What do you think?
Rate this book
螣 蠂慰蟻蠈蟼 蟿慰蠀 胃伪谓维蟿慰蠀
危蟿慰 苇蟻纬慰 蟿慰蠀 伪蠀蟿蠈 慰 危蟿蟻委谓蟿渭蟺蔚蟻纬魏 蔚委谓伪喂 蟺慰位蠉 蟺喂胃伪谓蠈 谓伪 蔚蟺畏蟻蔚维蟽蟿畏魏蔚 伪蟺蠈 蟿慰 苇蟻纬慰 蟿慰蠀 Swedenborg De Coelo et Inferno, 苇谓伪 苇蟻纬慰 蟿慰 慰蟺慰委慰, 蟽蠉渭蠁蠅谓伪 渭蔚 渭喂伪 蟺位畏蟻慰蠁慰蟻委伪, 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 纬谓蠋蟻喂味蔚 蟺慰位蠉 魏伪位维. 危蟿慰 苇蟻纬慰 伪蠀蟿蠈 慰 Swedenborg 渭伪蟼 位苇蔚喂 蟺蠈蟽慰 蔚蠀蟿蠀蠂喂蟽渭苇谓慰蟼 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 慰 纬维渭慰蟼 蟺慰蠀 尾蟻委蟽魏蔚蟿伪喂 魏维蟿蠅 伪蟺蠈 蟿畏谓 蔚蟺喂蟻蟻慰萎 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼. 螒位位维 渭蔚蟻喂魏慰委 纬维渭慰喂, 位苇蔚喂, 尾蟻委蟽魏慰谓蟿伪喂 魏维蟿蠅 伪蟺蠈 蟿畏谓 蔚蟺喂蟻蟻慰萎 蟿慰蠀 魏伪魏慰蠉, 魏喂 伪蠀蟿慰委 位苇纬慰谓蟿伪喂 "纬维渭慰喂 蟿慰蠀 螖喂伪尾蠈位慰蠀". 危' 苇谓伪 蟿苇蟿慰喂慰 纬维渭慰, 位苇蔚喂 慰 委未喂慰蟼, 蟿伪 渭苇蟻畏 渭蟺慰蟻蔚委 谓伪 渭喂位慰蠉谓 慰 苇谓伪蟼 蟽蟿慰谓 维位位慰, 渭蟺慰蟻蔚委 谓伪 苇位魏慰谓蟿伪喂 伪蟺蠈 蟿慰谓 蟺蠈胃慰, 伪位位维 渭苇蟽伪 蟿慰蠀蟼 魏慰蠂位维味蔚喂 苇谓伪 伪渭慰喂尾伪委慰 胃伪谓伪蟿蔚蟻蠈 渭委蟽慰蟼, 蟿蠈蟽慰 渭蔚纬维位慰 蟺慰蠀 未蔚谓 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂.
134 pages, Paperback
First published January 1, 1900
12 people are currently reading
716 people want to read
About the author
August Strindberg
1,789听books741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.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 65 reviews
July 7, 2016
[Night. An apartment near Marble Arch. From outside, sounds of Muslims celebrating Ramadan; the restaurants are just beginning to fill up. NOT is sitting at a table typing on a laptop, while MANNY lies on a couch reading a slim paperback book. He closes it, puts it down next to him, and stares into space]
NOT: What are you thinking about?
MANNY: Strindberg's 顿枚诲蝉诲补苍蝉别苍. You know, I'm kind of disappointed. Bergman talks about it in Laterna Magica as though it were a masterpiece, but I thought it was melodramatic and poorly written. Even if it has some interesting things to say about dysfunctional relationships.
NOT: Well, it's not performed much any more.
MANNY: No, no! We're doing a parody review! You're supposed to disagree violently!
NOT: Like how?
MANNY: Oh, I don't know, you could scornfully ask if my Swedish is good enough to be able to evaluate the quality of the language. And add that I know nothing about theater.
NOT: Well, it's true, you haven't seen much theater.
MANNY: Not like that! You need to fling insults at me! And use more exclamation points!
NOT: Okay, you haven't seen much fucking theater!
MANNY: It's still no good! You forgot to denigrate my knowledge of Swedish! And you didn't insult me enough!
NOT: This is stupid.
MANNY: Come on! We need a bitter quarrel where we say unforgivable things to each other! With yelling and screaming and some physical violence! And exclamation points! Otherwise I won't get enough votes!
NOT: I'm fucking tired of being in your review. If you want to do this kind of fucking shit you can fuck off back to your ex-wife.
MANNY: Hey, that wasn't bad. You're getting the hang of it already.
NOT: What are you thinking about?
MANNY: Strindberg's 顿枚诲蝉诲补苍蝉别苍. You know, I'm kind of disappointed. Bergman talks about it in Laterna Magica as though it were a masterpiece, but I thought it was melodramatic and poorly written. Even if it has some interesting things to say about dysfunctional relationships.
NOT: Well, it's not performed much any more.
MANNY: No, no! We're doing a parody review! You're supposed to disagree violently!
NOT: Like how?
MANNY: Oh, I don't know, you could scornfully ask if my Swedish is good enough to be able to evaluate the quality of the language. And add that I know nothing about theater.
NOT: Well, it's true, you haven't seen much theater.
MANNY: Not like that! You need to fling insults at me! And use more exclamation points!
NOT: Okay, you haven't seen much fucking theater!
MANNY: It's still no good! You forgot to denigrate my knowledge of Swedish! And you didn't insult me enough!
NOT: This is stupid.
MANNY: Come on! We need a bitter quarrel where we say unforgivable things to each other! With yelling and screaming and some physical violence! And exclamation points! Otherwise I won't get enough votes!
NOT: I'm fucking tired of being in your review. If you want to do this kind of fucking shit you can fuck off back to your ex-wife.
MANNY: Hey, that wasn't bad. You're getting the hang of it already.
January 22, 2023
袩褜械褋邪 芯 写胁褍褏 锌芯褋褌芯褟薪薪芯 褉褍谐邪褞褖懈褏褋褟, 芯褌褉邪胁谢褟褞褖懈褏 卸懈蟹薪褜 写褉褍谐 写褉褍谐褍 褋褍锌褉褍谐邪褏, 褔褜褟 械写懈薪褋褌胁械薪薪邪褟 褑械谢褜 鈥� 褍写邪褉懈褌褜 写褉褍谐邪 写褉褍谐邪 锌芯斜芯谢褜薪械械, 薪芯 锌褉懈 褝褌芯屑, 泻邪卸写褘泄 薪芯褉芯胁懈褌 锌芯谢褍褔懈褌褜 褋胁芯褞 褌芯谢懈泻褍 胁褘谐芯写褘. 袨薪懈 屑邪薪懈锌褍谢懈褉褍褞褌 写褉褍谐 写褉褍谐芯屑, 懈蟹胁芯褉邪褔懈胁邪褞褌褋褟 懈 谢谐褍褌, 芯斜胁懈薪褟褞褌 懈 褍谐褉芯卸邪褞褌. 袠褏 卸懈蟹薪褜 鈥� 泻褉芯屑械褕薪褘泄 邪写. 小 屑芯械泄 褌芯褔泻懈 蟹褉械薪懈褟, 胁褋械-褌邪泻懈 协写谐邪褉 胁懈薪芯胁邪褌 斜芯谢褜褕械, 锌芯褋泻芯谢褜泻褍 蟹邪褔懈薪褖懈泻 胁褋械谐写邪 芯薪. 袙懈薪邪 袗谢懈褋 胁 褌芯屑, 褔褌芯 芯薪邪 薪械 锌褉芯锌褍褋泻邪械褌 薪懈 芯写薪芯谐芯 械谐芯 褋谢芯胁邪, 懈 胁褋械谐写邪 芯褌胁械褔邪械褌 褌械屑 卸械. 袗 褋 写褉褍谐芯泄 褋褌芯褉芯薪褘, 褋 褌邪泻懈屑 褏邪屑芯屑 胁芯蟹屑芯卸薪芯 谢懈 懈薪邪褔械? 协褌芯 褝薪械褉谐械褌懈褔械褋泻懈泄 胁邪屑锌懈褉, 褍 泻芯褌芯褉芯谐芯 胁 蟹邪锌邪褋械 褌褘褋褟褔邪 褋锌芯褋芯斜芯胁 芯褌褉邪胁懈褌褜 卸械薪械 懈 芯泻褉褍卸邪褞褖懈屑 卸懈蟹薪褜. 袙 卸懈蟹薪懈 褌邪泻懈械 褌懈锌邪卸懈 胁褋褌褉械褔邪褞褌褋褟, 懈 褍胁褘, 薪械褉械写泻芯. 协褌懈 谢褞写懈 褋褔懈褌邪褞褌 褋械斜褟 褑械薪褌褉芯屑 屑懈褉芯蟹写邪薪懈褟, 芯薪懈 褋褔懈褌邪褞褌 胁芯蟹屑芯卸薪褘屑 褋邪屑芯褋褌芯褟褌械谢褜薪芯 芯褑械薪懈胁邪褌褜, 锌谢邪褌懈褌褜 懈谢懈 薪械 锌谢邪褌懈褌褜 蟹邪 褍褋谢褍谐懈 胁褉邪褔邪 懈谢懈 谢褞斜芯谐芯 写褉褍谐芯谐芯 褋锌械褑懈邪谢懈褋褌邪, 泻 褔褜懈屑 褍褋谢褍谐邪屑 锌褉懈斜械谐邪褞褌, 懈, 泻芯薪械褔薪芯, 褍 薪懈褏 蟹邪谐芯褌芯胁谢械薪褘 邪褉谐褍屑械薪褌褘, 褔褌芯斜褘 薪械 锌谢邪褌懈褌褜. 孝邪泻懈械 谢褞写懈 胁褘谐芯薪褟褞褌 谢褞写械泄, 泻芯褌芯褉褘械 薪邪 薪懈褏 褉邪斜芯褌邪褞褌, 斜械蟹 屑邪谢械泄褕懈褏 芯褋薪芯胁邪薪懈泄. 袨薪懈 褋褔懈褌邪褞褌 褋械斜褟 锌褉邪胁褘屑懈 邪锌褉懈芯褉懈, 褝褌芯 褋泻邪薪写邪谢懈褋褌褘, 锌芯写邪胁谢褟褞褖懈械 锌褉芯褋褌芯 褋胁芯懈屑 锌褉懈褋褍褌褋褌胁懈械屑. 袩褜械褋邪 锌褉械泻褉邪褋薪芯 褉邪褋泻褉褘胁邪械褌 屑械褏邪薪懈蟹屑 写芯屑邪褕薪懈褏 褋褋芯褉, 芯褋芯斜械薪薪芯 褋 锌褉懈胁谢械褔械薪懈械屑 褌褉械褌褜械谐芯 谢懈褑邪, 泻芯褌芯褉芯谐芯 芯斜械 褋褋芯褉褟褖懈械褋褟 褋褌芯褉芯薪褘 薪邪褋褌褉邪懈胁邪褞褌 写褉褍谐 锌褉芯褌懈胁 写褉褍谐邪, 泻芯褌芯褉褘屑 褍屑械谢芯 屑邪薪懈锌褍谢懈褉褍褞褌, 写芯斜懈胁邪褟褋褜 褋胁芯懈褏 褑械谢械泄.
