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If it seems unusual to be able to substitute that biblical phrase soul for figure throughout the materialist economy connected with naturalistic drama, there can be other flaws as Strindberg works out a cosmetic for the atomized soul of a hysterical time, soon before Freud in addition to Breuer began their well known experiments of hysteria. For instance, there is a verse in the preamble in which, observing that people were increasingly interested in “psychological method, ” Strindberg—whose individual works on psychology possessed been called Vivisections—goes upon to sound, in the demystifying mode, less like Sigmund Freud and more similar to Bertolt Brecht. “Our curious souls, ” he states, “are not necessarily satisfied just simply to find something take place; we want to understand how it happened. We want to view the strings, the machinery, look at the double-bottomed box, have the seam inside the magic engagement ring, glance at the cards in order to see the direction they are marked” (57). Yet a instant after insisting the fact that theatricality reveal itself, the equipment of production possibly be open, and presumably false impression having the idea, Strindberg produces about “the technical facets of composition, ” that he provides experimented in Miss Jules “with eliminating act divisions. ” Why? To protect, just like Nietzsche, the potential future of illusion. As well as, since Strindberg puts it: “The reason is that My partner and i trust our dwindling capability intended for accepting illusion is usually maybe further disturbed simply by intermissions during which the particular spectator features time in order to reflect and and thus break free the suggestive have an effect on involving the author-hypnotist” (57).
A lot for the Brechtian Strindberg, at the least for the second. For additional moments, more or less alienating, so recurrently painful we may well choose to the A-effect, perhaps in typically the hypnotic construction of the extra symbolist A Dream Play, where future of illusion will come, because it did at typically the end in Freud, with civilization and its discontents—if you can call this world, “this madhouse, this particular dungeon, this morgue involving a entire world, ” which often is how the Student sums it up in The Cat Sonata (308) before the invocation regarding Buddha, the murmuring sound of a harp, the space filled with white lighting, then, after the whimpering of a new child, Böcklin's painting, This island then of often the Dead, appearing without your knowledge, having soft, calm audio, “gently melancholy” (309). There is certainly within A Dream Play empathy for all this, yet what type of creation can easily the idea get, the Little princess plaintively asks, in which usually “the spirit craves various other garb / than this kind of of blood plus filth, ” while bound, furthermore, to “endless reps. . Doing the same items over and over, ” as the Lawyer says—the compulsions in the repetitiveness simply by no stretch connected with obsession what Judith Butler has been writing around, queering often the dispossession, typically the exemption together with abjection, often the unliveable as well as the uninhabitable, by simply the repetitive and citational practice associated with subversive natural acts. Replication here—as along with the pasting involving Kristine, who pastes in addition to pastes, “till there's nothing more to paste” (273)—is definitely not “performativity” but a exclusive condition of life.

The commencement to A Dream Play occurs in a new entire world outside this world, in which usually most of the take up occurs. This world, represented at first with a citadel that, phallocratically, “keeps expanding up out of typically the earth, ” is furthermore differently framed, a minimum of as Strindberg described the idea: “On the wings, which often continue being in place for the entire take up, are stylized paintings addressing a mixture of interiors, exteriors, and even landscapes” (213). The world from which Indra's Daughter descends is represented too—there is nothing, after almost all, outside the house representation, except the dream of it—in the multitude that could be seen, Leo, Virgo, Libra, and shining brightly in between them, the earth Jupiter very, above the particular “banks of atmosphere just like crumbling slate hills along with ruins of castles and even fortresses” (210). African as we know it, or maybe will come to know, is a place in to which one strays and comes: “a circle of vapors called Earth” (211), the place in which it is definitely hard to inhale. Wherever we are on earth, within no matter what play, the image involving suffocation can be ubiquitous in Strindberg.