Artiklar / Articles         I litterärt sällskap Sverige har flest litterära sällskap i världen – men de flesta är tillägnade män. I Härnösand vill en nybildad klubb lyfta fram stadens alltför bortglömda stolthet, dramatikern Alfhild Agrell. Av Karin Thunberg SvD, 29 december 2013 kl 00:14 Det står fem kvinnor utanför en nedlagd skoaffär vid Stora torget i Härnösand. Utan läsglasögon kan de se bilden från mitten av 1800-talet när här låg Eric Jacob Martins bageri, huset där han också bodde med hustru och två döttrar. Av vilka den yngsta skulle bli en av Sveriges mest spelade dramatiker. Att Alfhild Agrells ord under en period gestaltades flitigare än Strindbergs på Kungliga dramatiska teatern i Stockholm minns ingen i dag. Det är den glömskan som Alfhild Agrell-sällskapet vill råda bot på. De har redan tagit upp sin kampsång: Läs mer: http://www.svd.se/kultur/i-litterart-sallskap_8856878.svd     USA, New York (NY) Colin Farrell: 'Miss Julie shoot was the toughest of my career' By WENN.com Hollywood.com, Dec 29, 2013 Irish actor Colin Farrell struggled through the shoot of his dark new drama Miss Julie, branding it his most gruelling work to date. The star returned home to film the movie, an adaptation of August Strindberg's thrilling play of the same name, about the daughter of an Anglo-Irish aristocrat who is seduced by her father's valet, played by Farrell. The love affair soon turns dark, and the actor admits he found it draining to play such a controlling character. He tells the Associated Press, "It's tough, as tough as this job can be. It was the toughest time I have had in 15 years by a mile. It was hard, it was brutal. "The behaviour and the sustained cruelty and trauma are just brutal. It was cool, it was interesting but it was tough. I was glad to be done with it, like a few others. It was very challenging but it will be interesting to see what it becomes." Jessica Chastain plays the titular character in the film, which will be released in 2014. Link: http://www.hollywood.com/news/brief/56727354/colin-farrell-miss-julie-shoot-was-the-toughest-of-my-career   USA, Ohio Some Velvet Morning By John DeSando 90.5 WCBE.org, Sun December 29, 2013 The modern battle of the sexes is orchestrated for maximum enjoyment albeit unresolved. Some Velvet Morning Grade: B Director: Neil LaBute (In the Company of Men) Screenplay: LaBute Cast: Alice Eve (Star Trek into Darkness), Stanley Tucci (Hunger Games) Runtime: 82 min. by John DeSando “Some velvet mornin' when I'm straight I'm gonna open up your gate And maybe tell you 'bout Phaedra And how she gave me life And how she made it end.” Lee Hazlewood. Writer/director Neil LaBute acknowledges Swedish playwright August Strindberg after the credits of Some Velvet Morning. And well he should, for his short Some Velvet Morning has naturalism with touches of Ibsen in an entertaining two hander that barely covers the violent potential of its male, Fred (Stanley Tucci) and female (Alice Eve). The film is contemporary-dialogue driven, and that works swell for me, a word guy. Read more: http://wcbe.org/post/some-velvet-morning   Ελλάδα, Αθήνα (Greece, Athens) «ΔΕΣΠΟΙΝΙΣ ΤΖΟΥΛΙΑ», του August Strindberg Επιμέλεια: Νίκος Αρώνης 26 Δεκεμβρίου 2013 Η ομάδα χορού flamenco ARROYO NUEVO παρουσιάζει στον ομώνυμο χώρο, για περιορισμένο αριθμό παραστάσεων κάθε Παρασκευή, Σάββατο και Κυριακή, το έργο του August Strindberg, «Δεσποινίς Τζούλια», σε χορογραφία και σκηνοθεσία Σταύρου Λίτινα. Μια παράσταση που από την πρώτη στιγμή είχε θερμή ανταπόκριση από το κοινό γνωρίζοντας παράλληλα και καλλιτεχνική επιτυχία! Το έργο πέρα από τα προφανή επίπεδα της πάλης των φύλων και των τάξεων, διεισδύει αριστοτεχνικά στο δίπολο «φόβος & εξουσία» και μέσα από αυτό φωτίζει πρισματικά όλες τις σχέσεις των εμπλεκόμενων προσώπων. Η παράλυση που προκαλεί ο φόβος και τα περιθώρια χειραγώγησης που επιτρέπει, καθώς και η δυνατότητα ανατροπής της εξουσίας, ως προέκταση, σμιλεύουν νοηματικά το κείμενο ενισχύοντας τη διαχρονικότητα του. Γράφτηκε το 1888 και προκάλεσε μεγάλο σκάνδαλο για την προκλητικότητα των ιδεών του και την αμεσότητα της γραφής του. Αποτελεί σήμερα το εμβληματικό δράμα του Σουηδού συγγραφέα. Το έργο ανεβαίνει για πρώτη φορά με flamenco. Ο χορογράφος και σκηνοθέτης της παράστασης, Σταύρος Λίτινας, αναφέρει χαρακτηριστικά, «…αναζητώ την αιτία που κινεί τα σώματα πριν ακόμη αρθρωθεί ο λόγος. Ψάχνω το βαθύτερο λόγο, τον φυσικό, και τον χρησιμοποιώ ως υλικό, θέτοντας τον άλλο, τον επεξηγηματικό, σε κατάσταση σιωπής». Διανομή: Δεσποινίς Τζούλια: Εύα Παρασκευοπούλου Υπηρέτης Ζαν: Σταύρος Λίτινας Μαγείρισσα Κριστίν: Αλίνα Αναστασιάδη Αφήγηση: Άντζελα Μπρούσκου Τη μουσική επιμέλεια, τα σκηνικά, τους φωτισμούς και τα κοστούμια της παράστασης υπογράφει ο Σταύρος Λίτινας. ΗΜΕΡΕΣ ΚΑΙ ΩΡΕΣ ΠΑΡΑΣΤΑΣΕΩΝ: Παρασκευή 21.30 Σάββατο 21.30 Κυριακή 20.30 ΤΙΜΕΣ ΕΙΣΙΤΗΡΙΩΝ: Γενική είσοδος: 12 ευρώ Μειωμένο: 8 ευρώ (φοιτητικό & ανέργων) τηλ. κρατήσεων: 210 34 69 575 A R R O Y O N U E V O Μ. Αλεξάνδρου 128, Κεραμεικός Τηλ: 210 34 69 575 Link: http://www.zougla.gr/politismos/article/despinis-tzoulia-tou-august-strindberg   Egypt Local adaptation of Strindberg play misses the mark The Dance of Death adaptation fails to impress By Thoraia Abou Bakr Daily News, Egypt, December 22, 2013 August Strindberg is one of the most renowned Swedish writers in the genre of modern drama. His plays are known for their controversial subjects, which perhaps stemmed from his extreme views on women and modern society – especially his antipathy towards feminism. His views aside, his plays are a joy to view or even read as he was known for creating complicated yet realistic characters. His dramatic works are famous for having a claustrophobic effect as the hold tightens on the characters, making them desperate for the sweet release of death. The play, The Dance of Death, is no different. It revolves around Edgar and Alice, an estranged couple, who have many problems. The play is supposed to portray the feelings of resentment, hate and desperation. Originally, the play was written in two parts, however most theatre groups summarise both into one when it is performed. On 17 December local theatre group Lighting performed an adaptation of the play in Arabic in cooperation with the Swedish Embassy in Egypt. The title was changed to The Dance of Life and the play was performed in classical Arabic. Read more: http://www.dailynewsegypt.com/2013/12/22/local-adaptation-of-strindberg-play-misses-the-mark/   Chile A puerta cerrada El director Cristián Plana presenta Castigo, a partir de un texto autobiográfico del sueco August Strindberg. A su vez, Héctor Noguera sorprende con su versión de El jardín de los cerezos, de Antón Chéjov. Por Francisca Babul La Tercera 20/12/2013 El tiempo pasa pero siguen vigentes. Una de las particularidades de los textos clásicos es que pueden representarse en cualquier época y lugar sin perder su esencia. Así lo confirma el regreso a escenarios chilenos de dos de los autores más relevantes de la dramaturgia europea: el sueco August Strindberg (1849-1912) y el ruso Antón Chéjov (1860-1904). Estrenada en marzo de 2013 en el Teatro La Memoria, Castigo surge a partir de un breve episodio de El hijo de la sierva, novela autobiográfica publicada por August Strindberg en 1886, antes de la edición de su obra más conocida: La señorita Julia (1888). El director Cristián Plana montó esta última en 2011 -con Amparo Noguera y Marcelo Alonso en el elenco- y, desde entonces, sigue obsesionado con el dramaturgo sueco. Las diferencias entre ambas, no obstante, son evidentes: mientras en La señorita Julia priman los diálogos caudalosos, el protagonista de Castigo es, precisamente, el silencio. “Al leer su autobiografía descubrí que era un niño muy callado, tenía una dificultad real para hablar, una especie de afasia que le impedía articular palabras. El mismo explica que ese primer silencio desembocaría después en una incontenible verborrea, que es la que caracteriza su dramaturgia”, señala Plana. Leer más: http://www.latercera.com/noticia/cultura/2013/12/1453-557214-9-a-puerta-cerrada.shtml   Tillbaka till samtiden Lundaprofessorn Bengt Lidforss var nära vän till Strindberg och en av de mest tongivande och kontroversiella radikalerna runt förra sekelskiftet. Sören Sommelius läser en antologi 100 år efter hans bortgång och skjuts in i vår samtid. Av Sören Sommelius Helsingborgs Dagblad 20 december 2013 För Bengt Lidforss var Karl XII på sin höjd ett löjtnantsgeni. Inte heller hade den stridbare lundaprofessorn något till övers för den oskarianska tidsandan. Han var en antiborgerlig kulturradikal och tog som den förste ur den akademiska världen steget in i arbetarrörelsen. Som socialist och socialdemokrat blev han under decenniet efter det förra sekelskiftet den svenska arbetarrörelsens främste skribent. Hans polemiska texter tål att läsas också i dag. De flesta publicerades i tidningen Arbetet i Malmö med Axel Danielsson som chefredaktör. Tillsammans med nära vännen Hjalmar Branting var Lidforss en kämpe i striden för den socialistiska samhällsomvandlingen. Ett sekel har gått sedan Lidforss avled i sviterna av syfilis i Lund 1913, bara 45 år gammal. Botanisten, författaren, journalisten, socialisten, rabulisten – och antisemiten – var en både udda och högt begåvad person. I dag är han nog orättvist bortglömd av de flesta. För att råda bot på det har ellerströms förlag till hundraårsminnet av hans död gett ut Bortom det acceptablas gränser. Boken innehåller dussinet nyskrivna texter med olika perspektiv på den kontroversielle Lidforss. Genetikern Bengt Olle Bengtsson och idéhistorikern Gunnar Broberg har varit redaktörer. Läs mer: http://hd.se/kultur/boken/2013/12/20/tillbaka-till-samtiden/   Canada Nobel Prize misfits are a literary who’s who By Robert Everett-Green The Globe and Mail, Monday, Dec. 16 2013 In Sweden, the Nobel Prize ceremonies are huge, like the Academy Awards for smart people. The banquet at Stockholm’s city hall is “one of the most-watched television programs in Sweden,” writes a columnist for Svenska Dagbladet, the daily newspaper that on Tuesday gave blanket coverage to the clothes, the menu, the after-party and the four naked people who rushed the doors to protest the continued imprisonment in China of dissident writer Liu Xiaobo. [...] The Academy gave itself a (temporary) monopoly on nominations, ignored the “preceding year” part of Nobel’s direction, and decided that “ideal direction” meant literature of a romantic idealistic bent. That suited the Academy’s conservative mentality, and slammed the door on alleged pessimists, such as Leo Tolstoy, August Strindberg and Émile Zola. It became a cliché of prize citations for the first few decades to praise the “lofty idealism” of the winner’s prose, or to say that it captured “the spirit of a nation.” Gabriela Mistral’s citation in 1945 linked the two conceits into one, praising her for voicing “the idealist aspirations of the entire Latin American world.” There has been plenty of retrospective grief about the victims of that policy, who included Marcel Proust, James Joyce and Virginia Woolf, and especially about Strindberg, the native Swede who was banished so completely that he was never even nominated. To get the measure of that affront, you have to know that a candidate can be named multiple times, “until the nominee either wins the prize or dies or the sponsors give up,” as the Academy’s website says. Strindberg died in 1912, meaning he was snubbed a dozen times. Read more: http://www.theglobeandmail.com/arts/awards-and-festivals/nobel-prize-misfits-are-a-literary-whos-who/article15986213/?cmpid=rss1   USA Colin Farrell Talks 'Brutal' Miss Julie role & Saving Mr. Banks By Pat Cerasaro Broadway World, Movies, December 16, 2013 Hollywood superstar Colin Farrell discusses his most recent big screen endeavor, SAVING MR. BANKS, as well as recounts one of the trickiest and toughest shoots of his life as part of the cast of Liv Ullmann's stage-to-screen adaptation of August Strindberg's MISS JULIE as part of a new interview. Farrell candidly reports, "It's tough, as tough as this job can be. It was the toughest time I have had in 15 years by a mile." Also, Farrell added of the shoot, "It was hard, it was brutal." Filming took place on the prestige project in Ireland earlier this year, with Ullmann directing from her own script based on the iconic play. Read more: http://www.broadwayworld.com/bwwmovies/article/Colin-Farrell-Talks-Brutal-MISS-JULIE-Role-SAVING-MR-BANKS-20131216   En önskelista inför julen Det här är min önskelista till julen så att ni slipper vara ute i sista minuten och jaga runt i hyllorna. Av Lars Landström Allehanda, 14 december 2013 - Krönika [...] En skiva Egentligen är det ingen skiva. Det är en vaxrulle från 1901. Det är August Strindberg som talar. Han hade en ganska ljus röst och gillade inte vad han hörde, krävde att vaxrullen skulle förstöra. Jag tror inte att den blev förstörd. Jag tror att den ligger i en potatiskällare i Lund. Mellan Baedekers kartbok över Sverige och Norge - vi var förenade i en union på den tiden - och fyra sargade exemplar av Selma Lagerlöfs "Nils Holgerssons underbara äventyr". Det var en hallänning som högg en brevkniv i böckerna i vrede över att Halland saknades. Hittar ni inte någon av dessa julklappar går det lika bra med en BMW av vilken modell som helst. Länk: http://allehanda.se/mer/kultur/kronikor/1.6599955-en-onskelista-infor-julen   Österreich Klam hat ein neues Wahrzeichen Life radio, 13.12.2013 Ein Kopf aus Bronze steht jetzt vorm Gemeindeamt in Klam. Der Klamer Hans Kastler hat die Büste von August Strindberg gefertigt und der Gemeinde geschenkt. Der schwedische Dichter Strindberg hat zu seinen Lebzeiten Klam besucht. Er hat Tage in der Klamschlucht verbracht. In seinem bekanntesten Werk "Inferno" hat er sie auch beschrieben. Link: http://www.liferadio.at/news/news-details/article/klam-hat-ein-neues-wahrzeichen-35467540/   UK Best of the rest (December 12 - 19) By Ella Walker Ely-News 12 December 2013 GRIPPING Scandi drama Creditors, by Strindberg, is on at Corpus Playroom until Saturday, December 14. A tragi-comic drama buzzing with sexual intrigue, it tells the story of Adolf, a young artist, languishing in a hotel while his free-spirited older wife, Tekla, is away. Befriended by a stranger he spirals into a web of jealousy and revenge. “People think Strindberg is just for hard-core theatre goers, but it’s a timeless drama, and surprisingly funny!” says director Clyde Hunter. Tickets are £5-£6 from (01223) 300085 and the show kicks off at 7pm. Link: http://www.ely-news.co.uk/Whats-On/Now-booking/Best-of-the-rest-December-12-19-20131212050000.htm   Österreich Strindberg-Büste: Malerisches Ortsbild von Klam um eine Attraktion reicher Von Markus Hochgatterer Tips, 11.12.2013 KLAM. Das Ortsbild des Marktes Klam ist seit kurzem um eine Attraktion reicher. Im Rahmen des diesjährigen Adventmarktes wurde am Samstag die vor dem Gemeindeamt aufgestellte Bronze-Büste von August Strindberg feierlich enthüllt. Geschaffen wurde dieses Kunstwerk vom gebürtigen Klamer Hans Kastler, der seit über fünfzig Jahren in der Nähe von München lebt und in Deutschland zu den bekanntesten und meist ausgezeichneten Bildhauern der Gegenwart zählt. Der hundertste Todestag des schwedischen Dichterfürsten im Jahre 2012 animierte Hans Kastler dessen markante Gesichtszüge in Bronze zu verewigen und diese Büste der Marktgemeinde Klam zum Geschenk zu machen.   Deutschland "Munchs Kinn ist perfekt für einen Comic" Exzentriker unter sich: Steffen Kverneland hat einen Comic über Maler Edvard Munch gemacht und dafür den wichtigsten Literaturpreis Norwegens erhalten. Ein Gespräch über Spleens und Charakterköpfe. Von Thomas Hummitzsch Die Welt, 08.12.13 Der Norweger Edvard Munch hat eines der berühmtesten Gemälde aller Zeiten gemalt: "Der Schrei". Steffen Kverneland hat nun eine bildgewaltige Comic-Biografie seines Landsmannes Munch vorgelegt, die in Norwegen den wichtigsten Literaturpreis erhielt. Ein Gespräch über die Exzentrik des Künstlers, das große Dorf Norwegen und Munchs mächtigen Freund August Strindberg. Lesen SIe mehr: http://www.welt.de/kultur/literarischewelt/article122704931/Munchs-Kinn-ist-perfekt-fuer-einen-Comic.html __________________________ USA, Boston (MA) ‘Miss/Mies Julie’ Like You’ve Never Seen Her By Ed Siegel The Artery, December 3, 2013 BOSTON — August Strindberg’s “Miss Julie” was banned in his native Sweden from 1889, when it was first published, until 1906. England didn’t lift its ban until 1939. If Boston still had a censor, which it did until 1982, there’s no doubt that “Mies Julie,” Yaël Farber’s South African adaptation, would similarly be banned in Boston for its fairly graphic sex and nudity. It isn’t the sex, though, that makes the latest ArtsEmerson import, this one from the Baxter Theatre Center in Cape Town, such a great production. That would be the theatrical imagination and political intelligence of director-adapter Farber. Even as the tragic consequences of the events unfurl, Farber’s spellbinding talents make each of the 90 minutes remarkable. Farber is an unabashed auteur. What the world needs now, she has said, is not another faithful Strindberg adaptation, but one that takes Strindberg’s insights into class and gender and turns them into something that shakes our world as much as he shook his. Read more: http://artery.wbur.org/2013/12/03/mies-julie     USA, Boston (MA) A pair of mesmerizing performances in ‘Mies Julie’ By Don Aucoin The Boston Globe, December 04, 2013 The weight of history presses down inexorably on the two protagonists in “Mies Julie,’’ as omnipresent and inescapable as the mist that drifts across the Paramount Center Mainstage. By the end of this intensely kinetic drama, it’s hard to quarrel with an assertion by John — a black worker who has become entangled with Miss Julie, the white daughter of the farm estate owner for whom John is employed — that “love is not possible in this mess.’’ In her mostly taut, intermittently wobbly adaptation of August Strindberg’s “Miss Julie,’’ Yaël Farber has transposed the action from 19th-century Sweden to post-apartheid South Africa. To Strindberg’s themes of class and sex and power Farber has added or enhanced the elements of race, land ownership, motherhood, and nationhood. (Strindberg’s treatment of sex was shocking in 1888, but Farber considerably ups the ante in that department, 21st-century style.) Directed by Farber, “Mies Julie’’ unfolds at a Strindbergian fever pitch for much of its 90 minutes, with fearless, can’t-tear-your-eyes-away-from-them performances by Bongile Mantsai as John and Hilda Cronje as Julie. The deep-voiced Cronje endows Julie with a hypnotic blend of sensuality, command, contempt, and raw need, while Mantsai builds skillfully and unflinchingly from John’s early tentativeness to the explosive release of emotions that have clearly been bottled up in the character for a long time. Read more: http://www.bostonglobe.com/arts/theater-art/2013/12/04/mies-julie-draws-its-power-from-pair-mesmerizing-performances/2n0dcyebPqQ9sqr37OjfsM/story.html   Deutschland FRÄULIEN JULIE [APPLAUSE!] Wann: 02.12.2013 - 20:00 Uhr Wo: Werkstattbühne (Schauspiel Bonn) Rheingasse 1 53113 Bonn » Lageplan Veranstalter: Theater Bonn Ein Projekt von Dominik Locher nach August Strindberg FRÄULEIN JULIE [APPLAUSE!] Ein Projekt von Dominik Locher nach August Strindberg Lesen Sie mehr: http://www.regiomusik.de/veranstaltung/termin/1842800.html   UK, Northern Irland Farrell challenged by Miss Julie Colin Farrell has revealed that his role in Miss Julie is one of the toughest of his career. Belfast Telegraph, 1 December 2013 The Irish actor stars as footman Jean, who has a dark affair with a Count's daughter Julie (Jessica Chastain), in Liv Ullman's adaptation of August Strindberg's play, which explores aspects such as class and power. "It's tough, as tough as this job can be. It was the toughest time I have had in 15 years by a mile," he admitted. "It was hard, it was brutal. "The behaviour and the sustained cruelty and trauma are just brutal. It was cool, it was interesting but it was tough. I was glad to be done with it, like a few others. It was very challenging but it will be interesting to see what it becomes." read more: http://www.belfasttelegraph.co.uk/entertainment/film-tv/news/farrell-challenged-by-miss-julie-29799053.html   USA, Boston (MA) Classic Miss Julie Set in Post-Apartheid South Africa Color Magazin, 27 Nov 2013 South African-born and internationally acclaimed director Yael Farber sets her explosive new adaptation of Strindberg’s classic Miss Julie in the smoldering kitchen of a remote estate 18 years after the end of apartheid. In a brutal and tender single night, we witness the shifting dynamics between a black farm laborer, his “master’s” daughter, and the woman who has raised them both. The visceral struggles of contemporary South Africa are revealed in a deadly battle over power, sexuality, memory, mothers and land. Haunting and violent, intimate and heartbreaking, the struggles take place among the characters and with their ancestors, laying bare questions of what restitution and freedom can really mean and what losses can and cannot ever be recovered. The Baxter Theatre Centre is a vibrant, multicultural entertainment hub in the Southern Suburbs of Cape Town. Nestled under the striking Devil’s Peak mountain and at the foot of the University of Cape Town, the Baxter boasts a world-class theatre and concert hall, as well as a studio stage, rehearsal rooms, offices, a restaurant and bars and an impressive spacious foyer. Built in 1976, the Baxter was a pillar of hope during the apartheid era. By leveraging its strong relationship with UCT, the theatre was able to present multiracial, progressive work at a time when all other non-racial interactivity was banned or censored. The first interracial kiss ever on a South African stage took place during the Baxter’s first production of Miss Julie in 1985, while today our version of Mies Julie storms theatres all around the world. The fourth season of acclaimed international theatre programming by ArtsEmerson: The World On Stage continues with the South African Baxter Theatre Centre’s Mies Julie. Performances take place Nov. 30—Dec. 8, 2013 at The Emerson/Paramount Center Mainstage (559 Washington Street. in Boston’s Theatre District). Tickets, from $25 –$89, are on sale now at www.artsemerson.org or by phone at 617-824-8400. Link: http://www.colormagazineusa.com/index.php?option=com_content&view=article&id=1012:classic-miss-julie-set-in-post-apartheid-south-africa&catid=40:entertainment   Canada Robert Cushman: The riveting After Miss Julie may be the best show onstage now in Toronto By Robert Cushman National Post 23/11/13 I’ve lost count of the number of adaptations I’ve seen in recent years of August Strindberg’s Miss Julie, each of them transferring the 1906 Swedish original to some closer time and place. After Miss Julie, by the British playwright Patrick Marber, is the only one of them that works. If it weren’t for the awkward fact that it couldn’t exist without its predecessor, I’d say that it was better than Strindberg. In Strindberg’s play, Miss Julie, a nobleman’s daughter, loses her virginity to Jean, her father’s valet, in the heat of a Midsummer’s Eve celebration. Daybreak finds her ashamed but inflamed, careering between excoriating her new lover and planning to run away with him, a project they both, for different reasons, realize is hopeless. Marber tells the same story, sometimes word for word, but sets it down in England, on VE Day, with a Labour government just voted in: so, a double celebration. The unseen father is now a Labour peer, though one whose politics are never going to get in the way of his privilege; as his chauffeur, John, the reincarnation of Jean, bitterly remarks. John, a demobbed soldier returned to the estate on which he grew up, is both a rebel against the class structure and a prisoner of it. So, in her way, is Julie, the English rose with thorns rampant. At every turn, and with nothing seeming forced, the new local and historical references make the play more immediate than I’ve ever known it. Also more economical: always before, I’ve grown impatient with these class-crossed lovers’ twists and turns. This time, I hung on every word and every silence. Link: http://arts.nationalpost.com/2013/11/23/robert-cushman-the-riveting-after-miss-julie-may-be-the-best-show-onstage-now-in-toronto/   India Of women under siege Director Sohaila Kapur talks about why Miss Julie, a nineteenth century classic, remains relevant even today By Zeenab Aneez The Hindu, November 21, 2013 This Tuesday evening, the audience at Bharatiya Vidya Bhavan auditorium was taken back a few decades to a midsummer’s eve in Sweden where a young woman, the daughter of a count, no less, flirts blatantly with a male servant. The night that began with revelry, escalates to a battle of control between the servant and the daughter of the master and finally ends in tragedy. The play, Miss Julie, written in the late Nineteenth century by Swedish playwright August Strindberg was staged in the city as part of the Qadir Ali Baig Theatre Festival. Directed by Sohaila Kapur, the play has been staged in many theatre festivals across the county including The Hindu Metro Plus Theatre Festival and the National School of Drama, Delhi. While there have been several adaptations of the popular play, including five film adaptations, Sohaila Kapur chose to stick to the original script because she believes that the play addresses issues of class, and more pertinently, gender that remain relevant in India today. “I’ve only translated the play to English but have not adapted it to suit the Indian audiences because I feel Nineteenth century Sweden has a lot in common with Twenty first century India, in terms of the issues women have to deal with,” she said during a conversation with us few hours before the show. “Moreover, I don’t like changing classics, unless I am doing a parody.” Read more: http://www.thehindu.com/features/friday-review/theatre/of-women-under-siege/article5375539.ece Brasil, São Paulo De 1888: espetáculo “Credores”, de Strindberg, revela conflitos atuais Peça fica em cartaz no Teatro de Arena Eugênio Kusnet Catraca Livre Redação em 15 de novembro de 2013 Considerado o pai do teatro moderno, August Strindberg escreveu a peça “Credores” em 1888. O espetáculo expõe conflitos e questões que, mesmo após mais de 120 anos, continuam atuais. O grupo Tapa no Arena apresenta uma remontagem, sob a direção de Eduardo Tolentino de Araújo, que fica em cartaz no Teatro de Arena Eugênio Kusnet até 15 de dezembro. A peça pode ser vista aos domingos, às 19h, e os ingressos custam até R$ 20. A peça narra a chegada de um desconhecido, Adolfo, a um hotel de veraneio. Isso abala o equilíbrio da relação de um casal formado por Tekla e Gustavo. O espetáculo se aprofunda nos dilemas entre os personagens, que expõem seus conflitos, questão longe de se resolver nos tempos contemporâneos. O que: Credores Quando: de 10/11 a 15/12         Domingos às 19:00 Quanto: R$ 20* Onde: Teatro de Arena Eugênio Kusnet http://www.funarte.gov.br/espaco-cultural/teatro-de-arena-eugenio-kusnet/ Rua Teodoro Baima, 94 Vila Buarque - Centro São Paulo Estação República (Metrô – Linha 3 Vermelha e Linha 4 Amarela) Observação: * R$ 10 (meia-entrada) Link: http://catracalivre.com.br/sp/bom-bonito-barato/barato/de-1888-espetaculo-credores-de-strindberg-revela-conflitos-atuais/   Canada, Toronto Events Urban Planner: November 15, 2013 Theatre After Miss Julie Torontoist, November 15, 201, by Torontoist In today's Urban Planner: an adaptation of August Strindberg's Miss Julie, a concert at the library, and plenty of other things.  Theatre: Red One Theatre Collective presents an adaptation of August Strindberg’s classic drama Miss Julie, directed by David Ferry. In Patrick Farber’s After Miss Julie, set in England at the close of WWII, Miss Julie (Claire Armstrong) tempts her chauffeur John (Christopher Morris), imperiling his engagement to Christine (Amy Keating). The Storefront Theatre (955 Bloor Street West) November 15–30, $10–$20 Performance dates November 11    12    13    14    15    16    17 18    19    20    21    22    23    24 25    26    27    28    29    30 December     1 Link: http://torontoist.com/2013/11/urban-planner-november-15-2013/ Also: http://torontoist.com/events/event/after-miss-julie/   USA, Orange County (CA) BWW Reviews: Like a Dangerous Peep Show, Strindberg's CREDITORS Exposes the Raw Nerve and Vulnerability of Love, Lust and Revenge By Shari Barrett Broadway World - Costa Mesa, November 14, 2013 David Trainer directs the Los Angeles Premiere of David Greig's celebrated new version of August Strindberg's psychological thriller CREDITORS, a co-production between two of the city's most respected theaters, the Odyssey Theatre Ensemble and The New American Theatre. The production is a sexy, savage, darkly comic, and very modern take on the battle of the sexes. The action takes place in the summer of 1888 in the lounge of a seaside resort in Sweden. But this very modern adaptation could be set in present day given the extreme, passionate, vigorous, smart, funny characters who are put in an intense toxic triangle and allowed to go for each other's throats. Featured in the cast are three ultra talented actors: Burt Grinstead (as Adolph), Heather Anne Prete (as Tekla), and Jack Stehlin (as Gustav). Director David Trainer skillfully keeps the action moving at a fast pace during the 90 minute piece performed without an intermission. We first meet Adolph, a sculptor, as he is being comforted by his worldly advisor, Gustav, while anxiously awaiting the return of his wife to their seaside resort. For reasons that become crystal clear as the play progresses, Gustav tries to convince Adolph that his marriage to Tekla is in danger. But although Adolph admits he sometimes misses his freedom, he feels incomplete and lost when his wife is not with him. They are one person when they are together, she writing books about him while he creates works of art featuring her. Their marriage certainly seems to be wonderful in his mind. Read more: http://www.broadwayworld.com/costa-mesa/article/BWW-Reviews-Like-a-Dangerous-Peep-Show-Strindbergs-CREDITORS-Exposes-the-Raw-Nerve-and-Vulnerability-of-Love-Lust-and-Revenge-20131114   USA, Washington D.C. South African heat warms ‘Mies Julie’ at Shakespeare Theatre Company By Peter Marks The Washington Post, 2013/11/13 Sometimes, the rawest ingredients yield the deepest flavors, as the basic instinct-driven power players passionately demonstrate in “Mies Julie,” the captivating South African reincarnation of August Strindberg’s “Miss Julie” that is ensconced for the next 10 days at Shakespeare Theatre Company’s Lansburgh Theatre. Transposed from an estate in Strindberg’s Sweden of the late 19th century to a sprawling desert ranch in contemporary South Africa, the play is changed by director-adapter Yael Farber from a story of gamesmanship and taboo desire in a bottled-up European society to one of a sexualized racial battle for the soul of a divided African nation. Over the course of 90 electric minutes, “Mies Julie” details the waves of resentment, mistrust, dependence, helplessness and, yes, possibly even love that course back and forth between Mies Julie, the teasingly carnal Afrikaner ranch owner’s daughter and John, the African ranch hand who covets her. Read more: http://www.washingtonpost.com/entertainment/theater_dance/south-african-heat-warms-mies-julie-at-shakespeare-theatre-company/2013/11/13/b507451a-4c85-11e3-bf60-c1ca136ae14a_story.html   Brasil, São Paulo A Noite de Tríbades segue até 15 de dezembro no Eva Herz Escrita em 1975, a peça é uma das mais encenada no teatro sueco contemporâneo... DCI, Panorama Brasil -  10/11/2013 SÃO PAULO - A história, que resulta numa comédia dramática, se passa numa tarde de março de 1889, quatro pessoas se reúnem no Teatro Dagmar de Copenhague para ensaiar a peça “A Mais Forte” escrita por August Strindberg para sua primeira esposa, Siri Von Essen. Essas quatro pessoas são: o próprio Strindberg, Siri Von Essen, Marie Caroline David (amiga e suposta amante de Siri) e o ator dinamarquês Viggo Schiwe. Siri e Strindberg estão se divorciando. Ele está na miséria, sem editor, marginalizado em seu país de origem (Suécia). Faz desesperados esforços para ver suas peças encenadas e logo tenta, com seus próprios meios, montar um Teatro Experimental Escandinavo em Copenhage. Leia mais: http://www.dci.com.br/panoramabrasil/a-noite-de-tribades-segue-ate-15-de-dezembro-no-eva-herz-id371920.html   En strid för Strindberg Göran Söderström försöker rädda August Strindbergs ära. Ett försök som kan resultera i ett standardverk, skriver Nils Gustafsson. AvNils Gustafsson Sydsvenskan, 9 november 2013 06.30 Göran Söderström. Strindberg – ett liv. Lind & Co. Theodor Kallifatides har berättat att han lärde sig svenska med hjälp av ”Fröken Julie”. När han en tid senare blev inbjuden till en kräftskiva testade han, runt midnatt, för första gången sitt nyvunna språk och utbrast ”Det tycks mig som om vi samtliga voro berusade!” Strindberg är så stor att hans texter var det naturliga valet för en grekisk författare som en gång behövde lära sig svenska. Han är så stor att vi får dras med honom. Att skriva om Strindberg är både tacksamt och svårt. Tacksamt för att han är produktiv, för att han rör på sig, för att han träffar intressanta människor, och inte minst för att han hittar på så mycket dumheter. Läs mer: http://www.sydsvenskan.se/kultur--nojen/en-strid-for-strindberg/   USA (CA) The Ghost Sonata REVIEW at Sonoma State University The Ghost Sonata by August Strindberg, Sonoma State University, Rohnert Park CA Reviewed by Suzanne and Greg Angeo The Sonoma County Gazette, November 9, 2013 A Night With the Living Dead Strangely beautiful and eerie images fill the stage in SSU’s mesmerizing production of The Ghost Sonata at the Evert B. Person Theatre. Written in 1907 by tormented Swedish playwright August Strindberg, it was first staged in his own Intimate Theater in Stockholm the following year. It is one of the earliest examples of Expressionistic Theatre, where time, space and reality bend to the creative will of  the playwright and director.  For this reason, The Ghost Sonata is rarely seen, due to the difficulty in conveying the story’s meaning, which is enclosed in a dreamlike shroud. The plot involves a young Student who appears to be fascinated by the people living in a fine house. An Old Man in a wheelchair that he meets outside has the key that will unlock the mystery of what goes on in the house. Its inhabitants include a screeching banshee-like woman called The Mummy who was once a young and beautiful wife; her husband The Colonel with secrets of his own, and their pretty daughter, “The Young Lady”. The action onstage is almost entirely in reaction to prior events that the audience has not seen, and so live on in the characters’ memories. They are all living in the past, focused on sordid deeds and revenge, a kind of living death that has many parallels in people we all know. There is a vampire-like Cook that drains the essence of life from those around her, servants wearing half-masks and a black-clad figure that emerges to project images of faces and fire. Read more: http://www.sonomacountygazette.com/cms/pages/sonoma-county-news-article-2079.html   USA, Michigan Dreaming Up A Dream Play By Annah Freudenburg, Staff Writer The Index - Student Newspaper, November 7, 2013    This year Kalamazoo College’s Festival Playhouse celebrates its 50th anniversary. To commemorate 50 years of theatrical excellence and success, the Theater Department has lined up a wide array of productions. Leading this impressive list is August Strindberg’s A Dream Play. “All of the plays, as well as A Dream Play, really hearken back to the goals of Festival Playhouse, which is to do theater that is thoughtful – theater that is provocative.” said Director Dr. Ed Menta, A Dream Play is unique because, in the words of Menta, it is more of a poem than a play. “It’s very languid and beautiful,” explained Assistant Director Michael Wecht, ’14. “There’s a lot of poetry in terms of the way things are described.” The play follows a nonlinear structure, which includes many sporadic changes of location and nonconsecutive events. This presents a challenge. “We have to have the mood of a dream, but there also has to be some arc of a story, otherwise the audience will stop listening,” said Menta. Other challenges included the play’s overall magnitude. A cast of seventeen will be playing more than thirty characters, and the usual three-hour production had to be edited down to less than ninety minutes with no intermission.  