the type of words that I like. The type of words that don麓t just make me love the story, but it makes me love the story and the dialog and each and every little word and this passage and that. It makes me appreciate words and it makes me want to make my own.
So when the copy of Miss Julie given to me from school also included A Dream Play, I got a whim this Sunday to maybe just try reading it. I didn麓t really want to take a break from reading Strange the Dreamer (apparently April weather is making me want nothing but dreams) but something in me just wanted to see more. I wanted to hear more, see if that thing bothering me in Miss Julie would continue and more importantly, I wanted more of his beautifully put words that (even if this sounds like a drama in itself) reminded me how beautiful my mother tongue can be.
So, down I sat, book and coffee in hand. I thought that maybe it was going to be too hard, the language too old and complicated to be available for someone like me. I also thought that even if it is, what is the worst thing that can happen? So in I went 鈥� and let me tell you, the dream swallowed me whole and kept me for one long sitting until it was finished.
A Dream Play, is written in a form that revolutionized the idea of how dramas can be created and played and it certainly surprised 鈥� not to mention confused 鈥� me when reading. There is structure, but it麓s constantly moving and it flows in and out of different scenes. At one point I found myself flicking back and forth a few pages, realizing the scene and the characters had morphed into something else and left me without any clue as to when this actually happened. It made me a little annoyed the first couple times it occurred, I felt like I just wasn麓t getting it, but then I realized that is the exact point. It麓s all a dream, and just like our dreams it flowed in and out and it made things turn into new things without making any sense or being logical at all. At one point you麓re following the officer and then the lawyer takes over and at one point the oak tree is just a tree, then in the next, it has conveniently turned into a coat hanger and I almost want to laugh because while reading, this all made perfect sense. When explaining it afterward, it sounds like complete nonsense, but in the moment, it was logical and clear and it really is like trying to explain a dream.
Not only has Strindberg managed to replicate the lucid nature of dreaming, he is also using plenty of symbols and there麓s many dialogues and lines where I was smiling at how brilliantly 鈥� how cleverly 鈥� you can formulate words and sentences.
There is one quite known one where I actually had to just pause and appreciate it, and it goes something like this:
A blind man asks a boy why the sea is salt, the boy replies saying it麓s because sailors cry so much. The man goes on to ask why the sailors cry so much and the boy replies and says it麓s because they have to go away from home for very long, which is why they dry their handkerchiefs on the masthead. Finally, the blind man asks why people cry when they are sad. The boy replies, 鈥淭hat鈥檚 because they have to wash the glasses of their eyes so they can see better.鈥�
*swoons*
Finally, we are led to realize the whole thing has been a dream of the character 鈥渢he Daugther鈥� also known as Agnes. We also find out that she is actually the Daughter of Indra, who according to Indian folktale is the god who sent his daughter to earth so she could see how the humans are living.
It all wraps up and as you get closer and closer towards the end of the drama things get clearer and clearer. You realize it麓s all a dream and it all ends in fire, as well as the constantly growing fairytale castle stopping to bloom its giant chrysanthemum crown.
It kept me locked down, completely submerged in this state of dreaming, and waking I find I want to see more.
5/5 stars.
May 6, 2007
鬲氐賵乇 賳賲蹖 讴賳賲 丕蹖賳 賳賲丕蹖卮 賳丕賲賴 蹖 丕爻鬲乇蹖賳丿亘乇诏貙 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 卮丿賴 亘丕卮丿.