October 15, 2022
亘賴 賳馗乇賲 蹖讴蹖 丕夭 賳賲丕蹖卮賳丕賲賴鈥屬囏й� 禺賵亘蹖 亘賵丿 讴賴 禺蹖賱蹖 丿蹖丿賴 賳卮丿賴...
January 19, 2025
The Dance of Death is a text about conjugal imprisonment and the lack of perspectives marriage generates as a counterpoint to individual freedom. It is a play about the fear of the beast within each of us and unhappiness. It analytically explores, in a psychic sense, the intricacies of male/female power relations鈥攁 real civil war.
April 13, 2022
鬲乇噩賲賴 卮丿賴 鬲賵爻胤 倬乇賵蹖夭 賴賲鬲蹖丕賳 亘乇賵噩賳蹖
乇賯氐 賲乇诏貙丿睾丿睾賴鈥屬囏й� 丿賴賳蹖 賵 亘乇丿丕卮鬲 賳賵蹖爻賳丿賴 丕夭 賲爻丕卅賱 丕爻丕爻蹖 夭賳丿诏蹖 賲孬賱 賲乇诏貙噩賴丕賳 亘毓丿 丕夭 賲乇诏貙賵 毓卮賯 賵 賳賮乇鬲 亘丕 亘蹖丕賳蹖 卮蹖賵丕 賵 胤賳丕夭 讴賵亘賳丿賴 賵 賴賵賱賳丕讴 賵 亘賴 卮讴賱蹖 夭蹖亘丕 賳賲丕蹖卮 丿丕丿賴 賲蹖鈥屫促堌�.丕爻鬲賮丕丿賴 賳賵蹖爻賳丿賴 丕夭 賳賲丕丿賴丕蹖蹖 趩賵賳 丌卮丕賲蹖丿賳 禺賵賳 亘乇丕蹖 丕爻鬲丨丕賱賴 丕賳爻丕賳賴丕 賵 卮蹖賵賴 丕乇丕卅賴 丕讴爻倬乇爻蹖賵賳蹖爻鬲蹖 亘丕 賵賯賵毓 賮丕噩毓賴 丿乇 诏賵蹖卮 讴乇讴鬲乇賴丕貙賳賲丕蹖卮賳丕賲賴 乇丕 夭蹖亘丕 賵 禺賵丕賳賳丿賴 乇丕 鬲丕 丕賳鬲賴丕 賴賲乇丕賴 禺賵丿 賲蹖鈥屫ㄘ必�.
乇賯氐 賲乇诏貙丿睾丿睾賴鈥屬囏й� 丿賴賳蹖 賵 亘乇丿丕卮鬲 賳賵蹖爻賳丿賴 丕夭 賲爻丕卅賱 丕爻丕爻蹖 夭賳丿诏蹖 賲孬賱 賲乇诏貙噩賴丕賳 亘毓丿 丕夭 賲乇诏貙賵 毓卮賯 賵 賳賮乇鬲 亘丕 亘蹖丕賳蹖 卮蹖賵丕 賵 胤賳丕夭 讴賵亘賳丿賴 賵 賴賵賱賳丕讴 賵 亘賴 卮讴賱蹖 夭蹖亘丕 賳賲丕蹖卮 丿丕丿賴 賲蹖鈥屫促堌�.丕爻鬲賮丕丿賴 賳賵蹖爻賳丿賴 丕夭 賳賲丕丿賴丕蹖蹖 趩賵賳 丌卮丕賲蹖丿賳 禺賵賳 亘乇丕蹖 丕爻鬲丨丕賱賴 丕賳爻丕賳賴丕 賵 卮蹖賵賴 丕乇丕卅賴 丕讴爻倬乇爻蹖賵賳蹖爻鬲蹖 亘丕 賵賯賵毓 賮丕噩毓賴 丿乇 诏賵蹖卮 讴乇讴鬲乇賴丕貙賳賲丕蹖卮賳丕賲賴 乇丕 夭蹖亘丕 賵 禺賵丕賳賳丿賴 乇丕 鬲丕 丕賳鬲賴丕 賴賲乇丕賴 禺賵丿 賲蹖鈥屫ㄘ必�.
August 20, 2018
Dans la premi猫re partie de "La danse de la mort', on trouve Strindberg au sommet de son art. La deuxi猫me partie, 茅crite quelques mois apr猫s la premi猫re est risible.
Ce qui est les plus 茅tonnant est que cette pi猫ce bizarre marche 脿 merveil sur la sc猫ne. J'ai vu une rep茅sentation il y a quarante ans qui 茅tait superbe. Des com茅diens dou茅s et une mise en sc猫nce intelligente a r茅ussi 脿 bien masquer les d茅fauts graves de "La danse de mort" qui sautent aux yeux du lecteur de la page imprim茅e.
Ce qui est les plus 茅tonnant est que cette pi猫ce bizarre marche 脿 merveil sur la sc猫ne. J'ai vu une rep茅sentation il y a quarante ans qui 茅tait superbe. Des com茅diens dou茅s et une mise en sc猫nce intelligente a r茅ussi 脿 bien masquer les d茅fauts graves de "La danse de mort" qui sautent aux yeux du lecteur de la page imprim茅e.
June 26, 2020
From TIA:
For twenty-five years Edgar, a captain in the Swedish coast artillery, and his wife, Alice, live an unhappy existence. Their unhappiness is caused by Edgar鈥檚 contempt for everyone else in the world; he thinks of himself as a better being than others, even his wife, and he makes their marriage a tyranny. They live on an island off the coast, where Edgar is the commanding officer of the artillery detachment. Living in an old prison, they avoid the other people of the island as well as officers of the post and their wives. Indeed, Alice is virtually a prisoner in her home. The only means of communication she has with the mainland is through a telegraph key, which she teaches herself to operate. She keeps her skill with the telegraph a secret, for her husband does not want her to have any means of communication with the outside world.
Alice鈥檚 only hope of release from her husband鈥檚 tyranny lies in the fact that he is ill and might die at any time. On their silver wedding anniversary, Curt, Alice鈥檚 cousin, arrives on the island to officiate as the quarantine officer. On his first visit to Edgar and Alice he learns about the life that they lead, when Edgar suffers an attack and Alice gloats over her husband鈥檚 illness. Curt, who was divorced by his wife, also learns that Edgar caused the divorce and persuaded the court to award the custody of the children to Curt鈥檚 wife.
During the two days that Edgar is ill, grave changes take place in the three people. Alice turns gray-haired. Feeling that the time has come when she should admit her age, she stops tinting her hair. She also becomes an object of distrust to Curt, for she tries to make love to her cousin while her husband is ill. Curt, unable to understand her actions, cannot fully realize how much she hates her husband and how much she suffered during the past twenty-five years. Edgar himself resembles a corpse after his illness, but he immediately tries, upon his recovery, to dominate the others.
On the third day after his attack the captain tells his wife he is going to divorce her. In retaliation, she tries to have him convicted of the embezzlement of government funds, of which he is innocent. She also embraces her cousin Curt in her husband鈥檚 presence, at which time Edgar tries to kill her with his saber. After that incident, both husband and wife become calm, admitting they tortured each other enough. They both say they hope that they can get along with each other peaceably, if not happily.
A few months later Curt鈥檚 son Allan, a cadet stationed with Edgar鈥檚 artillery company,...
For twenty-five years Edgar, a captain in the Swedish coast artillery, and his wife, Alice, live an unhappy existence. Their unhappiness is caused by Edgar鈥檚 contempt for everyone else in the world; he thinks of himself as a better being than others, even his wife, and he makes their marriage a tyranny. They live on an island off the coast, where Edgar is the commanding officer of the artillery detachment. Living in an old prison, they avoid the other people of the island as well as officers of the post and their wives. Indeed, Alice is virtually a prisoner in her home. The only means of communication she has with the mainland is through a telegraph key, which she teaches herself to operate. She keeps her skill with the telegraph a secret, for her husband does not want her to have any means of communication with the outside world.
Alice鈥檚 only hope of release from her husband鈥檚 tyranny lies in the fact that he is ill and might die at any time. On their silver wedding anniversary, Curt, Alice鈥檚 cousin, arrives on the island to officiate as the quarantine officer. On his first visit to Edgar and Alice he learns about the life that they lead, when Edgar suffers an attack and Alice gloats over her husband鈥檚 illness. Curt, who was divorced by his wife, also learns that Edgar caused the divorce and persuaded the court to award the custody of the children to Curt鈥檚 wife.
During the two days that Edgar is ill, grave changes take place in the three people. Alice turns gray-haired. Feeling that the time has come when she should admit her age, she stops tinting her hair. She also becomes an object of distrust to Curt, for she tries to make love to her cousin while her husband is ill. Curt, unable to understand her actions, cannot fully realize how much she hates her husband and how much she suffered during the past twenty-five years. Edgar himself resembles a corpse after his illness, but he immediately tries, upon his recovery, to dominate the others.
On the third day after his attack the captain tells his wife he is going to divorce her. In retaliation, she tries to have him convicted of the embezzlement of government funds, of which he is innocent. She also embraces her cousin Curt in her husband鈥檚 presence, at which time Edgar tries to kill her with his saber. After that incident, both husband and wife become calm, admitting they tortured each other enough. They both say they hope that they can get along with each other peaceably, if not happily.
A few months later Curt鈥檚 son Allan, a cadet stationed with Edgar鈥檚 artillery company,...
March 11, 2016
This was the first play I directed (so obviously I have a close relationship to the text).
Like his other plays - Fordrings盲gare (the creditors), Fr枚ken Julie (Miss Julie) - the dance of death is a triangle drama, revolving around a married couple and a stranger from their past. For an aspiring director and playwright such as myself this was a great piece to start with seeing as how Strindberg uses every technique in the book to dramatize the relationship between the three characters.