Read more: http://www.kzoo.edu/index/2013/11/07/dreaming-up-a-dream-play/ A Dream Play will be performed Nov. 7-10 in the Nelda K. Balch Playhouse. Canada, Toronto Theatre @ York to Present STRONGER VARIATIONS, 11/10-16 Broadway World, Toronto, November 4, 2013 Theatre @ York presents a new imagining of Theatre Rusticle's critically-acclaimed The Stronger Variations, inspired by Swedish playwright August Strindberg's 1889 playette, The Stronger. Theatre Rusticle's artistic director Allyson McMackon directs the production, running November 10 to 16 in the Joseph G. Green Studio Theatre at York University. Read more: http://www.broadwayworld.com/toronto/article/Theatre-York-to-Present-STRONGER-VARIATIONS-1110-16-20131104 Also: http://yfile.news.yorku.ca/2013/11/07/theatre-york-re-imagines-the-stronger-variations/   USA, Michigan A Dream Play: A surreal play on why humans suffer By Rebecca Thiele WMUK (Western Michigan University Broadcast Service), November 4, 2013 This week, Kalamazoo College will attempt to stage what’s considered to be an un-stageable play. A Dream Play by August Strindberg is more than 100 years old and takes place almost entirely in a dream. “In this dream play, the author has attempted to imitate the disconnected yet seemingly logical form of a dream," reads the poet from Strindberg's forward. "Anything can happen. Everything is possible and plausible. Time and space do not exist.” K-College student Michael Wecht is the assistant director. He says there are more than 30 actors in the show and many of them have multiple roles. “ "One of our actors is actually quadruple cast from characters in the show where he had to play a naval officer, a coal heaver, a gentleman, the father of one of the other characters," says Wecht. "And so trying to find crisp, clear lines between all of these different characters. So that each time the actor enters on stage, the audience knows that this character is not the same as the one that he has already been previously.” The play centers around Agnes, the daughter of Indra, the Hindu god of thunder. Emma Franzel plays her. Read more: http://wmuk.org/post/dream-play-surreal-play-why-humans-suffer   USA, Santa Monica (CA) “Creditors” Director David Trainer Talks About The Show At Odyssey Theatre Santa Monica Mirror,  Nov. 2, 2013 Mirror Staff A sexy, savage, darkly comic (and very modern) take on the battle of the sexes called “Creditors” is now running at the Odyssey Theatre through Dec. 15. Noted director David Trainer has assembled an award winning cast for this updated version of August Strindberg's psychological thriller. A co-production with The New American Theatre, David Greig’s celebrated play has a limited run as it makes its Los Angeles premiere. Trainer, having worked with some of the best actors in American Theatre (“Foxfire” on Broadway and at the Ahmanson Theater, with a cast that included Hume Cronyn, Jessica Tandy, and Keith Carradine), knows how to create a compelling theatrical experience. He has provided a little insight for what audiences can expect. Read more: http://www.smmirror.com/articles/seven-days/Creditors-Director-David-Trainer-Talks-About-The-Show-At-Odyssey-Theatre/38765   Deutschland Das Menschen-Mutter-Monster „Die Färbe“ in Singen beeindruckt mit August Strindbergs Stück „Der Pelikan“ Von Maria Schorpp Südkurier 02.11.2013 Für uns, die wir stolz auf unser abgewogenes Urteilen sind, sind solche Figuren die reine Provokation. Vorneweg Elise, eine Anti-Muttergestalt von grandioser Monstrosität. Sie lässt ihre Kinder hungern und frieren, während sie es sich selbst wohlergehen lässt, sie lügt und betrügt ihre eigene Tochter mit deren Ehemann, ihrem Schwiegersohn. Ihr Mann liegt bereits im Sarg, wenn das Stück beginnt. Mit dem Kammerspiel „Der Pelikan“ von August Strindberg hat „Die Färbe“ in Singen die neue Spielzeit eröffnet. Als Erstes wird der Sarg aus dem Bühnenraum gerollt. Schon wie Vincent Wojdacki als Hausknecht Morten müden Schrittes daher schlurft, lässt ahnen, dass das Kammerspiel eine Tragödie ist. Der offene Raum der „Basilika“, in der Peter Simon erfreulicherweise wieder einmal spielen lässt, hat nicht die Intimität, die die kleine Bühne in der „Färbe“-Kneipe vermittelt. Soll sie auch nicht. Stattdessen eröffnet sie raumgreifende Theateratmosphäre. So können sich die Seelenkälte und Seelennöte der Strindbergschen Figuren ausbreiten und dem Publikum langsam ins Herz kriechen. Lesen Sie Mehr: http://www.suedkurier.de/nachrichten/kultur/themensk/Das-Menschen-Mutter-Monster;art410935,6420621   USA, Washington DC ‘Mies Julie’: An adaptation of Strindberg’s play that restores original’s lightning-rod quality By Celia Wren The Washington Post, Oct. 31, 2013 A playwright’s arsenal should include a kind of temperature-sensor-and-homing device. Such, at least, is the philosophy of Yael Farber, the dramatist and director whose adaptation “Mies Julie” is arriving at the Shakespeare Theatre Company after earning raves on the international circuit. “My task always is to see where the heat lies inside a narrative, and then to go there,” the South African artist says. That impulse to bring a story’s blistering side to the fore guided Farber’s reworking of Swedish playwright August Strindberg’s 1888 “Miss Julie,” a tale of class, gender and sexual tension that was so controversial in its time that its original premiere was banned. Preserving the spine of Strindberg’s story — a merciless account of seduction and power struggle between a woman and a man of different social degrees — Farber moved the action to a rural estate in the Karoo region of South Africa, 18 years after the end of apartheid. In her play, whose dialogue is almost entirely original (Farber says she kept a line or two of straight Strindberg), a kitchen on the estate becomes the site of an erotically charged encounter between Julie, a young Afrikaans woman whose family owns the property, and John, a Xhosa laborer who works for her father. Exacerbating the scenario’s tension is a brooding awareness of the past: The kitchen lies over the ancestral burial ground where John’s forebears are interred. Moreover, the couple’s fateful skirmish coincides with Freedom Day, contemporary South Africa’s annual commemoration of the 1994 democratic election that resulted in Nelson Mandela’s becoming president. Read more: http://www.washingtonpost.com/entertainment/theater_dance/mies-julie-an-adaptation-of-strindbergs-play-that-restores-originals-lightning-rod-quality/2013/10/31/eeb1a334-3db0-11e3-b0e7-716179a2c2c7_story.html USA, New York (NY) Onomatopoeia Theatre Company to Present A DREAM PLAY at Gene Frankel Theatre, 11/7-17 Broadway World, Off-Off Broadway, October 31, 2013 The Onomatopoeia Theatre Company, under the artistic direction of Thomas R. Gordon, presents its third and final production in its "dreams" season - August Strindberg's A DREAM PLAY at the Gene Frankel Theatre (24 Bond Street, Manhattan) with performances beginning November 7 prior to an official press opening of November 10 and running through November 17. In A DREAM PLAY - Strindberg's existential inspection of happiness and suffering which the playwright called his "greatest joy," the daughter of Indra has come to earth seeking an understanding of man. Throughout her journey, she tries to understand why people can suffer in a world so beautiful and wonders if there is hope for humankind. Directed by Thomas R. Gordon, the cast of A DREAM PLAY features Miranda Webster, Finn Kilgore, Nathan Winkelstein, Caiti Latimer, Nikki Pope, Chapman Riedel, J. Michael Evans, Alexandra Porter, Polly Korbel and James Conway. Read more: http://www.broadwayworld.com/off-off-broadway/article/Onomatopoeia-Theatre-Company-to-Present-A-DREAM-PLAY-at-Gene-Frankel-Theatre-117-17-20131031   UK Miss Julie Longridge & Ribble Valley News, 30/10/13 Korova Arts Café, Preston The 1950s is currently the place to be seen as far as a lot of contemporary TV drama is concerned, and it certainly suits this revision of a classic play as elegantly as the central character’s A-line dress. Indeed playwright Rob Johnston’s adaptation and setting for the August Strindberg original works a treat on several levels, in a production from the Hyde Festival Theatre company. In the tiny upstairs theatre space of this Preston city centre venue the almost claustrophobic intimacy borders on voyeurism as we witness Miss Julie’s journey towards disaster. Read more: http://www.longridgenews.co.uk/what-s-on/theatre-comedy/miss-julie-is-a-class-act-in-every-sense-1-6194599   Viktig bok inom forskning och för allmänt bruk Av Kurt Bäckström Tidningen Kulturen, okt 29, 2013    Göran Söderström Strindberg – Ett liv Lind & CO Efter klassiska biografier om August Strindberg som Brandells, Lagercrantz` och böcker, artiklar mm tillkomna runt och under Strindbergsåret 2012 frågar sig somliga: Räcker det inte nu? Svaret är enkelt: Nej, än finns mycket kvar att berätta, analysera och kommentera om denne i ordets rätta bemärkelse världsberömde svensk. Strindberg är en outtömlig källa som författare, konstnär och person; även hans relationer till sin egen tid och de olika miljöer han levde i och hans betydelse för eftervärlden fortsätter att vara av stor betydelse. Göran Söderströms lärda och imponerande nya biografi, Strindberg – ett liv, skriven med stöd i forskning, brev, material från arkiv och egna möten med personer som stod Strindberg nära, är ett nytillskott av megavärde. Söderström är nationellt och internationellt respekterad som stor kännare av människan Strindberg , dennes författarskap och konst och har tidigare skrivit böcker om vår litteräre ikon; den mest kända är Strindberg och bildkonsten. Dessutom var Söderström Strindbergsmuseets i Stockholm grundare och förste ledare från starten 1973 och 28 år framåt. Läs mer: http://www.tidningenkulturen.se/artiklar/litteratur/litteraturkritik/16007-litteratur-goeran-soederstroem-strindberg--ett-liv España Una Gran Dama de la Escena La actriz total Amparo Soler Leal, protagonista de obras de Strindberg y gran secundaria para Berlanga, muere a los 80 años. Estuvo casada con Adolfo Marsillach y no ganó un Goya El Periodico Extremadura  27 de octubre de 2013 Fallecida a los 80 años, a consecuencia de una insuficiencia cardíaca, en la ciudad donde llevaba tiempo residiendo, Barcelona, Amparo Soler Leal era hija de actores y vivió siempre inoculada por el veneno de la interpretación. Actriz de teatro desde muy temprana edad (debutó a los 15 años), de televisión y de cine, se dedicó casi íntegramente a este último medio a partir de 1975 y encontró buen acomodo en la obra de cineastas como Luis García Berlanga, para el que compuso algunos de sus mejores papeles secundarios. Leer más: http://www.elperiodicoextremadura.com/noticias/escenarios/la-actriz-total_764744.html USA, Rohnert Park (CA) ‘Ghost Sonata’ at SSU offers unique seating experience The Community Voice, Saturday October 26, 2013 Audiences will be seated on-stage for an integrated experience when the drama unfurls in “The Ghost Sonata,” the groundbreaking modernist play written in 1907 by Swedish playwright August Strindberg. Judy Navas directs this atmospheric play, a mind-blowing masterpiece of modern theater, which opens Halloween night, Thursday, Oct. 31, and plays though Nov. 9 in Evert B. Person Theatre at Sonoma State University. This production is ideal for the Halloween season, with its designed sets, costumes and eerie black-light projections which create a shadowy, translucent “Tim Burton-like” phantom world complete with vampires and mummies. “Perhaps, no other playwright of the early 20th century is better known for breaking the boundaries of the theatrical conventions of realism in theatre than Strindberg (1849-1912),” Navas said. “Strindberg's 'The Ghost Sonata' is much admired but rarely performed because the staging of it is so difficult. It requires a great deal of risk taking on the part of the director, designers, actors and stage technicians to pull it off. “In this production of “The Ghost Sonata,” the magic of black-light and projections on body and facial surfaces of the set and actors aims to reveal the subjective minds of these tormented characters and inhabitants of this house of horror who are haunted by their own guilt and of their corruption, thievery and deceitful misdeeds.” Show times are 7:30 p.m. on Oct. 31, Nov. 1, 2, 6, 7, 8 and 9, and 2 p.m. on Sunday, Nov. 3. Admission is free for SSU students with ID. Regular prices are $10 for non-SSU students and seniors, $15 for SSU faculty and staff, and $17 general admission. Tickets also will be sold at the door one hour prior to curtain. Tickets are available at the SSU box office (707) 664-4246 or www.sonoma.edu/theateranddance/productions/ghost. Link: http://www.thecommunityvoice.com/article.php?id=7294   Deutschland "Der Pelikan": Familiendrama von August Strindberg Von Susanne Böttcher Kreiszeitung Wochenblatt, 24.10.2013 Buxtehude: Halepaghen-Bühne | bo. Buxtehude. Das Schauspiel "Der Pelikan" von August Strindberg wird am Mittwoch, 30. Oktober, um 20 Uhr auf der Halepaghen-Bühne in Buxtehude, Konopkastraße 5, aufgeführt. In dem Drama erkennen die Geschwister Frederik und Gerda nach dem Tod des Vaters das wahre Ausmaß des menschenverachtenden Umgangs der Mutter mit ihrer Familie. Durch Lügen, Drohungen und Intrigen hat sie ein Machtgefüge geschaffen, mit dem sie ihre Untaten vor der Außenwelt verbergen konnte. Durch einen Brief des Vaters wird das Schweigen gebrochen. Um 19 Uhr findet für Theaterbesucher ein Vorspiel statt. • Eintritt ab 13 Euro • Kartenvorverkauf bei der Stadtinfo am ZOB Buxtehude, Viverstraße 1, Tel. 04161 - 501-2345. Link: http://www.kreiszeitung-wochenblatt.de/buxtehude/service/der-pelikan-familiendrama-von-august-strindberg-d24204.html Blogg, Perenkranz bakom kulisserna Norrköpings Tidningar Pygmeteatern är ljuvlig Stockholm - den 26 oktober 2013 Idag sista Strindberg på ett tag. Mycket publik i salongen idag och de lät sig inspireras av Strindbergs fantastiska text. Det är en grym känsla när man spelat en föreställning en längre tid hur den liksom sätter sig och nya spännande situationer uppträder på scenen . Pernilla och Carina hade roligt med Strindberg idag. Och visst är Pygmeteatern en klart passande scen för detta ändamål. Den starkare Stockholm 24 oktober 2013 Så här skriver Wikipedia om den pjäs vi just nu spelar på Pygmeteatern: Den starkare är ett drama av August Strindberg, med premiär 1889 på Dagmarteatret i Köpenhamn. Pjäsen, en enaktare, tillkom sannolikt i december 1888. Samtiden visade sig i stort sett oförstående till dess idé, en dialog mellan två kvinnor där den ena av dem inte yttrar ett ord, utan endast uttrycker sig med gester. Sannolikt skulle det ha dröjt innan pjäsen fick premiär om inte Fröken Julie hade drabbats av censurförbud och behövt ersättas. Idag hör emellertid Den starkare till författarens oftast spelade dramer. Tänk att jag gör rollen som Bibbi Andersson en gång gjorde!! Länk: http://www.nt.se/bloggar/bloggentry.aspx?blogg=8221964&entry=8921039   UK Classic drama at Korova cafe Lancashire Evening Post, 24 oct 2013 A drama classic is served upstairs at Preston Korova Arts café and bar on Friday and Saturday nights. Tameside-based theatre company Hyde Festival Theatre Company, bring their adaptation of August Strindberg’s classic Miss Julie, adapted by Salford playwright Rob Johnston. Johnston, who won the King’s Cross award for his production Einstein’s Daughter, seen at the Continental in Preston last year, and recently brought his production In a Land Much Like Ours to Korova in June, has relocated Strindberg’s classic to Northern England, during the festival of Britain, a time where class was changing rapidly. The piece features three rising stars of the regional theatre scene, with Susie Milne, who has worked for the Royal Exchange in Manchester (London Assurance) and the Tricycle Theatre in London (Whistle in the Dark). She has also toured Taking Sides with Neil Pearson and Julian Glover. Adam Urry has also recently worked for the New Vic Theatre (Christmas Carol) in Bristol. The third member of the cast, Katy Mitchell, recently saw her own musical debuted this summer. Link: http://www.lep.co.uk/what-s-on/theatre-comedy/classic-drama-at-korova-cafe-1-6179833   Deutschland Projekt nach August Strindberg "Fräulein Julie (Applause!)" in der Werkstatt Von Dietmar Kanthak General-Anzeiger, Donnerstag, 24. Oktober 2013 BONN.  Der Schlag sitzt. Nachdem das adlige Fräulein Julie (Laura Sundermann) dem Domestiken Domi (Samuel Braun) so richtig eine gewatscht hat, fällt von dem jungen Mann alle naive Zartheit ab. Der Rebell erwacht, seinen noch unerfüllten Traum vom sozialen Aufstieg breitet er in einer aggressiven Suada aus. Jetzt ist er bereit für den Kampf Mann gegen Frau, den der schwedische Dramatiker August Strindberg in sein 1889 uraufgeführtes Stück "Fräulein Julie" eingebaut hatte. Der Kampf folgt bei ihm auf die Vereinigung zwischen der arroganten, sehr sinnlichen Grafentochter Julie und dem Diener Jean in der Mittsommernacht. Er will sozial nach oben, sie - für guten Sex - nach unten. Auf den Rausch der gesellschaftlich nicht erwünschten Paarung folgen Ernüchterung, Streit, Hass. Und der Selbstmord der jungen Adligen. Bei Strindberg hieß der Diener Jean, in Dominik Lochers Werkstatt-Projekt "Fräulein Julie (Applause!)" nach August Strindberg hört er auf den Namen Domi. Domi wie Dominik. Christine, bei Strindberg Herrscherin über die Küche, heißt jetzt Lila (Anna von Haebler). Lila ist jetzt Domis hochschwangere Frau. Lesen Sie mehr: http://www.general-anzeiger-bonn.de/bonn/kultur/Fraeulein-Julie-Applause-in-der-Werkstatt-article1177133.html   USA, Los Angeles (CA) Strindberg strikes again By Cynthia Citron LA Theater Examiner, October 20, 2013 Theater: "Creditors" Rating: 5 Stars In the secluded lounge of a seaside resort in Sweden an earnest older man is gently questioning a younger man on crutches. What their relationship is we don’t find out until much later. Why the young man is on crutches we never do find out. The play is Creditors, August Strindberg’s classic three-person psychological drama that probes loving relationships, insecurities, jealousy, and a host of other potentially debilitating emotions. And the villain of the piece, Gustaf (the impeccable Jack Stehlin), evokes them all and plays them like a virtuoso violinist. Or a wizard. Assuming the mantle of a psychiatrist, Gustaf has wormed his way into the confidence of the troubled Adolf (wonderfully played by Burt Grinstead), whose artistic endeavors have momentarily depleted him. Having hit a fallow period in his otherwise successful career, he is easily persuaded by Gustaf to abandon painting and take up sculpting. Read more: http://www.examiner.com/review/strindberg-strikes-again   USA, California SCSU stages complex, spooky 'Ghost Sonata' By Stephanie Dickrell SC Times Oct. 16, 2013 You’re going to come out of a performance of “The Ghost Sonata” with questions. Or at least organizers at St. Cloud State University hope so. The complex and complicated turn-of-the-20th-century play by Swedish playwright August Strindberg can be examined in multiple ways, with a lot of nuggets for the audience to follow and interpret, said director Carol Cooley. Even the actors, as they rehearsed, would discover new connections or relationships, causing them to create timelines and histories for their characters so they could hang their performances on specific actions and emotions. Yes, the play involves a vampire, a mummy and a ghost. But this isn’t a campy Halloween horror fest. Instead, it’s about revenge, wrath, death and redemption — the supernatural characters serve as dark metaphors for a decaying humanity in an exploration of familial guilt and social retribution. Strindberg has been referred to as the Swedish Shakespeare, Cooley said, so she chose a very recent translation of the play that takes into account his language Read more: http://www.sctimes.com/article/20131017/ENT/310170001/?nclick_check=1   USA, San Francisco (CA) Sonoma State University Dept. of Theatre Arts & Dance presents "The Ghost Sonata" by August Strindberg, directed by Judy Navas. Broadway World, San Francisco, October 15 2013 Audiences will be seated on-stage for an integrated experience when the drama unfurls in "The Ghost Sonata," the groundbreaking modernist play written in 1907 by Swedish playwright August Strindberg. Judy Navas directs this atmospheric play, a mind-blowing masterpiece of modern theater which opens Halloween night, Thursday, Oct. 31 and plays though Nov. 9, 2013 in Evert B. Person Theatre at Sonoma State University. This production is perfect for the Halloween season, with its brilliantly designed sets, costumes and eerie black-light projections which create a shadowy, translucent "Tim Burton-like" phantom world - complete with vampires and mummies. "Perhaps, no other playwright of the early twentieth century is better known for breaking the boundaries of the theatrical conventions of Realism in theatre than Swedish playwright, August Strindberg (1849-1912)," said director Judy Navas. "Strindberg's 'The Ghost Sonata' is much admired but rarely performed because the staging of it is so difficult. It requires a great deal of risk taking on the part of the director, designers, actors and stage technicians to pull it off." Read more: http://www.broadwayworld.com/san-francisco/article/THE-GHOST-SONATA-to-Run-1031-119-at-Sonoma-State-20131015   Argentina, Buenos Aires Entre bambalinas terra, 15 de octubre de 2013 El estreno de "Brasas del resentimiento", versión de "El Pelicano" de August Strindberg, y las presentaciones de las piezas "Amame a través de los años" y "Cuánto es mucho para mamá", son algunas de las piezas que se destacan en la cartelera teatral porteña de estos días. LLEGA A LA ESCENA LOCAL LA VERSION LOCAL DE "EL PELICANO" "Brasas del resentimiento", obra basada en "El Pelicano" de August Strindberg, subirá a escena el lunes 21 a las 21 en el teatro Arlequino (Alsina 1484), con la adaptación y dirección de Ezequiel Castillo. La versión de la pieza se apoya en la herencia familiar, del legado que todo ser humano lleva plasmado en la sangre y que sin darse cuenta, lo legitima y lo transmite de generación en generación. "Brasas del resentimiento" muestra una familia deteriorada, sumergida en el egoísmo, la mentira, el engaño y el odio. Lleva a reflexionar sobre la enseñanza que se da en el hogar y la importancia del cuidado, la protección de los hijos. Leer más: http://entretenimiento.terra.com.ar/cine/entre-bambalinas,46ed7aaeadcb1410VgnCLD2000000dc6eb0aRCRD.html USA, Washington, D.C. Shakespeare Theatre Company to Present MIES JULIE, 11/9-24 Broadway World, Washington, DC, October 15 2013 The Shakespeare Theatre Company is proud to present Mies Julie, the unflinching South African adaptation of August Strindberg's Miss Julie. In a contemporary reworking of Strindberg's classic, internationally acclaimed adaptor/director Yael Farber has ingeniously transposed this 1888 parable of class and gender to a remote, South African estate 18 years post-Apartheid. Following a sell-out run at the 2012 Edinburgh Festival Fringe, this presentation by the Baxter Theatre Centre at the University of Cape Town in association with the South African State Theatre has earned many awards and accolades on its international tour to Ireland, Finland, London and the U.S. Mies Julie will make its Washington, D.C. debut at STC's Lansburgh Theatre (450 7th Street NW) from November 9-24, 2013. Read more: http://www.broadwayworld.com/washington-dc/article/Shakespeare-Theatre-Company-to-Present-MIES-JULIE-119-24-20131015   UK Preview: Miss Julie at The Bridge House Theatre in Warwick By Catherine Vonledebur Coventry Telegraph, 15 Oct 2013 09:50 UK Touring Theatre is bringing its new English translation of Strindberg’s Miss Julie to the Bridge House Theatre at Warwick School. Read more: http://www.coventrytelegraph.net/whats-on/theatre/preview-miss-julie-bridge-house-6186981   Россия, Хаба́ровский край Спектакль "Отелло" на якутском языке показали в Хабаровске Завершился Всероссийский фестиваль любительских театров "Дальневосточный бенефис" AmurMedia, 7 октября 2013 Хабаровск, 7 октября, AmurMedia. Спектакль "Отелло" на якутском языке показал Майинский Народный театр им. народного артиста СССР Д.Ф. Ходулова из Республики Саха (Якутия) в Хабаровске.  В краевой столице прошел Всероссийский фестиваль любительских театров "Дальневосточный бенефис", сообщили ИА AmurMedia в пресс-службе краевого Минкульутры. В Хабаровске завершился Всероссийский фестиваль любительских театров "Дальневосточный бенефис", который проходил в краевой столице со 2 по 6 октября. В нем приняли участие 11 любительских театральных коллективов из Республики Саха (Якутия), городов Хабаровска, Комсомольска-на-Амуре, Благовещенска, Южно-Сахалинска. Яркие театральные постановки смогли увидеть все желающие, посетившие в дни фестиваля конкурсные просмотры, проходившие на сцене Хабаровского Краевого театра драмы и комедии. Большое количество отзывов получила постановка Майинского Народного театра им. Народного артиста СССР Д.Ф. Ходулова из Республики Саха (Якутия). Они представили на фестивале трагедию Уильяма Шекспира "Отелло" на якутском языке. Известный сюжет произведения позволил понимать происходящее на сцене без перевода, а прекрасная игра актеров - любителей не оставляла сомнений, что именно такими изобразил великий гений Шекспира своих героев. Жюри фестиваля, под председательством Всеволода Богатырева - доктора искусствоведения, профессора, декана факультета искусств Санкт- Петербургского Института экономики, культуры и делового администрирования, доцента Санкт- Петербургской театральной академии, отметило постановку комедии Лопе де Вега "Собака на сене" Народного театра Амурского Государственного университета "Глобус" (г. Благовещенск) и трагедию А. Ставицкого "Трагический поединок" в постановке Народного театра "Криница" (г. Комсомольск-на-Амуре). "Было трудно, но мы старались рассудить это творческое состязание", - от имени жюри отметил Всеволода Богатырёв. [...] Были вручены специальные дипломы и дипломы I, II и III степеней, а лауреатами фестиваля стали: - Народный театр "Криница" - за спектакль "Трагический поединок", руководитель Нина Аюпова, г. Комсомольск-на-Амуре. - Народный театр "Диалог" - за спектакль "Фрёкен Жюли", руководитель Галина Коваленко, Управление культуры и искусств Советско-Гаванского муниципального района. подробнее: http://amurmedia.ru/news/khabkrai/07.10.2013/307090/spektakl-otello-na-yakutskom-yazike-pokazali-v-habarovske.html   Армения ( Հայաստան), Ереван ( Երևան) Международный театральный фестиваль Highfest открывается в Ереване В этом году в фестивале примут участие 25 трупп из 18-ти стран, в том числе из Великобритании, Аргентины, Италии, Латвии, Литвы, России и Ирана. РИА Новости, 01.10.2013 ЕРЕВАН, 1 окт — РИА Новости. Одиннадцатый театральный фестиваль Highfest пройдет в Ереване c 1 по 12 октября, сообщает агентство "Новости-Армения" со ссылкой на президента смотра Артура Гукасяна. "Фестиваль откроется мультимедийным спектаклем "Животные и дети занимают улицы" британской театральной труппы "1927", премьера которого состоялась в 2010 году в Сиднейском зале оперы", — сказал президент смотра журналистам во вторник. По его словам, в этом году в фестивале примут участие 25 трупп из 18-ти стран, в том числе из Великобритании, Аргентины, Италии, Латвии, Литвы, России и Ирана. Гукасян назвал некоторые спектакли, показы которых пройдут в рамках Highfest. Это, в частности, "Миранда" Оскараса Коршуноваса (Литва), "Фрекен Жюли" Валмиерского драматического театра (Латвия), "Пластмассовые сады" Cantieri Teatrali Koreja (Италия), а также моноспектакль "Узбек" Театра имени Йозефа Бойса (Россия). подробнее: http://ria.ru/world/20131001/967032145.html   Россия, Самара Следующий фестиваль "Волга театральная" пройдет через два года Итоги первого межрегионального фестиваля "Волга театральная" подвели в Самаре в воскресенье. Если не случится ничего непредвиденного, фестиваль-2013 положит начало регулярному театральному форуму, который будет проходить каждые два года. по Ксения Аитова Волга Ньюс 25.09.2013 Положение дел Во всяком случае, мэр города Дмитрий Азаров и председатель Самарского отделения СТД Владимир Гальченко вполне уверенно говорили об этом на церемонии закрытия. Фестиваль для города, в котором он проходит, - это в первую очередь возможность расширить кругозор, посмотреть, что происходит у (ближайших, в данном случае) соседей. Понятно, что ориентированная в первую очередь на городские театры "Волга театральная" не даст исчерпывающей картины положения дел в Поволжье. Хотя в афише были отнюдь не только муниципальные коллективы - приехали и Казанский русский драматический театр, и Ульяновский театр кукол, и Мордовский национальный драматический. Ни для кого, наверное, не стало неожиданностью, что театры Поволжского региона делают в массе своей очень традиционный театр по классической литературе. [...] Жюли с куклами Гран-при "Волги театральной" вручили единственному, пожалуй, конкурсному спектаклю, отражающему такую важную тенденцию развития мирового театра, как синтез разных жанров и техник. Очень условно, конечно, отражающему, но все-таки "Фрекен Жюли" Стриндберга, поставленная режиссером Алексеем Уставщиковым в Ульяновском театре кукол, - явление для регионального театра не рядовое. Спектакль получился не кукольный, а "с куклами" - они здесь возникают вставными номерами, актеры же играют "в живом плане", и дается им это непросто, но, несмотря на все шероховатости и вопросы к постановке, ульяновская "Фрекен Жюли" оказалась интересной работой с настоящей атмосферой Купаловой ночи, в чем большая заслуга художника Анастасии Кардаш (она оформила спектакль в этностиле и "сшила" постановку сценографическими метафорами и мотивами) и грамотно подобранного звукового ряда (Артем Алендеев). Экзальтированная порой сверх всякой меры Жюли (Александра Корнилова) здесь изо всех сил рвется из тех границ, в которых оказалась по рождению и воспитанию, но воспарить удается только ее куколке, а сама артистка - в прутьях клетки, которой неожиданно оборачивается юбка огромной соломенной куклы. подробнее: http://vninform.ru/272394/article/sleduyushij-festival-volga-teatralnaya-projdet-cherez-dva-goda.html   Россия, Самара     В Самаре подвели итоги фестиваля «Волга театральная» Самара Сегодня 23/09/2013 22 сентября в Самарском академическом театре Драмы им. Горького состоялась церемония торжественного закрытия фестиваля «Волга театральная». Он проходил в Самаре с 15 по 22 сентября и собрал под своим крылом театральные коллективы из 10 городов Поволжья. В ходе фестиваля свои работы показали театры из Казани, Пензы, Ульяновска, Волгограда, Нижнего Новгорода, Альметьевска, Саратова и Саранска. Самарская область была представлена театрами Самары и Тольятти. [...] По итогам I Межрегионального Фестиваля «Волга театральная» дипломы и статуэтки были вручены: [...] 14. Главный приз – приз Главы г.о. Самара «За лучший спектакль фестиваля»: «Фрекен Жюли» А. Стриндберга Ульяновского театра кукол им. народной артистки СССР В.