丕爻鬲乇蹖賳丿亘乇诏 乇丕 亘丕 禺賵丕賳丿賳 "賲丕丿賲賵丕夭賱 跇賵賱蹖" 卮賳丕禺鬲賲. 亘毓丿賴丕 讴賴 丌孬丕乇 丿蹖诏乇蹖 丕夭 丕賵 賵 丕蹖亘爻賳貙 賳賵蹖爻賳丿賴 蹖 賳乇賵跇蹖 禺賵丕賳丿賲貙 亘賳馗乇 賲蹖 乇爻蹖丿 丨爻 睾乇蹖亘 睾乇亘鬲蹖 賲卮丕亘賴貙 賴賲賴 噩丕蹖 賮囟丕 賵 卮禺氐蹖鬲 賴丕蹖 丌孬丕乇 丕蹖賳 丿賵 賳賲丕蹖卮 賳丕賲賴 賳賵蹖爻 乇丕 丕賳亘丕卮鬲賴 丕爻鬲. 亘丕 丿蹖丿賳 賮蹖賱賲 賴丕蹖 "亘乇诏賲丕賳" (爻賵卅丿蹖)貙 丨爻 讴乇丿賲 亘丕 賮囟丕賴丕蹖 賲賱丕賳讴賵賱蹖讴 丕賵 倬蹖卮 丕夭 丌賳 丌卮賳丕 亘賵丿賴 丕賲. 趩賳丿 爻丕賱蹖 讴賴 爻丕讴賳 噩賵丕賲毓 丕爻讴丕賳丿蹖賳丕賵蹖 亘丕卮蹖 丕蹖賳 賲賱丕賳讴賵賱蹖 乇丕 亘賴鬲乇 丿乇讴 賲蹖 讴賳蹖貨 乇賵夭賴丕蹖 讴賵鬲丕賴 賵 鬲丕乇蹖讴 夭賲爻鬲丕賳 賴丕蹖 亘賱賳丿貙 賵 乇賵夭賴丕蹖 亘賱賳丿 賵 乇賵卮賳 鬲丕亘爻鬲丕賳 賴丕蹖 讴賵鬲丕賴! 丕夭 丿丕賳賲丕乇讴 賵 爻賵卅丿 讴賴 亘丕賱丕鬲乇 亘乇賵蹖貙 鬲丕 賳乇賵跇 賵 賮賳賱丕賳丿 賵 丕蹖爻賱賳丿貙 亘丕 鬲噩乇亘賴 蹖 卮亘蹖 亘賴 亘賱賳丿蹖 趩賴丕乇賲丕賴 夭賲爻鬲丕賳貙 賵 乇賵夭 讴卮丿丕乇蹖 亘賴 賵爻毓鬲 爻賴 賲丕賴 鬲丕亘爻鬲丕賳貙 賵 亘丕丿賴丕 賵 丕亘乇賴丕蹖 毓噩賵賱蹖 讴賴 丿乇 趩賳丿 賱丕蹖賴 丿乇 诏匕乇 丕賳丿貙 賵... 丿賱夭丿诏蹖 賲賱丕賳讴賵賱蹖讴蹖 丿乇 爻蹖賳賴 丕鬲 丕賳亘丕卮鬲賴 賲蹖 卮賵丿貙 亘賴 賵蹖跇賴 讴賴 丕夭 爻賲鬲 "丌賮鬲丕亘" 丌賲丿賴 亘丕卮蹖.
讴鬲賲丕賳 賳賲蹖 鬲賵丕賳 讴乇丿 讴賴 亘爻蹖丕乇蹖 丕夭 鬲丨賵賱丕鬲 卮诏乇賮 噩賵丕賲毓 丕爻讴丕賳丿蹖賳丕賵蹖 賲丿蹖賵賳 賳诏丕賴 倬蹖卮乇賵 賳賵蹖爻賳丿诏丕賳蹖 趩賵賳 丕蹖亘爻賳 賵 丕爻鬲乇蹖賳丿亘乇诏 丕爻鬲 讴賴 丿乇 丕賵丕禺乇 賯乇賳 賳賵夭丿賴 賵 丕亘鬲丿丕蹖 賯乇賳 亘蹖爻鬲賲 夭賳丿诏蹖 賲蹖 讴乇丿賳丿. 丕爻鬲乇蹖賳丿亘乇诏 丕賲丕 亘蹖卮 丕夭 丕蹖亘爻賳貙 丿乇诏蹖乇 賲亘丕乇夭賴 賲蹖丕賳 賲匕賴亘 賵 丌賲賵夭卮 賲匕賴亘蹖貙 亘丕 噩賴丕賳 鬲丕夭賴 丕蹖 爻鬲 讴賴 亘禺卮 睾乇亘蹖 丕乇賵倬丕 乇丕 賮乇丕诏乇賮鬲賴 亘賵丿 賵 亘賴 卮讴賱蹖 丌乇丕賲貙 诏爻鬲乇丿賴 賲蹖 卮丿. 賴賲丕賳 鬲賯丕亘賱 賴丕 讴賴 丿乇 賮蹖賱賲 賴丕蹖 亘乇诏賲丕賳 丿蹖丿賴 賲蹖 卮賵丿.