Strindberg, unlike Ibsen, lets his play focus on the psychological struggle between the main characters, and not on as much on the society which they inhabit (thereby paving way for future dramatists such as Eugene O'neill, Harold Pinter and Arthur Miller).
I would recommend the play to anyone who is interested in the literature from that time period.
Like his other plays - Fordrings盲gare (the creditors), Fr枚ken Julie (Miss Julie) - the dance of death is a triangle drama, revolving around a married couple and a stranger from their past. For an aspiring director and playwright such as myself this was a great piece to start with seeing as how Strindberg uses every technique in the book to dramatize the relationship between the three characters.
Strindberg, unlike Ibsen, lets his play focus on the psychological struggle between the main characters, and not on as much on the society which they inhabit (thereby paving way for future dramatists such as Eugene O'neill, Harold Pinter and Arthur Miller).
I would recommend the play to anyone who is interested in the literature from that time period.
December 10, 2009
You must never forget how to laugh. ... Life is boring enough without it. 16
But while the mechanism functions, you have to kick and fight with hands ad feet as long as there is life in you! 23
And that we should have to grow old! It is no fun, but it is interesting. 25
If you will stop asking who is to blame, it will help to ease your mind. Try to look upon it as a fact, a trial, which must be borne. 30
Alice - there are times when it may be a duty not to tell everything, not to see everything. This is what we call tolerance, or forbearance. It is something we all need. 51
You know, there are rude women who like timid, bashful men--just as you may find shy men who are partial to rude, overpowering women. 61
A curious world! You commit the shameful act, and he has to bear the shame of it! 65
I don't believe any man has suffered so many humiliations as I have. But when I blotted them out, and kept on going, they ceased to exist. 67
You see, I am approaching the age when sensible people acknowledge that they know nothing, understand nothing. But whenever I see anything being done, I want to know the reason for it. 69
Just think of how banal life of today is! In olden days people fought; today people only shake a fist at you! 74
Yes, my child, we cry one day, and the next we laugh. ... And don't ask me which is the best for us. 74
People will be laughing at us, but what do we care! We'll laugh along with them; or we'll keep a straight face--whichever suits us best. 75
Stop fretting, and just do what you have to do--do the correct thing, and leave others to take care of their own affairs. 83
-How sharp your wits become when you hate.
-And dulled when in love. Love both blinds and dulls. 91
He has stability of character. And that is something we need all too often ... (With emphasis.) ... strength to bear up under adversities; in a word, to endure, to suffer. 99
If you only knew how beautiful you are this moment! If you could only see yourself! 114
But while the mechanism functions, you have to kick and fight with hands ad feet as long as there is life in you! 23
And that we should have to grow old! It is no fun, but it is interesting. 25
If you will stop asking who is to blame, it will help to ease your mind. Try to look upon it as a fact, a trial, which must be borne. 30
Alice - there are times when it may be a duty not to tell everything, not to see everything. This is what we call tolerance, or forbearance. It is something we all need. 51
You know, there are rude women who like timid, bashful men--just as you may find shy men who are partial to rude, overpowering women. 61
A curious world! You commit the shameful act, and he has to bear the shame of it! 65
I don't believe any man has suffered so many humiliations as I have. But when I blotted them out, and kept on going, they ceased to exist. 67
You see, I am approaching the age when sensible people acknowledge that they know nothing, understand nothing. But whenever I see anything being done, I want to know the reason for it. 69
Just think of how banal life of today is! In olden days people fought; today people only shake a fist at you! 74
Yes, my child, we cry one day, and the next we laugh. ... And don't ask me which is the best for us. 74
People will be laughing at us, but what do we care! We'll laugh along with them; or we'll keep a straight face--whichever suits us best. 75
Stop fretting, and just do what you have to do--do the correct thing, and leave others to take care of their own affairs. 83
-How sharp your wits become when you hate.
-And dulled when in love. Love both blinds and dulls. 91
He has stability of character. And that is something we need all too often ... (With emphasis.) ... strength to bear up under adversities; in a word, to endure, to suffer. 99
If you only knew how beautiful you are this moment! If you could only see yourself! 114
February 19, 2016
"I've never been able to figure out whether life is serious or just a joke. When it's a joke it can be most painful, when it's serious it can be quite tranquil and pleasant."In The Dance of Death, a Captain and his wife Alice are closing in upon their 25th wedding anniversary. Their marriage, however, is not exactly happy (which is putting it very mildly). They live inside the degenerating round tower of a granite fortress, on an island nicknamed 'Little Hell' 鈥� socially isolated not simply due to their location, but also because of the pugnacious character of the Captain, to whom virtually everyone is an enemy. The action of the play unfolds as Kurt, Alice's cousin, arrives in the capacity of 'Quarantine Master' (some kind of plague, probably cholera, looms over the island). After having been involved in the couple's courtship, Kurt will witness the immense unhappiness 鈥� hell 鈥� in which the couple has come to live, play an active part in some of its misery, and ultimately leave it all behind again.
The suffocating setting and atmosphere reminded me of Camus's The Plague; and if that novel is bleak, it is cheerful in comparison to The Dance of Death. As with Strindberg's other plays, I admire the complexity of his characters and their motivation(s), and the almost dizzying focus of the play itself (there is barely any distraction from the psychological drama that transpires, in the form of side-story, background, etc., which gives the dialogue [where most of the action takes place] great force). It is also in this play that Strindberg most clearly 鈥� though subtly 鈥� uses the notion of life-as-a-dream, which lends it an eerie kind of unreality.
The theme of interpersonal torment 鈥� husband and wife terrorizing each other, individuals fighting against others and society in general 鈥� does at times rub roughly against my largely peace-loving and quietly romantic nature. But it works.
"Perhaps when death comes, life begins."
November 8, 2015
"A couple that drives each other mad." If someone asked me to sum up August Strindberg's The Dance of Death in a few words that would be my reply. And it could probably be my summary of many works by F. Scott Fitzgerald and of Edward Albee's Who's Afraid of Virginia Woolf? as well. If I found it a weaker Strindberg play that is only because I've already read The Father and Miss Julie, which are the superior works, and to which this play owes a great deal.
In my review of Miss Julie I wrote:
Many of the same themes employed in Strindberg's earlier play, The Father, are also at work in Miss Julie, though I think with greater effect in the previous work. Both plays can be characterized as "naturalistic tragedies." Both deal with social Darwinism. Both have the same socio-historical and mythical setting [Eden After the Fall]. In both it is easy to point to instances of the author's misogyny. Both deal with gender issues. . .
And the same comparisons can be made with these works and The Dance of Death, which is (as with most of Strindberg's work) probably at least semi-autobiographical, which takes place in the late-19th century and which is situated mythically in Eden After the Fall. And as the translator (Harry G. Carlson) notes in his introduction to this work, both this work and Miss Julie underscore Strindberg's fascination with "the spirit of fairy tales and the age of chivalry." He writes:
In Miss Julie the heroine dreams of being trapped in a high place and longing to get down. . . . In The Dance of Death tower and earth-as-prison images are fused. Alice feels trapped living with her husband, the Captain, in a military fortifications tower that once served as a prison, on an island called by its inhabitants 'Little Hell' [it reminded me of Karin's (Ingrid Bergman) experience in Roberto Rossellini's Stromboli or of the isolated life depicted in Ingmar Bergman's The Passion of Anna]. The Captain sarcastically describes their situation as 'Sir Bluebeard and the maiden in the tower. . . .
[W]hen Alice's cousin Kurt arrives at the prison tower, she sees him as her liberator. . . .
We wait for the rescuer until finally we discover that he is us. . . .Psychologically, the prison is childhood. One is liberated by overcoming childish fears and accepting grown-up responsibilities, the most important of which is to give and accept love. Put another way, the prisoner must want to be set free to love, just as the rescuer must have the courage to set love free in himself.
Carlson adds in closing that "In the case of Julie and Jean [in Miss Julie], neither prisoner nor rescuer measures up to the task." And the same could be said of the characters in The Dance of Death.
Strindberg (at least based on the first three of his plays that I've read) really reworked the same main themes and ideas over and again, and it could be said that, as Fellini has remarked of his films ("I feel that I am all the time making the same film"), that Strindberg was all the time writing the same play. And, as I've mentioned in my reviews of other works in which this is the case, the same could perhaps be said about the songs of certain songwriters and of the output of many filmmakers, visual artists and novelists (Balzac's Human Comedy, the world of Dickens, Fitzgerald's couples who ruin each other, Springsteen's class consciousness, the existential crises that plague many a main character in the films of Woody Allen).
Having read The Father, which came out in 1887, and then Miss Julie, which made its appearance in 1888, and now The Dance of Death (1900), one of the things I found most interesting was how Strindberg's style changed during that time, for although his themes remained more or less constant, with Miss Julie (as can be ascertained not only by reading the play itself but from Strindberg's lengthy preface to that work), Strindberg's style became much more revolutionary and experimental. One could really take the preface to that work and amend it slightly and put it at the start of The Dance of Death, as thematically they are so similar, and as in both Strindberg's main concern is with the psychological, but in Miss Julie Strindberg did away with act and scene changes and tried making the theatre seem less artificial and more realistic, and trying to hold the audience's attention without interruption. And in that earlier work he also gave some extremely precise set instructions, to ensure that when performed the set would be as realistic as possible and otherwise relying on the audience's imagination rather than presenting an artificial setting. In this play, such meticulous set details are missing and the play is divided into two parts (the second part coming out months after the first), each with two acts and with at least one act in each section also including a change of scene.
Unlike Miss Julie, and many of the plays that would follow this one, this is not a play that could be performed in one sitting. Part I of this play was written in September and had a somewhat happy and hopeful ending, unlike the two earlier plays to which I've compared this one. But in response to the reaction to this work, Strindberg wrote Part II rather hastily, and with what might be viewed as some errors in continuity. I feel that whereas Part I could really stand alone as a complete work in itself (as it seems was the original intent, making it more of a black comedy than a tragedy), Part II really needs the support of Part I and when combined makes the entire work more of a tragedy than a comedy (though, obviously, with several humorous elements).
In my review of Miss Julie I wrote:
Many of the same themes employed in Strindberg's earlier play, The Father, are also at work in Miss Julie, though I think with greater effect in the previous work. Both plays can be characterized as "naturalistic tragedies." Both deal with social Darwinism. Both have the same socio-historical and mythical setting [Eden After the Fall]. In both it is easy to point to instances of the author's misogyny. Both deal with gender issues. . .