М. Леонтьевой. подробнее: http://samaratoday.ru/news/137819   España, Madrid ‘Julia’, una adaptación entre el teatro y el cine hoyesarte.com 14/10/2013 El Teatro Valle-Inclán (Madrid) recibe, del 17 al 20 de octubre de 2013, a la compañía Vértice de Teatro y su adaptación de 'La señorita Julia' de August Strindberg. La escritora y directora Christiane Jatahy trae el conflicto de la obra original al presente, al Brasil de hoy, donde se pregunta quiénes son y cómo se relacionan los protagonistas, Julia y Jelson. Con escenas prefilmadas y otras que se filman en directo, con una cámara que parece invadir el escenario, la obra construye una naturaleza propia, a caballo entre el teatro y el cine, donde la audiencia tiene ante sus ojos la presencia real de los actores en escena y, al mismo tiempo, el encuadre del cine. Christiane Jatahy La escritora y directora Christiane Jatahy ha desarrollado durante los últimos años creaciones escénicas en las que se establecen diálogos con distintas áreas artísticas y nuevos dispositivos de creación. Sus obras se han presentado en festivales brasileños, pero también en otros países como España, Portugal, Cuba, Alemania y Reino Unido. Su próximo proyecto, E se elas fossem para Moscou?, se acerca al tema de las utopías y será una mezcla de teatro, cine y performance callejera. Su estreno está fijado para marzo de 2014. Las funciones de Julia forman parte del Ciclo ‘Una mirada al mundo’, que incluye 7 espectáculos: Ubu Roi, El duelo, Seuls, Julia, La Verità, La pequeña habitación al final de la escalera y Bienvenido a casa. Link: http://www.hoyesarte.com/evento/2013/10/julia-de-august-strindberg-en-el-teatro-valle-inclan/?utm_source=rss&utm_medium=rss&utm_campaign=julia-de-august-strindberg-en-el-teatro-valle-inclan   España, Barcelona teatro "Julia" abre el nuevo ciclo de teatro iberoamericano en Temporada Alta La producción brasileña "Julia" de Christiane Jatahy, una adaptación de "La señorita Julia" de August Strindberg, inaugura mañana el nuevo ciclo de teatro "Conexión Iberoamérica", una muestra de espectáculos iberoamericanos dentro del festival de teatro Temporada Alta de Girona (noreste de España). La Informacion, 11/10/13,  (Reuters) Barcelona 11 oct - La producción brasileña "Julia" de Christiane Jatahy, una adaptación de "La señorita Julia" de August Strindberg, inaugura mañana el nuevo ciclo de teatro "Conexión Iberoamérica", una muestra de espectáculos iberoamericanos dentro del festival de teatro Temporada Alta de Girona (noreste de España). "Julia" recoge los frutos de una investigación que Jatahy ha hecho durante diez años sobre como mezclar en un mismo momento la ficción y la realidad. En su nueva producción esta idea se materializa en un juego entre teatro y cine a través de imágenes rodadas previamente y otras filmadas en directo durante el mismo espectáculo, según ha explicado la autora durante la presentación. Ambientada en un Brasil actual, marcado por grandes desigualdades sociales, la "Julia" de Jatahy actualiza el texto clásico del dramaturgo sueco Strindberg, sin dejar de lado los temas que aparecen en el original: problemas entre clases sociales, amor, lujuria y lucha entre sexos. Leer más: http://noticias.lainformacion.com/arte-cultura-y-espectaculos/teatro/julia-abre-el-nuevo-ciclo-de-teatro-iberoamericano-en-temporada-alta_YCAe3jxhxGWcKX8cSx8Fe2/   UK A lusty re-telling of Miss Julie By Anne Cox Dunstable Today 11 October 2013 August Strindberg’s tale of lust and class conflict comes to The Grove on October 19 with his racy costume drama of Miss Julie. This powerful new version of Strindberg’s classic play is the world premiere of a new English translation from the original Swedish script, Set in Sweden on Midsummer’s Eve in 1888; the play explores the relationship between aristocratic Miss Julie and Jean, her father’s valet. What starts as a harmless flirtation, soon descends into a ferocious power struggle and battle of the sexes, from which neither can escape. Widely regarded as Strindberg’s masterpiece, Miss Julie has been performed across the world and is frequently adapted and updated. In this latest production UK Touring Theatre gives new life to the playwright’s blistering words. Director Denis Noonan said, “Miss Julie is a very powerful piece. The process of re-translating the play from scratch took about eight months, but the result is a script that I think really reflects what Strindberg originally wanted to achieve with the play; as well as being exciting and accessible to a modern audience.” For tickets and time contact www.grovetheatre.co.uk or call the box office 01582 602080. Link: http://www.dunstabletoday.co.uk/what-s-on/theatre/a-lusty-re-telling-of-miss-julie-1-5578112     España Maridos y mujeres August Strindberg disecciona la vida burguesa en los treinta relatos de Casarse. Historias de matrimonios Por Alfonso López Alfonso La Nueva España, 30.09.2013 En la obra de August Strindberg (1849-1912) sobresalen dos tipos de luchas: la de clases y la de sexos. En La señorita Julia, seguramente su obra más famosa entre nosotros, la relación que se establece una noche de juerga entre una noble y un plebeyo amenaza la posición de ambos: la de él, por encontrarse más abajo en el escalafón social; la de ella, por ser mujer. Casarse es una obra en dos partes, publicadas originalmente en 1884 y 1886, cuando Suecia era un país agrario y pobre que exportaba más personas que madera (entre 1865 y 1895 emigró más de un millón de personas de una población de menos de cinco millones de habitantes) y Strindberg veía desmoronarse su matrimonio con Siri von Essen, lo que se deja notar en las dos partes del libro. Si en el prólogo de la primera había cierta misoginia (ataca con gracia Casa de muñecas, pues cree que Ibsen realiza una caricatura deshonesta de la clase alta), ésta queda suavizada por la defensa final de los derechos de la mujer. La segunda parte, sin embargo, se abre con citas abiertamente misóginas de Schopenhauer y otros sabios; y las palabras del prólogo, leídas hoy, parecen propias de alguien a quien se le ha soltado algún tornillo (a Strindberg se le aflojaron algunos): «Cobrar por sus favores es un invento de la mujer. Como prostituta cobra por vez y como esposa por contrato»; «La mujer ama al hombre sólo con arreglo a las ventajas que él le brinda»; «Cuando un escritor superior tiene que esperar veinte años a que se represente una obra suya o a que se imprima un artículo de revista, entonces aparece una audaz zorra y lo consigue inmediatamente». Y, sin embargo, pese a lo que hoy nos parece chiflada diatriba contra el feminismo en ese segundo prólogo (en su tiempo no lo parecería tanto), cuánta sabiduría, cuánto buen hacer, cuánto conocimiento del alma humana y las relaciones de pareja en cada uno de los treinta relatos de este libro, que diseccionan sin contemplaciones el estilo de vida y las preocupaciones de la burguesía de finales del siglo XIX. Y, sobre todo, qué capacidad la de Strindberg para traspasar el tiempo con lo que preocupa: llevar una buena vida, divertirse, casarse bien, ser capaz de mantener el hogar, no cargarse de hijos demasiado pronto... La carcasa de aquel mundo, con sus amanuenses, sus trabajadores de la Cámara de Comercio, sus profesores, sus militares y sus coches de caballos, nos queda un poco lejos, pero qué cerca algunas preguntas, como la que le formula el mayor a su futuro yerno cuando se presenta a pedir la mano de su hija en el relato «Amor y cereales»: «¿Cuánto ganas con extras incluidos? ¡Cifras! ¡Cifras! ¡Datos!»; y qué cerca también reflexiones como las del padre de familia sobrepasado por sus responsabilidades en «El pan»: «¿Y la fuente de todas las desgracias? ¡La falta de pan! ¡Y simultáneamente se derrumban las grandes empresas del Nuevo Mundo bajo el peso de unos recursos de trigo demasiado abundantes! ¡Un verdadero mundo de contradicciones! Tiene que haber, pues, un fallo en la forma en que el pan está distribuido». Link: http://www.lne.es/cultura/2013/09/30/maridos-mujeres/1476259.html   UK Strindberg classic comes to Guildhall stage in Grantham Grantham Journal, 30 September 2013 Following a successful national tour this spring, UK Touring Theatre bring their highly acclaimed production of ‘Miss Julie’ by August Strindberg to the Guildhall Arts Centre tomorrow (Tuesday, October 1) at 7.30pm. This is the World Premiere of a brand new English translation from the original Swedish script. Set in Sweden on Midsummer’s Eve in 1888, the play explores the relationship between aristocratic Miss Julie and Jean, her father’s valet. What starts as a harmless flirtation, soon descends into a ferocious power struggle and battle of the sexes, from which neither can escape. Director Denis Noonan said: “Miss Julie is a very powerful piece. The process of re-translating the play from scratch took about eight months, but the result is a script that I think really reflects what Strindberg originally wanted to achieve with the play, as well as being exciting and accessible to a modern audience.” Widely regarded as Strindberg’s masterpiece, Miss Julie has been performed across the world and is frequently adapted and updated. In this latest production, UK Touring Theatre gives new life to Strindberg’s words in their original 1888 setting - perfect for fans of classic theatre and Scandinavian drama alike.” Tickets cost £12/£10 concessions and £8.50 students and schools. For more information, visit the Guildhall website: www.guildhallartscentre.com Link: http://www.granthamjournal.co.uk/what-s-on/arts-leisure/strindberg-classic-comes-to-guildhall-stage-in-grantham-1-5541795   Canada DalTheatre presents Ghost Sonata by August Strindberg, translated by Thaddeus L. Thorp, Oct. 15-19 in the David MacK Murray Theatre, Dalhousie Arts Centre. By The Chronicle Herald, October 9, 2013 Directed by Jure Gantar, the show runs nightly at 8 p.m., with an Oct. 19 matinee at 2 p.m. “Strindberg’s Ghost Sonata takes place against the backdrop of a strange house whose inhabitants include a mummy who thinks she is a parrot, a cook who sucks all the blood from the food she makes, and a dead consul,” a news release says. “Inspired by Beethoven’s music, this modernist ghost story is both a social critique and an unforgiving condemnation of a dysfunctional family.” Tickets are $14, $7 students and seniors. Call 494-3820 or visit artscentre.dal.ca. Link: http://thechronicleherald.ca/artslife/1159537-strindberg-play-onstage-at-dal   Deutschland „Fräulein Julie“ auf der Werkstattbühne des Theaters Bonn In seinem Trauerspiel „Fräulein Julie“ zeigt August Strindberg, wie das ausgelassene Treiben des Mittsommernachtfests dem adeligen Fräulein Julie zum Verhängnis wird. Sie nutzt die Abwesenheit ihres Vaters, des Herrn Grafen, um sich beim Tanz in der Scheune auszutoben. Rhein-Zeitung, 09.10.2013, 03:10 Uhr Mit einem perfiden Spiel aus Zärtlichkeit und Zurückweisung reizt sie ihren Diener Jean, und als schließlich der Alkohol fließt, kommt es, wie es kommen muss. Doch am nächsten Morgen haben sich die Verhältnisse radikal geändert. Der Rückweg in ihre alte gesellschaftliche Rolle der Adelstochter scheint für Julie versperrt. Jean überlässt ihr sein Rasiermesser. Zu Strindbergs Zeit war das, was in den eigenen vier Wänden passierte und höchstens hinter vorgehaltener Hand weitergegeben wurde, nur im Theater Gegenstand öffentlicher Betrachtung. Wenn der Vorhang aufging, war zu sehen, was im Leben nur hinter verschlossenen Türen stattfand. Der junge Schweizer Regisseur Dominik Locher erarbeitet in „Werkstatt“ eine eigene Variante von Strindbergs klassischer Geschlechterschlacht, die auch ein Klassenkampf zwischen einem vitalen Aufsteiger und einem degenerierten Luxusgeschöpf ist. Lesen Sie mehr: http://www.rhein-zeitung.de/region/szene_artikel,-%E2%80%9EFraeulein-Julie%E2%80%9C-auf-der-Werkstattbu%CC%88hne-des-Theaters-Bonn-_arid,1050153.html   Hässleholm Biblioterapi: "Vad hade August Strindberg gjort?" SR, P4 Kristianstad, tisdag 8 oktober Augustprisvinnaren och psykologen Jenny Jägerfeld är aktuell med ny bok, men är också i Hässleholm för introducera begreppet biblioterapi. Genom att till exempel välja böcker som tar upp liknande problem som man själv går igenom, kan man ha terapi med sig själv. Jenny Jägerfeld: "Ibland kan böcker fungera som katarsis" "Psykiska sjukdomar måste lyftas för att ta bort skammen som många känner" - Om man kan identifiera sig med karaktärers känslor och tankar så kanske man får någon insikt om hur man kan se på saker. Det kan fungera som katarsis ibland, att man blir arg eller ledsen och då får en terapeutisk effekt, säger Jenny Jägerfeld. Samtalet om biblioterapin kommer vara med glimten i ögot. Med det menar Jenny Jägerfeld att man under tiden man läser exempelvis August Strindberg fundera på vad August hade behövt tänka på i relation till andra. Jenny skriver själv böcker som barn- och unga med psykiska funktionsnedsättningar eller diagnoser ska kunna känna igen sig. Nu är hon aktuell med sin tredje roman "Jag är så jävla easy going". - Det är viktigt att lyfta frågan om psykiska sjukdomar, för att ta bort skammen som inte alla men många känner, säger Jenny Jägerfeld. Länk: http://sverigesradio.se/sida/gruppsida.aspx?programid=101&grupp=18490&artikel=5668821 Ge August Strindberg formell kulturarvsstatus Vi ska som kulturnation också tillåta oss att lyfta ett antal kulturpersonligheter ovan de generella regelverken och ge dem status som de skyddsvärda nationalklenoder de är. Vi har flera som inspirerar och utmanar i samhälls- och kulturdebatten i och utanför Sverige. Av Ulf Lönnberg, Ledamot i Kristdemokraternas kulturnätverk i Stockholm Sourze 04 okt 2013 Ture Rangström, teaterchef på Strindbergs Intima teater skriver (Svd 21/9) om ändrade och sänkta kulturstöd som i praktiken drar undan mattan för teaterns verksamhet. Hans nödrop är drastiskt: ”Vet ni vad ”Marodörer” är? Det är en pjäs av Strindberg. Marodörer betyder skadegörare. Vi funderar på att söka föreställningsbidrag för ”Marodörer” som vi ska sätta upp på Strindbergs Intima teater. Kulturförvaltningen är välkommen. Får vi inga pengar ger vi ”Dödsdansen” och tar farväl.” Ture Rangström är saklig och ödmjuk. Visst, det handlar om Intima teaterns vara eller icke vara här och nu. Men det handlar också om svensk rigid kulturpolitik som är hemmablind för viktiga delar av det nationella kulturarvet. Läs mer: http://sourze.se/2013/10/04/ge-august-strindberg-formell-kulturarvsstatus__90492   USA Onomatopoeia Theatre to Present A DREAM PLAY, 11/7-17 By BWW News Desk Brodway World, October 4 2013 The Onomatopoeia Theatre Company presents A Dream Play by August Strindberg, adapted by Thomas R. Gordon. An existential inspection of happiness and suffering, the play will run November 7 - 17th, 2013. The daughter of Indra has come to earth seeking an understanding of humankind. On her journey she sees stories, people, and places merge and break like the waves of the sea. Can she understand why people suffer in a world so beautiful? Is there hope for humankind? Will we be able to find happiness? Help us search for these answers as The Onomatopoeia Theatre Company presents a compassionate examination of the play Strindberg called "My greatest joy". The show runs November 7th - 17th at The Gene Frankel Theatre, 24 Bond Street, New York, NY 10012. Tickets: $20 - Regular; $15 - Discount Code; $10 - Student. MTA - 6 - (Bleeker); F, B & D - (Broadway/Lafayette); Cross Streets - Bond St. & Lafayette St. (Manhattan). For more information, visit http://www.theonomatopoeiatheatrecompany.com/a-dream-play.html. Link: http://www.broadwayworld.com/off-off-broadway/article/Onomatopoeia-Theatre-to-Present-A-DREAM-PLAY-117-17-20131004   USA, Ohio Emotional Miss Julie explores gender roles, economic disparity The striking class-centered play serves as the senior thesis for Rachel Cunningham and Ryan Drake. By Victoria Ungvarsky The Kenyon Collegian, October 3, 2013  The turn of the 20th century revolutionized theatre and launched modernist drama — a movement characterized by the canon’s focus on naturalism. Led by playwrights such as Anton Chekov and Henrik Ibsen, it was in this new, innovative environment that August Strindberg wrote Miss Julie, a charged play about sex, gender roles and power in society. Seniors Rachel Cunningham and Ryan Drake decided it was just the play they wanted for their senior thesis. “When we first read it we said, ‘I really like this, I react strongly to this, but I don’t really know what this is about. So let’s figure it out,’” Drake said. The play, which will open the Kenyon College Dance and Dramatic Club’s season, centers on the power dynamic between Miss Julie, a young aristocratic woman, and Jean, a male servant. Miss Julie has status in society, yet her high position is limited by the constraints of her gender. In contrast, though Jean is a man, he lacks monetary authority. The play, considered avant-garde in its historical context, raises important questions about gender roles and power. “It’s a play that’s still extremely relevant to our lives, but it brings … to light issues that we pretend no longer exist in our society,” Cunningham said. Though the production is only slightly over an hour, it promises to provide the audience with a visceral, emotional experience. Read more: http://www.kenyoncollegian.com/arts/emotional-miss-julie-explores-gender-roles-economic-disparity-1.3072513   "Fröken Julie bekymrar mig" Av  Lena Köster UNT 2013-09-29 August Strindberg må vara död, men än rör han på sig. I Strindbergsällskapets monter på Bokmässan i Göteborg läser skådespelaren Kristina Adolphson ett urval av Strindbergs dikter. Det finns flera skäl för Kristina Adolphson att läsa Strindberg på Bokmässan och i andra sammanhang. Hon har bland annat spelat Indras dotter i Ett drömspel: - Det var 1971, är redan historia. Vi gjorde föreställningen 150 gånger och turnerade i Europa. Det var en underbar föreställning i regi av Ingmar Bergman. Den glömmer jag aldrig. Jag har den fortfarande i kroppen. Fröken Julie har hon inte gjort men tycker att det är hans bästa pjäs. -Men den pjäsen bekymrar mig. Numera låter man tyngdpunkten ligga så gott som enbart på erotiken, men Strindberg skrev också med betoning på klasskillnaden mellan Jean och Julie. I dag finns inte just den sortens klasskillnader. Det gör, kan man tänka sig, att Strindbergs Juliedramatik förlorar en dimension i många av dagens uppsättningar. Ett av Kristina Adolphsons Strindbergprogram handlar om hans brev till Harriet Bosse, skådespelerskan han friade till med de berömda orden: ”Vill ni ha ett litet barn med mig fröken Bosse?” Det ville unga fröken Bosse, trots en åldersskillnad på tre decennier. Läs mer: http://www.unt.se/kultur/froken-julie-bekymrar-mig-2612364.aspx Argentina TEATRO › SIPITA JULICHA, ESPECTACULO DE CHARO MORENO BASADO EN LA SEÑORITA JULIA Un clásico teatral a ritmo de chacarera La actriz y directora trasladó la acción de la pieza de August Strindberg a Santiago del Estero. Moreno dice que le interesaba hacer una buena versión para que la vieran los que no conocen la obra. “Quería llegar a un público nuevo”, destaca. Por Paula Sabatés Página/12, Sábado, 28 de septiembre de 2013 Quien haya leído La señorita Julia, el clásico del gran dramaturgo sueco August Strindberg, podrá reconocer su estructura, su trama y el conflicto de sus personajes en Sipita Julicha, espectáculo de Charo Moreno basado en esa obra. Lo que no encontrará es su contexto, porque la actriz y directora trasladó la acción a Santiago del Estero. En lugar de la fiesta de San Juan, el marco de la historia es la de San Esteban, celebración cristiana muy practicada en esa provincia. Como en el drama de Strindberg, durante esa noche tres personajes que pertenecen a rangos y clases sociales distintas revelarán sus angustias más profundas, sus amores y odios y su búsqueda de verdad y sentido. En ese lugar de tradición caudillista pero también de simbiosis entre tradiciones europeas y mitos regionales sus diferencias se intensifican, haciendo que el drama gane una fuerza distinta. Para meterse en ese mundo, antes de comenzar la función los espectadores viven un verdadero ritual: en la antesala son convidados con un vaso de vino y alimentos regionales mientras una chacarera tiñe todo el ambiente. En la entrevista con Página/12, la directora cuenta que eso surgió con la idea de “enfiestar” al público. “La historia transcurre mientras hay una fiesta y es difícil que el espectador esté ahí sin ese preámbulo. De esta forma, cuando empieza la obra ya es parte del clima”, asegura Moreno. Luego de esa previa el público ingresa a la sala, que está ambientada como si fuera la cocina de una estancia. Allí se encuentra con los protagonistas: Sipita Julicha (nombre quechua), Esteban, y Cristina, hija del patrón, encargado y cocinera, respectivamente. Leer más: http://www.pagina12.com.ar/diario/suplementos/espectaculos/10-30034-2013-09-28.html   UK, Colchester Your chance to star in film alongside Simon Callow on Osea Island Daily Gazette, Friday 27th September 2013 in Local News, Colchester FANCY starring alongside top actors in a new film? Now’s your chance. Ben Cura is making his directorial debut with a comedy drama filmed on Osea Island. Ben has written a screenplay adaption of August Strindberg’s Creditors. London-based Ben said: “I found Osea completely by coincidence. “I was looking for places to set the film in last year, I Googled and Googled and found out about Osea and fell in love with the place. “I don’t think there is anywhere else near London and certainly in Essex that has the wild, unspoilt creepiness it has. “Once we get the funding and know exactly when we are shooting the film, we are looking at April to May spending a month shooting and filming on the island and mainly around Manor House.” Ben hopes to raise £290,000 to pay for the film through “crowd-funding” - where individuals contribute anything from £10 to £5,000 via website Kickstarter. Read more: http://www.gazette-news.co.uk/news/local/10702122.Your_chance_to_star_in_film_alongside_Simon_Callow_on_Osea_Island/   Hittade Zorntavlor på vinden Av Malin Perk Folkbladet 2013-09-25 NORRKÖPING Två tavlor av självaste Anders Zorn, två målningar av August Strindberg samt en av Zoya. Gissa om en fastighetsägare på Saltängsgatan i Norrköping blev snopen efter de fynden på sin vind. Norrköpingsbon har ägt huset på Saltängsgatan sedan 2006. På tisdagseftermiddagen var han uppe på vinden. Det var då han hittade fem tavlor som saknade ägare. En upptäckt som kan vara ett riktigt värdefullt fynd. Fastighetsägaren tog därför kontakt med Norrköpingspolisen som just nu har låst in konstverken i säkert förvar. Polisen har också upprättat en anmälan om stöld eftersom konstverken kan vara stulna. Sten-Gunnar Crona, som jobbar som godsspanare vid Norrköpingspolisen, har fått det annorlunda godset på sitt bord. – Jag är ingen konstkännare men jag ska försöka titta på det här så snart som möjligt för att se hur vi kan gå vidare med det, säger han. På onsdagen hade han dock fullt upp med att leta efter ägare till ett 50-tal stulna mopeder samt en hel del upphittade däck. Värda miljoner Polisen ska inom kort försöka få tag i en konstexpert, som kan se om de är äkta vara eller om det handlar om reproduktioner. – Är det original så lär de ju vara värda miljoner, säger Sten-Gunnar Crona. Han har dock svårt att tro att det handlar om äkta konstverk. – Originalen sitter väl förmodligen någonstans på något konstmuseum nere i Europa eller på Zorngården, när det gäller Zorntavlorna. Det borde väl finnas något register med stulna konstverk? – Jo, men det finns en uppsjö av sådana här konstverk i olika storlekar som till och med konstnären själv har tillverkat, säger Sten-Gunnar Crona. Länk: http://www.folkbladet.se/nyheter/default.aspx?articleid=6554706     OBS!!! Teatern bjuds upp till en dödsdans DEBATT ”Som teaterchef vill jag veta att jag kan betala hyra och löner”, skriver Ture Rangström på Strindbergs Intima teater apropå att kulturförvaltningen inte längre tillåter årliga bidrag. Han menar att de nya reglerna hotar teaterns existens. Av Ture Rangström SvD 21 september 2013 kl 03:00 Verksamheten vid Strindbergs Intima teater är hotad. Teatern tillhör det svenska kulturarvet. Det är en av Sveriges äldsta teatrar. Strindberg betraktas som vår nationalförfattare och Intima teatern är en av de få platser som finns kvar där August Strindberg var konstnärligt verksam. Idag bedrivs en modern kontinuerlig teaterverksamhet i samma lokaler och repertoaren består huvudsakligen av Strindbergs egna dramer. Vi arrangerar internationella gästspel och reser ibland ut i världen med våra egna uppsättningar. Men Stockholm står oss närmast. Under Strindbergsåret 2012 framfördes över 300 föreställningar. Av 20000 åskådare var nästan hälften ungdomar. Teatern har två personer anställda, en teaterchef och en producent. Vi håller på att jobba livet ur oss, men är besjälade av att sprida kännedomen om Strindberg och hans dramatik. Varje år sedan nystarten 2003 har vi sökt och erhållit bidrag till verksamheten av Kulturrådet och kulturförvaltningen i Stockholm. Det är basen i verksamheten. Det är inte mycket pengar vi får – i år disponerar vi totalt 3,75 miljoner kronor. 1,2 miljoner försvinner direkt till hyra! Kulturrådet har markerat Intima teaterns betydelse genom att placera oss i gruppen för ”Vissa aktörer av kulturpolitiskt intresse”. Det förpliktigar inte till så mycket, men vi har kunnat räkna med ett årligt verksamhetsbidrag så länge vi sköter oss. Kulturförvaltningen i Stockholm passade på att sänka vårt bidrag i år som tack för det sällsynt lyckosamma Strindbergåret där Intima teatern spelade en central roll. Vi är tillbaka på 2008 års nivå. Nu har man plockat fram strypsnaran och riktar ögonen mot den teater man själv varit med att starta. De kulturstrategiska genierna vid kulturförvaltningen har bestämt att vi inte längre ska kunna söka ett årligt verksamhetsbidrag. Av vår handläggare får jag veta att vi inte kan få stöd för löpande kostnader. Varje projekt fordrar en egen ansökan. Nästa år har Strindbergsteatern 18 projekt på gång, varav minst fem teateruppsättningar. Förvaltningen erbjuder två ansökningstillfällen per år. Har man tur kan man få sitt kulturstöd tre år på raken. När jag påpekar att Strindbergsteaterns projekt heter ”Verksamhetsåret 2014” och att vi nöjer oss med ett år i taget så förstår man inte vad jag menar. Resultatet blir att vi tvingas ut på ett gungfly av osäkra ansökningar. Man vill hålla oss på halster och göra pyttipanna av en genomtänkt verksamhet. I princip tar man kontrollen över repertoaren. Ingen ska känna sig säker på att den verksamhetsplan man jobbar efter duger. Detta innebär en utarmning av Strindbergsteatern och alla andra små fria teatrar med etablerad verksamhet, fasta scener, tunga omkostnader och små intäkter. De årliga verksamhetsbidragen från stat och kommun har utgjort den enda fasta grund vi står på. Det är en garanti för kontinuitet. Den ger oss möjlighet att skapa samprojekt och generera inkomster till alla våra produktioner. Förmånen att blixtsnabbt kunna ändra repertoaren upphör liksom möjligheten att bistå hemlösa fria grupper med en scen. Som teaterchef och konstnärlig ledare måste jag kunna överblicka hela verksamheten. Jag vill veta att vi har pengar till hyra för hela året. Jag vill vara säker på att vi kan betala avtalsenliga löner till våra anställda. Jag vill garantera min styrelse att vi mäktar med att förvalta ett värdefullt kulturarv. Jag vill kunna utlova en bred barn- och ungdomsverksamhet när skolorna hör av sig. Det är ett kulturansvar som nu sätts på spel. Jag vill inte låta min tid gå åt till ytterligare monstruösa byråkratiska excesser för att tillfredsställa stadens tjänstemän. Jag vill ägna min tid åt teater och konst och åt saker som gagnar vår publik. Låt oss få behålla de årliga verksamhetsbidragen! Vet ni vad ”Marodörer” är? Det är en pjäs av Strindberg. Marodörer betyder skadegörare. Vi funderar på att söka föreställningsbidrag för ”Marodörer” som vi ska sätta upp på Strindbergs Intima teater. Kulturförvaltningen är välkommen. Får vi inga pengar ger vi ”Dödsdansen” och tar farväl. Länk: http://www.svd.se/kultur/kulturdebatt/teatern-bjuds-upp-till-en-dodsdans_8540138.svd   UK Preview: Miss Julie Chloe Clifford-Astbury talks to the artistic directors of the UK Touring Theatre to find out more about their new spin on an old classic. By Chloe Clifford-Astbury Varsity, Sunday 22nd September 2013 UK Touring Theatre has produced a new translation of August Strindberg’s Miss Julie, a tale of passion between a valet and a count’s daughter written in 1888. This October, the company will be bringing their fresh take on this classic Swedish play to Cambridge as part of their autumn tour. While there are several existing translations of Miss Julie, the company felt a new one was needed. “Though excellent, the [older] translations were often of their time,” said Felicity Rhys, the actress playing Julie and one of the company’s artistic directors. The new translation needed to be immediate and accessible, in the spirit of Strindberg’s original script. With this in mind, Rhys and her fellow artistic director Adam Redmayne, who appears in the play as Jean, the valet, collaborated with director Denis Noonan to transform the text. Read more: http://www.varsity.co.uk/culture/6113   Nina Zanjani gör en Julie som är sårigt aktuell Av Lars Ring SvD 20 september 2013 Fröken Julie Göteborgs stadsteater Text: August Strindberg. Regi, scenbild: Emil Graffman. Scenbild, kostym: Julia Przedmojska. Ljus: Linus Fellbom. Musik: Fredrik Möller. Medv: Nina Zanjani, Fredrik Evers, Emelie Strandberg, Åsa-Lena Hjelm m fl. En klassiker har en kärna som överlever sin tillkomsttid. Fröken Julies destruktiva livsångest är mer än slott och 1880-tal. Den är del av ett drama där en skuldtyngd flicka och en man som manipulerar sin omgivning råkar konfronteras en för sen kväll. Det kan äga rum var som helst: på en efterfest eller framför en dator. Emil Graffman iscensätter nu denna eviga Strindbergsklassiker men han behåller slottet. Han har flyttat skeendet till ett slags 1960-tal som också – genom det aktuella retromodet – kan vara idag. Scenografen Julia Przedmojska har skapat ett kalt, funktionalistiskt slottskök med mängder av tjänstefolk. En vägg med två serveringluckor, ett stämpelur och en rökhörna. Hela rummet är Roy Andersson-grått. Tonen är lågmäld, nästan hela tiden. Spelet ibland bortvänt. Källaren svagt upplyst. Här ska skapas intimitet mellan två individer, fast den egentligen saknas. Graffman iscensätter en tolkning där attraktionen mest beror på lusten att dirigera förloppet, vem som ställer sig över den andre/andra. Maktspelet blir till sist så intensivt att det övergår till ett hastigt, hetsigt ligg utan att egentligen vara föregått av sexuell spänning. Läs mer: http://www.svd.se/kultur/scen/nina-zanjani-gor-en-julie-som-ar-sarigt-aktuell_8540136.svd   Österreich Blick in den Himmel Der Künstler Arno Gisinger nähert sich August Strindberg an: im internationalen Ausstellungsprojekt "Topoï" in der Oberösterreichischen Landesgalerie Von Wiltrud Hackl Der Standart, 19. September 2013 Linz - Arno Gisinger, der gebürtige Vorarlberger mit Wohnort Paris, bezieht sich in seinen fotografischen Arbeiten auf historische Orte und Räume, untersucht sie auf ihre Gegenwartsgültigkeit und nutzt Fotografie nicht allein als künstlerische Praxis, sondern als eine Form des Erzählens von Geschichte. So auch in der Landesgalerie, wo er mit dem institutions- und länderübergreifenden Ausstellungsprojekt Topoï einerseits auf den schwedischen Dramatiker Strindberg und seine Fotoexperimente zurückgreift: Der lebte nämlich im Gründungsjahr der Landesgalerie (1894) in Saxen unweit von Linz und beschäftigte sich mit Möglichkeiten, ohne Kamera, ohne Objektiv und ohne Linse Fotografien zu erstellen. Wie Strindberg setzte Gisinger ein Diapositiv auf einer Wiese zehn Sekunden dem Vollmondlicht einer Augustnacht aus; es bildete sich nicht der Sternenhimmel, sondern Gräserschatten ab. Dieses Fotogramm hat der Künstler auf Stoffbahnen übertragen, die wie ein Baldachin die Kuppel im Stiegenhaus der Landesgalerie beschirmen. Weiters zeigt die Landesgalerie Exponate aus Gisingers Reihe Betrachterbilder. Lesen Sie mehr: http://derstandard.at/1379291422564/Blick-in-den-Himmel USA, New York (NY) A Strindberg Rarity -- Mr. Bengt's Wife -- An Answer to Ibsen's A Doll's House? By Melody Breyer-Grell Huffington Post, 09/19/2013 Often, residing in Manhattan seems to be akin to experiencing the law of diminishing returns. What is the benefit of tolerating high rents, being surrounded by swarming populations of inebriated NYU "students" and accepting the Disneyfictation of Times Square? But that is not the whole story, by any means. So when I learned of the August Strindberg Repertory Theater group, I trotted down to The Gene Frankel Theater (24 Bond St) with an enthusiasm not often generated these days. I was not let down.Mr. Bengt's Wife, in its American premiere (translated by Laurence Carr and Malin Tubal) treated me to an insightful view of the master in his early development. A no-holds-barred tale of hysteria, gender expectations and personal redemption, it is the mirror opposite of the mature and organized Ibsen's A Doll's House. The heroine's (Margit) personality diametrically differs from the composed, generous and evolving Nora -- but surprisingly Margit is more believable, despite of or perhaps due to her initially histrionic, selfish and grasping persona. The women face similar dilemmas. Both are married to men with reversed fortunes, and while Nora faces her problems with dignity, sacrifice and blameless nobility, she ultimately leaves her children motherless, as she slams the door on her family, off to "find herself." Her actions are dramatically justified in that her husband is totally irredeemable, despicably weak of character, allowing the viewer no room to offer him a crumb of sympathy. Even though the deck is stacked, and the message polemic, the play was still ground breaking, one of the true classics of progressive theater. Mr. Bengt's Wife, in contrast, is a delirious collection of scenes boasting a lyricism approaching madness, with a heightened Shakespearian influence running through its modern language. Bengt is a transitional piece, like one of a great composer finding his voice. And it is a glorious voice he is crafting. Read more: http://www.huffingtonpost.com/melody-breyergrell/a-strindberg-raritymr-ben_b_3951494.html   "Frk Julie" på Göteborgs stadsteater Av Maria Edström SR, P1, Kultur/Kulturnytt, 16 september 2013 Strindbergs drama "Fröken Julie" har blivit ett av hans mest spelade men få tänker kanske på att pjäsen hade sin urpremiär 1889 i vid Studentersamfundet i Köpenhamn eftersom censuren mot osedlighet hade förbjudit en offentlig föreställning. Den danska pressen krävde att pjäsen beslagtogs och att Strindberg skulle utvisas ur landet. I helgen hade "frk Julie" som man här kallar pjäsen premiär på Göteborgs stadsteater i regi av Emil Graffman och Maria Edström var där. Ett herrgårdskök långt från björkris, vedspisar och svensk midsommar - här har scenografen Julia Przedmojska skapat ett effektivt storkök med kakel, ångande kastruller, matluckor, stämpelklocka och en hel stab tjänstefolk vars enda fröjd är att ta en rök vid fläktens utblås. Det hela påminner lite om Staffan Valdemar Holms bejublade uppsättning i början av hans karriär, eller för att ta en lite bredare referens, har något av Roy Andersson grågröna tristess över sig. Det är som om regissör Graffman, som tillsammans med Lucas Svensson också bearbetat texten, velat mejsla fram dess provokativa urkärna av klass -och könskonflikt. Och det lyckas, här ljuder pjäsen på ett nytt sätt, det är som att höra ett välkänt musikstycke spelat i helt en annan tonart. Läs/hör mer: http://sverigesradio.se/sida/artikel.aspx?programid=478&artikel=5646745   Portugal "O Pelicano". Recalcamentos de uma família friorenta Por Miguel Branco Journal i, 16 Set 2013 Rogério de Carvalho está de volta a uma casa que também é sua e a Strindberg. Para ver até 6 de Outubro no Teatro Municipal Joaquim Benite Em 1907, já fazia frio na Escandinávia. Bem-ditos aquecedores eléctricos e desumidificadores, modernices mais eficazes que as lareiras, outrora responsáveis pelas relações de temperatura do lar. Ao que parece, August Strindberg não era fã de cobertores e mantas de penas, talvez por isso tenha decidido criar o Teatro Íntimo, para aproximar o público. Foi nessa sala de pequenas dimensões que o autor sueco estreou "O Pelicano", uma metáfora proverbial que conjuga uma família complexa e disfuncional. Rogério de Carvalho regressa a Almada, com escala em Estocolmo, para abordar as teias astutas dos enredos incaracterísticos de Strindberg. Entenda-se este pelicano através da lenda, que diz que o animal alimenta as crias com o próprio sangue. Mas a progenitora (Teresa Gafeira), neste caso, actua de forma inversa, roubando comida e dinheiro aos filhos (Pedro Walter e Joana Francampos), negando-lhes até o fogão que devia dar calor à casa. A isto, há que juntar o facto de a mãe ser apaixonada pelo genro (Pedro Lima) - se é que existe amor no meio de tanta crueldade - e de ambos, em segredo, terem levado o seu falecido marido à loucura e solidão. Rugas de infância que assolam qualquer filho, por mais compreensivo que este possa ser. No lugar da sopa, a ementa tinha papas de aveia e o molho do peru era propriedade da dona do lar, que o escondia para mais tarde o provar, quando todos dormiam. Mesmo para quem já interpretou muitas mães, como Teresa Gafeira, esta tem outros níveis de exigência. "Qualquer uma destas personagens é muito complexa, porque todas são carregadas de recalcamentos, são violentas, cruéis, mas não podem ser dadas dessa maneira tão directa. Esta mãe é uma personagem perturbadora, mas sobretudo uma personagem para perturbar", confessa. Leia mais: http://www.ionline.pt/artigos/mais/pelicano-recalcamentos-uma-familia-friorenta   Australia Review: Miss Julie By Veronica Hannon GayNewsNetwork, Sunday, 15 September 2013 What could Strindberg possibly mean to us in the here and now? In his latest overhaul of another classic from the dead white male canon, Simon Stone takes up the themes of class struggle and sexual domination. He sets his play in the minimalist kitchen of a luxurious Australian home and later a non-descript motel room. Stone has added an interval and a death. He’s kept the bird in the cage but changed the ending. Does Julie die? I’m not telling but it is certainly an intense, often gripping ride to a cracker of a final scene. An elegant mood is quickly established as Blazey Best’s Christine prepares a meal of salmon risotto while the audience files into the theatre. Anticipation is built up in those opening wordless minutes no doubt because you’re aware of the baggage you bring from Strindberg’s original. You know this kitchen is about to become a battlefield. Read more: http://gaynewsnetwork.com.au/entertainment/theatre/review-miss-julie-2-11933.html Well worth seeing. Miss Julie, Belvoir St Theatre, Surry Hills. Until October 8. Bookings: 02 9699 3444.   