Seven Plays- Translated and introduced by Joe Martin- with a Foreword by Björn Meidal
Three One-Acts: Introduction 295
THREE ONE-ACTS The Stronger Pariah Simoom This page intentionally left blank THREE ONE-ACTS: INTRODUCTION 1. STRINDBERG'S remarkable formal experimentation at the beginning of the twentieth century, and the Weltanschauung that went with it, certainly did not emerge completely out of the blue after his Inferno experiences. Even in the midst of Strindberg's famous naturalistic period his plays betrayed peculiar atmosphere. There was an element of the mysterious-though not mystic-and inexplicable in some of them. Most significantly: silences, in some of those plays, are a potent dramatic device. Between 1888 and 1892 Strindberg wrote nine one-act plays.1 The entire cluster represents an attempt to apply his new theoretical approach to the drama which are outlined in his article "On Modern Drama and Modern Theatre"2 He was particularly influenced by the work which had just begun at Andre Antoine's Theatre Libre in Paris, where the focus was on psychological action rather than on plot. Strindberg's own work would later provide the Theatre Libre and the French naturalists with material for some of their vanguard produc- tions. Antoine's theatre was at that time encouraging the writing of extremely short pieces, notably the quart d'heure, or fifteen-minute play. The first three one-acts in the cycle were written in Holte, Denmark between December 1888 and March 4, 1889. They belong together not only because they were created during the same short period and exemplified Strindberg's new ideas on the drama-but the three plays were also written to help launch his Scandinavian Experimental in Denmark....
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.