And the same comparisons can be made with these works and The Dance of Death, which is (as with most of Strindberg's work) probably at least semi-autobiographical, which takes place in the late-19th century and which is situated mythically in Eden After the Fall. And as the translator (Harry G. Carlson) notes in his introduction to this work, both this work and Miss Julie underscore Strindberg's fascination with "the spirit of fairy tales and the age of chivalry." He writes:
In Miss Julie the heroine dreams of being trapped in a high place and longing to get down. . . . In The Dance of Death tower and earth-as-prison images are fused. Alice feels trapped living with her husband, the Captain, in a military fortifications tower that once served as a prison, on an island called by its inhabitants 'Little Hell' [it reminded me of Karin's (Ingrid Bergman) experience in Roberto Rossellini's Stromboli or of the isolated life depicted in Ingmar Bergman's The Passion of Anna]. The Captain sarcastically describes their situation as 'Sir Bluebeard and the maiden in the tower. . . .
[W]hen Alice's cousin Kurt arrives at the prison tower, she sees him as her liberator. . . .
We wait for the rescuer until finally we discover that he is us. . . .Psychologically, the prison is childhood. One is liberated by overcoming childish fears and accepting grown-up responsibilities, the most important of which is to give and accept love. Put another way, the prisoner must want to be set free to love, just as the rescuer must have the courage to set love free in himself.
Carlson adds in closing that "In the case of Julie and Jean [in Miss Julie], neither prisoner nor rescuer measures up to the task." And the same could be said of the characters in The Dance of Death.
Strindberg (at least based on the first three of his plays that I've read) really reworked the same main themes and ideas over and again, and it could be said that, as Fellini has remarked of his films ("I feel that I am all the time making the same film"), that Strindberg was all the time writing the same play. And, as I've mentioned in my reviews of other works in which this is the case, the same could perhaps be said about the songs of certain songwriters and of the output of many filmmakers, visual artists and novelists (Balzac's Human Comedy, the world of Dickens, Fitzgerald's couples who ruin each other, Springsteen's class consciousness, the existential crises that plague many a main character in the films of Woody Allen).
Having read The Father, which came out in 1887, and then Miss Julie, which made its appearance in 1888, and now The Dance of Death (1900), one of the things I found most interesting was how Strindberg's style changed during that time, for although his themes remained more or less constant, with Miss Julie (as can be ascertained not only by reading the play itself but from Strindberg's lengthy preface to that work), Strindberg's style became much more revolutionary and experimental. One could really take the preface to that work and amend it slightly and put it at the start of The Dance of Death, as thematically they are so similar, and as in both Strindberg's main concern is with the psychological, but in Miss Julie Strindberg did away with act and scene changes and tried making the theatre seem less artificial and more realistic, and trying to hold the audience's attention without interruption. And in that earlier work he also gave some extremely precise set instructions, to ensure that when performed the set would be as realistic as possible and otherwise relying on the audience's imagination rather than presenting an artificial setting. In this play, such meticulous set details are missing and the play is divided into two parts (the second part coming out months after the first), each with two acts and with at least one act in each section also including a change of scene.
Unlike Miss Julie, and many of the plays that would follow this one, this is not a play that could be performed in one sitting. Part I of this play was written in September and had a somewhat happy and hopeful ending, unlike the two earlier plays to which I've compared this one. But in response to the reaction to this work, Strindberg wrote Part II rather hastily, and with what might be viewed as some errors in continuity. I feel that whereas Part I could really stand alone as a complete work in itself (as it seems was the original intent, making it more of a black comedy than a tragedy), Part II really needs the support of Part I and when combined makes the entire work more of a tragedy than a comedy (though, obviously, with several humorous elements).
October 17, 2014
The Dance of Death by August Strindberg
Loathsome personages in a good play
Husband and wife can hate each other so much that they try and even kill each other. After all, this is the subject, more or less, of the number one box office hit of the last couple of weeks: Gone Girl.
In the Strindberg play, they do not kill each other, even if there is a scene with a gun that clicks, but it had not been loaded.
And the hatred is so intense that at times it becomes annoying. I have been married for seventeen years and I can understand disputes, even heated exchanges, but to see them on stage, at this temperature, doesn鈥檛 make me enjoy the show.
Edgar is the vicious husband, a captain that is promoted a bit late to the rank of major. In the adapted version for the National Radio that I heard this morning, he is played by the best actor we have, on a level with Al Pacino, or better since the latter plays in awful movies and had started a downfall quite a few years ago.
Alice is Edgar鈥檚 wife and a former actress, and is played by one of the best actress we have had- Valeriu Seciu.
The third personage is the cousin Alice, Kurt. He makes me think of the characterization that Maugham wrote of the Ibsen plays, which was more or less like this:
- 鈥渋n the majority of these plays, the only plot is- someone comes at center stage, from someplace where he had been gone, enters the stuffy, heavy atmosphere and opens the windows, changing the setting鈥�
Maugham was of the opinion that Ibsen and G. B. Shaw had benefited from a favorable conjecture, connected with the emancipation of women and some other events that made those writers famous and popular.
In the case of Dance of Death, Kurt is the outsider that both Edgar and Alice are courting, at different intervals or at the same time.
Kurt seems at times to be the voice of reason, the only reasonable and decent human being on stage, opposing and trying to temper the viciousness of the attacks of the husband and wife.
For most of the time, he is on the side of Alice, with whom he is on the verge of an intimate relationship. However, when Edgar seems to be in pain, Kurt feels pity for him, while at the same time Alice is ready and performing a kind of a Dance of Death.
Edgar makes me feel sorry for him in some scenes and is despicable in many others. He had plotted with Kurt鈥檚 estranged wife to take way his children and is against an affair between Judith 鈥揈dgar and Alice鈥檚 daughter- and Allan, Kurt鈥檚 son.
In fact, to try and prevent that by all means, Edgar tries to arrange a marriage with an older man, plan that Judith rejects, angering her father.
Why would you watch a play with such monsters?
I don鈥檛 know, but for some reason I enjoyed it. It is not among my top twenty or fifty works, but it was interesting and believable.
I know that people can have harsh disputes, even after a seemingly calm relationship, and with apparent flimsy reasons.
One such hot fight comes to mind- I know a dentist, at the pool where I go almost every working day. He had seemed to be all right and decent, up to the day when we had a serious fight.
The reason? I like Klaus Johannis, who seems to be not only the best, but only option for a good future president. This dentist called him a 鈥渟ash parat鈥�. I would say the equivalent in English of 鈥渁 dirty fool 鈥瀘r something like that.
To make matters worse, after this fight went to the dentist and said that we should make peace or words to that effect- he refused.
People can be nasty, obnoxious and vile.
The personages in the play take this to an unusual extreme.
Loathsome personages in a good play
Husband and wife can hate each other so much that they try and even kill each other. After all, this is the subject, more or less, of the number one box office hit of the last couple of weeks: Gone Girl.
In the Strindberg play, they do not kill each other, even if there is a scene with a gun that clicks, but it had not been loaded.
And the hatred is so intense that at times it becomes annoying. I have been married for seventeen years and I can understand disputes, even heated exchanges, but to see them on stage, at this temperature, doesn鈥檛 make me enjoy the show.
Edgar is the vicious husband, a captain that is promoted a bit late to the rank of major. In the adapted version for the National Radio that I heard this morning, he is played by the best actor we have, on a level with Al Pacino, or better since the latter plays in awful movies and had started a downfall quite a few years ago.
Alice is Edgar鈥檚 wife and a former actress, and is played by one of the best actress we have had- Valeriu Seciu.
The third personage is the cousin Alice, Kurt. He makes me think of the characterization that Maugham wrote of the Ibsen plays, which was more or less like this:
- 鈥渋n the majority of these plays, the only plot is- someone comes at center stage, from someplace where he had been gone, enters the stuffy, heavy atmosphere and opens the windows, changing the setting鈥�
Maugham was of the opinion that Ibsen and G. B. Shaw had benefited from a favorable conjecture, connected with the emancipation of women and some other events that made those writers famous and popular.
In the case of Dance of Death, Kurt is the outsider that both Edgar and Alice are courting, at different intervals or at the same time.
Kurt seems at times to be the voice of reason, the only reasonable and decent human being on stage, opposing and trying to temper the viciousness of the attacks of the husband and wife.
For most of the time, he is on the side of Alice, with whom he is on the verge of an intimate relationship. However, when Edgar seems to be in pain, Kurt feels pity for him, while at the same time Alice is ready and performing a kind of a Dance of Death.
Edgar makes me feel sorry for him in some scenes and is despicable in many others. He had plotted with Kurt鈥檚 estranged wife to take way his children and is against an affair between Judith 鈥揈dgar and Alice鈥檚 daughter- and Allan, Kurt鈥檚 son.
In fact, to try and prevent that by all means, Edgar tries to arrange a marriage with an older man, plan that Judith rejects, angering her father.
Why would you watch a play with such monsters?
I don鈥檛 know, but for some reason I enjoyed it. It is not among my top twenty or fifty works, but it was interesting and believable.
I know that people can have harsh disputes, even after a seemingly calm relationship, and with apparent flimsy reasons.
One such hot fight comes to mind- I know a dentist, at the pool where I go almost every working day. He had seemed to be all right and decent, up to the day when we had a serious fight.
The reason? I like Klaus Johannis, who seems to be not only the best, but only option for a good future president. This dentist called him a 鈥渟ash parat鈥�. I would say the equivalent in English of 鈥渁 dirty fool 鈥瀘r something like that.
To make matters worse, after this fight went to the dentist and said that we should make peace or words to that effect- he refused.
People can be nasty, obnoxious and vile.
The personages in the play take this to an unusual extreme.
May 10, 2015
Its quite autobiographical as far as the experience goes but the question of Strindberg's aesthetics in the dark humour, the development of characters which is as shifty as their relations to eachother. In the end I mean Strindberg kind of makes Captain's remark appear fairly true that ' Life is a hoax'
Although the form is in a transformation from naturalism to surrealism so there are places in the play where one is more dependent on the characters and plot rather than its impact and form. Cynicism without consolation, unlike a Dream Play , the captain dies , the young couple flee and Alice and curt are apparently free, but life still seems hoax at the end of the play as they conjoin love and hate.
Although the form is in a transformation from naturalism to surrealism so there are places in the play where one is more dependent on the characters and plot rather than its impact and form. Cynicism without consolation, unlike a Dream Play , the captain dies , the young couple flee and Alice and curt are apparently free, but life still seems hoax at the end of the play as they conjoin love and hate.