USA, Los Angeles (CA) Pericles and The Miss Julie Dream Project: Sort-of Shakespeare, and Sort-of Strindberg By Steven Leigh Morris LA Weekley, Thursday, Sep 12 2013 There are dreams described within August Strindberg's 1888 play, Miss Julie — such as the moneyed title character being stranded on a pillar, and the object of her scandalous lust, a footman named Jean, stuck on the ground while yearning to climb trees. But the play itself embodies the kind of slice-of-life naturalism embraced by so many of our TV dramas. The eponymous Miss Julie is the bored daughter of an estate owner. One day, with little better to do, Julie toys around in the servants' quarters during one of their parties. There she meets Jean, who is engaged to be married to another servant. Miss Julie and Jean conceal their meeting, which violates the time's rigid class structure, by stealing away. Their rapport in hiding consists of various sadomasochistic power games, and in their clandestine quarters they have shame-fueled sex — after which Jean urges Miss Julie to kill herself for her own good. Gentleman that he is, he courteously provides a razor. Nine scribes from the group Fell Swoop Playwrights (Meghan Brown, Samm Hill, J. Holtham, Abbe Levine, Michelle Meyers, Tira Palmquist, Emily Brauer Rogers, Brenda Varda and Kyle T. Wilson) cobbled together their impressions of Miss Julie — addressing in an entirely new play the questions of how the classic work struck them and how it resonates today. Their collaborative effort, The Miss Julie Dream Project, initially conceived by Wilson, was first presented in this summer's Hollywood Fringe festival and has since been revised and honed for a short run at Son of Semele. It plays through this weekend. Read more: http://www.laweekly.com/2013-09-12/stage/miss-julie-dream-project-pericles/   USA, New York (NY) The Drama League's Fall Theater Center Events Include Laura Benanti, Cherry Jones, and Tony Danza Performances will also feature Judy Kaye, Peter Filichia, and David Friedman. By Bethany Rickwald Theater Mania, Sep 11, 2013 • New York City The Drama League has announced its fall 2013 programming schedule. Performances and events will include appearances by Tony Award winners Laura Benanti, Cherry Jones, and Judy Kaye as well as Tony Danza, theater journalist Peter Filichia, and conductor/composer David Friedman. Events will include workshops for actors, directors, and other artists, such as classes in Butoh, an avant-garde Japanese physical discipline, and a weekend workshop exploring Strindberg's Miss Julie with the internationally acclaimed director Petar Todorov. The October calendar also includes a prerelease concert of the studio recording of the new musical Perfect Picture featuring Debbie Gravitte, Andrea McArdle, and Lillias White. For more about TheaterMania favorites Laura Benanti, Cherry Jones, and Tony Danza, watch Benanti explain Shakespeare, read an interview with Jones about her role in The Glass Menagerie on Broadway, and see photos of Danza in rehearsal for his new show, Honeymoon in Vegas. To learn more about the Drama League, visit http://www.dramaleague.org. Link: http://www.theatermania.com/new-york-city-theater/news/09-2013/the-drama-leagues-fall-theater-center-events-inclu_65997.html   Iran Creditors’ due in autumn Iran Book News Agency 10 Sep 2013 ‘Creditors’, a famous play written by August Strindberg, which was released in Paris holding Javad Atefeh’s translation, will be marketed in Iran in autumn. IBNA: Iranian translator Javad Atefeh said that he had translated the play last year for a theatre group in Paris who decided to publish it. "August Strindberg is one of the most illustrious and impressive playwrights. ‘Creditors’ is about the life of artists which is set in the beginnings of the 20th century," Atefeh added. ‘Creditors’ is a naturalistic tragicomedy which was written in Swedish during August and September 1888 in Denmark. The Iranian translator said: "The work will be released in Iran. Strindberg is currently being introduced in Iran’s theatre universities. However his books, particularly his prose, have not been rendered into Persian; accordingly I decided to release the work in Iran as well." "2012 marked the 100th anniversary of Strindberg's death (1849-1912). I attended his commemoration, which was held in Sweden, in which I presented my translations of his ‘The Father’, as ‘The Ghost Sonata’ and ‘Creditors’," he added. "My translations were approved and registered by the ‘Strindberg Museum’ (dedicated to the writer August Strindberg and located in his last dwelling). If the Museum’s Board of Trustees approves the translations of Strindberg’s works, they will be registered," Atefeh noted. Iranian Afraz Publications has recently released Atefeh’s translation of ‘Pariah’ and ‘The Stronger’. "Moreover the Persian renditions of ‘To Damascus’, ‘The Dance of Death’, ‘Master Olof’ and ‘Miss Julie’ will be released respectively. I am currently working on Strindberg’s novels," he added. The Persian rendition of ‘Creditors’ will be released in Iran in autumn. Link: http://www.ibna.ir/vdcba9b80rhbzsp.4eur.html   South Africa Wits presents Strindberg's The Father WSOA - Wits School of Arts Artslink, 09/10/2013 Wits School of Arts / WitsMusic and Wits Theatre present The Father by August Strindberg; directed by Makhaola Ndebele from 24 September to 5 October. "The will... is the driving force of the mind. If it's injured, the mind falls to pieces." - August Strindberg Johan August Strindberg (1849 – 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades. Strindberg is a master of understanding and dramatising human complexity; in The Father, he explores themes of masculine heroism, sexual morality, women’s rights, marriage, and religion, intimately. The Captain is an ex-military hero and a well-respected scientist who fights with his wife, Laura, about how to raise their daughter, Bertha. The Captain wants her to be raised as an atheist in the city, whereas Laura wants her daughter to have a different destiny, perhaps as an artist. Government (Swedish) law at the time prevents Laura's wishes about her daughter's future to be followed, so she frames the Captain for insanity in order to win the decision over her daughter's future. In order to make the Captain go insane, she introduces the idea that for all he knows, Bertha may not even be his daughter - implying that she had been unfaithful…! Makhaola qualified for a Performers Diploma in Speech and Drama and a Bachelor of Arts degree (English and Drama) at the University of Cape Town, in 1995 and 1998 respectively. Since graduating, he has worked extensively in various dramatic disciplines as a theatre, television and film actor, a dramatist and screenwriter; a television producer and a creative consultant. Makhaola is currently a contract performance lecturer in Wits School of Arts/Dramatic Arts and a 2014 MA candidate Age restriction: No under 10s Free parking is available in Senate House; the entrance is on Jorissen Street, Braamfontein PRODUCTION: The Father by August Strindberg; directed by Makhaola Ndebele VENUE: Wits Amphitheatre, East Campus, Braamfontein SEASON: 24 September - 5 October at 19:30 RUNNING TIME: Sixty minutes no interval. BOOKING: www.ticket.co.za ; Full price = R45; discount price = R30 (students, pensioners and Wits staff). Tickets are available at the door: full price = R50; discount price = R40 (students, pensioners and Wits staff). WitsTix (pay R10) – 24 September and 3 October at 19:30 ENQUIRIES: 011 717 1376 / Catherine.pisanti@wits.ac.za / www.wits.ac.za/witstheatre Artslink.co.za Account: Cathy Pisanti Wits Theatre catherine.pisanti@wits.ac.za 011 717 1376 Wits School of Arts/Dramatic Arts   Web site: http://www.wits.ac.za/witstheatre/21446/ Link: http://www.artlink.co.za/news_article.htm?contentID=33805 Also: http://www.mediaupdate.co.za/?IDStory=56369   Australia Miss Julie | Belvoir By Jodi McAlister      Australian Stage, Friday, 30 August 2013 01:06 Belvoir’s production of Miss Julie ranks among the most unsettling productions I have ever seen. Simon Stone’s excellent adaptation stays true to the spirit of Strindberg’s script in many ways, but the modern setting necessitates a rethinking of not only language but social mores and the trappings of class. Letitia Cáceres has directed a scintillating piece of theatre, visceral, intense, and deeply, deeply disturbing. Stone’s new version of the script translates the issues of class and gender explored by Strindberg and translates them to a modern setting. This Miss Julie (Taylor Ferguson) is the wayward sixteen year old daughter of a politician, hungry for her father’s attention. Jean (Brendan Cowell) is her bodyguard, while his fiancée Christine (Blazey Best) is the cook. They are the closest thing that Julie has to parents, and yet the relationship between them all is something far more dark and twisted. Julie dreams of escaping her gilded cage, so brilliantly literalised in the second act motif of the birdcage and the murdered bird. When she describes Jean’s extreme childhood poverty as “an experience”, her naïveté is palpable. While she has exoticised and eroticised poverty, Jean has done the same to power, social standing, and notions of “class”. He dreams of being part of the nouveau riche, and as we realise (horribly) in the second act, he is willing to be ruthless and selfish to achieve his dreams of becoming more than he is. Read more: http://www.australianstage.com.au/201308296504/reviews/sydney/miss-julie-|-belvoir.html   Colombia Miss Julia', en versión bilingüe Por Redacción El Tiempo El Tiempo, 29 de Agosto del 2013 La obra teatral será en Casa Ensamble con la participación de John Alex Toro y Gina Jaimes. Miss Julia es una obra escrita en 1888 por August Strindberg que reflexiona sobre la lucha de clases y se enmarca en la Suecia de finales del siglo XIX. Es la historia de Julia, hija de un terrateniente, que intenta encajar en una fiesta de sus sirvientes y termina, en medio de una borrachera, en una relación con uno de ellos. Los colombianos John Alex Toro y Gina Jaimes, y la australiana Tina Mitchell, expertos en el método del japonés Tadashi Suzuki, presentan en Casa Ensamble una adaptación bilingüe de la obra. Toro habla del montaje, que va hasta mañana. ¿Por qué hacer una adaptación de una obra de finales del siglo XIX? Leer más: http://www.eltiempo.com/entretenimiento/teatro/miss-julia-en-casa-ensamble_13031750-4   Australia Miss Julie review: Changes enhance excitement and chill By Jason Blake August 29, 2013 MISS JULIE Belvoir, August 28. Until October 6 Rating: 4 out of 5 stars Spoiler etiquette makes it impossible to describe all the ways in which Simon Stone has departed from the original arc of August Strindberg's 1888 play. Like his version of Ibsen's The Wild Duck and his truncated Death of a Salesman, Miss Julie – "by Simon Stone after August Strindberg" – is another challenge to traditional notions of authorship and to those who expect “faithfulness” to the machinations of a canonical work. More importantly, though, it is a gripping revision that restores this story's capacity to excite and discomfort. Stone resets Strindberg's drama to present day Australia, with Miss Julie (Taylor Ferguson) the rebellious teenage daughter of a wealthy businessman seeking high political office. On this night we learn that Julie has come close to creating a scandal which the family's long-serving dog's body and security presence Jean (Brendan Cowell) nipped in the bud. “She's a f---ing nightmare,” he says to his fiancee, Christine (Blazey Best), over a bowl of risotto (cooked while the audience files into the theatre) and a glass of the boss's best wine. It's only after Christine goes to bed, however, that we see just how dangerous Julie can be. Read more: http://www.smh.com.au/entertainment/theatre/miss-julie-review-changes-enhance-excitement-and-chill-20130829-2ssht.html   New Zeland Class warfare - in the kitchen By Janet McAllister The New Zeland Herald, Thursday Aug 29, 2013 With its Swedish mix of sex, class and mind games, August Strindberg's naturalist (almost real-time) drama Miss Julie has sticking power, having inspired adaptations for 125 years. Patrick Marber's After Miss Julie transports the action to a British country house in 1945. This production, with its varied tempo and sharp dialogue, is entertaining and good value, even if it doesn't quite resonate as a refreshed classic sometimes can. Foreshadowing topsy-turvy class disruption, The Basement's upstairs studio is set as a downstairs kitchen. Chauffeur John (Erroll Shand) is lovingly looked after by his sort-of fiancee, serene cook Christine (Dena Kennedy), but then the house's "crazy" haughty young mistress in a red dress, Miss Julie (Jodie Hillock), bursts in like a firecracker on this cosy domesticity, practically demanding a gender-reversed droit de seigneur. She's after Christine's cigarettes (say, do they stand for something?). Read more: http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=11115829 Canada More empathy, more compassion, and more connection. Natalie Feheregyhazi and Toronto’s Apuka Theatre rework a classic Strindberg play By Kevin Burns The Hungarian Presence, August 26, 2013 One hundred and twenty five years ago, in August 1888, in the expectation of negative audience reaction, August Strindberg tried to explain what he was trying to achieve with his new play, “Miss Julie.” In the Preface of the published edition he wrote: “I have not tried to accomplish anything new but merely to modernize the form according to what I believe are the demands a contemporary audience would make of this art.” Today, this same commitment to adapting a traditional art form in order to engage contemporary audiences is what drives Natalie Feheregyhazi’s reworking of Strindberg’s controversial play. She is not interested in recreating theatre as a museum piece. Instead, she wants to stage an intense theatre event outside the traditional confines of a conventional theatre. This new production, by Toronto’s Apuka Theatre, keeps the play in the nineteenth century but has modified the title – “Lady Julie” – to underline the importance of class and status and their influence on the various “upstairs/downstairs” members of Miss/Lady Julie’s household. The location for this production is not a performing arts space but the Georgian-style Campbell House, built in 1822, the oldest surviving structure from the pre-Toronto Town of York, and which now operates as a community museum.   Read more: http://www.hungarianpresence.ca/Culture/Media/Apuka-theatre-222.cfm   USA August Strindberg Rep Adjusts Dates for MR. BENGT'S WIFE; Will Now Run 9/13-29 By BWW News Desk BroadwayWorld.com, August 26 2013 August Strindberg Repertory Theatre (www.strindberg.org), which was formed in 2012 to illuminate Strindberg's plays for today's American audiences, will present the English language premiere of Strindberg's "Mr. Bengt's Wife" (1882), directed by Craig Baldwin (Associate Artistic Director of Red Bull Theater) September 13 to 29, 2013 at the Gene Frankel Theatre, 24 Bond Street, where August Strindberg Rep is the resident company. "Mr. Bengt's Wife" has been characterized as Strindberg's answer to Ibsen's "The Doll's House." It utilizes realism, expressionism, melodrama and dreamscape to tell the story of the rebellious Margit, whose quest to become an independent New Woman catapults her from a convent to a castle, where her husband and two lovers vie for her attention. A new translation by Laurence Carr and Malin Tybahl makes this undiscovered masterpiece accessible to modern American audiences. It has never before been translated into English and has been performed only five times previously: in Stockholm in1882, Cologne in1908, Vienna in 1914 (the Austrian Church demanded that it close after two performances), Berlin in 1920 and most recently, in Stockholm in 1971. The Strindbergian theme of marriage as an emotional battleground is strongly stated and there are absurdist elements foreshadowing such Strindbergian signature works as "The Dream Play." Read more: http://www.broadwayworld.com/article/August-Strindberg-Rep-Adjusts-Dates-for-MR-BENGTS-WIFE-Will-Now-Run-913-29-20130826   UK New life for Miss Julie - a classic battle of the sexes By Maggie Woods Halifax Courier 26 August 2013 Widely regarded as Swedish writer August Strindberg’s masterpiece, the play Miss Julie paints a dramatic picture of lust, class conflict and boundaries broken. Following a successful national tour this spring, UK Touring Theatre are bringing the play - which has a new English translation from the original Swedish script - to Halifax next month. The production was developed as part of the Swedish Strindberg 2012 centenary celebrations. Set in Sweden on Midsummer’s Eve 1888, the play explores the relationship between aristocratic Miss Julie and Jean, her father’s valet. What starts as a harmless flirtation soon descends into a ferocious power struggle and battle of the sexes - from which neither can escape. Director Denis Noonan said, “Miss Julie is a very powerful piece. The process of translating the play from scratch took about eight months but the result is a script that I think really reflects what Strindberg originally wanted to achieve with the play. “It is exciting and accessible to a modern audience. Read more: http://www.halifaxcourier.co.uk/what-s-on/theatre/new-life-for-miss-julie-a-classic-battle-of-the-sexes-1-5980485   Australia Appetite for scandal Class and the aristocracy get a fresh twist in Miss Julie, a reworked tale of a steamy affair. By Elissa Blake Brisbane Times, August 23, 2013 When August Strindberg's Miss Julie first appeared on the stage in 1888, audiences were shocked by the tale of a young upper-class woman's affair with a family servant. Making the play feel as raw to a 21st-century audience as it did to theatregoers in the 19th century is not easy, especially an audience familiar with ''upstairs-downstairs'' narratives such as Gosford Park or Downton Abbey. This is exactly the effect director Leticia Caceres is aiming for in her new, radically adapted version of the play. ''I want this to feel scandalous,'' she says. Adapted by Simon Stone and transposed to present-day Sydney, Belvoir's Miss Julie ''blows apart'' the original, Caceres says, ''but it's for all the right reasons, I think''. ''It's really hard for us to get involved with a play about class and the aristocracy in the modern, globalised world.'' Advertisement People today have a very different sense of possibility compared with a century ago, says Blazey Best, who plays Christine, the household cook and partner of Jean (Brendan Cowell), the manservant who becomes embroiled in a taboo-smashing affair with his employer's 16-year-old daughter. ''When you have a meritocracy - a so-called meritocracy - like you have in Australia, you get different kinds of resentment building up,'' Best says. ''There isn't the resignation to your lot that you might get in a place like England, for example. Here there's more of a desperate animal struggle.'' Read more: http://www.brisbanetimes.com.au/entertainment/theatre/appetite-for-scandal-20130822-2sc0r.html#ixzz2fEzHXixv Read more: http://www.brisbanetimes.com.au/entertainment/theatre/appetite-for-scandal-20130822-2sc0r.html   En dag där kulturhistoria mötte musik Av Irina Bernebring Journiette Helsingborgs Dagblad, 11 augusti 2013 Maria Wine mötte August Strindberg till toner av folkmusik när besökare på Hagstaddagen mindes Artur Lundkvist och Maria Wine. "Man har skjutit ett lejon", säger Ninni Andersen i form av Maria Wine till Haldor Paulsson i form av August Strindberg och inleder, med titelstrofen ur Maria Wines prosabok, den fiktiva dialogen mellan de två. Uppförandet en del av uppmärksammandet av Hagstaddagen som har anordnats på Artur Lundkvist födelsehem norr om Oderljunga sedan år 1994. Läs mer: http://hd.se/perstorp/2013/08/11/en-dag-dar-kulturhistoria-motte/   Finland ChauvinistStrindberg (?) tolkas sydafrikanskt Av Tomas Jansson Svenska.yle.fi, 08.08.201 Tammerfors teatersommar 2/4 Nej, det är inte min karaktärisering av Sveriges nationaldramatiker. Men här i Tammerfors stöter jag på formuleringen så ofta, att jag inte kan låta bli att kommentera den. Egentligen trodde jag att man i teatersammanhang idag inte längre skulle ha ett sådant tunnelseende att man utan att problematisera formuleringen skulle kalla Strindberg chauvinist och kvinnohatare. Han hade många sidor, geniet August, kvinnohataren var en av dem, men som forskaren Ann-Sofie Lönngren konstaterade i Radio Vega under fjolårets Strindberg-år; ”han har ju starka åsikter om saker, men när han skriver förlorar han kontrollen, han kan börja med att explicit säga att kvinnan är underlägsen mannen, men sen, männen förlorar, och då tycker jag inte man ska låta kvinnohat-uttrycken stå i vägen för att se det, det han säger explicit är bara en bråkdel av hela bilden”. Så när Aamulehti puffar årets stora diskussion (tema; mannen och kvinnan slåss under teatersommaren) med att bara sådär tala om ”chauvinist-Strindberg”, då säger jag bara: ”Inte så!” Ruffig sydafrikansk Strindberg Tammerforsfestivalens affischnamn i år är Sydafrikanska Baxter Theatre Centre som är på världsturné med Strindbergs 125 år gamla klassiker Fröken Julie. I sin originalversion utspelar den sig en midsommarafton, adelsdottern Julie förför betjänten Jean, vilket följs av ett laddat ruffigt välskrivet krig både mellan kön och klass. Slutligen drivs Julie till självmord. Den sydafrikanska versionen utspelar sig inte sent 1800-tal utan tidigt 2000-tal, den tredje figuren Kristin är inte Jeans fästmö utan mamma (och Julies surrogatmamma), istället för midsommarafton firar man årsdagen av apartheidregimens fall, och man har skrivit till en hel del ny sydafrikarelaterad text. Läs mer: http://svenska.yle.fi/artikel/2013/08/08/chauviniststrindberg-tolkas-sydafrikanskt   UK Preview of Mies Julie at Oxford Playhouse By Chris Gray The Oxford Times, Thursday 8th August 2013 Notoriously a shocking play, August Strindberg’s Miss Julie, dating from 1888, has been given an extra level of controversial content in the adaptation, as Mies Julie, by South Africa’s Baxter Theatre Centre under the award-winning writer and director Yael Farber. To the eye-opening plot concerning an aristocratic woman’s seduction of a servant has been grafted a further dimension by making her the white daughter of a farmer and he a black labourer in their employment. Their coupling in a remote South African house 18 years after the end of apartheid touches sensitive nerves. A sensation wherever it has been staged, including New York, the Edinburgh Festival and the Riverside Studios, the play is now heading — in a significant coup for Oxford — for a special five-day visit to the Playhouse, where Farber’s Amajuba, Molora and SeZaR have previously been staged to huge acclaim. Theatregoers will not want to miss a production, featuring live music played on stage, that has been called “just sensational” by the Independent, “emotionally shattering” by the Daily Telegraph and “searingly fearless” by the Guardian. Its fearlessness resides in large part in the graphic sexual content. The Guardian critic wrote: “The sultriness seems to have seeped into Mies Julie’s limbs: she thrums with desire, for something she cannot name. John, her favourite servant, polishes his master’s boots and eyes her warily. She taunts him, entices him, throws herself at him.” Read more: http://www.oxfordtimes.co.uk/leisure/theatre/10596236.Preview_of_Mies_Julie_at_Oxford_Playhouse/   USA August Strindberg Repertory Theatre to Present MR. BENGT'S WIFE, 9/6-29 by BWW News Desk BroadwayWorld.com August 1, 2013 August Strindberg Repertory Theatre (www.strindberg.org), which was formed in 2012 to illuminate Strindberg's plays for today's American audiences, will present the English language premiere of Strindberg's "Mr. Bengt's Wife" (1882), directed by Craig Baldwin (Associate Artistic Director of Red Bull Theater) September 6 to 29, 2013 at the Gene Frankel Theatre, 24 Bond Street, where August Strindberg Rep is the resident company. "Mr. Bengt's Wife" has been characterized as Strindberg's answer to Ibsen's "The Doll's House." It utilizes realism, expressionism, melodrama and dreamscape to tell the story of the rebellious Margit, whose quest to become an independent New Woman catapults her from a convent to a castle, where her husband and two lovers vie for her attention. A new translation by Laurence Carr and Malin Tybahl makes this undiscovered masterpiece accessible to modern American audiences. It has never before been translated into English and has been performed only five times previously: in Stockholm in1882, Cologne in1908, Vienna in 1914 (the Austrian Church demanded that it close after two performances), Berlin in 1920 and most recently, in Stockholm in 1971. The Strindbergian theme of marriage as an emotional battleground is strongly stated and there are absurdist elements foreshadowing such Strindbergian signature works as "The Dream Play." Read more: http://www.broadwayworld.com/article/August-Strindberg-Repertory-Theatre-to-Present-MR-BENGTS-WIFE-96-29-20130801   UK Theatre-In-Focus: August Strindberg's Pariah South Wales Evening Post, Thursday, August 01, 2013 Fluellen's fine script-in-hand performances are a great way to spend a Saturday afternoon; and for a paltry £5, are a relatively cheap visit to the theatre, too. This week sees a performance of Strindberg's Pariah, which charts a tense battle of wits as a mysterious traveller from America stays at the humble home of a Swedish archaeologist. But who is he, and can he be trutsed? Link: http://www.thisissouthwales.co.uk/Theatre-Focus-August-Strindberg-s-Pariah/story-19596880-detail/story.html   Iran ‘The Ghost Sonata’ reprinted in Iran Translated by Javad Atefeh Iran Book News Agency, 30 Jul 2013 ‘The Ghost Sonata’, a play by Swedish playwright Johan August Strindberg and translated into Persian by Javad Atefeh, has been reprinted in Iran. IBNA: Johan August Strindberg was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics. Along with Henrik Ibsen, Søren Kierkegaard, Selma Lagerlöf and Hans Christian Andersen he is arguably the most influential and famous of all Scandinavian authors. Strindberg is known as one of the fathers of modern theatre. His work falls into two major literary movements, Naturalism and Expressionism. He is widely read in Sweden and internationally to this day. ‘The Ghost Sonata’ is a play of his which has been rendered into Persian by Javad Atefeh. The work is reprinted in Iran by Afraz in 1100 copies and 88 pages. Atefeh is supposed to translate a series of Strindberg’s works into Persian. ‘The Father’ has been released in Iran while some other works including ‘Miss Julie’, ‘A Dream Play’ as well as ‘Mäster Olof’ will be released in Iran. Link: http://www.ibna.ir/vdcawmn6649n001.tgk4.html   Ireland Tale of power and lust, stripped to the bare bones MIES JULIE - TOWN HALL THEATRE, GALWAY By Sophie Gorman Irish Independent, 25 July 2013   'Mies Julie' is not 'Miss Julie'; it would be a mistake to think this is simply a new version of August Strindberg's classic 19th Century Swedish play, with the setting transposed to South Africa. Director and playwright Yael Farber has instead taken Strindberg's drama about power, love and lust, stripped it back to the bare bones, shredding Strindberg's words and creating a play to speak of South Africa today, its politics and culture in the process.Here, the footservant Jean has become John; his fiancee Kristen is now his mother Christine. But one of the crucial differences between these 'Julies' is that while Strindberg's play deals with the issues of class and gender in its exploration of love and freedom, here we have a play focusing more on property, ownership and the huge added dimension of race, which is perhaps one tangle too far.   Read more: http://www.independent.ie/entertainment/books-arts/tale-of-power-and-lust-stripped-to-the-bare-bones-29447226.html     Ireland Turning up the heat in South Africa South Africa’s intense society shows the best and worst of humanity, says Yael Farber. Can ‘Mies Julie’, her version of Strindberg’s class tragedy, escape apartheid? By Peter Crawley The Irish Times Mon, Jul 22, 2013 Miss Julie has been called many things in her time: “mad”, “crazy”, “wild” and, more recently, “off her head”. Those are just a few of the adjectives, culled from various translations – the last belonging to Frank McGuinness – to describe the heroine of August Strindberg’s 1888 tragedy of sexual desire and inflexible class barriers. She has also frequently moved home: from late 19th-century rural Sweden; to an English country manor during the Labour party’s landslide victory in 1945, in Patrick Marber’s After Miss Julie; or to America’s Jazz Age, in Neil LaBute’s recent version. Now, though, Miss Julie is really feeling the heat. “She’s mad again, tonight, ma. Bewitched,” says John, in the opening words of Yael Farber’s internationally celebrated new version, set in contemporary South Africa. It may seem like a modest alteration, but everything else here has been pointedly transformed. The valet, Jean, has now become John, a Xhosa servant on a farm in Karoo, on the Eastern Cape of South Africa. Where he once addressed his fiancée, Christine, he is now addressing his mother, a domestic worker who also raised Julie, the white Afrikaans daughter of her employer, following her mother’s suicide. Read more:  http://www.irishtimes.com/culture/stage/turning-up-the-heat-in-south-africa-1.1468964   España Terror conyugal Por Alejandro Gándara El Mundo 17 jul 2013 Los textos del pasado día pertenecen al prólogo a la primera parte del libro de relatos de August Strindberg: "Casarse. Historias de matrimonios" (Nórdica, varios traductores). En el volumen se encuentra también una segunda entrega de narraciones sobre lo mismo, con su correspondiente y más devastador prólogo (en la primera, Strindberg aún no se había casado y, en la segunda, ya se había divorciado). Es un libro de terror o, mejor dicho, sobre pesadillas, pero sobre pesadillas de la vigilia. El repertorio cotidiano de miserias, vilezas, traiciones, trampas, engaños, burdos intereses, maquinaciones y tropelías diversas entre las parejas institucionalizadas está aquí desplegado en toda su variedad y riqueza, o sea, en todo su asco. Ingmar Bergman lo tuvo como inspiración para su colosal e igualmente pavorosa "Secretos de un matrimonio" (de la que Woody Allen extraería a su superficial modo la mayor porción de sus materiales sobre el asunto). Leer más: http://www.elmundo.es/blogs/elmundo/escorpion/2013/07/17/terror-conyugal.html   USA Unhappy the Man The life and work of August Strindberg. By Algis Valiunas The Weekly Standard Book Review, Jul 8, 2013, Vol. 18, No. 41 The earth is a place of woe and wailing: This is an understanding as old as human consciousness. However, most men and women have always seen that such an understanding is hardly adequate. Small contentments and towering ecstasies, consolation and redemption, must have their significance as one considers the arrangements that the Powers have made for us. What, then, are we to make of the thinkers and artists who believe that our world is Hell? In the superb essay “The Dark Brain of Piranesi,” Marguerite Yourcenar describes the mid-18th-century series of engravings Invenzioni Caprice di Carceri, or Imaginary Prisons, as images of human damnation under a human regime: These sites of hard labor from which Time and the forms of living nature are eliminated, these sealed chambers which so readily become torture chambers, but in which most of the inhabitants seem perilously and obtusely at their ease, these abysses which are bottomless and yet without means of escape, are no ordinary prison: they are our Inferno, our Hell. Men condemn not only others but also themselves to this dark confinement, Yourcenar suggests, when there is no God to stop them. She plainly has more recent enormities in mind. There is abundant evidence for this view. Yet Piranesi’s vision (and Yourcenar’s) stops short of the ultimate terror. For what if Hell on earth is not of human devising but enforced by metaphysical fiat? Can there be a more frightful intuition or revelation than that one is a resident of Hell by order of some implacable Power? Such an insight sounds like the stuff of schizophrenia, or an episode of The Twilight Zone; most anyone who succumbs to this occult delirium is offered pity, derision, and a straitjacket or padded cell. Yet even a genius such as August Strindberg (1849-1912), the Swedish writer, painter, photographer, and pseudo-scientist, can fall victim to this loss of equilibrium. Strindberg registered intimations of his own earthly damnation early in his literary career, and felt them perhaps already in childhood. His life was certainly cruel enough that one can understand how this obsession seized him: In a 1907 letter, he wrote, “My life often seems as if it has been staged for me, so that I might both suffer and portray it.” It is remarkable that his suffering did not disable him from accomplishing anything at all. In fact, he wrote more than 60 plays, 18 novels, 9 volumes of autobiography (more precisely, autobiographical novels), 3 books of poetry, historical and linguistic tomes, antifeminist and anti-Semitic screeds, and some 10,000 letters. Here, Sue Prideaux, an Anglo-Norwegian novelist and author of a prize-winning biography of Edvard Munch, breaks little new ground—Michael Meyer’s exhaustive and engaging 1985 biography remains the standard in English—but she goes over the familiar ground ably and succinctly. Read more: http://www.weeklystandard.com/articles/unhappy-man_738024.html   En "Fröken Julie" från Skottorps slott Av  Irina Bernebring Journiette Helsingborgs Dagblad 5 juli 2013  Några frågor till Mikael Berg från Dramaten som regisserat långfilmen "Fröken Julie" som spelats in på Skottorps slott och har premiär i Laholm lördagen den 6 juli. "Fröken Julie" har filmatiserats flera gånger. Varför tror du att pjäsen är så i ropet? – Det är något med det här dramat som gör att folk fortfarande, hundra år senare, fascineras av det. Det är en historia om förbjuden kärlek och kärlek på liv och död. Det finns i "Romeo och Julia" och i "Fröken Julie" och då blir de klassiker. Klassiker är något man ständigt återkommer till och är nyfiken på och vill återvinna och sätta ny prägel på. Läs mer: http://hd.se/noje/2013/07/04/en-froken-julie-fran-skottorps/   FREDAX Eh... Strindberg på Gatufesten Av Björn Brånfelt Dagbladet 5 juli 2013 Elvira Madigan hade dansat på lina över torget. August Strindberg kunde gästspelat på stora scenen. Vilken anrik historia Gatufesten skulle haft om festen grundats 100 år tidigare än den gjorde. Hur skulle det sett ut om Sundsvalls Gatufest grundats 1888 i stället för 1988? Tja. Läs mer: http://dagbladet.se/kulturnoje/1.6044763-eh-strindberg-pa-gatufesten   Brasil Peça de August Strindberg chega à Fafi Em nova temporada, o espetáculo "Credores", com a Boyásha Trupe, volta com novidades Por Tiago Zanoli GazetaOnline 04/07/2013 Com a peça “Credores”, de 1888, o escritor e dramaturgo sueco August Strindberg (1849-1912) abordou a “derrota” do ideal de sociedade ocidental do século XIX, sobretudo os laços matrimoniais e a instituição familiar. Neste ano, o espetáculo ganhou uma leitura contemporânea pelas mãos da Boyásha Trup, de Vila Velha. Após pré-estreia no Teatro Carlos Gomes, em janeiro, e uma temporada no Colégio Maria Ortiz, em março, a produção volta a ser encenada nos palcos da cidade, agora na Fafi, também no Centro de Vitória. A temporada segue em cartaz às sextas e sábados, nesta e na próxima semana. A novidade, desta vez, é o elenco. No lugar de Jéssica Gasparini e de Sandro Mendonça, que interpretavam Teka e Adolfo, respectivamente, entraram Lorena Lima e João Paulo Stein, que é também o diretor. Leia mais:  http://gazetaonline.globo.com/_conteudo/2013/07/noticias/cultura/1451951-peca-de-august-strindberg-chega-a-fafi.html Confira Espetáculo teatral “Credores” Texto: August Strindberg Quando: dias 5, 6, 12, e 13 de julho Onde: Fafi, Avenida Jerônimo Monteiro, 656, Centro, Vitória Entrada: R$ 10 (meia) e R$ 20 (inteira), à venda no local Informações: (27) 3061-5573   Brasil Crítica: Cruel Teatro de revista por Rafael Teixiera Veja Rio 02 julho 2013 CRUEL, adaptação de Elias Andreato a partir da obra de August Strindberg (1849-1912). Montado pela primeira vez em 1889, Os Credores foi definido pelo autor, o sueco August Strindberg, como seu trabalho mais maduro. O título é uma referência ao triângulo amoroso formado na trama: uma mulher, seu ex-marido e o atual companheiro, todos, de alguma forma, credores afetivos uns dos outros. Ao ser rebatizada de Cruel, a montagem brasileira parece querer centrar as atenções em um dos vértices desse triângulo: o ardiloso Gustavo (Reynaldo Gianecchini), que se aproxima do pintor Adolfo (Erik Marmo) com o objetivo de perturbar o casamento dele com Tekla (Maria Manoella), sua ex-mulher. Nesse jogo psicológico, porém, a direção de Elias Andreato se revela um tanto morna. Some-se a isso a atuação apenas mediana do elenco. Ressalvas à parte, o arguto olhar de Strindberg sobre a natureza do homem fica preservado. Leia mais: http://vejario.abril.com.br/blog/teatro-de-revista/tag/august-strindberg   Argentina Síntesis La Nacion, 01 de julio de 2013 Acreedores, pieza de August Strindberg El lunes también es un día de estrenos teatrales, ¿por qué no? De hecho, esta noche sube a escena una nueva versión de Acreedores, la reconocida pieza de August Strindberg que contará con la dirección y puesta en escena de Diego Burzomi y José Manuel Espeche. En la ficción, un matrimonio pasa unos días en una cabaña veraniega. Ella, de golpe, tiene que ausentarse unos días por motivos laborales. Él conoce a otro huésped con quien entabla amistad. Quizá más que eso: probablemente haya entablado una alianza que, a la vuelta de ella, es lo que desata un interesante conflicto. Con Christian Alladio, Mariano Muente y Andrea Baliel, Acreedores se presentará los lunes, a las 20, en el Auditorio Losada (Corrientes 1551). Desde 70 pesos. Link: http://www.lanacion.com.ar/1596954-sintesis   Acne inspireras av Strindberg Av Roger Åberg TJock Garderoben / Kläder Acnes Jonny Johansson var på en utställning med August Strindbergs självporträtt i höstas och fick där inspiration till den nya kollektionen. Med inslag från det förra sekelskiftet och med tolkningar av militärkläder får Acne faktiskt till något unikt och riktigt snyggt. Detta är alltså höst/vinter-kollektionen för 2013. Se mer: http://tjock.se/garderoben/art/261706/acne_inspireras_av_strindberg/   Fashion Artist & Playwright August Strindberg Inspires Acne Marble Print Footwear By Lena Dystant Selectism June 28, 2013 No. 01 / 03 Browse Gallery Acne take inspiration from the work of Swedish Artist & Playwright August Strindberg for this smart marble print Adrian shoe. Coated tech nylon, full rubber foxing sole, padded ankle and bonded calf skin lining, part of a limited edition Fall Winter 2013 collection, find yours: http://shop.acnestudios.com/shop/men/shoes/adrian-print-marble-blue.html Link: http://www.selectism.com/2013/06/28/artist-playwright-august-strindberg-inspires-acne-marple-print-footwear/   Costa Rica Dolorosos sueños Por Luis Fernando Vargas Vega La Nación, 27 de junio de 2013 Con El sueño (1901), el dramaturgo August Strindberg traslada la imposibilidad de las experiencias oníricas al arte escénico: el tiempo y el espacio son  insignificantes; la realidad se crea en la mezcla de recuerdos, vivencias, absurdos e invenciones. Strindberg catalogó  esta obra como una comedia onírica, refiriéndose a su intento por imitar la forma incoherente, pero en apariencia lógica, de los sueños. A telón abierto, el escenario se transforma de las afueras de un teatro a la oficina de un abogado; luego, la oficina se vuelve una iglesia, cambiando cada objeto por uno nuevo ubicado en el mismo lugar. El tiempo también carece de verosimilitud. Un ejemplo  es el envejecimiento extremo de un personaje a la espera de un cerrajero que abrirá la puerta que lo separa de su amada. Los acontecimientos se circunscriben a un estado psicológico del cual no hay salida. Leer más: http://www.nacion.com/ocio/teatro/Escenas-Strindberg_0_1350265074.html   Förvånansvärt piggt av nationalmålaren Självmedveten och beräknande eller familjekär idealist? Sebastian Johans har sett en förvånande pigg utställning med den nötta nationalmålaren Carl Larsson. Av Sebastian Johans UNT 2013-06-27 I En ny blå bok från 1908 begick August Strindberg ett förhållandevis omsorgsfullt karaktärsmord på sin gamle vän Carl Larsson, som han beskrev som en förljugen horkarl som bedrog publiken genom att ståndigt måla den nationalromantiska familjelyckan tillsammans med Karin och barnen på Sundborn.  