If it seems peculiar to be able to substitute that biblical statement soul for persona in the materialist economy of naturalistic drama, there will be other particularité as Strindberg works out an aesthetic for the atomized heart and soul of a hysterical age group, quickly before Freud and even Breuer began their well known studies of hysteria. Intended for instance, there may be a new verse in the preamble exactly where, observing that people have been increasingly interested in “psychological procedure, ” Strindberg—whose own works on psychology acquired been allowed Vivisections—goes in to sound, within the demystifying mode, less similar to Sigmund Freud and more similar to Bertolt Brecht. “Our curious souls, ” he claims, “are definitely not satisfied only to notice something happen; we want to know how that happened. We desire to see the strings, the machinery, look at the double-bottomed box, experience the seam around the magic ring, appearance at the cards to see the way they are marked” (57). Nonetheless fluff after insisting that theatricality reveal itself, that the tool of production always be exposed, and presumably illusion having the idea, Strindberg writes concerning “the technical aspects of composition, ” that he features experimented in Miss Julie “with eliminating act sections. ” Why? To protect, similar to Nietzsche, the potential of illusion. Or perhaps, like Strindberg puts it: “The reason is that I actually think our dwindling total capacity regarding accepting illusion is possibly further disturbed by means of intermissions during which typically the spectator has time in order to reflect and thus break free the suggestive have an effect on involving the author-hypnotist” (57).
Much for the Brechtian Strindberg, at the very least for the time. For there are other moments, considerably more or less alienating, and for that reason recurrently painful we could desire the A-effect, perhaps in the hypnotic structure of the extra symbolist A Dream Play, in which the future of illusion will come, as it did at often the end in Freud, along with civilization and its discontents—if you can call that civilization, “this madhouse, this dungeon, this morgue regarding a world, ” which usually is how the College student sums it up in The Ghost Sonata (308) before the invocation associated with Buddha, the murmuring sound of a harp, the area filled with white light source, and after that, after the whimpering of a new child, Böcklin's painting, This island then of typically the Dead, appearing in the background, together with soft, calm songs, “gently melancholy” (309). There exists in A Dream Play concern for all this, yet what type of creation can this get, the Daughter plaintively requires, in which often “the spirit demands other garb / when compared with that of blood plus filth, ” while doomed, also, to “endless repetitions. ;-( Carrying out the same things over and over, ” as the Lawyer says—the compulsions in the repetitiveness by simply no stretch of obsession what Judith Retainer has been writing on the subject of, queering the dispossession, typically the exemption in addition to abjection, the unliveable as well as the uninhabitable, by means of the repeated and citational practice regarding subversive physical acts. Duplication here—as along with the pasting involving Kristine, who pastes and even pastes, “till there's nothing whole lot more to paste” (273)—is not necessarily “performativity” but a virtual condition of life.
This sexual act to A Desire Play only occurs in the entire world outside our planet, in which often most of the play happens. This world, showed at first by just a fortress that, phallocratically, “keeps increasing up out of this earth, ” is as well diversely framed, at the very least as Strindberg described that: “On the wings, which continue being in place for often the entire have fun with, are special paintings that represent a mix of rooms, exteriors, and landscapes” (213). The entire world from which Indra's Little girl descends is represented too—there is nothing, after almost all, outdoor representation, except often the dream of it—in the multitude that could be seen, Leo, Virginidad, Libra, and shining brightly involving them, the planet Jupiter way too, above the “banks of an incredibly similar to crumbling slate mountains with ruins of castles in addition to fortresses” (210). The entire world while we know it, or maybe will come to know, is definitely a place directly into which often one strays and drops: “a circle of vapors called Earth” (211), an area in which it is hard to inhale and exhale. Anywhere we are on soil, inside whichever play, the image of suffocation is ubiquitous within Strindberg.