March 11, 2016
賮賱賳氐亘乇...賮毓賳丿賲丕 賷兀鬲賷 丕賱賲賵鬲 賮乇亘賲丕 鬲亘丿兀 丕賱丨賷丕丞 !!!!
賴賰匕丕 鬲賳鬲賴賷 丕丨丿丕孬 賲爻乇丨賷丞 賲丐賱賲丞 噩丿丕 賵 睾乇賷亘丞 噩丿丕 毓賳 夭賵噩 賵 夭賵噩丞 鬲毓賷爻丕賳 賲毓 亘毓囟 賵 賱賰賳 賱丕 賷爻鬲胤賷毓丕賳 丕賱丨賷丕丞 亘毓賷丿丕賳 毓賳 亘毓囟..
賲卮 賯丕丿乇丞 賵 賱丕 毓丕乇賮丞 丕賲賷夭 丕賳 賰丕賳鬲 毓噩亘鬲賳賷 丕賵 賱丕 賱賰賳賴丕 卮丿鬲賳賷 賵 丕賰鬲乇 賲丕 賱賮鬲 賳馗乇賷 賴賵 乇賵毓丞 賰丕鬲亘 丕賱賲爻乇丨賷丞 爻鬲乇賳丿亘賷乇噩 賵 賯氐丞 丨賷丕鬲賴 丕賱賱賷 賮賷 丕賵賱 丕賱賰鬲丕亘 賵 卮賮鬲 廿夭丕賷 賰丕賳鬲 胤賮賵賱鬲賴 賯丕爻賷丞 丕賱賯鬲 亘賴 賮賷 丕賱丕禺乇 賮賷 賲爻鬲卮賮賷 丕賱氐丨丞 賳賮爻賷丞 賵 賱賰賳 卮賮鬲 廿夭丕賷 丕賱兀賱賲 賵賱丿 丕賱賮賳 丿賴 賰賱賴 毓卮丕賳 賷亘賯賷 賰丕鬲亘 賵 賲丐賱賮 賲爻乇丨賷 賲卮賴賵乇 賮賷 爻賵賷爻乇丕 賵 賮賷 丕賱丕禺乇 丕鬲兀賰丿 廿賳 丕賱兀賱賲 乇賮賷賯 丕賱賮賳 賮賷 丨賷丕丞...賮卮賰乇丕 賱賰 賷丕 毓夭賷夭賷 丕賱兀賱賲 毓賲丕 鬲馗賴乇賴 賵 鬲胤賱毓賴 賲賳 丕賱廿賳爻丕賳
賴賰匕丕 鬲賳鬲賴賷 丕丨丿丕孬 賲爻乇丨賷丞 賲丐賱賲丞 噩丿丕 賵 睾乇賷亘丞 噩丿丕 毓賳 夭賵噩 賵 夭賵噩丞 鬲毓賷爻丕賳 賲毓 亘毓囟 賵 賱賰賳 賱丕 賷爻鬲胤賷毓丕賳 丕賱丨賷丕丞 亘毓賷丿丕賳 毓賳 亘毓囟..
賲卮 賯丕丿乇丞 賵 賱丕 毓丕乇賮丞 丕賲賷夭 丕賳 賰丕賳鬲 毓噩亘鬲賳賷 丕賵 賱丕 賱賰賳賴丕 卮丿鬲賳賷 賵 丕賰鬲乇 賲丕 賱賮鬲 賳馗乇賷 賴賵 乇賵毓丞 賰丕鬲亘 丕賱賲爻乇丨賷丞 爻鬲乇賳丿亘賷乇噩 賵 賯氐丞 丨賷丕鬲賴 丕賱賱賷 賮賷 丕賵賱 丕賱賰鬲丕亘 賵 卮賮鬲 廿夭丕賷 賰丕賳鬲 胤賮賵賱鬲賴 賯丕爻賷丞 丕賱賯鬲 亘賴 賮賷 丕賱丕禺乇 賮賷 賲爻鬲卮賮賷 丕賱氐丨丞 賳賮爻賷丞 賵 賱賰賳 卮賮鬲 廿夭丕賷 丕賱兀賱賲 賵賱丿 丕賱賮賳 丿賴 賰賱賴 毓卮丕賳 賷亘賯賷 賰丕鬲亘 賵 賲丐賱賮 賲爻乇丨賷 賲卮賴賵乇 賮賷 爻賵賷爻乇丕 賵 賮賷 丕賱丕禺乇 丕鬲兀賰丿 廿賳 丕賱兀賱賲 乇賮賷賯 丕賱賮賳 賮賷 丨賷丕丞...賮卮賰乇丕 賱賰 賷丕 毓夭賷夭賷 丕賱兀賱賲 毓賲丕 鬲馗賴乇賴 賵 鬲胤賱毓賴 賲賳 丕賱廿賳爻丕賳
August 4, 2010
I was first made aware of Strindberg via numerous literate reviews of the films of Ingmar Bergman. This is not surprising, as the two share some common themes in their work. The most obvious being gloominess. But that's just Sweden in general, right? "Joy is but the shadow pain casts."
January 23, 2015
The Dance of Death is a play that I suspect takes influence from The Father, mainly in that it focuses on a marriage that is dysfunctional and corrosive. In this play, a man (Edgar) and a woman (Alice) are shown that have been married for 25 years, but have come to absolutely hate each other; the hatred has gone so far that they feel urges to kill each other. To me, this play is mainly an examination of that marriage and the psychology behind the hatred taking place. Netiher the husband or wife are completely to blame, but neither are to be commended, either. The husband is controlling of his wife; he doesn't allow her to see family, doesn't let her pursue her natural ability. The wife is also at fault; she is very cruel to her husband and wants to allow him to die because of his ailments.
I really enjoyed this play. I have said that Strindberg wrote a lot of mediocre plays, but I actually have found a few that work for me- this is one of them.
I really enjoyed this play. I have said that Strindberg wrote a lot of mediocre plays, but I actually have found a few that work for me- this is one of them.
May 23, 2013
乇賯氐 賲乇诏 (1900)貙 胤賳夭 丿蹖诏乇蹖 爻鬲 丿乇 賲賵乇丿 丕夭丿賵丕噩 丿乇 卮讴賱 爻賳鬲蹖貙 讴賴 毓丕乇蹖 丕夭 爻丕賳鬲蹖 賲丕賳鬲丕賱蹖爻賲貙 讴丕亘賵爻蹖 亘蹖卮 賳蹖爻鬲. 賮乇丿乇蹖卮 丿賵乇賳賲丕鬲 亘丕 丕爻鬲賮丕丿賴 丕夭 "乇賯氐 賲乇诏"貙 氐丨賳賴 蹖 丕夭丿賵丕噩 賴丕蹖 賲毓賱賵賱 乇丕 亘賴 乇蹖賳诏 亘賵讴爻蹖 卮亘蹖賴 讴乇丿賴 (亘丕夭蹖 丕爻鬲乇蹖賳丿亘乇诏) 讴賴 丿賵 爻賵蹖 丌賳 亘蹖 賴蹖趩 丕賲蹖丿 亘賴 倬蹖乇賵夭蹖 賵 乇爻鬲诏丕乇蹖貙 丿乇 賲賵賯毓蹖鬲 賵 賮囟丕蹖蹖 "賲丨丿賵丿" 賵 鬲賳诏貙 賲蹖 噩賳诏賳丿 賵 蹖讴丿蹖诏乇 乇丕 賱鬲 賵 倬丕乇 賲蹖 讴賳賳丿. 賴賲丕賳 诏賵賳賴 讴賴 丕丿賵丕乇丿 丌賱亘蹖 丿乇 "趩賴 讴爻蹖 丕锟斤拷 賵蹖乇噩蹖賳蹖丕 賵賵賱賮 賲蹖 鬲乇爻丿"貙 夭賵噩蹖 禺卮賲诏蹖賳 賵 丕賮爻乇丿賴 乇丕 丿乇诏蹖乇 爻鬲蹖夭 丿丕卅賲蹖 賳卮丕賳 賲蹖 丿賴丿貙 讴賴 亘乇丕蹖 乇賴丕蹖蹖 夭賵噩 噩賵丕賳 賲蹖賴賲丕賳 乇丕 亘賴 诏賵丿丕賱 鬲丕乇蹖讴 禺賵丿 賲蹖 讴卮丕賳賳丿.
April 10, 2017
袨褌胁褉邪褌懈褌械谢薪芯 锌褉械卸懈胁褟胁邪薪械 - 泻邪褌芯 胁褋懈褔泻芯 薪邪 小褌褉懈薪写斜械褉谐. 袧械 蟹薪邪屑 蟹邪褖芯 褋懈 锌褉懈褔懈薪褟胁邪屑 锌懈械褋懈褌械 屑褍 芯褌薪芯胁芯 懈 芯褌薪芯胁芯, 褋 薪邪写械卸写邪, 褔械 褋谢械写胁邪褖邪褌邪 薪褟屑邪 写邪 械 褔邪泻 褌邪泻芯胁邪 褉邪蟹芯褔邪褉芯胁邪薪懈械. 袦邪蟹芯褏懈蟹褗屑 薪褟泻邪泻褗胁.
袙 小褎褍屑邪褌芯- 褋褗褖邪褌邪 懈褋褌芯褉懈褟. 袞邪谢泻芯 蟹邪 懈薪邪褔械 褉邪蟹泻芯褕薪懈褌械 邪泻褌褜芯褉懈.
袙 小褎褍屑邪褌芯- 褋褗褖邪褌邪 懈褋褌芯褉懈褟. 袞邪谢泻芯 蟹邪 懈薪邪褔械 褉邪蟹泻芯褕薪懈褌械 邪泻褌褜芯褉懈.
October 31, 2022
A quote attributed to Nietzsche is 鈥楾he only excuse for God is that he does not exist鈥�. In the case of August Strindberg, I would say, 鈥楾he only excuse for Strindberg is that he is suffering from a severe mental illness鈥�.
Michael Meyer, his translator, suggests as much in the introduction to The Dance of Death, referring to Strindberg鈥檚 鈥榩aranoid-schizophrenic character鈥�. Meyer might be using the words carelessly in the parlance of the time he wrote, but I imagine that this is sincerely how Meyer saw Strindberg, and with good reason.
To use a less august source than Strindberg (excuse the pun), I am reminded of what Batman says in The Dark Knight: 鈥淲hat were you trying to prove? That deep down, everyone's as ugly as you?鈥� That does seem to be Strindberg鈥檚 view of human nature. He has projected his own neuroses into a universal condition.