När Carl Larsson fick boken i sina händer tappade han fattning och spenderade kvällen genom att oroligt gå upp och ner för gatorna i centrala Stockholm med en kniv i fickan för att hitta och göra upp med sin före detta kamrat. Läs mer: http://www.unt.se/kultur/konst/forvanansvart-piggt-av-nationalmalaren-2483493.aspx   Italia Festival/Rassegna    Il Giardino delle Esperidi Festival Il 26 e 27 giugno a Olgiate Molgora (LC) By Maurizio Carra Teatrionline Due prime nazionali di Visual Theatre al Giardino delle Esperidi. Il Festival accoglie il 26 giugno ad Olgiate Molgora, nel’affascinante cornice di Casa Gola, Petr Nikl, uno dei più noti artisti visivi della Repubblica Ceca, con I am your bunny, indagine autobiografica ispirata alle opere-gioco della madre Libuše Niklová, anch’essa artista. La Sala Civica ospita invece ett drömspel [il sogno] di August Strindberg, nella messa in scena della compagnia finlandese Viirus. Olgiate Molgora, Sala civica Mercoledì 26 e Giovedì 27 giugno, ore 21.00 [...] Ett drömspel [il Sogno] produzione Viirus di August Strindberg regia e coreografia Jakob Höglund con Oskar Pöysti, Simon, Häger, Jessica Raita, Åsa Wallenius luci Mari Agge suono Kristian Ekholm costumi Heidi Wikar scene Sven Haraldsson tecnici Nicke von Weissenberg, Albert Sundström prima nazionale durata: 1 h, 15 min La versione di Viirus del più particolare lavoro di Strindberg offre al pubblico una grande performance di visual theatre. Agnes, la dea figlia di Indra, si stufa di suo padre e decide di scendere sulla terra per capire cosa significhi essere umani. Incontra l’Ufficiale che non ha il coraggio di vivere, l’Avvocato che ha il male di vivere e il Poeta che pensa di conoscere il significato della vita. Ett drömspelsegue la logica – o la non-logica – dei sogni. Cosa hai sognato la scorsa notte? Ti sei già dimenticato o ti ricordi solo immagini sfocate? Divertiti ad essere confuso. Viirus La compagnia è stata fondata nel 1987 da tre giovani attori e un direttore, come alternativa al teatro istituzionale. Negli anni Viirus è diventato un teatro acclamato e famoso, capace di stimolare e sorprendere continuamente il suo pubblico. Il teatro Viirus si trova al centro di Helsinki. Viirus Generation 2.0, un gruppo di giovani professionisti del teatro, è responsabile delle attività da inizio 2011. Viirus Generation 2.0 intreccia la tenacia artistica e il metodo di lavoro democratico che hanno caratterizzato il teatro sino a quel momento con nuove idee e un profilo più aperto. Gli spettacoli hanno una base drammaturgica, con una forte attenzione alla fisicità. PREZZI: da 10 a 3 euro | Abbonamenti da 99 euro (tutti gli spettacoli) a 25 euro (5 spettacoli) INFORMAZIONI E PRENOTAZIONI: ScarlattineTeatro – Campsirago Residenza tel. +39 039 9276070 | e-mail info@scarlattineteatro.it | sito www.scarlattineteatro.it Link: http://www.teatrionline.com/2013/06/il-giardino-delle-esperidi-festival-2/       España Sangre de una madre y sangre de sus hijos, Ahora empiezan las vacaciones… Una versión muy íntima de El pelícano de Strindberg, a cargo de Paco Bezerra Por Julio Castro La República Cultural, Sábado 22 de junio de 2013 Papá ha muerto, era un hombre libre, sin hipocresía y sin amigos… esa es en parte la visión de su hijo, mientras que la de la hija es muy diferente, seguramente, por la influencia de la madre sobre ella. A partir de una versión de El pelícano, de August Strindberg, Luis Luque pone en escena un buen texto de Paco Bezerra, en el que se sintetizan los personajes y sus caracteres en cuatro papeles, que comenzarán luchando por su vida, para acabar haciéndolo por la dignidad como alternativa a la ausencia de libertad. La decepción es lo que guía la vida en común, el punto de encuentro de los hermanos, la despiadada madre y el cínico y cruel yerno, que destapan sus verdaderos sentimientos en el primer reencuentro tras el entierro del padre, un hombre que ha sido finalmente vencido por su entorno, por la desidia de su vida más cercana y por el dominio y la tiranía. Creo que se ha llevado a cabo una adaptación muy interesante de la propuesta de Strindberg, de manera que los papeles (especialmente de Lola Casamayor y de Raúl Tejón) transmiten el odio y la miseria, el deseo de aferrarse a la vida a costa de lo que sea, hasta ver logradas o fracasadas sus expectativas, mientras su entorno lucha contra ell@s y se opone a sus deseos. Leer más: http://www.larepublicacultural.es/article7183.html     Argentina "Strindberg tiene la misma locura que yo" La obra escrita, protagonizada y dirigida por Héctor Ansaldi, se basa en el libro autobiográfico de August Strindberg. La obra sube a escena todos los sábados en Caras y Caretas. Por Luciana Boglioli La Capital, 22 de junio de 2013 A pedido de un alumno y como homenaje a los 100 años de la muerte de August Strindberg, el gran Héctor Ansaldi adaptó "Inferno"; que es una especie de autobiografía del dramaturgo sueco, la cual consteló con su propia historia. Según el actor y director rosarino, durante el proceso creativo surgieron varios paralelos entre él y Strindberg, que hicieron que el estilo "ansaldesco" se potencie al máximo y desate su propia locura, que lo llevó a cancelar la presentación de esta obra en España y a estar bajo tratamiento psiquiátrico. "En 2012 me puse a trabajar para pasar este libro al teatro. Y la verdad que me llevó a hacer una locura mía, por poco me internan en un psiquiátrico y por eso no pude ir a España. Fue terrible. Esta obra me sacó de las casillas porque tiene mucho que ver conmigo. Strindberg se volvió loco y, a partir de la obra, yo también", relató Ansaldi. La obra escrita, dirigida y protagonizada por Ansaldi junto a Martín Antuña, Manuel Lafranchi y Flor Cardú, sube a escena todos los sábados a las 22 en el teatro Caras y Caretas (Corrientes 1518), que este año cumple 40 años. CIELO E INFIERNO. Es la primera vez que Ansaldi no encuentra una similitud con su personaje fetiche, Piripincho. En otras obras suyas, de Chejov, Shakespeare, e inclusive en el Zaratustra de Nietzsche existieron varios puntos de contacto con Piripincho, pero en este caso, Ansaldi encontró algo completamente distinto que late en su propia existencia como actor y director. "Creo que Strindberg tiene la locura que tengo yo. Es un personaje que nunca hice. Este no tiene nada que ver con Piripincho, tiene más que ver conmigo y ahí se generó un chispazo", destacó el actor. Leer más: http://www.lacapital.com.ar/escenario/Strindberg-tiene-la-misma-locura-que-yo-20130622-0010.html   Brasil Gritos e sussurros na hora do desejo e da submissão Senhorita Júlia, de Strindberg, encenada pelo grupo Tapa, sintetiza a luta de classes e a guerra de sexos Por Jefferson del Rios Estadão.com, 21 de junho de 2013 Com uma estilização entre a esgrima e o tango, o diretor Eduardo Tolentino e os bons novos intérpretes do grupo Tapa criaram um conciso e denso Senhorita Júlia do sueco August Strindberg (1849-1912), peça sobre o caso amoroso de uma nobre e seu criado. A linha adotada contorna o naturalismo e o tamanho talvez excessivo do original, mas conserva sua essência. No caso, trata-se de combate de sexos e luta de classes encenados com equilíbrio psicológico e gestos geométricos como um cruzar de floretes. Não se sabe quanto Strindberg quis usar da história do seu país, mas é possível imaginar que o enredo tem ecos da Grande Guerra do Norte (1715), quando a Suécia deixa de ser uma grande potência ao perder para uma coligação adversária formada pela Rússia, Dinamarca e Polônia, o que lhe custou, entre outros prejuízos, o território da atual Finlândia. É apenas uma hipótese porque Strindberg já é filho da Suécia pacífica e próspera que conhecemos depois do último conflito que resultou na separação da Noruega do trono de Estocolmo. Em todo caso, são lembranças e podem sugerir metáforas a um espírito belicoso e intelectualmente influenciado por Darwin e Nietzsche (a sobrevivência dos mais fortes) e atormentado no plano pessoal. Leia mais: http://www.estadao.com.br/noticias/impresso,gritos-e-sussurros-na-hora-do-desejo-e-da-submissao-,1045192,0.htm   Fröken Julie i sommarnatten Björn G Stenberg letar efter midsommar på film och hittar främst två giganter från teatern och litteraturen, August Strindbergs Fröken Julie och William Shakespeares En midsommarnattsdröm. Av Björn G Stenberg UNT, 2013-06-21 Midsommar ligger bland de tre stora i Sverige, i tät tävlan med julafton och nyår – och kanske sista april, dagar då man MÅSTE ha något organiserat för att inte känna sig misslyckad. Konstigt nog har ändå inte midsommarfirandet avsatt så enorma spår i filmproduktionen som man kunde tro. Främst ligger fortfarande Strindberg och Shakespeare, alltså Fröken Julie och En midsommarnattsdröm. (Nej, Morden i Midsomer var inte det som eventuellt tog död på genren.) Redan 1912 kunde man se August Strindbergs klass- och triangeldrama Fröken Julie överfört till film. Roligt nog var det en kvinna som regisserade, Anna Hofman-Uddgren. Manda Björling spelade titelrollen, August Falck och Karin Alexandersson de övriga. Sedan dess har det då och då kommit en filmtolkning av dramat, fast långt ifrån så ofta som på teatern förstås. Det senaste året gav sig Helena Bergström på det hela med Nadja Mirmiran som herrgårdsfröken Julie och Björn Bengtsson som betjänten Jean, Sofi Ahlström Helleday spelade pigan Kristin. Läs mer: http://www.unt.se/kultur/froken-julie-i-sommarnatten-2476709.aspx   USA The Blog First Nighter: London Consumer Report on "Othello," "Strange Interlude," August Strindberg, Peter Nichols By David Finkle, Huffington Post 06/20/2013 [...] "Love and hate, arm in arm," Alice (Linda Marlowe) comments tartly in August Strindberg's Dances of Death, which Howard Brenton has both trimmed and extended at the Gate. What he's redacted is the familiar Dance of Death in which Alice and Edgar (Michael Pennington) attack each other with an alloyed hatred concealing a steely love that confounds those around them, notably impressionable friend Kurt (Christopher Ravenscroft).That's now the first part of the opus, with the second half--much less frequently seen--unfolding two years later to the sound of even more of designer George Dennis's crashing waves. Here, Edgar and Alice's headstrong daughter Judith (Eleanor Wyld) taunts Kurt's son Allan (Edward Franklin) and a handy lieutenant (Richard Beanland). Edgar gets his jollies tormenting them all.Strindberg unashamedly believed in the milk of humor hatred, and milks it for all its worth, with director Tom Littler abetting him effectively. The playwright's misanthropy ultimately tests credulity, but it's forever something to behold in eye-popping awe. Link: http://www.huffingtonpost.com/david-finkle/first-nighter-london-cons_b_3470325.html   España ‘Casarse’, el matrimonio según August Strindberg Hoyes Arte, 18/06/2013 Nórdica publica por primera vez en España ‘Casarse. Historias de matrimonios’, una novela del siempre provocador escritor sueco August Strindberg (1849-1912) compuesta por treinta relatos sobre las diferentes maneras de entender las relaciones de pareja, así como las tensiones que siempre entraña la convivencia de dos personas. Casarse es el libro más leído de Strindberg en Suecia. La primera parte se publicó en 1884 y reunía 12 historias de matrimonios con entrevista y prólogo. El propio autor era consciente de que el lenguaje desenfadado y las escenas atrevidas le podían causar problemas con la justicia, y así fue. El proceso al libro ayudó a que fuese todo un éxito y muchas mujeres apoyaron su causa. Pese a los problemas con la justicia, el escritor se animó a escribir una segunda parte, mucho más polémica, compuesta en esta ocasión por 18 relatos. Leer más: http://www.hoyesarte.com/literatura/ficcion/casarse-el-matrimonio-segun-august-strindberg_121489/     Portugal Roda dos Livros Livros em Movimento O Sacristão Romântico de Rånö – August Strindberg (& etc) Por Jorge Alexandre Navarro Junho 16, 20130    O Sacristão Romântico de RånöReconhecido como o escritor nacional na Suécia, August Strindberg (1849-1912) notabilizou-se em peças de teatro que ainda em vida viu serem levadas a palco em vários países, nomeadamente nos EUA e os romances reconhecidos como modernistas centrados no naturalismo nas primeiras obras caminhando gradualmente para o expressionismo e até surrealismo, sendo o autor um dos precursores desta tendência na literatura no seu país. O Sacristão Romântico de Rånö (1888) é nas palavras do próprio August Strindberg como «o que escrevi de melhor» sendo a novela que antecipa muitas das reflexões, inquietações e o delírio que reflete a difícil distinção entre o real e o imaginário, temas abordados pelo autor em Inferno (1897). Alrik Lundstedt é o personagem central desta pequena novela sendo ele próprio O Sacristão Romântico de Rånö que desde criança “aprendeu a brincar sem brinquedos – que nunca havia visto -, sem companheiros, sem sítio para brincar e sem conhecer jogos” (p. 75). Assim, o pequeno Alrik encontrou na natureza os seus amigos e os seus jogos de criança, técnica que utilizou durante todo o resto da vida misturando com frequência a realidade com o sonho sentindo dificuldade em destrinçar, por vezes, um plano do outro. Alrik cresce e decide deixar a sua pequena ilha que consegue dar a volta em apenas quinze minutos dirigindo-se a Estocolmo onde aprenderá a tocar órgão para a igreja e também para ser professor. Ao apaixonar-se pela vida moderna da capital, Alrik continua a identificar nos elementos da natureza os seus pares, assim como a sua amada, quando tem de regressar à sua ilha natal. Leia mais: http://rodadoslivros.wordpress.com/2013/06/16/o-sacristao-romantico-de-rano-august-strindberg-etc/ Argentina COMPAñíA TEATRAL "A16PIES" Presentarán una obra en la que todo es posible "Sueño": En esta obra, el autor ha intentado imitar la forma inconsecuente, aunque transparentemente lógica de un sueño. Perspectiva SUR, 13/06 2013 Este sábado 15 de junio la compañía Teatral "A16pies" interpretará la obra "Sueño", una adaptación de la obra de August Strindberg dirigida por Roberto Aguirre. El espectáculo comenzará a las 21 en el Salón Auditorio del Centro Cultural Municipal "León F. Rigolleau", ubicado en calle 15 Nº 5675, con entradas anticipadas por valor de 25 pesos (15 pesos con Cédula de Identidad Ciudadana). Las mismas podrán adquirirse de lunes a viernes de 9 a 21 en el Complejo Municipal "El Patio", calle 149 e/15 y 15A, Berazategui. ANÁLISIS DE LA OBRA Todo puede suceder, todo es posible y probable. No existen ni el tiempo ni el sitio; sobre una base insignificante de realidad, la imaginación teje, entrelazando nuevas formas; mezcla de recuerdos, experiencias, fantasías libres, incongruencias e improvisaciones. Link: http://www.perspectivasur.com/2/nota_1.php?noticia_id=33223 USA, CA August Strindberg & The Ghost Sonata By Stephen Rockwell A Noise Within, June 12, 2013 The next play up on The Words Within program, A Noise Within’s Resident Artist play-reading series, is August Strindberg’s hauntingly complex and groundbreaking play The Ghost Sonata, which I’ll be directing. The play was selected for a number of reasons. First, audience members requested that we read a Strindberg play. Second, A Noise Within has not yet produced any Strindberg plays. And, third, I myself am fascinated by Strindberg and wanted to delve more deeply into his work. In a 1986 NY Times Book Review article Arthur Miller wrote, “the impact of [Strindberg’s] dramatic method, is probably greater and less acknowledged than that of any other modern writer… [he was] one of the prime inventors of our theatre and of our time.” Many of the most influential artists of the 20th Century claim to have been influenced by the work of Johan August Strindberg (1-22-1849 to 5-14-1912). Beckett, Williams, Pinter and especially Eugene O’Neill praised Strindberg’s relentless inventiveness and willingness to push the boundaries of form, which encouraged them and allowed them to follow suit. When O’Neill received the Nobel Prize for Literature in 1936 he devoted much of his acceptance speech to August Strindberg saying, “I am only too proud of my debt to Strindberg. For me, he remains the Master…still to this day more modern than any of us, still our leader.” Edward Albee has openly stated that “Who’s Afraid of Virginia Woolf?” is an homage to Strindberg’s brilliant play “The Dance of Death”. Even his contemporary, the great Henrik Ibsen, had a portrait of Strindberg above his desk. A notoriously unpleasant man, who surely made more enemies than friends, he was not beloved by all. Read more: http://www.anoisewithin.org/august-strindberg-the-ghost-sonata/   Honduras Sea parte de “El viaje de Pedro el afortunado” con el Teatro Memorias La obra teatral será presentada el 16, 23 y 30 de junio, y el 7 de julio en la Casa del Teatro Memorias. Por Samaí Torres El Heraldo, Martes 11 de junio de 2013 Tegucigalpa, Honduras: La obra “El viaje de Pedro el afortunado”, del sueco August Strindberg, será puesta en escena en Honduras por el Grupo Teatral Memorias, este domingo a las 11:00 de la mañana y 2:00 de la tarde, en la Casa del Teatro Memorias. Después de que hace aproximadamente tres años el grupo presentara su primera obra de teatro infantil “El generalito”, nuevamente Memorias realiza el montaje de esta obra de uno de los dramaturgos más importantes de Suecia, quien escribió esta historia a inicios de la década de 1880. Esta sería la segunda obra teatral del sueco que estará bajo la dirección de Tito Ochoa, quien ya ha puesto en escena “La señorita Julia”, (1888). El elenco de “El viaje de Pedro el afortunado” está integrado por Óscar Quiroz (Pedro), Larisa Muñoz (Lisa), Bruno Valladares (el padrino mágico), Jean Navarro (el duende), Marey Álvarez (la madre de Pedro), Walter Lobo (la rata) y Gary Nazar (el gran visir). La obra está dividida en cinco actos y tiene una duración de una hora con quince minutos. Teatro Memorias realizará además de las dos presentaciones de estreno, seis puestas de esta historia, las cuales tendrán lugar el 23 y el 30 de junio, y el 7 de julio, a las 11:00 de la mañana y 2:00 de la tarde, en la Casa del Teatro Memorias, ubicada en el barrio La Plazuela. El valor de la entrada es de 30.00 lempiras los niños y L 60.00 los adultos. Más sobre la obra Tito Ochoa expresó que aunque esta es una obra de teatro infantil, las características que presenta son las de una obra de teatro completa, que está protagonizada por un niño: Pedro, que es encerrado por su madre para que no sufra los males del mundo, pero que por la intervención de un padrino mágico tiene la oportunidad de visitar diversos mundos, en los cuales siempre buscará la felicidad y se dará cuenta que no la encontrará donde usualmente la buscan los humanos. Y así transcurre la obra, en un viaje de infortunios que hacen que Pedro entienda que la vida, a pesar de no ser fácil, “deja muchas satisfacciones”, dijo Ochoa, y que la felicidad usualmente está en lugares donde no es buscada. Descubra el final de la historia y adéntrese en este viaje de Pedro, en la obra patrocinada por EL HERALDO. Leer más en: http://www.elheraldo.hn/Secciones-Principales/Vida/Sea-parte-de-El-viaje-de-Pedro-el-afortunado-con-el-Teatro-Memorias   UK Led Zeppelin's John Paul Jones busy writing an opera for reunion Legendary rock band’s bassist is adapting a Strindberg play Gulf News (Guardian News & Media Ltd), June 11, 2013 More Led Zeppelin news: John Paul Jones is writing an opera. While Robert Plant has dangled the possibility of reuniting Led Zeppelin next year, the band’s bassist revealed that he has his hands full adapting a 105-year-old Swedish play. “2014 is full of opera for me at the moment,” Jones explained in a recent interview. Red Carpet News had caught up with the rocker at an after-party for the English Nation Opera’s latest production, The Perfect American. “[Opera] is unlike anything else,” he said. “It’s the emotion, the passion, and I’m writing an opera myself so I have to say that.” Jones’s opera is based on Spksonaten (The Ghost Sonata), written by August Strindberg. “Right now I’m halfway through the first act,” he said. A favourite of Ingmar Bergman’s, the play mixes the surreal and the domestic, with ghosts roaming through a Stockholm apartment building. It first premiered in January 1908. Although still best known for his work with Led Zeppelin, Jones roamed widely before, during and after his time with the band. Over the past 30 years, he has collaborated with artists as diverse as REM, Diamanda Gals, Foo Fighters, Gillian Welch, and the Norwegian avant-gardists Supersilent. These days, Jones said, he only has time “to do little gigs that I don’t have to prepare too much for”. Unfortunately for Led Zeppelin fans, this seems to put an end to discussions of a possible reunion. Whereas Robert Plant blocked the group’s last attempts to get together, saying he was too busy with Alison Krauss and the Band of Joy, Jones is now the one with clashing priorities. “I’ve got nothing to do in 2014,” Plant complained earlier this year. Link: http://gulfnews.com/arts-entertainment/music/led-zeppelin-s-john-paul-jones-busy-writing-an-opera-for-reunion-1.1195506   UK Dances Of Death, Gate Theatre - theatre review Howard Brenton’s robust new adaptation of Strindberg's The Dance of Death (1900) includes the little-seen and unnecessary Part Two By Fiona Mountford London Evening Standard, 11 June 2013 Fittingly, the couple behind me at the Gate were having a distinctly acerbic conversation prior to the start of this play. August Strindberg would surely have smiled with twisted pleasure, given that his drama centres on a married couple who have been tormenting each other for 30 years. It’s no wonder Edward Albee used them as inspiration for George and Martha in Who’s Afraid of Virginia Woolf? We normally just get to see Part One of The Dance of Death (1900), an airless three-hander in the manner of Strindberg’s Miss Julie. Here, however, Howard Brenton’s robust new adaptation also includes Part Two, which sees the misery opened out to the next generation. But if ever a play didn’t necessitate a sequel it’s this one and Part Two’s endless flashes of short scenes in an uncertain location tell us little we couldn’t have intuited from the end of Part One. Read more: http://www.standard.co.uk/goingout/theatre/dances-of-death-gate-theatre--theatre-review-8653192.html   España Paul Jones, de Led Zeppelin, prepara una ópera sobre un texto de Strindberg ABC.es 10/06/2013 «El 2014 está lleno de ópera para mí por el momento», explicó Jones en una entrevista reciente. Red Carpet News pudo hablar con el rockero en una fiesta posterior para la última producción de la English National Opera, «The Perfect american», una coproducción con el Teatro Real de Madrid con música de Philip Glass, en la que se retrata la vida de Walt Disney. «[La Opera] se diferencia de cualquier otra cosa -dijo-. Es la emoción, la pasión. Y yo mismo estoy haciendo una, tengo que confesarlo». La ópera de Jones se basa en Spöksonaten («La Sonata de los espectros»), escrita por August Strindberg. «En este momento estoy a mitad del primer acto», dijo. Se trata de una de las obras favoritas del director de teatro y de cine, Ingmar Bergman, que ha llevado al escenario en tres ocasiones. El argumento es un juego que mezcla lo surrealista y lo doméstico, con los fantasmas vagando a través de un edificio de apartamentos en Estocolmo. La obra se estrenó por primera vez en enero de 1908. Leer más: http://www.abc.es/cultura/musica/20130610/abci-zeppelin-escribe-opera-201306101655.html   UK Dances of Death, Gate Theatre, London – review Howard Brenton’s new version makes Strindberg’s grumpiness tolerable By Ian Shuttleworth Financial Times, June 10, 2013 Man hands on misery to man, observed Philip Larkin a couple of stanzas after his notorious claim about your mum and dad. It is ably demonstrated in Part Two of Strindberg’s The Dance Of Death (1900), when the triangular relationship of Part One is expanded such that the daughter of the central couple gleefully torments the son of the third party. Despite the plausibility of a friend’s description as “the grumpiest play in the world”, it is revived (or at least Part One is) relatively frequently; the last occasion was only six months ago in Trafalgar Studios, when Conor McPherson’s translation brought out its black comedy. Howard Brenton’s new version of the diptych here does not take such a tack, nor do Michael Pennington and Linda Marlowe in Tom Littler’s production. They do, however, begin on a note of grim comradeship, to which they return after Part One’s internecine stratagems have failed: it is nothing as un-Strindbergian as tenderness, simply an acknowledgement that there are worse places they could be than shackled to each other. (Brenton expands to 30 the 25 years of marriage Strindberg says they have endured, though both actors are a little on the senior side even for this much.) Read more: http://www.ft.com/intl/cms/s/2/7f18b032-d1ac-11e2-9336-00144feab7de.html   Zeppelin-basist gör Strindbergopera Stockholm TT Spektra SvD 10 juni 2013 John Paul Jones, legendarisk basist i bandet Led Zeppelin, lägger rocken åt sidan för att satsa på opera, skriver Contactmusic. Efter Londonpremiären av Philip Glass opera ”The Perfect American” berättade ikonen att han skriver på en egen opera. Nu står det klart att det är August Strindbergs pjäs ”Spöksonaten” som ligger som mall för verket. På frågan om vilka svårigheter som mött honom i arbetet med operan svarar basisten: ”Omfattningen av det, tror jag. Jag är förmodligen på väg att upptäcka vilka utmaningarna är”. Hittills har John Paul Jones skrivit hälften av den första akten av totalt tre. ”Spöksonaten” färdigställdes av August Strindberg 1907 och hade med sin expressionistiska stil stor betydelse för utvecklingen av det moderna dramat. Länk: http://www.svd.se/kultur/zeppelin-basist-gor-strindbergopera_8252042.svd Äv: http://norran.se/2013/06/kultur/zeppelin-basist-gor-strindbergopera/?utm_source=rss&utm_medium=rss&utm_campaign=zeppelin-basist-gor-strindbergopera   Att vara Carl Larsson skedde med livet som insats Carl-Johan Malmberg läser en av de viktigaste självbiografierna av en svensk konstnär och en vacker bok om makarna Larssons brev. Carl Larsson på sin gård Sundborn. Av Carl-Johan Malmberg SvD, 10 juni 2013 [...] En bidragande orsak till krisen – och till utformningen av ”Midvinterblot” – var troligtvis en annan offentlig avrättning: den tidigare vännen August Strindbergs avsnitt ”Hopljugna karaktärer” i ”En ny blå bok” från 1908. Där skriver Strindberg om Carl Larsson, utan att nämna honom vid namn men fullt ­begripligt för hela det bildade Sverige. Strindberg angriper personen, inte konstnärskapet och menar att hela Carl Larssons väsen är lögn. Han har ”ljugit ihop en karaktär åt sig, eller rättare sagt en karaktärsmask”. Förintande ord. Läs mer: http://www.svd.se/kultur/att-vara-carl-larsson-skedde-med-livet-som-insats_8252700.svd   UK Theatre review: Dances of Death, Gate, Notting Hill, London   By Michael Coveney The Independent, Friday 07 June 2013 Strindberg’s The Dance of Death (1900) is a play in two parts. Although Laurence Olivier and Geraldine McEwan played the full saga at the National Theatre in 1966, you only usually see Part One. Howard Brenton, using a literal translation by Agnes Broome, has provided a sleek new version of  both parts in which Michael Pennington as the appalling army captain, Edgar, and Linda Marlowe as his defiantly critical former actress wife, Alice, play out their misery in the course of what now seem like two meaty one-act plays. Brenton picks over the bones of each part faithfully, and particularly brings out the triangular nature of the tragedy in the figure of Edgar’s old friend, Kurt – here played with quivering sensitivity by Christopher Ravenscroft – who has arrived on the island as a quarantine officer only to be terrifyingly destroyed by Edgar as well. Rad more: http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/theatre-review-dances-of-death-gate-notting-hill-london-8648860.html     UK Dances of Death, Gate Theatre Michael Pennington terrifies as a manipulative demon in Strindbergian married hell By David Nice The Arts Desk, Friday, 07 June 2013 There are two dances to unheard music in Howard Brenton’s pithy Strindberg reduction. One spells trouble for the interloper between the vampire couple who suck the blood of others to sustain their 30-year hell of a marriage; the other, in the rarely-performed Second Part, is a prelude to both liberation and death. The symmetries and the differences are cleanly underlined in Tom Littler’s production and the degrees of light admitted in to Jerwood Young Designer James Perkins’s sets. And in a performing space even smaller than Strindberg’s Intimate Theatre of the early 1900s, Michael Pennington’s monstrous-fallible Edgar can scare the life out of us. Strindberg, acting out the part for actor-manager August Falck, might have been describing Pennington’s compromised military man to the life: "A refined demon! Evil shines out of his eyes, which sometimes flash with a glint of sardonic humour…he so relishes saying evil things that he almost sucks them, tastes them, rolls them round his tongue before spitting them out." Rad more: http://www.theartsdesk.com/theatre/dances-death-gate-theatre-0   UK Dances of Death, Gate Theatre, review Strindberg's Dances of Death at the Gate Theatre has a magical assurance, says Jane Shilling. 