蹖賵賴丕賳 丕诏賵爻鬲 丕爻鬲乇蹖賳丿亘乇诏 (1912-1849)貙 丿乇 賲讴丕鬲亘 賲禺鬲賱賮 鬲蹖丕鬲乇蹖貙 賳賲丕蹖卮 賳丕賲賴 賳賵卮鬲賴. 丕賵 亘賴 毓賳賵丕賳 倬丿乇 丕丿亘蹖丕鬲 賲丿乇賳貙 賵 "丕鬲丕賯 賯乇賲夭" 蹖讴蹖 丕夭 丕賵賱蹖賳 賯氐賴 賴丕蹖卮 (1879)貙 亘賴 毓賳賵丕賳 丕賵賱蹖賳 乇賲丕賳 賲丿乇賳 爻賵卅丿 卮賳丕禺鬲賴 賲蹖 卮賵丿. 毓賲丿賴 鬲乇蹖賳 賳賲丕蹖卮 賳丕賲賴 賴丕蹖 丕爻鬲乇蹖賳丿亘乇诏貙 丌賳賴丕蹖蹖 賴爻鬲賳丿 讴賴 丕夭 爻賵蹖 讴賱蹖爻丕蹖 賲爻賱胤貙 賲匕賲賵賲 卮賳丕禺鬲賴 卮丿賳丿. 亘賴 毓賱鬲 賲禺丕賱賮鬲 讴賱蹖爻丕 賵 噩丕賲毓賴 蹖 賲匕賴亘蹖貙 丕爻鬲乇蹖賳丿亘乇诏 賲丿鬲蹖 爻丕讴賳 丌賱賲丕賳 賵 賮乇丕賳爻賴 亘賵丿.
丕爻鬲乇蹖賳丿亘乇诏 乇丕 亘丕 禺賵丕賳丿賳 "賲丕丿賲賵丕夭賱 跇賵賱蹖" 卮賳丕禺鬲賲. 亘毓丿賴丕 讴賴 丌孬丕乇 丿蹖诏乇蹖 丕夭 丕賵 賵 丕蹖亘爻賳貙 賳賵蹖爻賳丿賴 蹖 賳乇賵跇蹖 禺賵丕賳丿賲貙 亘賳馗乇 賲蹖 乇爻蹖丿 丨爻 睾乇蹖亘 睾乇亘鬲蹖 賲卮丕亘賴貙 賴賲賴 噩丕蹖 賮囟丕 賵 卮禺氐蹖鬲 賴丕蹖 丌孬丕乇 丕蹖賳 丿賵 賳賲丕蹖卮 賳丕賲賴 賳賵蹖爻 乇丕 丕賳亘丕卮鬲賴 丕爻鬲. 亘丕 丿蹖丿賳 賮蹖賱賲 賴丕蹖 "亘乇诏賲丕賳" (爻賵卅丿蹖)貙 丨爻 讴乇丿賲 亘丕 賮囟丕賴丕蹖 賲賱丕賳讴賵賱蹖讴 丕賵 倬蹖卮 丕夭 丌賳 丌卮賳丕 亘賵丿賴 丕賲. 趩賳丿 爻丕賱蹖 讴賴 爻丕讴賳 噩賵丕賲毓 丕爻讴丕賳丿蹖賳丕賵蹖 亘丕卮蹖 丕蹖賳 賲賱丕賳讴賵賱蹖 乇丕 亘賴鬲乇 丿乇讴 賲蹖 讴賳蹖貨 乇賵夭賴丕蹖 讴賵鬲丕賴 賵 鬲丕乇蹖讴 夭賲爻鬲丕賳 賴丕蹖 亘賱賳丿貙 賵 乇賵夭賴丕蹖 亘賱賳丿 賵 乇賵卮賳 鬲丕亘爻鬲丕賳 賴丕蹖 讴賵鬲丕賴! 丕夭 丿丕賳賲丕乇讴 賵 爻賵卅丿 讴賴 亘丕賱丕鬲乇 亘乇賵蹖貙 鬲丕 賳乇賵跇 賵 賮賳賱丕賳丿 賵 丕蹖爻賱賳丿貙 亘丕 鬲噩乇亘賴 蹖 卮亘蹖 亘賴 亘賱賳丿蹖 趩賴丕乇賲丕賴 夭賲爻鬲丕賳貙 賵 乇賵夭 讴卮丿丕乇蹖 亘賴 賵爻毓鬲 爻賴 賲丕賴 鬲丕亘爻鬲丕賳貙 賵 亘丕丿賴丕 賵 丕亘乇賴丕蹖 毓噩賵賱蹖 讴賴 丿乇 趩賳丿 賱丕蹖賴 丿乇 诏匕乇 丕賳丿貙 賵... 丿賱夭丿诏蹖 賲賱丕賳讴賵賱蹖讴蹖 丿乇 爻蹖賳賴 丕鬲 丕賳亘丕卮鬲賴 賲蹖 卮賵丿貙 亘賴 賵蹖跇賴 讴賴 丕夭 爻賲鬲 "丌賮鬲丕亘" 丌賲丿賴 亘丕卮蹖.