In The Dance of Death, Strindberg is essentially avenging himself on his brother-in-law by portraying him as Edgar, the retired artillery captain, a man who thrives on manipulating and hurting others. Edgar has a miserable marriage with Alice, who, like most Strindberg wives, is a harpy.
Onto the scene comes Alice鈥檚 cousin, Kurt, a man who thinks he is a better person, but who is soon drawn into the darkness by his attraction to Alice. Meanwhile the Captain seeks to destroy his rival, perhaps out of jealousy, but probably out of simple malice.
Part Two is more of the same, but Strindberg slightly softens the astringent tone by offering some hope for the next generation, and an ending that resolves the triangle. Curiously the Captain has moved from being poor in the first half to being rich in the second, with no apparent explanation.
Whether the Captain and Alice鈥檚 daughter Judith will truly change and become nicer to Kurt鈥檚 son Allan is nonetheless open to question, and any resolution for the remaining characters is still formed on hatred, even if Strindberg does include a few unconvincing pleasantries at the end.
Given that Kurt is based on Strindberg, and Alice and the Captain on his sister and her husband, what is going on here? Is Strindberg confessing in dramatic form to incestuous attraction to his sister? Notably Kurt is a cousin, and therefore related to Alice.
The character of the Captain drew its inspiration from Strindberg鈥檚 brother-in-law, and from another acquaintance. However I suspect that he is also a portrait of Strindberg himself, a man who often portrayed his marriage in bitter terms on the stage.
So we have not one but two portrayals of Strindberg in the play, a fitting gesture for someone as narcissistic as Strindberg. Indeed while the Captain behaves in a vile manner, I suspect that Strindberg has a sneaking admiration for him.
Since Alice undermines Edgar at every point, and Kurt鈥檚 masochistic resignation soon wears thin, that makes the Captain the liveliest character in the play. His attitude is more in keeping with Strindberg鈥檚 worldview, which eschews kindness in favour of spitefulness. Strindberg would like us to see the Captain as a victim more than a perpetrator, I believe.
As ever in Strindberg there is a mood of dispiriting ugliness. Unlike other 鈥榞iving鈥� playwrights such as Ibsen or Shakespeare, Strindberg鈥檚 works are essentially self-centred, focused on nurturing his own wounds rather than entertaining, uplifting or inspiring his audience.
Still there are pleasures for the reader or audience member here. There is a bleak poetry in Strindberg鈥檚 words. Also if you have a taste of it, Strindberg鈥檚 savage humour is undeniably very funny.
Michael Meyer, his translator, suggests as much in the introduction to The Dance of Death, referring to Strindberg鈥檚 鈥榩aranoid-schizophrenic character鈥�. Meyer might be using the words carelessly in the parlance of the time he wrote, but I imagine that this is sincerely how Meyer saw Strindberg, and with good reason.
To use a less august source than Strindberg (excuse the pun), I am reminded of what Batman says in The Dark Knight: 鈥淲hat were you trying to prove? That deep down, everyone's as ugly as you?鈥� That does seem to be Strindberg鈥檚 view of human nature. He has projected his own neuroses into a universal condition.
In The Dance of Death, Strindberg is essentially avenging himself on his brother-in-law by portraying him as Edgar, the retired artillery captain, a man who thrives on manipulating and hurting others. Edgar has a miserable marriage with Alice, who, like most Strindberg wives, is a harpy.
Onto the scene comes Alice鈥檚 cousin, Kurt, a man who thinks he is a better person, but who is soon drawn into the darkness by his attraction to Alice. Meanwhile the Captain seeks to destroy his rival, perhaps out of jealousy, but probably out of simple malice.
Part Two is more of the same, but Strindberg slightly softens the astringent tone by offering some hope for the next generation, and an ending that resolves the triangle. Curiously the Captain has moved from being poor in the first half to being rich in the second, with no apparent explanation.
Whether the Captain and Alice鈥檚 daughter Judith will truly change and become nicer to Kurt鈥檚 son Allan is nonetheless open to question, and any resolution for the remaining characters is still formed on hatred, even if Strindberg does include a few unconvincing pleasantries at the end.
Given that Kurt is based on Strindberg, and Alice and the Captain on his sister and her husband, what is going on here? Is Strindberg confessing in dramatic form to incestuous attraction to his sister? Notably Kurt is a cousin, and therefore related to Alice.
The character of the Captain drew its inspiration from Strindberg鈥檚 brother-in-law, and from another acquaintance. However I suspect that he is also a portrait of Strindberg himself, a man who often portrayed his marriage in bitter terms on the stage.
So we have not one but two portrayals of Strindberg in the play, a fitting gesture for someone as narcissistic as Strindberg. Indeed while the Captain behaves in a vile manner, I suspect that Strindberg has a sneaking admiration for him.
Since Alice undermines Edgar at every point, and Kurt鈥檚 masochistic resignation soon wears thin, that makes the Captain the liveliest character in the play. His attitude is more in keeping with Strindberg鈥檚 worldview, which eschews kindness in favour of spitefulness. Strindberg would like us to see the Captain as a victim more than a perpetrator, I believe.
As ever in Strindberg there is a mood of dispiriting ugliness. Unlike other 鈥榞iving鈥� playwrights such as Ibsen or Shakespeare, Strindberg鈥檚 works are essentially self-centred, focused on nurturing his own wounds rather than entertaining, uplifting or inspiring his audience.
Still there are pleasures for the reader or audience member here. There is a bleak poetry in Strindberg鈥檚 words. Also if you have a taste of it, Strindberg鈥檚 savage humour is undeniably very funny.
January 7, 2025
pierwsza cz臋艣膰 super, druga ju偶 gorzej, ale przyjemna lekturka
Read
October 30, 2024Typical Strindberg misogyny, but also I love the petty drama of it all
Read
March 11, 2021Grusomt og grumt
March 7, 2020
Aus HansBlog.de:
Zwei resignierte, zynische alte Eheleute bewerfen sich mit Bosheiten erster Klasse. Die Frau betreibt sogar den Tod des G枚ttergatten, dieser bescheidet sich zun盲chst mit einer 眉berfallartigen Scheidung 鈥� oder ist die nur vorget盲uscht? Beide ziehen wechselseitig noch einen Freund des Hauses und ihre Kinder ins b枚se Spiel. "Algen, Schlinggras, Tintenfische, Quallen, Nesseltiere" wuchern nicht nur am Strindbergschen Meeresstrand (S. 75), sondern lauern auch in den Herzen der Akteure.
Unterhaltsam teuflisches Geplauder liefert August Strindberg (1849鈥�1912) hier, jedenfalls im ersten Drittel. Wie sch枚n, anderen beim Zanken zuzusehen. Kommt denn ein anst盲ndiger Mensch auf solche Gedanken? Strindbergs eigene Erfahrung scheint durchzuklingen 鈥� Paralleln zu seinem Leben als serieller Ehemann und Schauspielerinnenheirater fallen auf.
Wie in den Strindberg-St眉cken Fr盲ulein Julie und Der Vater agiert die weibliche Hauptfigur auch im Totentanz 眉bertrieben selbstbewusst, unsch枚n empowert und teils boshaft:
K u r t. Wie scharfsinnig du wirst, wenn du ha脽t!
A l i c e. Und dumm, wenn man liebt!
Alices Tochte r眉hmt ihre eigene "gl眉ckliche Anlage, nicht leiden zu k枚nnen". So d眉rfte man das heute nat眉rlich gar nicht mehr schreiben. (Auch nonbin盲re, transmigrantische und LGBTQXYZ-Erfahrungen sind str盲flich unterrepr盲sentiert und sollten das St眉ck an den Twitterpranger bringen.)
Gelegentlich werden Strindbergs Dialoge zu metaphysisch, will der Autor Ideen einbauen, die nicht ganz in die Psychologie passen (ein Unterschied zu den deutlicher naturalistischen, fr眉heren St眉cken Fr盲ulein Julie und Der Vater). Manche Entwicklungen im zweiten Teil geschehen viel zu rasch (Kurts Pleite, Allans Verschickung nach Norrland); hier dreht der Autor die Handlung brachial in beliebige Richtungen.
Die Eindeutschung von Willi Reich (Reclam) klingt 眉berwiegend kompakt und nicht altmodisch, liefert aber auch Befremdliches wie "Ich wei脽 nicht, da脽 wir seit f眉nf Jahren so etwas wie einen Weinkeller gehabt haben" (S. 6; mich interessiert, wie die verschiedenen 脺bersetzungen der deutschen Theaterverlage klingen und ob man wom枚glich f眉r die B眉hne anders 眉bersetzt als f眉r den Nur-Leser daheim).
Verfilmt wurde der Totentanz u.a. 1948 mit Erich von Stroheim, 1967 von Michael Verhoeven mit Lilli Palmer, Paul Verhoeven und Karl Michael Vogler unter dem Titel Paarungen, 1969 m. L. Olivier. Friedrich D眉rrenmatt verjazzte die Geschichte 1969 zu Play Strindberg. Friederike Roth machte 2011 einen "Todestanz - Lebenstanz" daraus.
Zwei resignierte, zynische alte Eheleute bewerfen sich mit Bosheiten erster Klasse. Die Frau betreibt sogar den Tod des G枚ttergatten, dieser bescheidet sich zun盲chst mit einer 眉berfallartigen Scheidung 鈥� oder ist die nur vorget盲uscht? Beide ziehen wechselseitig noch einen Freund des Hauses und ihre Kinder ins b枚se Spiel. "Algen, Schlinggras, Tintenfische, Quallen, Nesseltiere" wuchern nicht nur am Strindbergschen Meeresstrand (S. 75), sondern lauern auch in den Herzen der Akteure.
Unterhaltsam teuflisches Geplauder liefert August Strindberg (1849鈥�1912) hier, jedenfalls im ersten Drittel. Wie sch枚n, anderen beim Zanken zuzusehen. Kommt denn ein anst盲ndiger Mensch auf solche Gedanken? Strindbergs eigene Erfahrung scheint durchzuklingen 鈥� Paralleln zu seinem Leben als serieller Ehemann und Schauspielerinnenheirater fallen auf.
Wie in den Strindberg-St眉cken Fr盲ulein Julie und Der Vater agiert die weibliche Hauptfigur auch im Totentanz 眉bertrieben selbstbewusst, unsch枚n empowert und teils boshaft:
K u r t. Wie scharfsinnig du wirst, wenn du ha脽t!