5 out of 5 stars By Jane Shilling The Telegraph, 07 Jun 2013 The thing about dramas by Strindberg is that however miserable you may be feeling about your domestic situation when you arrive, by the time you leave you’ll be feeling that things really aren’t so bad, after all. Strindberg’s two-part drama, Dances of Death, is a particularly excoriating exercise in psychological warfare. Its protagonists, Edgar (Michael Pennington) and Alice (Linda Marlowe), are the very embodiment of a dear old couple who hate one another. They have been married for 30 years and appear to have spent all that time trying to destroy one another. Why, then, are they still together? That is the play’s terrifying central conundrum. Read more: http://www.telegraph.co.uk/culture/theatre/theatre-reviews/10106371/Dances-of-Death-Gate-Theatre-review.html Español John Paul Jones, de Led Zeppelin, está escribiendo una ópera Efe Eme, 7 jun, 2013 John Paul Jones, bajista de Led Zeppelin, se ha embarcado en un nuevo proyecto: está escribiendo una ópera basada en la obra de August Strindberg “La sonata de los espectros”. Según Jones, trabaja en una ópera porque “es diferente a cualquier otra cosa. Es la emoción, la pasión”. Ya tiene escrita la mitad del primer acto. Según ha comentado, la composición de una ópera presenta varios retos, el más grande, “la magnitud de la misma, creo. No sé. Probablemente estoy a punto de descubrir cuáles son los retos”. Link: http://www.efeeme.com/john-paul-jones-de-led-zeppelin-esta-escribiendo-una-opera/   UK Brief Encounter with... Playwright Howard Brenton As his new Strindberg adaptation Dances of Death premieres at the Gate, Howard Brenton reveals his admiration for the Swedish dramatist and his desire to get to grips with the current political climate By Theo Bosanquet What's On Stage, 6 Jun 2013 • London How long have you been keen to adapt this play? - I've always been very interested in Strindberg, and Dance of Death is one of the really great Strindberg plays. I actually wrote a Strindbergian drama about 25 years ago, called Sore Throats. How do you characterise ‘Strindbergian'? - Psychological, unstable, metaphysical undertones. He wasn't interested in social matters much but had an exploratory way of writing, like he's writing a human laboratory to see how extreme human behaviour and feeling can get. He was wonderfully casual about plot – in some ways I think he was rather irritated by it. But his modernity is extraordinary, rather like Beckett. Read more: http://www.whatsonstage.com/london-theatre/news/06-2013/brief-encounter-with-playwright-howard-brenton_30915.html?cid=homepage_news   John Paul Jones Is Writing an Opera By Jeff Giles Ultimate Classic Rock, June 5, 2013 How does a rock legend keep himself busy and engaged after he’s already seen and done it all? In the case of Led Zeppelin‘s John Paul Jones, the answer appears to be “write an opera.” Jones recently discussed the project, which is based on August Strindberg’s ‘The Ghost Sonata,’ with Red Carpet TV News, saying he was drawn to opera because “It’s unlike anything else. It’s the emotion, the passion.” It also sounds like it’s relatively slow going for Jones, who said that while he’s “halfway through the first act,” writing a piece of music for this medium presents some unique challenges. Asked to name the biggest one, he responded, “The sheer scale of it, I think. I don’t know. I’m probably about to find out what the challenges are.” Talk soon turned, of course, to the possibility of a Led Zeppelin reunion, and although Jones refused to rule out the possibility, he did point out that he’s got other things going on at the moment. Saying he only has time to “do little gigs that I don’t have to prepare too much for,” he discouraged rumors of a 2014 tour by saying, “2014′s full of opera for me at the moment.” Link: http://ultimateclassicrock.com/john-paul-jones-opera/ UK Playing with Fire – review Drayton Arms, London By Michael Billington The Guardian, Tuesday 4 June 2013 After a surfeit of Miss Julies in London, it's refreshing to find this rare August Strindberg one-act play popping up in an attractive space above a South Kensington pub. Written in 1892, it's a highly charged 50-minute piece that proves the truth of Strindberg's argument that four-fifths of a five-act play is scaffolding and that drama can be reduced to a short catastrophe. Strindberg's setting is an island in the Swedish archipelago in high summer, where Knut, a painter, and his wife Kerstin are entertaining an old friend, Axel. The crisis comes when Axel and Kerstin declare their long-suppressed love and confront Knut with the news. In many ways, this is the stuff of boulevard drama, but two things raise the dramatic temperature. Read more: http://www.guardian.co.uk/stage/2013/jun/04/playing-with-fire-review UK Strindberg's Dances of Death showing at Gate Theatre in Notting Hill By Emily Eaton Kensington & Chelsea Today, Monday, 3rd June 2013 The Gate Theatre in Notting Hill has put together a production of the Swedish playwright August Strindberg’s Dances of Death. The darkly funny portrait of a long suffering couple stars Michael Pennington and Linda Marlowe and will run from 30th May to 6th July. Novelist and biographer, Sue Prideaux, who first dissected Edvard Munch in Behind the Scream, recently turned her inquistive gaze to Strindberg. Her subsequent biography, Strindberg: A Life, was shortlisted for the Samuel Johnson and Sheridan Morley prizes and won the Duff Cooper Prize for 2012. Now the biographer, whose achievement Ruth Scurr describes as restoring Strindberg’s humanity, will bring her findings to the fore in a post-performance talk at the Gate Theatre on June 13th. Read more: http://www.kensingtonandchelseatoday.co.uk/arts-and-culture/exhibitions/4i3wx6ed75.html Deutschland Wissen.de, Zitat des Tages vom 04.06.2013 Die Hölle ist kein Ort, sondern ein Zustand des Gemüts, der alles um sich her in ein Inferno verwandelt. August Strindberg August Strindberg (22.1.1849 - 14.5.1912) war ein bedeutender schwedischer Schriftsteller. Sein Werk umfasst alle Literaturgattungen und war von größtem Einfluss auf die schwedische Literatur. 1910 löste Strindberg mit einer Reihe von Zeitungsartikeln, in denen er die literarischen und politischen Auffassungen der konservativ orientierten Öffentlichkeit polemisch angriff, die bislang größte und am härtesten geführte literarische Pressedebatte Schwedens aus, die "Strindbergfehde". Neben seinem literarischen Schaffen ist Strindberg auch als moderner Bildkünstler hervorgetreten; zudem experimentierte er mit der zeitgenössischen Innovation der Fotografie. Link: http://www.wissen.de/zitate/august-strindberg-2013-06-04   Carl-Johan Malmberg om bilden av författaren Vad kännetecknar ett starkt fotografiskt författarporträtt? Att det är en tröskel mellan författarskapet och läsaren. Carl-Johan Malmberg närstuderar några mästerverk i en genre där bilden vill fördjupa orden. Av Carl-Johan Malmberg SvD, 2 juni 2013 [...] Också bilden av Strindberg på promenad på Drottninggatan här bredvid är underligt samtida, trots att den är tagen för 101 år sedan. Läs mer: http://www.svd.se/kultur/carl-johan-malmberg-narstuderar-forfattarportrattets-historia_8222816.svd   Brasil Inspirada em um clássico de August Strindberg, peça “Cruel” reestreia no Rio Por Amanda Santana (admin em Agenda Cultural) O Esatdo RJ 31/05/2013 Drama e suspense são os elementos da trama apresentada no espetáculo “Cruel”, inspirado no clássico “Os Credores”, do sueco August Strindberg, escrito em 1888. A peça estreou pela primeira vez em junho de 2011, passou por São Paulo, e agora volta ao palco carioca, sob a direção de Elias Andreato. Os três personagens vivem uma história em torno de um sentimento de vingança, que causa intrigas e manipulações. O vilão Gustavo (Reinaldo Gianecchini), depois de traído e abandonado pela mulher, a escritora Teka (Maria Manoella), retorna ao antigo lar para se vingar. Para isso, envenena o pintor Adolfo (Erik Marmo), o atual marido de Teka. Link: http://www.oestadorj.com.br/colunas-blog/agenda-cultural/inspirada-em-um-classico-de-august-strindberg-peca-cruel-reestreia-no-rio/   USA Miss Julie Analyzemaster, blogg, May27 2013 If you wonder why I have not been around lately it’s because of some headaches and the fact that it’s only three weeks left until summer break! I would have been excited for the summer but school has always had a particular fascination with seeing how many assignments and homework they can give the students and see who breaks down in tears first… So I’m pretty busy at the moment. Read more: https://analyzemaster.wordpress.com/tag/august-strindberg/          Ågust i Gaza Av Lotta Schüllerqvist Helsingborgs Dagblad 21 maj 2013 Det blev en ovanlig eftermiddag i Gaza City häromveckan när August Strindberg kom på besök. Svenska konsulatet i Jerusalem hade ordnat ett Strindbergsevent på Al Mathaf, Gazas privata arkeologiska museum. Det skulle egentligen ha ägt rum i höstas, men då omintetgjordes planerna av Israels veckolånga novemberoffensiv. Timmen innan tillställningen skulle börja satt vi på restaurangterrassen och tittade ut över det glittrande Medelhavet – generalkonsuln Axel Wernhoff, konsuln Rado Zivkovic och litteraturprofessorn Ulf Olsson som kommit inflygande från Berkeley-universitet i Kalifornien. Vi funderade över hur detta evenemang skulle avlöpa: hur skulle publiken ta emot en för dem okänd författare, som varit död i hundra år? "Reading Strindberg in Gaza" – skulle det verkligen funka? Läs mer: http://hd.se/kultur/2013/05/21/agsut-i-gaza/   Portugal “O Pelicano”de Strindberg no Auditório Municipal de Oeiras De Eunice Muñoz Journal Hardmusica, 21 May 2013 A peça “O Pelicano” de August Strindberg subirá à cena a 30 de Maio, numa criação do Centro de Artes Dramáticas de Oeiras, dirigido por Celso Cleto. “O Pelicano” relata o quotidiano de uma família da burguesia para quem os valores fundamentais são a falsidade e os escândalos, numa exposição da decadência e da miséria humanas. A dificuldade dos relacionamentos e as traições a que obriga essa vivência de aparências falsas e de máscaras que caem, constroem a trama de uma peça que foi considerada maldita. No entanto tendo em conta o caracter de Strindberg não é de estrnhar tanta negativismo em relação às relações entre os humanos. “O Pelicano” cuja interpretação estaráa cargo de Adriano Carvalho, Alexandra Leite, Diana Nicolau, Nuno Távora e Rosa Areia, estará em cena de 30 de Maio a 30 de Junho, com sessões de Quinta a Sábado pelas 21:30 e matinée ao Sábado e Domingo pelas16:00, no Auditório Municipal. Link: http://hardmusica.pt/noticia_detalhe.php?cd_noticia=16117   Pris till ”En djefla utställning” SvD 16 maj 2013, Stockholm TT Spektra ”En djefla utställning” har utsetts till årets bästa utställning 2012. När föreningen Forum för årets utställare på onsdagen delade ut sitt pris gick det till Liljevalchs utställning om August Strindberg. Juryn motiverar det med att ”August. En djefla utställning” korsbefruktade scenografi, konst, dramatik och musik. Man lyfter också fram den Strindbergska närvaron på sociala medier som Twitter: ”Med en touch av humor mellan samtid och historia meddelar sig en stor kulturpersonlighet genom sociala medier och utvecklar på så sätt museets relevans”. Det är femte året i rad som föreningen Forum för utställare delar ut utmärkelsen till en utställning som ”bäst har bidragit till att utveckla utställningsmediet”. Scenografen Ulla Kassius, som var med och skapade Strindbergsutställningen på konsthallen i Stockholm fick årets ”Guldpris” för sina insatser. Länk: http://www.svd.se/kultur/pris-till-en-djefla-utstallning_8176666.svd   España La polilla baila con Halvorsen Por Alvaro Cortina El Mundo 15 May 2013 Pegado al texto de Strindberg, Rodolfo Cortizo, director, introduce, en su versión de La danza de la muerte, la Marcha de los boyardos del gran compositor noruego Johan Halvorsen, en uno de esos momentos en los que el protagonista, achacoso militar jubilado, Edgar, toma impulso: es como una de esas mariposas nocturnas (exhaustas y a tientas, y demasiado gordas como para no producir asco) cuando toman fuerza tras largo tiempo de muerte aparente y empiezan a revolotear torpemente por la habitación encendida. Nicolás Fryd (Edgar) se ha colado de la noche a la noche: no hay luz aquí. Este miembro habitual de La Pajarita de Papel, en una actuación impresionante, llena de apoteosis y abatimientos, aletea entre su mujer Alicia (Victoria Peinado Vergara), el amigo de la familia, el visitante, Kurt (Paco Gámez), y la Criada (Violeta Jara Martín). Revolotea como un díptero, reviviendo, muriendo, reviviendo, tomando su viejo sable bélico, rememorando destrucciones inexistentes, envuelto en sábanas blancas y marchas decadentes. Bailando al fin: toda luz es precaria. Leer más: http://www.elmundo.es/blogs/elmundo/desdeelpatiodebutacas/2013/05/15/la-polilla-baila-con-halvorsen.html   UK Set report: Miss Julie By Mark Salisbury ScreenDaily, 14 May, 2013 Liv Ullmann’s first film as a director in more than a decade, Miss Julie stars Jessica Chastain, Colin Farrell and Samantha Morton. Mark Salisbury visits the set and speaks to the director about relocating August Strindberg’s masterpiece to Northern Ireland When producers Teun Hilte and Oliver Dungey of London-based The Apocalypse Films Company met with Liv Ullmann to discuss directing a movie for them, they had nothing in mind other than a desire to make a series of films revolving around the theme of the femme fatale. “We approached several female film-makers,” recalls Dungey. “Liv was the first. And she quickly said she wanted to do Miss Julie.” Written in 1888, Swedish playwright August Strindberg’s theatrical masterpiece has already been adapted numerous times for stage and screen, the earliest film version in 1912. Although Ullmann, legendary actress, muse of Ingmar Bergman and an acclaimed director in her own right, had never played the role on stage, she felt a strong affinity to the material, not least because of her upbringing. “Because I’m Scandinavian, I have a close connection to the Swedish Miss Julie, and I felt a lot I would like to say, I could write into Miss Julie. It is an adaptation. Obviously I used a lot of Strindberg, but also things that come from me.” Read more: http://www.screendaily.com/reports/set-report-miss-julie/5055884.article?blocktitle=In-Production&contentID=40462   Österreich „Julia“ stirbt ohne Romeo Von Sophia Felbermair ORF 14.05.2013 Reiche Tochter verliebt sich in Hausangestellten: Die Handlung von August Strindbergs Tragödie „Fräulein Julie“ wirkt auf den ersten Blick anachronistisch und wie der Stoff für eine Telenovela. In der Adaption „Julia“, die am Montag im brut im Künstlerhaus Premiere feierte, zeigt Regisseurin Christiane Jatahy, wie viel Aktualität dennoch in dem Stück steckt. Wie auch in vielen anderen seiner Werke hat Strindberg eigene Erfahrungen verarbeitet, in „Fräulein Julie“ konkret seine am Standesunterschied gescheiterte Ehe mit der Schauspielerin Siri von Essen. Jatahy siedelt ihre zeitgenössische Bearbeitung hingegen im heutigen Brasilien an. Wenn sich die reiche, weiße, minderjährige Göre dem dunkelhäutigen Angestellten an den Hals wirft und er nach der gemeinsamen Liebesnacht die Machtverhältnisse umkehrt, dann ist das in Jatahys Inszenierung Klassen- und Geschlechterkampf, Rassismus- und Liebesdrama zugleich. Lesen sie mehr: http://orf.at/festwochen/stories/2584145/   Österreich Strindberg bei den Wiener Festwochen: “Julia” und das Spiel der Leinwände Vienna Online 14. Mai 2013 “Julia”, die Christina Jatahy-Variation von August Strindbergs Drama “Fräulein Julie”, feierte am Montagabend bei den Wiener Festwochen Premiere. Das Stück punktete im brut mit szenischer Dynamik, litt aber ein wenig unter Naivität. Ein kleines Mädchen spielt in der Sonne, idyllische Klänge mischen sich unter die Anweisungen des filmenden Vaters, der aufgebracht Dienstboten aus dem Bild scheucht. Schnitt. Das Kind sitzt in sich versunken am Wasser, in schwarz gekleidet. “Ich will nicht, dass du mich filmst.” Was bei Christina Jatahys Variation von August Strindbergs “Fräulein Julie” als vorsichtiges, cineastisches Herantasten an das Thema beginnt, wuchs sich bei der Gastspiel-Premiere am Montag im Wiener brut in ein Beziehungsdrama voll gesellschaftlicher Zwänge aus. Lesen sie mehr: http://www.vienna.at/strindberg-bei-den-wiener-festwochen-julia-und-das-spiel-der-leinwaende/3573605   Österreich Strindberg apart: „Julia“ bei den Festwochen Von Norbert Mayer Die Presse 14.05.2013 Christiane Jatahy zeigt im Brut im Künstlerhaus eine multimediale Variante des ehemaligen Schockers aus Schweden. August Strindbergs naturalistisches Trauerspiel „Fräulein Julie“ ist ein bitterböser Einakter über eine höhere Tochter, die sich mit dem Knecht Jean einlässt, ihn reizt und schließlich alles verliert. Die Machtverhältnisse werden für kurze Zeit umgedreht. Das 1889 in Kopenhagen uraufgeführte Drama konnte damals wegen seiner Schonungslosigkeit noch schockieren. Bei den Wiener Festwochen war am Montag im Brut im Künstlerhaus eine aparte exotische Version des längst als Meisterwerk des schwedischen Autors anerkannten „Fröken Julie“ zu sehen: „Julia“, Ende 2011 in Rio de Janeiro uraufgeführt und nun erstmals auch in Österreich, wird von Regisseurin Christiane Jatahy nach Brasilien transferiert. Es funktioniert auch als Konflikt zwischen einem Mädchen aus der Oberschicht und einem Diener aus den Favelas, wirkt aber allein dadurch leichtgängig, dass das Publikum beim multimedialen Spiel von „Cia. Vértice“ einbezogen wird. Dadurch entsteht ironische Distanz, die wegführt vom bloßen Realismus. Lesen sie mehr: http://diepresse.com/home/kultur/klassik/1402038/Strindberg-apart_Julia-bei-den-Festwochen?_vl_backlink=/home/kultur/klassik/index.do   ”Hemsöborna är ständigt aktuell” Av Christian Larsen Dala-Demokraten 2013-05-14 Under tisdagen fortsatte repetitionerna av Dalateaterns uppsättning av Hemsöborna på Hellmansö. – Jag och August Strindberg har följt varandra i 35 år, berättar regissören Carl Kjellgren. Trots att August Strindberg dog för 101 år sedan så är författaren och dramatikern ständigt aktuell. Med 16 dagar kvar till premiären av Hemsöborna på Hellmansö berättar regissören Carl Kjellgren om Strindbergs betydelse i dagens Sverige. – Som svensk publik så har man ofta en förutfattad mening angående Strindberg och utomlands har Strindberg ett oförtjänt dåligt rykte att vara tungsint. Och när jag satte upp Strindbergs ”Dödsdansen” på Sydafrikas största nationalscen så var det bara ett namn på affischen, säger Kjellgren. Läs mer: http://dalademokraten.se/2013/05/14/hemsoborna-ar-standigt-aktuell/   ”Fröken Julie” Ullmanns sista film SvD 14 maj 2013, Stockholm TT Spektra ”Fröken Julie” blir Liv Ullmanns sista film som regissör, men teatern är hon inte färdig med ännu. Det berättar hon för NRK:s ”Filmbonanza” som besökt de pågående inspelningarna i Skottland. Liv Ullmann talar om filmen som till ena häften hon själv, till den andra Strindberg. Ombedd att göra en film om en kvinna gick hennes tankar direkt till Strindbergs mest spelade drama. Hon gjorde till och med en egen nyöversättning: - Jag upplever det som en styrka att jag själv översatt det. Jag vet vilka repliker som ligger bra i munnen på en skådespelare. Det skulle inte förvåna mig om dessa skådespelare får med sig en guldpalm var från Cannes, säger hon till NRK. Julie spelas av amerikanska Jessica Chastain och Kristina av brittiska Samantha Morton. Rollen som Jean görs av irländaren Colin Farrell som beskriver Liv Ullmann som ”extraordinär, sensitiv och tuff, både som regissör och människa”. Länk: http://www.svd.se/kultur/froken-julie-ullmanns-sista-film_8169966.svd   Polska Muza Strindberga. Wyzwolona kobieta, której nie mógł znieść Dwójka, Polskie Radio 14.05.2013 - Strindberg wybierał sobie kobiety energiczne, mające własne zainteresowania. Jednocześnie domagał się, żeby były jak liany, które oplatają mężczyznę i są w każdej chwili do usług - opowiada prof. Sokół w Dwójce. Związek z Siri von Essen (1850–1912) nie mógł się udać. Choć ta by zostać aktorką i w efekcie żoną Strindberga poświęciła wiele. Ażeby pracować w teatrze, potrzebowała rozwodu. Jej pierwszy mąż, baron Carl Gustaf Wrangel, nie uważał, by było to zajęcie stosowne dla fińskiej arystokratki, a i zdolności aktorskie von Essen nie były podobno zbyt duże. [...] Zachęcamy do wysłuchania obszernych fragmentów "Notatnika Dwójki". O Siri von Essen opowiadali teatrolog profesor Lech Sokół oraz Magdalena Koszalińska z Polskiej Akademii Nauk. Więcej, słyszeć: http://www.polskieradio.pl/8/1594/Artykul/842432,Muza-Strindberga-Rzucila-arystokrate-by-zostac-aktorka   USA, Los Angeles (CA) LaBute's Adaptation of 'Miss Julie' a Major Disappointment By Terry Morgan LAist May 10, 2013 The thing about doing film remakes is that, aesthetically at least, one should only do them if one has something genuinely new to say about the material or if the original was a diamond in the rough and ripe for improvement. In the theatre world, this same rule holds true for adaptations. Unfortunately, Neil LaBute's current adaptation of August Strindberg's Miss Julie is a lackluster affair, and miscasting in the Geffen Playhouse production hurts it further. In LaBute's reimagining, the story is set in Long Island just before the Great Depression hits in 1929, when the "haves" are still securely lording it over the "have-nots." Julie (Lily Rabe), the 25-year-old daughter of a well-to-do family, has just had her fiancé break off their wedding engagement, and as the play starts she's partying with the servants while her folks are out of town. As the evening progresses, she flirts intensely with her father's valet, John (Logan Marshall-Green), even though she knows the cook, Kristine (Laura Heisler) is his girlfriend. Julie soon finds she's out of her depth in the real world, where actions have permanent consequences. Read more: http://laist.com/2013/05/10/neil_labutes_adaptation_of_strindbe.php   UK, London Playing With Fire by Strindberg at Drayton Theatre By Darren Dalglish London Theatre Thu 9 May 2013 Serendipity Productions presents Playing With Fire by August Strindberg, directed by Anna Ostergren , at the Drayton Theatre, a pub fringe venue, near Earl's court, west London, from 28 May to 22 June 2013. Set on an Island in the Stockholmian archipelago, a close friend of a young couple comes to visit, having left in haste the previous summer. This visit will have great consequences for all involved. LInk: http://www.londontheatre.co.uk/londontheatre/news/my13/playingwithfire13231.htm   Brasil O teatro é consequência do baixo nível de educação do brasileiro Vermelho 7 de Maio de 2013 Em entrevista concedida à Cult, Eduardo Tolentino fala sobre o Tapa, a sociedade e o teatro brasileiro. Senhorita Júlia, peça escrita em 1887 por August Strindberg (1849 – 1912), é considerada um marco da dramaturgia naturalista. A obra aborda a disputa entre os sexos e as classes e a contradição entre pulsão erótica e a realidade. Encenada pelo Grupo Tapa, a peça ganha contornos de “peça-sonho”. Nela, a ação se desenvolve sob o olhar da cozinheira (Paloma Galasso), cuja presença, sempre atenta, confirma a máxima imortalizada por Jean Paul Sartre: “o inferno são os outros”. “Strindberg, em um ponto da sua carreia, se enveredou por caminhos mais oníricos. Tratamos a peça, apesar do seu naturalismo, com elementos inusitados de um sonho”, explica Eduardo Tolentino de Araújo, diretor artístico do Tapa. Leia mais: http://www.vermelho.org.br/noticia.php?id_secao=11&id_noticia=212959 “Senhorita Júlia” (Tapa no Arena – Uma Ponte na História) Local: Teatro de Arena Eugênio Kusnet – R. Doutor Teodoro Baima, 94, São Paulo (SP) Dias: 1/5 a 2/6 Valor: R$ 20,00 Info.: (11) 3256-9463 ou http://www.grupotapa.com.br/   USA, (CA) Neil LaBute takes on August Strindberg's most accessible work at the Geffen Playhouse in Westwood. By Myron Meisel The Hollywood Reporter 5/6/2013 August Strindberg can be a tough nut: where Shakespeare and Ibsen can survive lesser efforts by dint of their intrinsic pertinence, a production of Strindberg stands or falls on how meaningfully his intense insights into human character and power relations can be conveyed to the sensibilities of a contemporary audience. Having just suffered through a spate of bad Strindberg in Manhattan (Easter updated to 1959 Harlem, A Ghost Play assayed by an Asian cast), one had fair hope that in filmmaker and playwright Neil LaBute (The Shape of Things, Fat Pig, reasons to be pretty), the misogynistic Swede might find an empathetic adapter of perhaps his most accessible work, Miss Julie (1888), now in its world premiere mounting at the Geffen Playhouse in Westwood. Alas, as Strindberg understood so profoundly, sympathy alone will never suffice to achieve salvation from the hells we so lovingly craft for ourselves. Read more: http://www.hollywoodreporter.com/review/miss-julie-theater-review-494639   UK, London Fräulein Julie – review Barbican, London By Kate Kellaway The Observer, Sunday 5 May 2013 Fräulein Julie, directed by Katie Mitchell for Berlin's Schaubühne theatre, is a visual experiment – as much painterly and cinematic as theatrical. The look is reminiscent of Vilhelm Hammershoi's quiet, meditative paintings. We watch a starched back, a sad face and hard-working hands belonging to Kristin (Jule Böwe), the maid pulled from the margins of Strindberg's play to be this production's suffering centre. A film crew – bystanders in black – is on stage throughout and contributes a postmodern feel. The pace is slow, dialogue minimal, the filming – directed by Leo Warner – live. The acting seems electively subdued, as if to ensure against distracting from the production's beautiful, ambitious, overarching structure. At any given moment, what happens on screen happens on stage although the overlap is seldom identical. This straying focus challenges: one does not know where to look, like Kristin herself. It ramifies the idea that, for Kristin, the events she witnesses are distracting, the lovers – her own Jean (Tilman Strauss) and Miss Julie (Luise Wolfram) – are unreachable, and the dance – beyond the servants quarters – is one she will never join. Read more: http://www.guardian.co.uk/stage/2013/may/05/fraulein-miss-julie-strindberg   USA, Los Angeles (CA) Theater review: Neil LaBute's take on 'Miss Julie' is uneasy hybrid August Strindberg's landmark drama at Geffen Playhouse is set in Jazz Age Long Island. Awkward dialogue and mismatched actors make for a misguided play. By Charles McNulty Los Angeles Times, May 2, 2013, 4:10 p.m. August Strindberg's "Miss Julie," a key landmark of modern drama, has been getting quite the workout from contemporary theater artists drawn to this tale of an unstable aristocrat's disastrous one-night affair with her ambitious servant. British playwright Patrick Marber relocated the story to an English country house at the end of the Second World War in his play "After Miss Julie." Playwright and director Yael Farber updated the saga to post-apartheid South Africa in her theatrically intense "Mies Julie." Now Neil LaBute, American theater's perennial bad boy ("Fat Pig," "Reasons to Be Pretty"), has transferred the action to the Jazz Age Long Island of F. Scott Fitzgerald's "The Great Gatsby" just before the stock market crash in his thoroughly weird "Miss Julie," which opened Wednesday at the Geffen Playhouse's Audrey Skirball Kenis Theater. The strangeness of this production, directed by Jo Bonney, could be discerned in the chuckling of the audience as Lily Rabe's Julie entered the final stages of her tragic descent. Strindberg has been called many things ("mad genius," "misogynist") but "laugh riot" is not one of them. Read more: http://www.latimes.com/entertainment/arts/culture/la-et-miss-julie-theater-review-geffen-playhouse-20130503,0,3964581.story     UK, London Theatre review: Fraulein Julie, Barbican, London By Paul Taylor The Independent, Wednesday 01 May 2013 In the past year, we have been treated to a slew of high-profile French, South African and home-grown takes on Strindberg's 1888 masterpiece. But it would be a shame if theatregoers felt too Miss Julie-ed out to brave this stunningly left-field version, directed by Katie Mitchell and Leo Mitchell. It comes to the Barbican from Berlin's Schaubuhne Theatre with a mesmerising German cast and a script by Mitchell that brilliantly edits and adds a stream-of-consciousness layer to the original text. And it offers a quite literally bracing new angle on the play. The piece may retain Strindberg's title but Fraulein Julie should actually be called Kristin, the name of the young cook who is the fiance of valet Jean (played here with a dark, nervous allure by Tilman Strauss). In the original, the character plays second fiddle to the other pair in this this taut three-hander, so worn out with work that she drowses and then slopes sleepily off to bed, leaving the hoity mistress (Luise Wolfram), who festers with erotic fantasies of downward-mobility, and the servant with the reverse, to their own depraved devices. Rad more: http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/theatre-review-fraulein-julie-barbican-london-8599131.html   UK, London Fraulein Julie, Barbican, review Jane Shilling finds Katie Mitchell's Fraulein Julie at the Barbican thoughtful and intriguing, but lacking in emotional heart. 3 out of 5 stars By Jane Shilling The Telegraph 01 May 2013 The essential quality of any great work of art is a certain captivating strangeness. But the cost of entering the canon is the gradual loss of that invigorating oddness. Audiences go to the classics not to be disturbed, but for affirmation of their worldview. So a stage director who tackles a classic text must decide whether to affirm or disturb – and if the latter, how, while remaining true to the spirit of the work. In his introduction to his 1888 play Miss Julie, August Strindberg wrote of wishing to “create a new drama by filling the old form with the contents of a new time”. In the programme note to her surtitled German-language production for the Schaubühne Berlin, director Katie Mitchell writes that “it is “an attempt to respond to the spirit of radicalism with which Strindberg first imagined the play being staged”. Mitchell takes as her starting-point the stage direction for Kristin, the cook, who was, in Strindberg’s view, the least significant of his three characters. He describes her as “a subordinate figure… without individuality”. Left in her kitchen while her fiancé, the valet, Jean, and their mistress, Fräulein Julie, join the midsummer’s night festivities, Kristin must perform, Strindberg directed, “as if the actress were really alone in the place”. Link: http://www.telegraph.co.uk/culture/theatre/theatre-reviews/10030883/Fraulein-Julie-Barbican-review.html   UK, London Fräulein Julie – review Barbican, London 4 out of 5 By Michael Billington The Guardian, Wednesday 1 May 2013 Fräulein Julie Barbican, London Until 4 May Box office: 0845 120 7511 Theatre-makers are constantly trying to recapture the shock of August Strindberg's once-revolutionary 1888 play. In Mies Julie, currently at the Riverside Studios, it is done by shifting the action to modern South Africa. In Fräulein Julie, imported from the Berlin Schaubühne, Katie Mitchell sees the action from the perspective of the cook, Kristin, and uses multimedia techniques to heighten the naturalistic detail. The haunting result strikes me as far superior to Mitchell's recent experiments with a hybrid of theatre and film. Here, content takes precedence over style. Live action is projected on a screen above the stage, with English surtitles, allowing us to focus on the reality of kitchen life. We see, in close-up, Kristin's rawboned hands slicing kidneys and stirring sauce as she prepares the evening meal for her fiance, Jean. More importantly, we get to see inside Kristin's mind as Jean is whisked off by their employer's daughter to join the midsummer dance. Every action acquires an extra resonance, so that when Kristin heats a curling-iron, it is clearly an attempt to replicate her mistress's wavy locks. Kristin's jealousy gets to the point where she places a glass on her bedroom floor to overhear the postcoital intimacies of Jean and Julie. Read more: http://www.guardian.co.uk/stage/2013/may/01/fraulein-julie-review   UK, London Fräulein Julie, Barbican, London – review Katie Mitchell has created an inspired, deconstructed version of Strindberg’s play By Sarah Hemming Financial Times, May 1, 2013 With Mies Julie, Yael Farber’s blistering, physical updating of Miss Julie, still running at the Riverside Studios, another take on Strindberg’s 1888 drama of sex and class moves into town. But while Katie Mitchell’s Fräulein Julie also aims to honour the radical intent in Strindberg’s naturalistic play, it could scarcely be more different. Where Mies Julie is all heat, dust and sweaty erotic tension, this production (presented by the Berlin Schaubühne in German with English surtitles) is cool and clear as iced water. It is also, remarkably for the Schaubühne, presented in period dress. The innovation lies in its focus and in the way it achieves that focus. Fräulein Julie concentrates not on Julie, the aristocratic young woman, or Jean, the servant she sleeps with, but on Kristin, Jean’s fiancée. In Mitchell’s inspired, deconstructed version, we see the story through Kristin’s eyes. As the cook, she is a quiet presence in the original: worn out by her daily routines, she falls asleep as Julie and Jean begin to flirt dangerously. Yet Kristin’s life too is wrecked by the events of the play, the difference being that she has no say in the matter. So absorbed are Jean (Tilman Strauβ) and Julie (Luise Wolfram) in their fatal attraction that they barely notice her. Read more: http://www.ft.com/cms/s/2/eec30ad4-b250-11e2-8540-00144feabdc0.html   Pjäsen Pygmalion och August Strindberg Lars kulturblogg, av Lars Landström Allehanda 29 april 2013 G B Shaw skrev sitt mästerverk ”Pygmalion” 1912 om fonetikprofessorn Higgins som lär en flicka från slummen att tala så att alla tror att hon är en dam från överklassen. Samma år dog den författare som G B Shaw såg som den ende dramatiker som hade samma filosofi som honom. August Strindberg. ”Pygmalion” spelas just nu på Uppsala Stadsteater i en fin uppsättning. 