讴鬲賲丕賳 賳賲蹖 鬲賵丕賳 讴乇丿 讴賴 亘爻蹖丕乇蹖 丕夭 鬲丨賵賱丕鬲 卮诏乇賮 噩賵丕賲毓 丕爻讴丕賳丿蹖賳丕賵蹖 賲丿蹖賵賳 賳诏丕賴 倬蹖卮乇賵 賳賵蹖爻賳丿诏丕賳蹖 趩賵賳 丕蹖亘爻賳 賵 丕爻鬲乇蹖賳丿亘乇诏 丕爻鬲 讴賴 丿乇 丕賵丕禺乇 賯乇賳 賳賵夭丿賴 賵 丕亘鬲丿丕蹖 賯乇賳 亘蹖爻鬲賲 夭賳丿诏蹖 賲蹖 讴乇丿賳丿. 丕爻鬲乇蹖賳丿亘乇诏 丕賲丕 亘蹖卮 丕夭 丕蹖亘爻賳貙 丿乇诏蹖乇 賲亘丕乇夭賴 賲蹖丕賳 賲匕賴亘 賵 丌賲賵夭卮 賲匕賴亘蹖貙 亘丕 噩賴丕賳 鬲丕夭賴 丕蹖 爻鬲 讴賴 亘禺卮 睾乇亘蹖 丕乇賵倬丕 乇丕 賮乇丕诏乇賮鬲賴 亘賵丿 賵 亘賴 卮讴賱蹖 丌乇丕賲貙 诏爻鬲乇丿賴 賲蹖 卮丿. 賴賲丕賳 鬲賯丕亘賱 賴丕 讴賴 丿乇 賮蹖賱賲 賴丕蹖 亘乇诏賲丕賳 丿蹖丿賴 賲蹖 卮賵丿.
蹖賵賴丕賳 丕诏賵爻鬲 丕爻鬲乇蹖賳丿亘乇诏 (1912-1849)貙 丿乇 賲讴丕鬲亘 賲禺鬲賱賮 鬲蹖丕鬲乇蹖貙 賳賲丕蹖卮 賳丕賲賴 賳賵卮鬲賴. 丕賵 亘賴 毓賳賵丕賳 倬丿乇 丕丿亘蹖丕鬲 賲丿乇賳貙 賵 "丕鬲丕賯 賯乇賲夭" 蹖讴蹖 丕夭 丕賵賱蹖賳 賯氐賴 賴丕蹖卮 (1879)貙 亘賴 毓賳賵丕賳 丕賵賱蹖賳 乇賲丕賳 賲丿乇賳 爻賵卅丿 卮賳丕禺鬲賴 賲蹖 卮賵丿. 毓賲丿賴 鬲乇蹖賳 賳賲丕蹖卮 賳丕賲賴 賴丕蹖 丕爻鬲乇蹖賳丿亘乇诏貙 丌賳賴丕蹖蹖 賴爻鬲賳丿 讴賴 丕夭 爻賵蹖 讴賱蹖爻丕蹖 賲爻賱胤貙 賲匕賲賵賲 卮賳丕禺鬲賴 卮丿賳丿. 亘賴 毓賱鬲 賲禺丕賱賮鬲 讴賱蹖爻丕 賵 噩丕賲毓賴 蹖 賲匕賴亘蹖貙 丕爻鬲乇蹖賳丿亘乇诏 賲丿鬲蹖 爻丕讴賳 丌賱賲丕賳 賵 賮乇丕賳爻賴 亘賵丿.