A l i c e. Und dumm, wenn man liebt!
Alices Tochte r眉hmt ihre eigene "gl眉ckliche Anlage, nicht leiden zu k枚nnen". So d眉rfte man das heute nat眉rlich gar nicht mehr schreiben. (Auch nonbin盲re, transmigrantische und LGBTQXYZ-Erfahrungen sind str盲flich unterrepr盲sentiert und sollten das St眉ck an den Twitterpranger bringen.)
Gelegentlich werden Strindbergs Dialoge zu metaphysisch, will der Autor Ideen einbauen, die nicht ganz in die Psychologie passen (ein Unterschied zu den deutlicher naturalistischen, fr眉heren St眉cken Fr盲ulein Julie und Der Vater). Manche Entwicklungen im zweiten Teil geschehen viel zu rasch (Kurts Pleite, Allans Verschickung nach Norrland); hier dreht der Autor die Handlung brachial in beliebige Richtungen.
Die Eindeutschung von Willi Reich (Reclam) klingt 眉berwiegend kompakt und nicht altmodisch, liefert aber auch Befremdliches wie "Ich wei脽 nicht, da脽 wir seit f眉nf Jahren so etwas wie einen Weinkeller gehabt haben" (S. 6; mich interessiert, wie die verschiedenen 脺bersetzungen der deutschen Theaterverlage klingen und ob man wom枚glich f眉r die B眉hne anders 眉bersetzt als f眉r den Nur-Leser daheim).
Verfilmt wurde der Totentanz u.a. 1948 mit Erich von Stroheim, 1967 von Michael Verhoeven mit Lilli Palmer, Paul Verhoeven und Karl Michael Vogler unter dem Titel Paarungen, 1969 m. L. Olivier. Friedrich D眉rrenmatt verjazzte die Geschichte 1969 zu Play Strindberg. Friederike Roth machte 2011 einen "Todestanz - Lebenstanz" daraus.
Read
April 19, 2023鈥淎lice: Oled sa haige?
Allan: Jah!
Alice: Mis sul siis viga on?
Allan: Ma ei tea!
Alice: Pea valutab?
Allan: E-eei!
Alice: Aga p玫ues on piin?
Allan: Jaa!鈥�
Allan: Jah!
Alice: Mis sul siis viga on?
Allan: Ma ei tea!
Alice: Pea valutab?
Allan: E-eei!
Alice: Aga p玫ues on piin?
Allan: Jaa!鈥�
March 26, 2020
賵賯鬲蹖 賲蹖鈥屫堎嗀呚� 亘賴卮 丨爻 禺賵亘蹖 丿丕卮鬲賲 賵 賴賲乇丕賴賽 禺賵丿卮 賳诏賴鈥屫з� 丿丕卮鬲. 丕賲丕 丕賵賳胤賵乇 讴賴 蹖丕丿賲 亘賲賵賳賴貙 賳賴!
March 7, 2020
Aus HansBlog.de:
Friedrich D眉rrenmatt sagt, er habe August Strindbergs "Totentanz" verknappt. Der Titel "Play Strindberg", angelehnt an Jacques Loussiers luftig-jazzigen "Play Bach"-Stil, legt nahe, D眉rrenmatt habe Strindberg verjazzt, verswingt oder verbacht. Doch das passt alles nicht. Stattdessen:
D眉rrenmatt hat Strindberg vermarschmusikt. Die D眉rrenmattsche Version mit ihren milit盲risch knappen, durchrhythmisierten Dialogzeilen und Beleidigungtrommelfeuer schnarrt durch wie ein pixeliges 90er-Jahre-Videospiel oder wie so ein Plastikfig眉rchen, das ein Gewicht bis zur Tischkante zieht; wie ein Bojarentanz.
Dieser straffe, staubtrockene Stil hat was. Strindberg warf auch ein paar Personen heraus und verzichtete auf die Wirren des zweiten "Totentanz"-Teils. Das Ganze ist nun aber endg眉ltig eine Groteske, ein Spiel, oder (so D眉rrenmatt) ein "脺bungsst眉ck" - kein ernsthaftes Ehedrama.
(Auch Strindberg selbst schrieb wohlgemerkt schon straff, frech und keinesfalls redselig, mit allzu empowerten Weibsbildern, und das nicht nur im Totentanz, sondern auch in den St眉cken Der Vater und Fr盲ulein Julie.)
Friedrich D眉rrenmatt sagt, er habe August Strindbergs "Totentanz" verknappt. Der Titel "Play Strindberg", angelehnt an Jacques Loussiers luftig-jazzigen "Play Bach"-Stil, legt nahe, D眉rrenmatt habe Strindberg verjazzt, verswingt oder verbacht. Doch das passt alles nicht. Stattdessen:
D眉rrenmatt hat Strindberg vermarschmusikt. Die D眉rrenmattsche Version mit ihren milit盲risch knappen, durchrhythmisierten Dialogzeilen und Beleidigungtrommelfeuer schnarrt durch wie ein pixeliges 90er-Jahre-Videospiel oder wie so ein Plastikfig眉rchen, das ein Gewicht bis zur Tischkante zieht; wie ein Bojarentanz.
Dieser straffe, staubtrockene Stil hat was. Strindberg warf auch ein paar Personen heraus und verzichtete auf die Wirren des zweiten "Totentanz"-Teils. Das Ganze ist nun aber endg眉ltig eine Groteske, ein Spiel, oder (so D眉rrenmatt) ein "脺bungsst眉ck" - kein ernsthaftes Ehedrama.
(Auch Strindberg selbst schrieb wohlgemerkt schon straff, frech und keinesfalls redselig, mit allzu empowerten Weibsbildern, und das nicht nur im Totentanz, sondern auch in den St眉cken Der Vater und Fr盲ulein Julie.)
April 29, 2007
Friedrich D眉rrenmatt (1921-1990) Swiss author and dramatist. He was a proponent of epic theatre whose plays reflected the recent experiences of World War II. The politically active author's work, philosophically deep crime novels, and often macabre satire.
乇賯氐 賲乇诏 (1900)貙 胤賳夭蹖 爻鬲 丿乇亘丕乇賴 蹖 丕夭丿賵丕噩 丿乇 卮讴賱 爻賳鬲蹖貙 讴丕亘賵爻蹖 毓丕乇蹖 丕夭 爻丕賳鬲蹖 賲丕賳鬲丕賱蹖爻賲. 賮乇丿乇蹖卮 丿賵乇賳賲丕鬲 亘丕 丕爻鬲賮丕丿賴 丕夭 "乇賯氐 賲乇诏"貙 氐丨賳賴 蹖 丕夭丿賵丕噩 賴丕蹖 賲毓賱賵賱 乇丕 亘賴 乇蹖賳诏 亘賵讴爻蹖 卮亘蹖賴 讴乇丿賴 (亘丕夭蹖 丕爻鬲乇蹖賳丿亘乇诏) 讴賴 丿賵 爻賵蹖 丌賳 亘蹖 賴蹖趩 丕賲蹖丿 亘賴 倬蹖乇賵夭蹖 賵 乇爻鬲诏丕乇蹖貙 丿乇 賲賵賯毓蹖鬲 賵 賮囟丕蹖蹖 "賲丨丿賵丿" 賵 鬲賳诏貙 賲蹖 噩賳诏賳丿貙 賵 蹖讴丿蹖诏乇 乇丕 賱鬲 賵 倬丕乇 賲蹖 讴賳賳丿. 賴賲丕賳 诏賵賳賴 讴賴 丕丿賵丕乇丿 丌賱亘蹖 丿乇 "趩賴 讴爻蹖 丕夭 賵蹖乇噩蹖賳蹖丕 賵賵賱賮 賲蹖 鬲乇爻丿"貙 夭賵噩蹖 禺卮賲诏蹖賳 賵 丕賮爻乇丿賴 乇丕 賳卮丕賳 賲蹖 丿賴丿 讴賴 亘乇丕蹖 乇賴丕蹖蹖 丕夭 爻蹖鬲夭 丿丕卅賲蹖貙 夭賵噩蹖 噩賵丕賳 乇丕 亘賴 诏賵丿丕賱 鬲丕乇蹖讴 禺賵丿 賲蹖 讴卮丕賳賳丿.
丕蹖賳 賳賲丕蹖卮 賳丕賲賴 鬲賵爻胤 夭賳丿賴 蹖丕丿 丨賲蹖丿 爻賲賳丿乇蹖丕賳 鬲乇噩賲賴 賵 讴丕乇诏乇丿丕賳蹖 卮丿賴貙 賵 丕賳鬲卮丕乇丕鬲 鬲噩乇亘賴 丌賳 乇丕 丿乇 爻乇蹖 "賳爻賱 賯賱賲- 丌孬丕乇" 趩丕倬 賵 賲賳鬲卮乇 讴乇丿賴 丕爻鬲 (1373)
乇賯氐 賲乇诏 (1900)貙 胤賳夭蹖 爻鬲 丿乇亘丕乇賴 蹖 丕夭丿賵丕噩 丿乇 卮讴賱 爻賳鬲蹖貙 讴丕亘賵爻蹖 毓丕乇蹖 丕夭 爻丕賳鬲蹖 賲丕賳鬲丕賱蹖爻賲. 賮乇丿乇蹖卮 丿賵乇賳賲丕鬲 亘丕 丕爻鬲賮丕丿賴 丕夭 "乇賯氐 賲乇诏"貙 氐丨賳賴 蹖 丕夭丿賵丕噩 賴丕蹖 賲毓賱賵賱 乇丕 亘賴 乇蹖賳诏 亘賵讴爻蹖 卮亘蹖賴 讴乇丿賴 (亘丕夭蹖 丕爻鬲乇蹖賳丿亘乇诏) 讴賴 丿賵 爻賵蹖 丌賳 亘蹖 賴蹖趩 丕賲蹖丿 亘賴 倬蹖乇賵夭蹖 賵 乇爻鬲诏丕乇蹖貙 丿乇 賲賵賯毓蹖鬲 賵 賮囟丕蹖蹖 "賲丨丿賵丿" 賵 鬲賳诏貙 賲蹖 噩賳诏賳丿貙 賵 蹖讴丿蹖诏乇 乇丕 賱鬲 賵 倬丕乇 賲蹖 讴賳賳丿. 賴賲丕賳 诏賵賳賴 讴賴 丕丿賵丕乇丿 丌賱亘蹖 丿乇 "趩賴 讴爻蹖 丕夭 賵蹖乇噩蹖賳蹖丕 賵賵賱賮 賲蹖 鬲乇爻丿"貙 夭賵噩蹖 禺卮賲诏蹖賳 賵 丕賮爻乇丿賴 乇丕 賳卮丕賳 賲蹖 丿賴丿 讴賴 亘乇丕蹖 乇賴丕蹖蹖 丕夭 爻蹖鬲夭 丿丕卅賲蹖貙 夭賵噩蹖 噩賵丕賳 乇丕 亘賴 诏賵丿丕賱 鬲丕乇蹖讴 禺賵丿 賲蹖 讴卮丕賳賳丿.