100 år efter urpremiären. Urpremiären var på tyska i Wien 1913. George Bernard Shaw och August Strindberg var ”an odd couple”, som det står i en stor engelska biografin om G B Shaw. Men de förenades av att de hade likartad filosofisk syn på människan och tillvaron och rörde sig åt samma politiska håll. 1908 skrev G B Shaw brev till August Strindberg och frågade om han fick komma på besök. August Strindberg svarade med ett brev som till en tredjedel var skrivet på franska, en tredjedel skriven på tyska och en tredjedel skriven på engelska. I brevet skrev Strindberg att det skulle bli ett samtal som mellan en döv och en stum eftersom de inte talade ett gemensamt språk. Dessutom levde han ett så tillbakadraget liv och träffade bara några få vänner. Han skrev också att han led av en mänsklig sjukdom. Men dagen efteråt fick G B Shaw ett nytt brev från August Strindberg där denne skrev att de kunde träffas på Intima teatern. G B Shaw och hans hustru reste direkt till Sverige och mötte Strindberg på Intima teatern. Det blev precis som Strindberg sa i sitt första brev ett märkligt möte. G B Shaw talade inte franska eller tyska. August Strindberg talade inte engelska. De två dramatikerna talade därför latin med varandra. Läs mer: http://blogg.allehanda.se/larslandstrom/2013/04/29/693/     USA Tagged with August Strindberg … “The Dance of Death” Is No Hokey Pokey, But it Puts its Whole Self In Blogg: /'kül/ That Sounds Cool (Aaron Riccio) April 27, 2013 Despite the elegance of August Strindberg’s barbs, The Dance of Death is less of a waltz and more of a marathon dance-till-you-drop, an exhausting and only occasionally exhilarating battle between Alice (Laila Robins) and Edgar (Daniel Davis) on the eve of their twenty-fifth anniversary. Like George and Martha, sixty years down the road in Who’s Afraid of Virginia Woolf, these mismatched lovers maintain themselves by subjecting the rest of the world to their misanthropic scorn, united by the games they play with people like Gustav (Derek Smith), a cousin’s of Alice’s, come to visit. Like spiritual vampires–which they are directly called throughout the play, they leech off the feelings of those around them, and under Joseph Hardy’s cruel direction for Red Bull Theater–forever a brilliant but unflinching lot–that includes the audience, which is likely to feel drained by the lengthy production. There is little else in this world to grab on to for sustenance: Beowulf Boritt’s set is leached of its color, with black tendrils of decay snaking through the corners, and Clifton Taylor’s lighting is used only to emphasize and focus the most intense of showdowns between duelists. Mike Poulton’s terrific adaptation sounds great, and the cast–in particular Robins–delivers it well, going to great lengths to avoid coming across as monotonous in their repetitive insults, and yet it is hard to stomach the vitriol. (Imagine performing this twice a day!) Read more: http://thatsoundscool.wordpress.com/tag/august-strindberg/   España Editorial Funambulista reedita la obra teatral "La señorita Julie" de August Strindberg Todo Literatura 2013-04-28 La señorita Julie (obra en un acto único escrita por August Strindberg en 1888) está considerada como una de las obras teatrales más importantes de la literatura universal. La acción se desarrolla a finales del siglo XIX en la residencia de un aristócrata, padre de la señorita Julie, que nunca aparecerá, pero que siempre estará presente como un espectro en los diálogos y en las vidas de los protagonistas. Kristin, la cocinera, y su novio Jean, el criado, se encuentran en la cocina hablando de la actitud poco adecuada para su rango que está teniendo la señorita Julie durante la fiesta de la noche de San Juan: en lugar de ir con su padre a visitar parientes, se mezcla con la gente del pueblo, y baila con el guardabosque y con el mismo Jean. Con la entrada en escena de la señorita Julie, el lector se va adentrando en la psicología, el pasado, las aspiraciones, los miedos de cada personaje, y asiste a la inverosímil relación de una noche entre un criado y su ama. Obra que el mismo August Strindberg definió como «la primera tragedia naturalista sueca» ?que propone la Editorial Funanbulista en la excelente traducción de Jesús Pardo y con el prólogo técnico-explicativo firmado por el propio autor?, censurada por inmoral durante mucho tiempo en la Suecia puritana de su época. La señorita Julie es una obra atemporal: a través de la contraposición entre nobles y plebeyos, pero también de la relación entre hombres y mujeres, constituye el reflejo de una época en que la decadente aristocracia, llena de contradicciones, tiene que enfrentarse con una clase medio-baja que aspira a ser burguesía, en una lucha en que el nuevo estamento se siente todavía tributario del conservadurismo. Link: http://www.todoliteratura.es/actualidad/teatro/clasicos/august-strindberg/la-senorita-julie/escritor-sueco/2272 también: http://literaturanordica.blogspot.es/1354184188/   España, Madrid La Danza de la Muerte, Strindberg y las flores en medio de la mierda La vida teñida como el oscuro drama de la muerte Por Julio Castro La República Cultural, Sábado 27 de abril de 2013 El formato más intimista de la nueva producción de la compañía La Pajarita de Papel, favorece que sus dos protagonistas Victoria Peinado y Nicolás Fryd, puedan desarrollar con más profundidad su puesta en escena, en lo personal y en lo colectivo, ya que les toca llevar el peso de la obra a partir de sus respectivos papeles, en realidad el peso de la vida y el peso de la muerte, que se reparten casi a partes iguales, y luchan cada cual por acumular ambos, en una ambición desmedida que devora el entorno y a sí mismos. Tal vez una de sus frases describa brevemente la intención del autor y de la obra: “lo único que te queda es la voracidad”. Un ambiente pobre, más bien penoso y sórdido, se refleja en la lentitud del desarrollo, en el vestuario, en la iluminación, y es que estamos ante un teatro oscuro, de introversión de sus personajes y de sus situaciones. Seguramente recoge muy bien las características del escritor sueco, al que se considera precursor del Teatro de la Crueldad, y que en los caracteres de estos personajes queda bastante bien plasmado. Leer más: http://www.larepublicacultural.es/article6979.html   Australia Twelve rounds in a cage with three gladiators By: Chris Boyd The Australian, April 26, 2013 THEATRE Dance of Death By Friedrich Duerrenmatt. Translated by Tom Holloway. Presented by Malthouse Theatre. Beckett Theatre, Melbourne, April 24. DANCE of Death was penned by August Strindberg at the turn of the 20th century. This version of Strindberg's play -- in its own words, "first slaughtered by Friedrich Duerrenmatt, then butchered by Tom Holloway" -- retains the original title but otherwise follows Duerrenmatt's free adaptation from the late 1960s, Play Strindberg. So it's more Beckett than Freud, blacker and more hopeless than the original, and the angst is existential rather than Hobbesian. That said, marriage in all three texts is a kind of Hobbesian trap where destruction is mutually assured and pre-emptive strikes are the order of the day. Here, it's 12 rounds in a cage, literally. The married combatants in Matthew Lutton's claustrophobic and splendidly acted production are locked in a glasshouse, in the traverse. No stones are thrown -- furniture and food, yes -- but one of the massive panes in the curtain walls is already shattered. Read more: http://www.theaustralian.com.au/arts/stage/twelve-rounds-in-a-cage-with-three-gladiators/story-fn9d344c-1226629555510   UK New version of shocking play Miss Julie coming to Fairfield Halls, Croydon By Beverley Morrison Your Local Guardian, 24th April 2013 A new translation of Swedish playwright August Strindberg’s controversial and sexually charged drama Miss Julie is coming to the Fairfield Halls in Croydon in May. Banned in the UK for 50 years after it was written in 1888, Miss Julie shocked critics across Europe with its frank portrayal of sexuality and inter-class relationships in 19th century society. Now the UK Touring Company has produced a new translation of the play which the director and cast believe is much closer to what Strindberg intended. “When we were looking at the original script, we realised a lot of lines had been cut from the original translation from Swedish to English,” said UK Touring’s Co-Director Felicity Rhys, who plays Miss Julie in the new production. “It was exciting to rediscover these lines, so we’ve put them back in. We’ve tried to get closer to what Strindberg really wanted. Read more: http://www.yourlocalguardian.co.uk/leisure/freetime/10377009.New_version_ of_shocking_play_Miss_Julie_set_to_wow_Croydon_audiences/   Suecia, Estocolmo Suecia vista por actores latinoamericanos que viven allí Un elenco escandinavo presenta Pascua, la pieza de August Strindberg Por Carlos Pacheco La Nacion, Miércoles 24 de abril de 2013 ESTOCOLMO.- Ha llegado la primavera, pero no lo parece. El frío todavía se hace sentir. Claro que sólo es uno o dos grados bajo cero y no los veinte bajo cero a los que están acostumbrados en invierno. La gente empieza a sentir que la aparición de un sol cálido, sobre todo durante el mediodía, le da la posibilidad de ver la vida de otra manera. Los días se prolongan, la nieve se retira lentamente de calles, parques y techos de algunas casas, sobre todo las que están ubicadas en las afueras de la capital. Todo es muy ordenado en Estocolmo, hasta la organización de una caminata por la ciudad. El centro comercial, el cruce del lago que conduce a la ciudad vieja y hasta, si se quiere, la aparición en el trayecto de algunos edificios públicos imponentes, como el Dramaten Teatern o la Biblioteca Nacional. Hasta a la hora exacta llegamos a ver el cambio de guardia en el palacio real. Suecia es un país multicultural por excelencia. En los años 70 recibió a miles de exiliados latinoamericanos provenientes, en su mayoría, de la Argentina, Chile y Uruguay (hoy el interés del gobierno está en inmigrantes africanos o de los países árabes). Entre ellos hubo muchos teatristas que decidieron unirse y formar un grupo teatral que se convirtió en casi emblemático en la década del 80: el Teatro Popular Latinoamericano (TPL). Uno de los más destacados integrantes de aquel grupo fue el argentino Hugo Álvarez, hoy residente en Buenos Aires. El grupo tuvo un proceso de desarrollo muy significativo. Hoy se denomina Alias Teatern y tiene dos cabezas visibles: Bernardo Llorens (argentino) y Anna María Padilla (chilena). Hace dos años, ellos fantasearon con un proyecto que ansiaban compartir con la Argentina. Poner en escena Pascua , de August Strindberg, con la dirección de un creador argentino, y que los intérpretes fueran actores de la segunda generación de inmigrantes latinoamericanos (Jonatan Rodríguez, Naida Ragimova, Camilo González, Andrea Macchiavelli, Kirsti Torhaug, Mans Westfelt, María Böhm). En coproducción con el Complejo Teatral de Buenos Aires, se estrenó hace unos días en Estocolmo. La dirección es responsabilidad de Luciano Suardi. Los actores son hijos de chilenos y argentinos. Desde el domingo pasado, y hasta el último domingo de este mes, la pieza ahora está haciendo funciones en el teatro Sarmiento de Buenos Aires. Leer más: http://www.lanacion.com.ar/1575578-suecia-vista-por-actores-latinoamericanos-que-viven-alli   USA, Los Angeles (CA) Miss Julie, Adapted by Neil LaBute and Starring Lily Rabe, Premieres in Los Angeles April 23 By Adam Hetrick & Kenneth Jones Playbill 23 Apr 2013 Tony Award nominee Lily Rabe stars in Tony Award-nominated playwright Neil LaBute's new adaptation of August Strindberg's Miss Julie, which premieres April 23 at the Geffen Playhouse in Los Angeles. Jo Bonney, a frequent creative partner of playwright Neil LaBute, directs the writer's new adaptation of the play that will officially open May 1 for a run through June 2. LaBute "has set August Strindberg's classic on Long Island just before the 1929 stock market crash." Rabe (Seminar, The Merchant of Venice) stars as Julie, opposite Logan Marshall-Green (The Distance from Here, The Hallway Trilogy) as John and Laura Heisler (Kin, Coram Boy) as Kristine. LaBute said in production notes, "I wanted this setting to be my own while still dealing faithfully with the themes and mores of the lives of these characters as they were first written. A cloud of desperation and despair will soon hang over the United States but tonight — in this kitchen that Strindberg conjured up 150 years ago — the lives of the three characters in Miss Julie will never be the same." Read more: http://www.playbill.com/news/article/177180-Miss-Julie-Adapted-by-Neil-LaBute-and-Starring-Lily-Rabe-Premieres-in-Los-Angeles-April-23   UK Review: Miss Julie, by August Strindberg; UK Touring Theatre, New Wolsey Theatre, April 16 By Carol Twinch EADT24, Tuesday, April 23, 2013 This fast-paced Miss Julie takes place in Sweden over one night, Midsummer’s Eve 1888. That the play is dated becomes ever more apparent as this latest interpretation of Strindberg’s classic progressed to its tragic conclusion. Strindberg is taking a bitter look at the class war: the aristocratic Miss Julie (Felicity Rhys) flirts with her father’s footman Jean (Adam Redmayne) and thanks to free-flowing wine and beer, things inevitably get out of hand. Miss Julie is duly seduced - thankfully off-stage – and they must face the consequences. Jean must also face his housekeeper fiancée Kristin (Sioned Jones) who apparently slept through the whole thing. In the cold light of day Jean tells Julie it was just sex and attempts to ascribe this pragmatism to his class. Talk of love was merely a seduction technique. He taunts her with an escape plan but can he really throw off the shackles of subservience to marry a Count’s daughter? Now thoroughly humiliated, Julie’s options are limited and dire. She demands that Jean tell her what to do and he most cruelly does. The audience wore the drama lightly and appreciated the comic asides, some perhaps more intentional than others. Sioned Jones did a grand job with some excellent Strindbergesque ‘naturalism’, a concept new to the original audience, as she busied herself at the stove and kept the kitchen clean and tidy. Yet for all the sexual innuendo and actuality, which caused such outrage in 1888, this production didn’t sizzle like it could have done. That aside, director Denis Noonan is right to say that Miss Julie still has relevance today and is a powerful piece. Link: http://www.eadt.co.uk/entertainment/review_miss_julie_by_august_strindberg_uk_touring_theatre_new_wolsey_theatre_april_16_1_2164774     USA, New York (NY) “The Dance of Death” by August Strindberg at the Lucille Lortel Theatre Review by Gena Hymowech Show Business, Monday, April 22, 2013 Maury Povich would have had a field day with Edgar and Alice, the couple at the heart of August Strindberg’s The Dance of Death. The two are bound to one another, but it is less a marriage of love and more like the bond a prisoner has with his jailer. Edgar and Alice constantly trade insults, and are continually plotting against each other. In short, these are the kinds of people for whom marriage counseling was created. And that dirty work only ramps up following the arrival of Gustav, Alice’s cousin. He is confounded by their craziness, and wonders who is really right. It’s hard to tell, since Edgar and Alice talk about their lives not for exposition but to garner pity. The play adapted, by Mike Poulton, revolves mostly around Edgar (Daniel Davis), a military captain whose greatest triumphs are behind him. He’s old and possibly dying, but still sees himself as a vital man, waiting to do battle against the enemy. The enemy, though, is not confined merely to the battlefield, for Edgar sees life as a series of battles, whether it’s the fights he has with his wife or the fight he has against his ailing body. He considers Gustav a friend but also hates him for setting him up with Alice (Laila Robins), and is jealous of Gustav’s wife and child. Read more: http://showbusinessweekly.com/article-2244-%E2%80%9Cthe-dance-of-death%E2%80%9D-by-august-strindberg.html   USA, Dallas (Tx) Life is But a Dream At Undermain Theatre, Strindberg's The Ghost Sonata gets a first-rate and eerie production. by Kris Noteboom TheaterJones Saturday, April 20, 2013 Dallas — What is life? Where is the line between a dream and reality, life and death, heaven and hell? In August Strindberg’s masterpiece of modern theater, from a new translation by Paul Walsh of the chamber play The Ghost Sonata, enjoying an enchanting production at Undermain Theatre, those questions are set about by a Student (Josh Blann) who gets caught up with a peculiar cast of characters. Structured in three scenes, like the three movements of a sonata, the play traces a faint narrative arc, but, in the modernist tradition that Strindberg played a major role in cultivating, the action is placed amid a great deal of abstraction. The Student, having spent most of the night saving people from a collapsed house, meets an old man named Hummel (Blake Hackler) who informs the young man that his heroic effort is documented in the paper. After befriending each other, Hummel introduces the cast of characters and their various intersecting relationships by way of informing the Student and sets up a scheme in which the only requirement is that the young man attends the opera and meets the Young Lady (Audrey Ahern). Read more: http://www.theaterjones.com/reviews/20130407133733/2013-04-20/Undermain-Theatre/The-Ghost-Sonata   Brasil 'A Propósito de Senhorita Júlia' estreia amanhã no CCBB Paraná Online Almanaque / Notícias 19/04/2013 Algo desconcentrava Alessandra Negrini nas primeiras apresentações de A Propósito de Senhorita Júlia, no Rio. Focada em cenas que julgava tensas e sérias, ela ouvia o público rir, inesperadamente. Natural para a releitura de uma peça de August Strindberg. "Ele abarca personagens e sentimentos tão reais e distintos que todo mundo se identifica de alguma maneira", afirma José Almino, responsável pela adaptação do espetáculo que estreia amanhã no Centro Cultural Banco do Brasil (CCBB). Com direção de Walter Lima Júnior, a versão do clássico Senhorita Júlia, do dramaturgo sueco, tem alteração física e temporal: sai da Suécia do fim do século 19 para o Brasil efervescente com as possibilidades de mudança de 2002, no momento da eleição de Lula. "Originalmente, a peça fala de conflito de classes", informa o diretor. "Apoiei-me em um período em que havia uma expectativa histórica entre nós para configurar essa ideia." Leia mais: http://www.parana-online.com.br/editoria/almanaque/news/663637/?noticia=A+PROPOSITO+DE+SENHORITA+JULIA+ESTREIA+AMANHA+NO+CCBB   Argentina TEATRO-EMIGRADOS “PASCUA”, DE AUGUST STRINDBERG, POR HIJOS DE EMIGRADOS A SUECIA Por Héctor Puyo El Comercial 19 de abril 2013 Buenos Aires, 19 de abril (Télam, por Héctor Puyo).- El argentino Luciano Suardi presentó “Pascua”, de August Strindberg, con un elenco principalmente integrado por hijos de inmigrantes a Suecia, una obra que se puede ver en el Teatro Sarmiento sólo hasta fin de mes. El experimento es interesante porque se trata de intérpretes bilingües, donde hay una argentina, un chileno-dominicano, un hijo de españoles, una sueca casada con un argentino, una cubana-azerbaiyana, un sueco puro y una sueca que entiende el castellano pero no lo habla y en cambio toca el cello en escena. Algunos de ellos son hijos de refugiados políticos en tiempos de las dictaduras cívico-militares de América Latina en los 70, otros descienden de parejas casi aleatorias y el resto, si bien nació en suelo sueco, parece coincidir en esa extrañeza del desarraigo. Obra poco representada del gran dramaturgo escandinavo (1849-1912), muestra a una familia pueblerina con aspiraciones burguesas cuyo padre está preso por algún crimen no especificado, atormentada por el castigo social y por la miseria que la ronda. Hay una madre evasiva (Andrea Macchiavelli), una hija con graves alteraciones psiquiátricas (Naida Ragimova), un joven adoptado (Camilo González), una nuera que se debate entre la resignación y el rebelarse (Kristi Torhaug) y un hijo mayor (Jonatan Rodríguez) que ha tomado el liderazgo de la familia. El muchacho es el único sostén económico del grupo –es docente en algún lugar no detallado- y mantiene ciertos principios éticos y presumiblemente políticos que un antiguo camarada abandonó para conseguir privilegios en el medio oficial. Como otros de los personajes de las obras mayores de Strindberg –“Acreedores”, “Danza macabra”, sobre todo “Pelícano”- ese hijo mayor vive en un infierno existencial donde imperan sus prejuicios de clase, el imposible entendimiento de la jerga judicial en cuanto al delito paterno y, peor aún, la posibilidad de un desalojo de la casa en que viven. Leer más: http://www.elcomercial.com.ar/index.php?option=com_telam&view=deauno&idnota=306772&Itemid=116   USA, New York (NY) Theater Review Pass the Salt, Dear. Now Let Me Look at That Cut. ‘The Dance of Death’ by August Strindberg By Charles Isherwood The New York Times April 19, 2013 The swirling strains of discordant music in “The Dance of Death,” August Strindberg’s pitch-black drama of domestic strife, come through in muted tones in the new revival from the enterprising Red Bull Theater company that opened Thursday night at the Lucille Lortel Theater, directed by Joseph Hardy and starring Daniel Davis and Laila Robins. Where thundering chords denoting burning hatred and the throes of spiritual despair are indicated, we hear instead the thinner textures of a piano sonata, albeit one liberally laced with dissonance. There is, to be sure, a leavening vein of mordant humor in Strindberg’s play, a prototypical drama of marital misery that today feels like a turn-of-the-20th-century Scandinavian template for Edward Albee’s “Who’s Afraid of Virginia Woolf?” Edgar (Mr. Davis), the captain of an artillery battery, and Alice (Ms. Robins), his wife of a very long quarter-century, rip into each other with a practiced and amusing relish as the play begins, on the latest of a series of unendurable evenings together that must somehow be endured. Read more: http://theater.nytimes.com/2013/04/20/theater/reviews/the-dance-of-death-by-august-strindberg.html?pagewanted=all&_r=0     Brasil, São Paulo Senhorita Júlia ganha toques de brasilidade SÃO PAULO - A trama conta a história de uma aristocrata que se envolve com Moacir, o motorista do seu pai, construindo um jogo onde a dominação se inverte a cada instante... DCI 19/04/2013 SÃO PAULO - Baseada livremente em um clássico da dramaturgia universal, Senhorita Julia, de August Strindberg (1849-1912), ganha nova montagem, com adaptação de José Almino e direção do cineasta Walter Lima Jr, em seu oitavo espetáculo teatral. A Propósito de Senhorita Julia estreia neste sábado (20), no Centro Cultural Banco do Brasil. Em sua nova versão, a peça, conta com Alessandra Negrini, Eucir de Souza (Moacir) e Dani Ornellas (Cristiane). No texto original sueco — escrito na penúltima década do século 19 — o conflito tinha por base um rígido e radical sistema de classes sociais. Senhorita Julia era uma aristocrata, filha de um pai militar e tirano, traída por seus conflitos íntimos aliados a doses de álcool e um jogo de sedução com o empregado do pai. Enquanto no texto do autor sueco a peça acontece durante as celebrações do solstício de Verão, quando a patroa participa das comemorações com os empregados, na adaptação de José Almino a história se passa no dia da vitória do ex-presidente Luiz Inácio Lula da Silva, quando o Brasil vislumbrava mudanças. Leia mais: http://www.dci.com.br/shopping-news/senhorita-julia-ganha-toques--de-brasilidade-id342511.html Serviço: A propósito de Senhorita Júlia — Centro Cultural Banco do Brasil; Rua Álvares Penteado, 112, Centro, de 20 de abril a 30 de junho; sextas e sábados às 20h, domingos às 19h; ingressos: R$ 6; informações: (11) 3113-3651.   Hjärnornas kamp ... och dramatikerns. Björn Gunnarsson ser en gammal moraldebatt väckas till liv på Helsingborgs Stadsteater. Av Björn Gunnarsson Helsingborgs Dagblad, 19 april 2013 Det moderna genombrottets män hyste stort intresse för brott och brottslingar. Den låg i tiden, frågan om kriminalitet var socialt eller genetiskt betingat, om låga människor begick låga brott medan Nietzsches övermänniskor kunde lämna moral och samvete därhän och bete sig som svin. Strindberg fascinerades av förvaltare Hansen på Skovlyst, ”tattaren” som var förebild för Jean i "Fröken Julie". I samma veva skrev han också "Paria", paradexemplet på den ”hjärnornas kamp” hans naturalistiska dramer skulle vara. Två män konkurrerar om moral och skuld, eller snarare omoral och skuldfrihet. Pjäsen byggde på en novell av Skånediktaren Ola Hansson. Helsingborgs Stadsteater har tagit Strindberg, Hansson och förra sekelskiftets brottsfascination som utgångspunkt för en tvåpjäsföreställning kallad Paria/Parias. På väg in till scenen konfronteras publiken med skallmätning, rasbiologi och Cesare Lombrosos brottslingsfysiognomik, för att skapa rätt idéhistorisk inramning. Läs mer: http://hd.se/kultur/scen/2013/04/19/hjarnornas-kamp/   USA, New York (NY) Review: Marital battles are as resonant onstage as ever in Strindberg’s ‘Dance of Death’ By Associated Press The Washington Post 18.04 2013 NEW YORK — “The Dance of Death,” a searing, dark comedy about a bitterly hateful married couple, was written by August Strindberg in 1900. An edgy, sometimes harrowing new adaptation by Mike Poulton, presented by the always-adventurous Red Bull Theater, opened Thursday night off-Broadway at the Lucille Lortel Theatre, where the 19th-century marital battles are as resonant onstage as ever. Laila Robins gives a spirited, often vitriolic performance as despairing Alice, married for 25 “hellish” years to Edgar, (Daniel Davis). He’s an extremely unpopular military captain serving on an island that seems to have become their personal purgatory. Davis’ subtle enactment of Edgar, who claims deteriorating health, equally embraces his bullying ways, empty swagger and self-pitying, reflective moments of broken spirit. Director Joseph Hardy tries to leaven the script’s hostility by finding as much humor as possible, although the comedy is acerbic and the couple’s heated exchanges often scalding. Robins is both effusive and sly as Alice tries to keep one step ahead of her treacherous, bullying spouse. Davis hams it up a little, without spoiling the genuinely corrosive nature of their constant arguments. Read more: http://www.washingtonpost.com/entertainment/theater_dance/review-marital-battles-are-as-resonant-onstage-as-ever-in-strindbergs-dance-of-death/2013/04/18/15edf786-a89c-11e2-9e1c-bb0fb0c2edd9_story.html   Deutschland Man kann es nur lieben oder hassen Von Dr. Tatjana Mehner OTZ 18.04.13 Weimar Ingvar Lidholm gehört zu den bedeutendsten Komponisten unserer Tage, auch weil er mit verblüffender Nachhaltigkeit die Musikgeschichte des vorigen Jahrhunderts geprägt hat. Wahrscheinlich kann man den Schöpfer einer sinnlichen, eigenwilligen und farbenreichen Musiksprache als bedeutendsten schwedischen Komponisten der letzten Jahre betrachten. Aus Schweden stammt auch der Weimarer Generalmusikdirektor Stefan Solyom. Und dessen Bemühungen ist es zu danken, dass eines der bemerkenswertesten skandinavischen Musiktheaterwerke der letzten Jahrzehnte am Wochenende am Nationaltheater Weimar Premiere haben wird. Die Oper "Traumspiel" entstand nach der Vorlage des gleichnamigen Dramas von August Strindberg. Vor 14 Jahren hat Solyom sie zum ersten Mal dirigiert. Das war sein Operndebüt. An der königlichen Oper in Stockholm. Aufregend sei das gewesen, erinnert er sich. Auch daher entdeckt der immer noch junge Dirigent nun mit erheblich mehr Erfahrung dieses Werk völlig neu. Mehr: http://www.otz.de/web/zgt/kultur/detail/-/specific/Man-kann-es-nur-lieben-oder-hassen-579357104 ! Premiere: Sonnabend, 19 Uhr, Nationaltheater Weimar   Jessica Chastain Facebook 17.4 2013 58,000 likes?! Incredible! Ok I owe you some news. I'll try to answer the filming questions that were asked. For Miss Julie, I'm doing an English accent while Colin and Samantha are doing Northern Irish. Castle Coole is where we're shooting. It feels so easy to fall into the story when in an environment that supports it. No green screens or studio lots on this one. Liv is constantly pulsating with emotion, I'm hoping that her beautiful openness and vulnerability finds it's way into my performance. On another subject- I'm sorry that Tarzan didn't work out.... but trust me.....you'll feel better when you hear the cool stuff I have in the works : ) Oh & also....I'll post a gift for you guys when we reach 60,000! xxjes   Golden Globe-winning screen star Colin Farrell is joining recent Broadway headliner and Oscar nominee Jessica Chastain in Liv Ullmann's new screen adaptation of August Strindberg's MISS JULIE, Chastain confirms on Facebook. Chastain writes, "For Miss Julie, I'm doing an English accent while Colin and Samantha are doing Northern Irish. Castle Coole is where we're shooting. It feels so easy to fall into the story when in an environment that supports it. No green screens or studio lots on this one. Liv is constantly pulsating with emotion, I'm hoping that her beautiful openness and vulnerability finds it's way into my performance." Read more about Colin Farrell Joins Chastain In Ullmann's MISS JULIE Film by broadwayworld.com Golden Globe-winning screen star Colin Farrell is joining recent Broadway headliner and Oscar nominee Jessica Chastain in Liv Ullmann's new screen adaptation of August Strindberg's MISS JULIE, Chastain confirms on Facebook. Chastain writes, "For Miss Julie, I'm doing an English accent while Colin and Samantha are doing Northern Irish. Castle Coole is where we're shooting. It feels so easy to fall into the story when in an environment that supports it. No green screens or studio lots on this one. Liv is constantly pulsating with emotion, I'm hoping that her beautiful openness and vulnerability finds it's way into my performance." Read more about Colin Farrell Joins Chastain In Ullmann's MISS JULIE Film by broadwayworld.comGolden Globe-winning screen star Colin Farrell is joining recent Broadway headliner and Oscar nominee Jessica Chastain in Liv Ullmann's new screen adaptation of August Strindberg's MISS JULIE, Chastain confirms on Facebook. Chastain writes, "For Miss Julie, I'm doing an English accent while Colin and Samantha are doing Northern Irish. Castle Coole is where we're shooting. It feels so easy to fall into the story when in an environment that supports it. No green screens or studio lots on this one. Liv is constantly pulsating with emotion, I'm hoping that her beautiful openness and vulnerability finds it's way into my performance." Read more about Colin Farrell Joins Chastain In Ullmann's MISS JULIE Film by broadwayworld.com Link: https://www.facebook.com/permalink.php?story_fbid=483321848405544&id=130560923681640   Argentina TEATRO › LUCIANO SUARDI ESTRENA PASCUA, EN EL TEATRO SARMIENTO Strindberg y la angustia de una espera Por Paula Sabatés Página 12, Jueves, 18 de abril de 2013 En el marco de la conmemoración del centenario de la muerte del dramaturgo August Strindberg, al argentino le tocó dirigir un elenco bilingüe de actores pertenecientes a la segunda generación de exiliados iberoamericanos en Suecia. En el marco de las conmemoraciones por el centenario del fallecimiento del dramaturgo sueco August Strindberg, que se cumplió en 2012 y todavía sigue generando cientos de homenajes por todo el mundo, el Complejo Teatral de Buenos Aires presenta por primera vez en Buenos Aires la obra Pascua, uno de los textos dramáticos más representados en el país de origen del autor, pero nunca antes traducido al español. Se trata de una coproducción con el alias Teatern de Suecia (se estrenó allí primero, en marzo) y está a cargo de Luciano Suardi, a quien le tocó dirigir un elenco bilingüe de actores pertenecientes a la segunda generación de exiliados latinoamericanos y españoles en Suecia. Se verá desde hoy y tendrá sólo siete funciones –de jueves a sábados a las 21 y los domingos a las 20– en el Teatro Sarmiento (avenida Sarmiento 2715), que abre así su temporada internacional. Antes del estreno, Suardi habló con Página/12 y contó que el hecho de que todos los actores tuvieran una experiencia de vida en Suecia fue una gran herramienta a la hora de encarar el trabajo. “Sirvió mucho que pudieran leer y actuar a Strindberg en su idioma original porque eso hizo que pudiéramos discutir ciertas palabras y expresiones de la traducción. Además, me ayudaron a comprender qué quería decir el autor en cada momento y a pensar cuál era la mejor manera de que eso se dijera en español”, explica el director, aunque asegura haberse encargado de no perder el espíritu latino que sus actores podían darle a la pieza. Leer más: http://www.pagina12.com.ar/diario/suplementos/espectaculos/10-28392-2013-04-18.html   Brasil, São Paulo "É um 'Big Brother' sueco", diz Alessandra Negrini sobre nova peça "A Propósito de Senhorita Júlia" estreia neste sábado (20) em SP; montagem brasileira mostra conflitos entre classes no dia em que Lula foi eleito presidente, em 2002 De Susan Souza Último Segundo, iG São Paulo 17/04/2013 A peça "A Propósito de Senhorita Júlia", montagem brasileira baseada na obra mais famosa do autor sueco August Strindberg (‘Senhorita Julia’, de 1888), continua atual. Pelo menos é o que os atores pretendem mostrar. Os conflitos entre os personagens são temperados com elementos tipicamente humanos - existentes em qualquer época e lugar - como a paixão, sedução, ódio, inveja e o próprio dilema interno. “A Júlia foi criada para ser masculina, para enfrentar, para não amar. Mas tem um lado dela que quer amar, ser feminina e se entregar. São personagens que se fazem na tensão dos opostos. Strindberg é um 'Big Brother' sueco”, define a atriz Alessandra Negrini, que interpreta a rica protagonista. Também estão no elenco Eucir de Souza, no papel do motorista Moacir, e Dani Ornellas, como a cozinheira Cleide. A direção é de Walter Lima Jr. Em cartaz a partir deste sábado (20) no Centro Cultural Banco do Brasil, em São Paulo, o texto original teve seu contexto atualizado para o Brasil de 2002 - no dia em que Luís Inácio Lula da Silva ganhou a eleição presidencial. “O desenho do Moacir é quase inteiro o que a gente viu [com o ex-presidente Lula]. Ele começa sem nada, vai crescendo e consegue a patroa. Quando isso acontece, a gente vê que não é como ele imaginava”, reflete Eucir. “Eu, como esquerdista que fui, passei por esse processo de acreditar muito em uma coisa e, quando chegou, vi que não era exatamente como imaginava.” Leia mais: http://ultimosegundo.ig.com.br/cultura/2013-04-17/e-um-big-brother-sueco-diz-alessandra-negrini-sobre-nova-peca.html     USA Get a look at a famous but seldom seen masterpiece: Undermain Theatre brings Strindberg’s ‘The Ghost Sonata’ to Dallas By Lawson Taitte Dallas News, Arts blog April 13, 2013 Here’s an advance look at my review of Undermain Theatre’s The Ghost Sonata: Critics dismissed August Strindberg’s The Ghost Sonata when it premiered in 1908. Later playwrights and theater historians have revered it as one of the most influential works in modern drama. How audiences today react to it will largely depend on what they expect from a play and how imaginatively the director treats it. Undermain Theatre’s new production of Paul Walsh’s translation, directed by Patrick Kelly, lavishes theatrical magic on the piece. It’s the height of elegance. You might well still find it confusing, even baffling, but you’ll be fascinated anyway. The Ghost Sonata has the arbitrary structure of a dream. You can’t really tell who is living or dead, real or a ghost. Rich or poor, old or young, people do terrible things to each other, feel remorse or attempt revenge. Strindberg seeks answers from occult mysticism and an elementary knowledge of Buddhism. In the end, though, the play’s satisfactions are aesthetic rather than philosophical or moral. Read more: http://artsblog.dallasnews.com/tag/august-strindberg/ Through May 11 at the Undermain Theatre, 3200 Main St., Dallas. Runs 90 mins. $15 to $30. 