September 21, 2024
丿禺鬲乇 禺丿丕 亘賴 夭賲蹖賳 賲蹖鈥屫③屫� 鬲丕 亘賮賴賲丿 趩乇丕 丕賳爻丕賳鈥屬囏� 賴賲蹖卮賴 丌賴 賵 賳丕賱賴 賲蹖鈥屭┵嗁嗀� 賵 卮讴丕蹖鬲 丿丕乇賳丿. 丿乇 爻賮乇蹖 乇賵蹖丕诏賵賳 賲蹖亘蹖賳丿 讴賴 丌丿賲蹖 丿乇 乇賳噩 丕爻鬲. 賵賯鬲蹖 丿乇 倬丕蹖丕賳 爻賮乇卮 卮丕毓乇 丕夭 丕賵 賲蹖鈥屬矩必池� 讴賴 亘夭乇诏鬲乇蹖賳 丕蹖賳 乇賳噩鈥屬囏� 趩賴 亘賵丿責 亘賵丿丕 賵丕乇 賲蹖鈥屭堐屫�:听" 亘賵丿賳.
"
"From鈥攂eing:to feel my vision weakened by an eye, my听 hearing blunted听 by an ear, and my thought, my bright and buoyant听 thought, bound in labyrinthine coils of fat.You have seen a brain鈥攚hat roundabout and sneaking paths-"
"
"From鈥攂eing:to feel my vision weakened by an eye, my听 hearing blunted听 by an ear, and my thought, my bright and buoyant听 thought, bound in labyrinthine coils of fat.You have seen a brain鈥攚hat roundabout and sneaking paths-"
December 26, 2019
Surealer and surealer!
Read
December 10, 2024Jag har f枚rlorat 90% av mina hj盲rnceller till denna pj盲s.
脛r s氓 taggad p氓 att detta 盲r den sista Strindberg jag beh枚ver l盲sa p氓 ett bra tag. L盲ste btw n氓gonstans att Ibsen ramade in en unflattering bild p氓 Strindberg och satte upp i sitt kontor som inspiration till galenskap. Queen behavior鉁�
脛r s氓 taggad p氓 att detta 盲r den sista Strindberg jag beh枚ver l盲sa p氓 ett bra tag. L盲ste btw n氓gonstans att Ibsen ramade in en unflattering bild p氓 Strindberg och satte upp i sitt kontor som inspiration till galenskap. Queen behavior鉁�
February 7, 2024
Jeg skj酶nner ingenting
April 11, 2024
This is great for LSD users and fans of drama as a genre
January 16, 2025
Tar lite f枚r l氓ng tid p氓 sig att bli intressant + tycker den genomsyras mer av sj盲lv枚mkan 盲n medlidande. K盲nner mig mycket tacksam 枚ver att Strindberg dog innan autofiktionen blev trendig, han hade varit outh盲rdlig.
February 12, 2017
"Bir g眉n bir 莽ocu臒a sormu艧tum, deniz neden tuzludur diye. Babas谋 uzun bir sefere 莽谋km谋艧t谋. 脟ocuk hemencecik kar艧谋l谋k verdi: Deniz tuzludur, 莽眉nk眉 denizciler durmadan a臒lar! Neden denizciler bu kadar 莽ok a臒lar ki? 脟眉nk眉 dedi yolculuklar谋 bitmez, onun i莽in de mendillerini hep direklere as谋p kuruturlar! Gene sordum: Ya ni莽in insanlar 眉zg眉n olunca a臒lar? 脟眉nk眉,dedi,daha duru g枚rebilelim diye g枚zlerin cam谋n谋 aras谋ra y谋kamak laz谋m!"