丕蹖賳 賳賲丕蹖卮 賳丕賲賴 鬲賵爻胤 夭賳丿賴 蹖丕丿 丨賲蹖丿 爻賲賳丿乇蹖丕賳 鬲乇噩賲賴 賵 讴丕乇诏乇丿丕賳蹖 卮丿賴貙 賵 丕賳鬲卮丕乇丕鬲 鬲噩乇亘賴 丌賳 乇丕 丿乇 爻乇蹖 "賳爻賱 賯賱賲- 丌孬丕乇" 趩丕倬 賵 賲賳鬲卮乇 讴乇丿賴 丕爻鬲 (1373)
March 14, 2015
乇賯氐賴 丕賱賲賵鬲 賴鬲丿禺賱賰 賱賲鬲毓賴 賲爻乇丨 丕賱毓亘孬 賵 賴鬲禺賱賷賰 鬲卮賵賮 賲毓賳賷 丕賱賰乇丕賴賷賴 賰丿丕賮毓 賱賱丕爻鬲賲乇丕乇
賮丕賱賲爻乇丨賷賴 賷賯丿賲 賮賷賴丕 爻鬲乇賳丿亘乇噩 夭賵噩丕賳 賯賲賴 賮賷 丕賱鬲毓丕爻賴 賷丨賷丕賳 毓賱賷 賰乇丕賴賷賴 賰賱 賲賳賴賲 賱賱丕禺乇 鬲丿賵乇 丕丨丿丕孬賴丕 賮賷 賮氐賱 丕賱禺乇賷賮 賰丕乇賴丕氐 亘胤亘賷毓賴 丕賱毓賱丕賯賴 亘賷賳 丕賱夭賵噩賷賳 丿丕禺賱 亘乇噩 賯賱毓賴 賰丕賳鬲 爻噩賳 賮賷 賷賵賲 賲賳 丕賱丕賷丕賲 賵賰丕賳 噩丿乇丕賳賴 賰賲丕 賯丕賱鬲 丕賱賷爻 鬲卮乇亘鬲 賰賱 丕賱丕孬丕賲 賵丕賱噩乇丕卅賲 丕賱鬲賷 丕乇鬲賰亘賴丕 賲賳 丨亘爻賵丕 賮賷賴 賵賳囟丨鬲賴丕 毓賱賷 丕賱夭賵噩賷賳 賵毓賱丕賯鬲賴賲丕
丕毓鬲賯丿 丕賳 丕賱賲爻乇丨賷賴 賮賷賴丕 毓賲賯 賵鬲氐賵賷乇 毓馗賷賲 賱胤亘賷毓賴 丕賱氐乇丕毓 亘賷賳 賰孬賷乇 賲賳 丕賱丕夭賵丕噩 丕賱匕賷賳 賱丕 賷乇賵 禺賱丕氐賴賲 丕賱丕 賮賷 賲賵鬲 丕賱丕禺乇 賰賲丕 賯丕賱鬲 丕賱賷爻 乇丿丕 毓賱賷 丕賱賰丕亘鬲賳 毓賳丿賲丕 亘乇乇 睾囟亘賴丕 賲賳賴 賱丕賳賴 賱賲 賷賲鬲 亘丕賱丕賲爻 賮賯丕賱鬲 賱丕 丕賳丕 睾丕囟亘賴 賱丕賳賰 賱賲 鬲賲鬲 賲賳匕 佗佶 毓丕賲丕 亘賱 賱丕賳賰 賱賲 鬲賲鬲 賯亘賱 丕賳 丕賵賱丿 賯丿 賷賰賵賳 鬲氐賵賷乇 爻鬲乇賳丿亘乇噩 賱賱毓賱丕賯賴 賲亘丕賱睾 賮賷賴 賮賯丿 丕鬲賷 亘夭賵噩賷賳 丕賳丨丿乇丕 丕賱賷 丕賱賯丕毓 亘賰賱 賲毓賳賷 丕賱賰賱賲賴 賱賰賳 丕毓鬲賯丿 丕賳 丕賱賲鬲丕賲賱 賱賳氐 丕賱賲爻乇丨賷賴 爻賷噩丿 丕賱賰孬賷乇 賲賳 丨賵丕乇鬲賴丕 賷丿賵乇 賲囟賲賵賳賴丕 賮賷 丕賱亘賷賵鬲 亘賷賳 丕賱丕夭賵丕噩 賵丕賱賮乇賯 丕賱賵丨賷丿 亘賷賳 丕賱賲爻乇丨 賵丕賱賵丕賯毓 賴賵 丿乇噩賴 丕賱丕賳丨丿丕乇
賮丕賱賲爻乇丨賷賴 賷賯丿賲 賮賷賴丕 爻鬲乇賳丿亘乇噩 夭賵噩丕賳 賯賲賴 賮賷 丕賱鬲毓丕爻賴 賷丨賷丕賳 毓賱賷 賰乇丕賴賷賴 賰賱 賲賳賴賲 賱賱丕禺乇 鬲丿賵乇 丕丨丿丕孬賴丕 賮賷 賮氐賱 丕賱禺乇賷賮 賰丕乇賴丕氐 亘胤亘賷毓賴 丕賱毓賱丕賯賴 亘賷賳 丕賱夭賵噩賷賳 丿丕禺賱 亘乇噩 賯賱毓賴 賰丕賳鬲 爻噩賳 賮賷 賷賵賲 賲賳 丕賱丕賷丕賲 賵賰丕賳 噩丿乇丕賳賴 賰賲丕 賯丕賱鬲 丕賱賷爻 鬲卮乇亘鬲 賰賱 丕賱丕孬丕賲 賵丕賱噩乇丕卅賲 丕賱鬲賷 丕乇鬲賰亘賴丕 賲賳 丨亘爻賵丕 賮賷賴 賵賳囟丨鬲賴丕 毓賱賷 丕賱夭賵噩賷賳 賵毓賱丕賯鬲賴賲丕
丕毓鬲賯丿 丕賳 丕賱賲爻乇丨賷賴 賮賷賴丕 毓賲賯 賵鬲氐賵賷乇 毓馗賷賲 賱胤亘賷毓賴 丕賱氐乇丕毓 亘賷賳 賰孬賷乇 賲賳 丕賱丕夭賵丕噩 丕賱匕賷賳 賱丕 賷乇賵 禺賱丕氐賴賲 丕賱丕 賮賷 賲賵鬲 丕賱丕禺乇 賰賲丕 賯丕賱鬲 丕賱賷爻 乇丿丕 毓賱賷 丕賱賰丕亘鬲賳 毓賳丿賲丕 亘乇乇 睾囟亘賴丕 賲賳賴 賱丕賳賴 賱賲 賷賲鬲 亘丕賱丕賲爻 賮賯丕賱鬲 賱丕 丕賳丕 睾丕囟亘賴 賱丕賳賰 賱賲 鬲賲鬲 賲賳匕 佗佶 毓丕賲丕 亘賱 賱丕賳賰 賱賲 鬲賲鬲 賯亘賱 丕賳 丕賵賱丿 賯丿 賷賰賵賳 鬲氐賵賷乇 爻鬲乇賳丿亘乇噩 賱賱毓賱丕賯賴 賲亘丕賱睾 賮賷賴 賮賯丿 丕鬲賷 亘夭賵噩賷賳 丕賳丨丿乇丕 丕賱賷 丕賱賯丕毓 亘賰賱 賲毓賳賷 丕賱賰賱賲賴 賱賰賳 丕毓鬲賯丿 丕賳 丕賱賲鬲丕賲賱 賱賳氐 丕賱賲爻乇丨賷賴 爻賷噩丿 丕賱賰孬賷乇 賲賳 丨賵丕乇鬲賴丕 賷丿賵乇 賲囟賲賵賳賴丕 賮賷 丕賱亘賷賵鬲 亘賷賳 丕賱丕夭賵丕噩 賵丕賱賮乇賯 丕賱賵丨賷丿 亘賷賳 丕賱賲爻乇丨 賵丕賱賵丕賯毓 賴賵 丿乇噩賴 丕賱丕賳丨丿丕乇
February 26, 2012
I don't know about Strindberg's personal life, but I'm guessing that he was, either never married, or had only miserable personal experience with it. The characters in this play are all miserable. Alice and Captain have, at the start of the play, been married for twenty-five miserable years. All that they do is bicker. Alice admits that she quit her own budding career to marry her husband. However, love was not her motivation; she wanted the status she believed that marriage could give her. Captain is simply arrogant and manipulative. Alice only changes when her long-awaited wish occurs and her husband dies. Kurt's son, Allan, and Alice and Captain's daughter, Judith, seem doomed to have an equally unhappy union by the time they get together by the end of the play.
This entire review has been hidden because of spoilers.
November 22, 2013
The diction of this book (the Arvid Paulson translation) is almost unreadable and surely unperformable. Very formal, stilted, perplexing conversations. And too many uses of the word "shan't".
All that being said, I found the particular evil of the Captain to be fascinating, precisely because it was so eerily familiar. Strindberg has set down the patriarch in his genius and his frailty -- a King Leer, who will hurt others pitilessly -- gleefully even -- and then next moment show himself so pitiful. You want him to die, and when he dies you feel guilty, and want to say something nice about him.
Read it as an allegory of the hierarch or a malevolent god, as a perverse medieval-ish 'mystery play,' rather than a 'slice-of-life,' realist script.
All that being said, I found the particular evil of the Captain to be fascinating, precisely because it was so eerily familiar. Strindberg has set down the patriarch in his genius and his frailty -- a King Leer, who will hurt others pitilessly -- gleefully even -- and then next moment show himself so pitiful. You want him to die, and when he dies you feel guilty, and want to say something nice about him.
Read it as an allegory of the hierarch or a malevolent god, as a perverse medieval-ish 'mystery play,' rather than a 'slice-of-life,' realist script.
Displaying 1 - 30 of 65 reviews
Can't find what you're looking for?
Get help and learn more about the design.