July 13, 2023
鬲乇噩蹖丨 賲蹖丿賲 賮毓賱丕 丕賲鬲蹖丕夭蹖 亘賴卮 賳丿賲 貙 卮丕蹖丿 丿賵亘丕乇賴 禺賵賳丿賲卮 賵 亘毓丿 丕賲鬲蹖丕夭 丿丕丿賲 貙 賮毓賱丕 賳馗乇賲 乇賵蹖 鄄/鄣 鬲丕 鄢 賴爻鬲鈥� 卮丕蹖丿 讴賲鬲乇 蹖丕 亘蹖卮鬲乇 卮丿!!
賳賲蹖丿賵賳賲 :)))
丕蹖賳 讴鬲丕亘 亘丕 賴乇亘丕乇 禺賵賳丿賳 毓噩蹖亘鈥屫� 賲蹖卮賴 賵 丨乇賮蹖 亘蹖卮鬲乇 亘乇丕蹖 诏賮鬲賳 丿丕乇賴 !! 丿賵亘丕乇賴 禺賵賳丿賲卮 賵 丕賲鬲蹖丕夭賲 亘賴卮 鄞 賴爻鬲 賮毓賱丕 :))
賳賲蹖丿賵賳賲 :)))
丕蹖賳 讴鬲丕亘 亘丕 賴乇亘丕乇 禺賵賳丿賳 毓噩蹖亘鈥屫� 賲蹖卮賴 賵 丨乇賮蹖 亘蹖卮鬲乇 亘乇丕蹖 诏賮鬲賳 丿丕乇賴 !! 丿賵亘丕乇賴 禺賵賳丿賲卮 賵 丕賲鬲蹖丕夭賲 亘賴卮 鄞 賴爻鬲 賮毓賱丕 :))
January 26, 2023
础蝉蝉氓鈥别别别丑鈥�
Forst氓r at livet e tema men gidd 氓 kom p氓 noe mer originalt enn masse kristne symboler. I tillegg syns eg at livet som tema, eller ka e livet, e ikje noe eg vil se p氓/lese fordi hvis man skjenne seg igjen i d, s氓 e d kun fordi du gjennomg氓r ein krise og eg tror ikje noe g氓tt komme ut av 氓 kjenna seg igjen i dette temaet. F酶le d skape kaos i hodet p氓 tilskuerne og litt panikk鈥ot good
Forst氓r at livet e tema men gidd 氓 kom p氓 noe mer originalt enn masse kristne symboler. I tillegg syns eg at livet som tema, eller ka e livet, e ikje noe eg vil se p氓/lese fordi hvis man skjenne seg igjen i d, s氓 e d kun fordi du gjennomg氓r ein krise og eg tror ikje noe g氓tt komme ut av 氓 kjenna seg igjen i dette temaet. F酶le d skape kaos i hodet p氓 tilskuerne og litt panikk鈥ot good
September 26, 2023
stark 3,5
man fattade ju inte b枚rjan alls f枚r盲n man l盲st typ 75% och alla bitar b枚rjade falla p氓 plats. d氓 blev den riktigt bra. tror jag kommer njuta mer av den om jag l盲ser om den. v盲ldigt taggad p氓 att se den p氓 scen nu.
man fattade ju inte b枚rjan alls f枚r盲n man l盲st typ 75% och alla bitar b枚rjade falla p氓 plats. d氓 blev den riktigt bra. tror jag kommer njuta mer av den om jag l盲ser om den. v盲ldigt taggad p氓 att se den p氓 scen nu.
February 5, 2024
Mest "out there" boka 忙 lest p氓 en god stund. Alts氓 e jo et dramastykke, men den e s氓 fjern at 忙 skj酶nne legit ikke kordan d忙m klare 氓 sett den opp. Men nydelish skreve og symbolikken va on point馃崌馃崌
February 8, 2024
Veldig g酶y, ganske forvirrende.. nihilisme vibes
May 29, 2024
who let him read my diary????
February 19, 2018
"Che pena, gli uomini!" (passim)
June 11, 2020
Jessus t盲m盲h盲n pit盲盲 joskus ohjata. Tasoja. METAA.
September 23, 2024
Fattade absolut ingenting fett konstig
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