214-747-5515. http://www.undermain.org/   Italia Il pellicano di Strindberg al Teatro Lungobinario By Daniela Domenici ItaliaNotizie 13 aprile 2013 Quarto spettacolo del cartellone della prima stagione del teatro Lungobinario nei pressi della stazione Leopolda a Firenze: è di scena “Il pellicano”, una delle sei “tragedie da camera” del più grande commediografo svedese, August Strindberg, da lui scritta nel 1907, che il regista Marco Lombardi ha messo in scena con il Teatro dell’Inutile. Ho già avuto modo di apprezzare e applaudire l’attenta regia di Lombardi in due precedenti spettacoli e…non c’è due senza tre, ancora una volta ha saputo scegliere un testo denso di significati in cui l’autore ha convogliato e condensato molte delle sue paure e ossessioni: i miei complimenti al regista per questa sua scelta di qualità. Leggete il sito: http://www.italianotizie.it/?p=28842   USA Baritones, Baryshnikov, and Beckett at ArtsEmerson By Laura Collins-Hughes The Boston Globe April 11, 2013 Marionettes from Italy, a South African Strindberg adaptation, an Irish production of “Waiting for Godot,” and a film-infused dance-theater piece from Belgium are among the shows on the agenda for fall 2013 at ArtsEmerson, where next winter and spring promise Mikhail Baryshnikov, Handspring Puppet Company, and a British multimedia production of Noël Coward’s “Brief Encounter.” Read more: http://bostonglobe.com/arts/theater-art/2013/04/11/baritones-baryshnikov-and-beckett-artsemerson/7ndUmuiWR6sJhS7LlpjNcM/story.html   UK World premiere at theatre Fenland Citizen 11/04/2013 10:33 On May 1 and 2 the Key Theatre in Peterborough hosts the world premiere of a new English translation of Miss Julie by August Strindberg: a tale of lust, class conflict and boundaries broken. This powerful new adaptation of Strindberg’s classic play is presented by UK Touring Theatre; touring to 13 theatres across the UK this spring. Set in Sweden on Midsummer’s Eve in 1888; the play explores the relationship between aristocratic Miss Julie and Jean, her father’s valet. What starts as a harmless flirtation, soon descends into a ferocious power struggle and battle of the sexes, from which neither can escape. Originally banned in the UK for 50 years because of its frank portrayal of inter-class relationships, Miss Julie shocked critics across Europe in the late 19th and early 20th centuries. However, the play has since received worldwide critical acclaim, and is now widely regarded as Strindberg’s masterpiece. It is a gripping psychological drama in a period setting, perfect for fans of classic theatre and Scandinavian drama alike. Director Denis Noonan said, “Miss Julie is a very powerful piece. The process of translating the play took 8 months, working with the actors on the text. The result is a production that is exciting, dynamic and accessible to a modern audience.” Tickets for Miss Julie are priced at £12.50 (£10 student concessions) and can be purchased from the Key Theatre Box Office on 01733 207 239 or online at vivacity-peterborough.com A £1.50 booking fee applies to all cheque & card transactions Link: http://www.fenlandcitizen.co.uk/lifestyle/lifestyle-and-leisure-news/world-premiere-at-theatre-1-4977692     España, Madrid Estreno de 'La Danza de Muerte' de August Strindberg en La puerta estrecha Escrito por Artezblai ArtezBlai 10 Apr 2013 La compañia de teatro La Pajarita de Papel estrenará el próximo día 12 de Abril, 'La danza de la muerte' de August Strindberg, en la sala madriñena La Puerta Estrecha, con adapatación y dirección de Rodolfo Cortizo. Las funciones serán de viernes a sánado hasta el 30 de junio. En La Danza de la Muerte, Strindberg nos muestra a dos personas marginadas, que viven aisladas en una isla y al margen de la población. Un matrimonio burgués de dos fracasados: él, un militar dejado de lado en los ascensos, y ella, que ha abandonado una carrera teatral, probablemente muy mediocre. Tras años de vida en común, no tienen ya nada que decirse; están muertos en esa casa que más parece una cárcel o un panteón. Llega de visita un tercer personaje y su presencia es recibida como una bendición del cielo. Hay posibilidades de conversación; esposa y esposo encuentran en él un interlocutor para confiarle el infierno en que viven. Este infierno arrastra a la visita, que se ve envuelta contra su voluntad en aquel remolino de miserias. Y para no sucumbir, huye. La vida en esa casa, como forma simbólica de los juegos de la imaginación, seguirá su curso, ya sólo viviendo en apariencia, parasitariamente. Leer más: http://www.artezblai.com/artezblai/estreno-de-la-danza-de-muerte-de-august-strindberg-en-la-puerta-estrecha.html   USA, New York (NY) Daniel Davis, Laila Robins and Derek Smith Engage in a Dance of Death, Starting April 10 Off-Broadway By Adam Hetrick Playbill 10 Apr 2013 Tony Award nominee Daniel Davis, Laila Robins and Tony nominee Derek Smith star in the Red Bull Theater production of August Strindberg's Dance of Death, which begins performances April 10 at the Lucille Lortel Theater. Tony Award nominee Mike Poulton (Fortune's Fool) penned the adaptation that is directed by Tony Award winner Joseph Hardy (Child's Play). Dance of Death will officially open April 18 for a limited run through May 4. Davis (La Cage aux Folles) stars as Edgar, with Robins (The Lady from Dubuque) as Alice. A Tony Award nominee for The Green Bird, Smith portrays Gustav. Read more: http://www.playbill.com/news/article/176753-Daniel-Davis-Laila-Robins-and-Derek-Smith-Engage-in-a-Dance-of-Death-Starting-April-10-Off-Broadway     Deutschland August Strindberg (Langtrailer) YouTube 7.4 2013 [Die schwedische TV-Serie (1985)] Link: http://www.youtube.com/watch?v=kmiyZDU9vDc Blogspot Antti Alanen: Film Diary Antti Alanen (born 1955) is Film Programmer at National Audiovisual Archive (Finland), which runs the Cinema Orion in Helsinki. This diary is an irregular notebook of rough notes on films and occasional film-related experiences. Early notes 1963-1970: see January 1971. This blog ran out of labels in October 2009. Saturday, April 06, 2013 Saturday, April 06, 2013 August Strindberg: Spöksonaten / The Ghost Sonata. SE 1907. I read the translation by Jouko Turkka and Maija-Liisa Turkka in the volume August Strindberg: Pelikaani, Talo on palanut, Aavesonaatti [The Pelican, The Burned House, The Ghost Sonata] (Pelikanen, Brända tomten, Spöksonaten). Helsinki: Love Kirjat, 1984. Turun kaupunginteatteri: Sopukka / Turku City Theatre: The Nook, 6 April 2013 August Strindberg: Aavesonaatti / The Ghost Sonata, translated by Juha Siltanen D: Juha Siltanen, AD: Markus Tsokkinen, Cost: Tuomas Lampinen, Lighting design: Jarmo Esko, Make-up: Anna Nurminen, Stage manager: Esa Lindfors, Property man: Nora Eriksson, C: Pekka Laiho (Gubben / The Old Man, director Hummel), Markus Riuttu (The Student, Arkenholz), Laura Eriksson (The Milkmaid, a vision), Ulla Koivuranta (Portvakterskan / The Concierge's wife), Kimmo Rasila (The Concierge), Ari Piispa (Den Döde / The Dead Man, a consul), Riitta Selin (Den Mörka Damen / The Lady in Black, daughter of the dead man), Juhani Niemelä (The Colonel), Eila Halonen (Mumien / The Mummy, the colonel's wife), Mervi Takatalo (The Young Lady, the colonel's daughter, is the Old Man's daughter), Jukka Soila (Den Förnäme / His Excellency, called Baron Skanskorg, betrothed with the Concierge's daughter), Kimmo Rasila (Johansson, Hummel's servant), Ari Piispa (Bengtsson, the colonel's valet / betjänt), Marja Pesonen (The Fiancée, previously engaged to Hummel, a white-haired old lady), Ulla Reinikainen (The Cook), Ulla Reinikainen (The Maid). Beggars. 140 min with a coffee break. There is background music almost for the entire duration of the performance (Beethoven, Wagner, J. Strauss, Jr., etc.). Arnold Böcklin's painting Die Toteninsel / Isle of the Dead (1880-1886) features prominently. The handbill is a valuable souvenir programme. There are two forewords by Juha Siltanen, poems by Juhan Viiding, Henry Parland, and Katri Vala, reproductions of paintings by August Strindberg and Arnold Böcklin, introductions to the phenomena of the sonata form, chamber music, the chamber play and the intimate theatre, and keys to the symbols of the hyacinth, the house, and the vampire. Read more: http://anttialanenfilmdiary.blogspot.se/2013/04/august-strindberg-spoksonaten-ghost.html   UK Reading Rep's Miss Julie reviewed Amy Danbrowsky Slough Observer 5 Apr 2013 Daring and breathtaking, Reading Rep's adaptation of August Strindberg's 19th century text, Miss Julie, had the audience enraptured until the final fateful scene. The stunning and sultry Miss Julie, played by Valene Kane, crept about the stage with the agility of a cat, preying on a mouse. Commanding and worldly wise, but emotionally malleable Jean, played by Jamie Champion, spends the play fighting her lustful advances and his inner turmoil over his place in the world. Read more: http://www.sloughobserver.co.uk/whatson/goingout/articles/2013/04/05/88206-reading-reps-miss-julie-reviewed/ UK Review: Miss Julie by Reading Rep By Caroline Cook GetReading April 04, 2013 Miss Julie Until Saturday, April 13 Reading Rep at Reading College www.readingrep.com (0118) 375 0280 The battle between the sexes is the ultimate power struggle and last night Reading Rep's Miss Julie proved it is also a timeless fight. Although rooted in a Downtown Abbey-esque era of servants and gentry director Paul Stacey has created a fresh, modern adaptation of August Strindberg's 1888 play. An adaptation which sees protagonists Jean (Jamie Champion) and Miss Julie (Valene Kane) represent contemporary man and woman, as much as those of the past. The intensity of their relationship is prevalent from the off, with a wickedly seductive opening dance sequence which set the tone for all the sexual politics to come. Read more: http://www.getreading.co.uk/entertainment/theatre_and_dance/s/2131893_review_miss_julie_by_reading_rep   España La Puerta Estrecha presenta ‘La Danza de la Muerte’ de Strindberg Escrito por Komunika Artez 02 Apr 2013   El Teatro La Puerta Estrecha (c/ del Amparo 94, Madrid) el 12 de abril el estreno de presenta 'La Danza de la Muerte' de August Strindberg en una producción de La Pajarita de Papel. La obra que se representa hasta el 30 de junio, de viernes a domingo a las 20,30 horas, muestra a dos personas marginadas, que viven aisladas en una isla y al margen de la población. A partir de la dramaturgia y la dirección de Rodolfo Cortizo, en la puesta en escena de 'La Danza de la Muerte', Strindberg presenta a un matrimonio burgués de dos fracasados: él, un militar dejado de lado en los ascensos, y ella, una actriz que ha abandonado una carrera teatral, probablemente muy mediocre. Tras años de vida en común, no tienen ya nada que decirse; están muertos en esa casa que más parece una cárcel o un panteón. Llega de visita un tercer personaje y su presencia es recibida como una bendición del cielo. Hay posibilidades de conversación; esposa y esposo encuentran en él un interlocutor para confiarle el infierno en que viven. Este infierno arrastra a la visita, que se ve envuelta contra su voluntad en aquel remolino de miserias. Y para no sucumbir, huye. La vida en esa casa, como forma simbólica de los juegos de la imaginación, seguirá su curso, ya sólo viviendo en apariencia, parasitariamente. Leer más: http://www.artezblai.com/artezblai/la-puerta-estrecha-presenta-la-danza-de-la-muerte-de-strindberg.html Ficha artística:   Obra: La Danza de la Muerte Autor: August Strindberg Dramaturgia y Dirección: Rodolfo Cortizo Intérpretes: Nicolás Fryd, Victoria Peinado Vergara, Paco Gámez, Violeta Jara Martín Música: Johan Halvorsen Escenografía, Vestuario y Atrezo: La Puerta Estrecha Iluminación y Sonido: Rodolfo Cortizo y Nicolás Fryd Producción: Peldepa S.L.L.   Ireland Brief intermission for Colin ahead of 'Miss Julie' shoot By Maureen Coleman Independent.ie 30 March 2013 HOLLYWOOD actor Colin Farrell begins filming the adaptation of Swedish play 'Miss Julie' in Co Fermanagh next week. The Dublin-born actor is already in Northern Ireland, where he has been taking part in read-throughs ahead of shooting. Farrell will star opposite Oscar nominee Jessica Chastain in the film, which will be directed by Liv Ullmann. Written by Swedish playwright August Strindberg, the €4.3m adaptation will film at Castle Coole in Co Fermanagh throughout April. Farrell is lined up to star in another project, 'Solace', which will be filmed in Detroit in May. Due for release in 2014, 'Miss Julie' also stars Samantha Morton. Chastain will play the part of an unsettled daughter of the Anglo-Irish aristocracy who encourages her father's valet, played by Farrell, to seduce her. Morton will play the Irish cook engaged to Farrell's character. Farrell has been spotted out and about around Enniskillen, relaxing at the Killyhevlin Hotel and the Lough Erne Resort. According to reports, Fermanagh was chosen as the backdrop for the film after location scouts were charmed by its 'beautiful natural setting'. Originally set in Sweden and written in 1888, the film will be set over one midsummer night, with the action transferred to Fermanagh in the 1890s. Link: http://www.independent.ie/irish-news/brief-intermission-for-colin-ahead-of-miss-julie-shoot-29163757.html   Strindberg, hen skrev inte så hen Av Allfåns - Ledare HelaGotland, 2013-03-28 ”Hen kom som ett yrväder en aprilafton och hade ett höganäskrus i en svångrem om halsen”. Så skrev inte August Strindberg i sin berömda inledningsrad i Hemsöborna. Man får direkt klart för sig, att det är en karlakarl som kliver ur båten. Förmodligen hade han inte skrivit så heller idag om han varit verksam i vår tid och följt den pågående debatten om det könsneutrala ”hen”. Det är ju svårt sägs det att lära gamla hundar sitta, men som varande en sådan försöker man ändå känna sig för och böja lite på knäna. Dessa böjningsförsök har inte direkt gjort en entusiastisk för den språkliga förnyelsen. Behov saknas Jag ser helt enkel inget behov av den och har så inte heller gjort under ganska så mycket skrivande under ett helt liv. Jag tänker mig alltså till exempel Strindbergs alla verk skrivna ”könsneutralt”. Eller vilken annan klassiskt litteratur som helst. Vilket jävla sammelsurium det skulle ha blivit. Läs mer: http://www.helagotland.se/ledare/artikel.aspx?articleid=8455162   USA, New York (NY) Goings On About Town: The Theatre A Dream Play The New Yorker The National Asian-American Theatre Company asks interesting questions about the American theatre and its relationship to race through the revival of canonical works cast exclusively with Asian-American actors. Its latest effort is a commendable venture—an adaptation of August Strindberg’s feverish, expressionist classic about the daughter of a god, whose curiosity about pain and suffering brings her to spend time among the mortals. This production is a showcase for a handful of wonderful (and sadly underused) younger actors, but Strindberg’s hypervisual and difficult script requires a strong directorial vision to save it from murky illegibility. Here, the rather clunky scenic design and lacklustre staging doom the production with a slight patina of the amateurish. One wishes that the director, Andrew Pang, and his designers might have dreamed bigger. Previews begin March 22, opens March 27, closes April 13 145 Sixth Ave., near Spring St., New York, N.Y. 212-352-3101 Link: http://www.newyorker.com/arts/events/theatre/a-dream-play-nonapp-here   USA, New York (NY) Misguided revival of Strindberg’s ‘A Dream Play’ is random senselessness By ELISABETH VINCENTELLI New York Post March 27, 2013 When August Strindberg wrote “A Dream Play,” in 1901, he was mentally shaky, having just emerged from a bout of paranoid psychosis. This may explain why the plotless work is a lot more freeform than a masterpiece like “Miss Julie.” The vignettes in “A Dream Play” are more of a head trip, infused with Strindberg’s interest in spirituality, including Buddhism. For some reason, director Andrew Pang thought this gave him license to include interpretive pole-dancing. Rica de Ocampo can skillfully wrap herself around a vertical beam — as well she might, having been crowned the 2011 Polesque champ in Brooklyn. In times of boredom, which are many, you find yourself wondering if that activity could punch up other classics, like “Hamlet” or “The Iceman Cometh.” The real point is that there’s no point, no clue as to why the pole-dancing is even there — Pang has set the action in a nondescript netherworld of gray, blocky set elements, not the Bada Bing! lounge. But then you have no idea what’s going on in this high school-level production from the National Asian American Theatre Company. Read more: http://www.nypost.com/p/entertainment/theater/fitful_dream_doesn_beam_vkd1sjEBbGdzp5hmBfS06N   USA, New York (NY) Red Bull's Strindberg Soundscapes Will Feature Jennifer Ehle and David Strathairn By Adam Hetrick Playbill, 26 Mar 2013 Jennifer Ehle and David Strathairn will take part in the Red Bull Theater presentation of Strindberg Soundscapes April 15 at St. Stephen's Church. Music by Anthony Plog will be featured. The 8 PM event will include readings of August Strindberg's The Stronger and Pariah, both of which have been adapted by Craig Baldwin, who will also direct. The presentation promises poems by Walt Whitman set to music by Plog, as well as a musical performance of "Facades" by William Walton. Ehle is a two-time Tony Award winner for The Coast of Utopia and The Real Thing. Strathairn is an Academy Award nominee for "Good Night, and Good Luck." He recently appeared in the Broadway revival of The Heiress. St. Stephen's Church is located at 120 West 69th Street. For further information visit RedBullTheater: http://www.redbulltheater.com/ or phone (212) 352-3101. Link: http://www.playbill.com/news/article/176308-Red-Bulls-Strindberg-Soundscapes-Will-Feature-Jennifer-Ehle-and-David-Strathairn   UK, London Schaubühne Berlin present Fräulein Julie - after August Strindberg at The Barbican By Katie Antoniou Run-Riot!, 25/03/13 Produced by Barbican http://www.barbican.org.uk/theatre/event-detail.asp?ID=14385 Price £16 - 42 Get ready for a new take on a classic Bring along your digital brain Surf to website http://www.barbican.org.uk/theatre/event-detail.asp?ID=14385 See you at Barbican http://www.run-riot.com/venue/barbican Strindberg’s tragedy is reimagined by Katie Mitchell for the multimedia age- theatrical performance and live filming techniques converge, lending fresh cinematic perspective to a classic story. Aristocratic Julie and Jean, a servant in her household, are entangled in a sexually charged game. But as their dangerous pursuit of one another escalates, Strindberg’s play finds a new focus. For it is Jean’s fiancée, a cook of few words, who is given a voice in this moving adaptation that uses real-time film and sound effects to track the life-changing events through Kristin’s eyes. Recognised for her virtuosic blend of theatre and technology, Katie Mitchell co-directs with regular collaborator Leo Warner in their Schaubühne and Barbican debuts. Katie Mitchell employs five cameras, a sound effects desk, an audio booth, a projection screen on the stage, as well as the traditional set – all to create a live film of what goes through the mind of the character Kristin. Hugely impressive to watch, this gets you really close to some great acting by the company and it’s a great twist on the original story. When does Kristin realise the terrible truth about her fiancé? COMPETITION: Win 1x Pair of tickets to attend Fräulein Julie at The Barbican on 30th April . To enter the competition, send an email to Katie at katie@run-riot.com with the correct answer in the ‘subject’ box. The winner will be randomly selected. Q: Strindberg was which nationality? A:1) German 2)Austrian 3)Swedish 4)French Link: http://www.run-riot.com/theatre/schaub%C3%BChne-berlin-present-fr%C3%A4ulein-julie-after-august-strindberg-barbican   España Living in Estocolmo August Strindberg, su controversia y su casa museo Por Raquel Tellez Voy a enseñaros Estocolmo, una ciudad moderna, elegante y vanguardista construida sobre catorce islas muy distintas. Restaurantes, tiendas, museos… ¡y los rincones más especiales! Terra.es, Vilda y estilo 25/03/2013 August Strindberg es el escritor y dramaturgo sueco más famoso de todos los tiempos, nació en la isla de Riddalholmen, Estocolmo en 1849 y murió en la misma ciudad en 1912 con tan sólo 63 años. Strindberg fue un polifacético escritor activo durante 4 décadas durante las cuales escribió más de 60 novelas, además de más de 30 obras de teatro y de una autobiografía, libros de historia, análisis cultural y política. Totalmente innovador a su tiempo, exploró un sin fin de métodos teatrales, como el naturalismo, la tragedia y el monodrama. Es considerado, el padre del modernismo en la literatura sueca y su novela "La habitación roja", de 1879, es frecuentemente mencionada como la primera novela modernista sueca. En Suecia Strindberg es famoso tanto por sus novelas, como por sus obras de teatro, pero en la mayoría de otros países, solamente es conocido por su dramaturgia. Leer más: http://vidayestilo.terra.es/living-in/estocolmo/blog/2013/03/25/august-strindberg-su-controversia-y-su-casa-museo/   Australia Literary Leaves Musings on literature August Strindberg and Schizophrenia By Dr Paul Fearne I have a PhD from LaTrobe University and a masters degree from the University of Melbourne. Submissions to Leaves Literary Journal can be made to leavesliteraryjournal [at] hotmail [dot] com as a Word .doc attachment. Please send three poems and a short bio. Best poems will be read on my radio show on 3CR. Blogspot, Friday, March 22, 2013 In a few months I will be releasing my new book, A Schizophrenic to Strindberg: An Unanswered Letter. The book is written as an epistolary novel addressed to the now dead August Strindberg. Strindberg lived in the 19th century, and became famous for plays such as Miss Julie and The Father. His plays were performed around the world during his life time, and are just as famous and well-known (revered, treasured and misunderstood) today. He didn't just write plays, but novels, poetry, history and even painted. My book will have one of his paintings on the cover. He was in every sense of the word a polymath. He wasn't adverse to scandal. One his books, The Red Room, was a contemporaneous depiction of the cultural, artistic and literary life of his peers. He defamed many of his contemporaries in the novel, and indeed one individual who read the book, and who was named and written about in it, was to die one week later. Read more: http://www.literaryleaves.blogspot.se/2013/03/august-strindberg-and-schizophrenia.html   Chile Ciclo Teatro Hoy se inaugura con “Castigo” de Cristián Plana radio.uchile.cl, Lunes 18 de marzo 2013 El Teatro La Memoria acogerá hasta junio siete montajes nacionales contemporános, como "El año en que nací", de Lola Arias, y "Zoo", dirigido por Manuela Infante. La temporada se inicia esta semana con la obra basada en un relato del escritor sueco August Strindberg. “Castigo”, del director Cristián Plana, inaugurará este jueves 21 el ciclo Teatro Hoy, dedicado a la creación nacional contemporánea, que se desarrollará hasta junio en el Teatro La Memoria. El montaje está basado en “El hijo de la sierva”, relato autobiográfico del escritor sueco August Strindberg, y cuenta con las actuaciones de Rodrigo Soto, Alexandra Von Hummel, Daniela Ropert, Diego Salvo y Natalia Ríos. Cristián Plana, director de “La señorita Julia”, “Comida alemana” y “Velorio chileno”, aseguró que “uno de los desafíos al momento de poner en escena este texto, fue también poner en escena la mente de un niño. Eso es muy complejo. Intentar meterme en mi propia mente de cuando tenía seis años es casi imposible”. Leer más: http://radio.uchile.cl/noticias/199905/   Strindberg på spanska Bildspel Foto: Malin Hoelstad SvD 22 mars 2013 Aliasteatern bjuder på Strindbergs pjäs Påsk – på både svenska och spanska. Se mer: http://www.svd.se/kultur/bakom-kulisserna-pa-aliasteatern_7996360.svd Massachusetts, USA WritingsForums Thread: Short Story Club (6): Half a Sheet of Foolscap by August Strindberg For this discussion we'll be reading "Half a Sheet of Foolscap" by August Strindberg. You can find a copy of the story here. For those of you who don't know, Strindberg was a prolific writer from Sweden. He's considered one of the big names in Swedish literature. According to his Wikipedia page, he influenced writers such as Franz Kafka and Tennessee Williams. I've never read anything of his before, so I look forward to reading this story. Link: http://www.writingforums.org/showthread.php?t=60679&p=1011641   USA, New York (NY) Uplift From a Gloomy Gus ‘Easter,’ by Strindberg, at the Gene Frankel Theater By Ken Jaworoski The New York Times, March 21, 2013 Abandon hope, all ye who enter a Strindberg play. That Swedish writer steeped his characters in desperation and contempt, and he wasn’t affable to his audience, either. “If my tragedy depresses many people, it is their own fault,” he wrote of his masterpiece, “Miss Julie.” What then to make of “Easter,” a rarely seen play revived by the August Strindberg Repertory Theater? Perhaps it’s the exception that proves the rule. In it a disgraced family seeks redemption, and the sense of optimism is so strong that you may find yourself expecting a last-minute suicide. Don’t bother. And don’t double-check your playbill for the writer’s name, either. This really is Strindberg. The story centers on the Morgans, whose debts may ruin them. The elder Mr. Morgan is in prison, and other problems plague the family, not the least of which is Lenora, the youngest child, who recently left a mental institution. Still, they stand tall through adversity, and salvation soon follows. It’s a curious piece, fairly well directed here by Robert Greer, in an adaptation by him and the actors. The setting has been moved from 1901 Sweden to 1958 Harlem, and the production employs an all-black cast. Those choices don’t run counter to the spirit of the playwright — Strindberg was constantly experimenting. Read more: http://theater.nytimes.com/2013/03/22/theater/reviews/easter-by-strindberg-at-the-gene-frankel-theater.html?_r=0 USA, New York (NY) Julia Hochner on August Strindberg Rep’s "Easter", adapted and directed by Robert Greer By Julia Hochner New York Theatre Review (an indie media outlet for indie theater.) March 19, 2013 Any theatre company dedicating itself solely to the work of August Strindberg has quite a task in store. Eugene O’Neill may have called him the “greatest genius of all modern dramatists,” but Strindberg’s plays can certainly be challenging in their style and density, especially to a modern audience; to say nothing of the fact that his work has been called sexist and racist, and not without cause. So it is especially interesting that, in their current production of Easter, one of the playwright’s later works, August Strindberg Rep has set the drama in Harlem circa 1958. Featuring an all-black cast, the play centers on a family struggling under the weight of a scandal caused by its patriarch. Ellis, his son, drives much of the play as the burdened inheritor of his father’s debts. Having been pushed to his limit by the scandal’s fallout, he is often at odds with the other characters and not the most sympathetic of protagonists. At the opposite end of the spectrum is his sister Leonora, whose dreamily pious nature is perhaps intended to be endearing but is more often unsettling and strange. Read more: http://newyorktheatrereview.blogspot.se/2013/03/julia-hochner-on-august-strindberg-reps.html     Hemsöborna a lá Nietzsche En recensent saknade den nietzschianska vinkeln när 123 Schtunk spelade "Hemsöborna" på sin hemmaplan i Varberg. Så givetvis tar den rödnäsade teatergruppen upp det på scen när de gästar Simrishamn. Kulturskribent Anders E Larsson var där. Av Anders E Larsson Yatads Allehanda 18.3 2013 Teater "Hemsöborna". Av August Strindberg. Med: 123 Schtunk – Josefine Andersson, Lasse Beischer och Dick Karlsson. Teaterbiografen Grand, Simrishamn, 15/3. Spelas även på Ystad Teater den 22 mars. Jag blev tvungen att läsa recensionen. Jo, det förekommer referenser till Nietzsches över- och undermänniskotankar, med koppling till att "Hemsöborna" allt sedan tv-serien med Edwall och Ruud har antagit formen som ett lustspel. Josefin Andersson (Madame Flod) muttrar något om att den lokale recensenten på Schtunks hemmaplan i Varberg som hon först inte vill namnge, för att strax formulera Bjöööörnnn... – gjort ner Schtunks Strindbergversion därför att han saknat den nietzschianska vinkeln. Jag läser recensionen: Visst är den en sågning. Och visst är det rätt härligt med ett bittert svar på tal från scenen från skådespelarna i fråga – det gäller ju att utnyttja de fora man har till sitt förfogande. Särskilt när det, som här, blir närvarande teater. Läs mer: http://www.ystadsallehanda.se/kultur-och-noje/article1841034/Hemsoborna-a-l%C3%A1-Nietzsche.html   Herman Lindqvist: Kungen som baktalades av Strindberg Aftonbladet, 2013-03-16 Vår tids bild av Gustav III är gärna en feminin teaterfigur, lite löjlig och fjantig som bryter på franska. Den bilden är helt skapad av hans fiender med god hjälp av dramatiker som August Strindberg. Faktum är att Gustav III, så som han gång på gång visade under kriget och under de svåra politiska kriserna under hela sitt liv, var långt ifrån någon vek fjant. Han hade alla anlag för att bli en riktig krigarkung. Dessutom talade han perfekt svenska och var i själva verket oerhört stolt över att vara den förste svenske kungen sedan Karl XII som var född i Sverige. Han hade alla förutsättningar för att bli en stor fältherre. Han var ytterst sällan sjuk. Han utsatte sig gärna för strapatser, och moderna krigshistoriker menar att Gustav III kunde ha blivit en lysande härförare. Han var våghalsig, nästan dumdristig. Han hade mental hårdhet och spänst, stor viljestyrka och uthållighet. Han hade en medfödd blick för militär taktik, förstod betydelsen av att vilse­leda genom snabba rörelser och av att överraska fienden. Han hade ibland bättre taktisk blick än sina rådgivare. Han hade karisma och förmåga att påverka soldaterna i fält; de slog som besatta då han var när­varande. Läs mer: http://www.aftonbladet.se/nyheter/kolumnister/hermanlindqvist/article16428822.ab   De byggde Strindbergs gitarr – bit för bit Av Ann-Charlotte Irhede Corren, 15 mars 2013 Linköping. Universalgeniet August Strindberg var inte bara författare, konstnär och alkemist. Han var också musikalisk och hade i sin ägo en specialstämd gitarr. Nu avslöjas hur den kan ha låtit, tack vare föreningen Sträng och Stråke i Linköping. Originalgitarren finns på Strindbergsmuseet i Stockholm, sprucken och ospelbar. Och där hade det kunnat sluta om inte två intressen förenats i en och samma person. Vi talar om förre Correnprofilen Håkan Wasén. Han är nämligen både ordförande i Strindbergska släktföreningen och instrumentbyggare i Linköpingsföreningen Sträng och Stråke. När han fick höra talas om den märkliga gitarren fick han genast Sträng och Stråke med på noterna att försöka bygga en kopia. En donation 2011 gjorde projektet ekonomiskt möjligt. Nu startade ett mätande och räknande av sällan skådat slag. Läs mer: http://www.corren.se/kultur/de-byggde-strindbergs-gitarr--bit-for-bit-6337686-artikel.aspx   UK Dances of Death a New Adaptation of August Strindberg by Howard Brenton, to Premiere at London's Gate Theatre By Mark Shenton Playbill, 15 Mar 2013 Dances of Death, a new adaptation of August Strindberg's play by Howard Brenton, will begin performances at London's Gate Theatre May 30, prior to an official opening June 6 for a run through July 6. Director Tom Littler, currently represented in London by his production of Graham Greene's The Living Room at Jermyn Street Theatre, will make his Gate directorial debut to direct a cast that includes veteran actors Michael Pennington and Linda Marlowe. They will play Edgar and Alice, a couple who have been married for over 30 years but whose relationship is of explosive mutual loathing. This new adaptation gives a rare opportunity to see not only part one but also the rarely performed second part of this European theatre classic. Brenton's own original recent plays include Paul and Never So Good (both premiered at the National), In Extremis and Anne Boleyn (both premiered at Shakespeare's Globe), 55 Days and # aiww: The Arrest of Ai Weiwei (both at Hampstead Theatre, where the latter opens in April). He also provided the version of Buchner's Danton's Death seen at the National in 2010. To book tickets contact the box office on 020 7229 0706 or visit http://www.gatetheatre.co.uk for more details. Link: http://www.playbill.com/news/article/175957-Dances-of-Death-a-New-Adaptation-of-August-Strindberg-by-Howard-Brenton-to-Premiere-at-Londons-Gate-Theatre   USA, New York (NY) Off-Off-Broadway Review Strindberg's 'Easter' Proves Timeless By Jonathan Mandell Backstage March 13, 2013 How can a family redeem itself in the aftermath of a scandal? What does it take to forgive and be forgiven? What is it like to suffer for another’s sins? Those are the timeless themes of August Strindberg’s “Easter,” which the playwright wrote at the turn of the 20th century and set in a coastal town of Sweden and which the August Strindberg Repertory Theatre has chosen as its second production. As with the company’s inaugural offering last year, Strindberg’s “Playing With Fire,” “Easter” features a cast made up of African-American actors. “Fire” was supposed to take place among the black elite on Martha’s Vineyard in the 1920s. The repertory company’s artistic director, Robert Greer, says that he has transposed “Easter,” which he also directs, to the Harlem of 1958. In truth, though, except for the race of the actors and just a few local references (the neighborhood asylum is referred to as Bellevue), there is little that roots the play in this particular time and place. That’s just as well. Although a bit slow-moving, “Easter,” which is a tragic story with a happy ending, proves a more satisfying theatrical experience than last year’s comedy with a sad ending, in part because it doesn’t strain to fit into its new setting. The effects of a family’s disgrace have resonance no matter what the cause or the era. Read more: http://www.backstage.com/review/ny-theater/off-off-broadway/august-strindberg-repertory-theatre-easter-/   Uppdrag: världen SAMIR ABU EID Redan som lokalreporter i Stockholm tränade han på att stå framför kameran som en utrikeskorrespondent. Nu lever Samir Abu Eid sitt livs dröm – och har blivit den arabiska vårens ansikte i tv. – Det var August Strindberg som gjorde mig nyfiken på samhällskritiken och journalistyrket. Av Jenny Leonardz SvD 10 mars 2013 Ett liv i kappsäck, ständigt på resa mellan farliga uppdrag i konflikt- och krigshärdarna i Mellanöstern och Nordafrika. Än i revolutionens centrum på Tahirtorget i Kairo, än i Gaddafis tunnlar, än i det krigshärjade Syrien. Men när jag träffar SVT:s Mellanösternkorrespondent Samir Abu Eid är det också en annan bild som växer fram. För även om Samir Abu Eid älskar sitt farliga jobb, så ser jag inget av forna tiders testosteronstinna machograbbar som med den klassiska militära ”fotovästen” rapporterade från krigsfronterna. Nej, det är en vänlig och föga skrytsam person jag möter här hemma i Sverige, på blixtvisit. Men det har varit svårt för honom att ta ledigt. –Ja, det är frustrerande att vara hemma, när det händer så mycket nu… Egypten, Syrien, jag borde vara där. Men jag kan ju inte vara överallt. Läs mer: http://www.svd.se/kultur/uppdrag-varlden_7979590.svd   UK Mies Julie in London: 'Apartheid was an insane experiment' What could a 19th-century Swedish play have to say about 21st-century South Africa? Plenty, says Yael Farber, whose hit adaptation of Miss Julie is about to open in London By Bim Adewunmi The Guardian, Wednesday 6 March 2013 Yael Farber has just flown in from Mumbai and, even with jetlag, she's a talker. She's here because her adaptation of Miss Julie, August Strindberg's 1888 tale of class, love and lust, is about to open in London. Farber has relocated the action from a Swedish count's estate in the 1870s to the hot, steamy kitchen of a working farm on the Eastern Cape of South Africa on Freedom Day 2012. The play, called Mies Julie, was a runaway success at Edinburgh last year, winning the best of the fringe award, and prompting the Guardian's Lyn Gardner to say Julie "has never raged quite so fiercely as she does in this searing and fearless new version". In November, the production travelled to Brooklyn for an equally rapturous reception, making several critics' picks of the year. Farber laughs at the memory of Edinburgh. "We were in a small, modest hall. The production values were quite low, and we had maybe three rows of people in the audience for the first couple of performances. I kept taping off most of the auditorium so that we didn't disperse them." Then the national press noticed the show and things really took off. "It was one of those Edinburgh stories," she says. "We all gave everything to this piece and it was an exceptional way for it to be launched." Read more: http://www.guardian.co.uk/stage/2013/mar/06/mies-julie-in-london Mies Julie Riverside Studios, London Until 19 May Box office: 020-8237 1111 Guardian Extra members can buy best seats for just £19.50 for selected performances   UK   Remy Bumppo Presents August Strindberg's Creditors By Remy Bumppo Theatre Company Daily Herald 3/8/2013 Before The Girl With the Dragon Tattoo or The Laughing Policeman, before Ingmar Bergman or Henning Mankell, before even the phrase "Swedish noir," came Creditors, a sexy, twisting tale of psychological manipulation and revenge. August Strindberg told his publisher that Creditors was "humorous, loveable, all of its characters sympathetic." That may say more about Strindberg than Creditors. The play does indeed have its comic moments, but it is a humor as dark as midwinter Sweden. "Although Creditors isn't as well known as Miss Julie, Strindberg thought the two plays were his stage masterpieces," says director Sandy Shinner. "The new adaptation by David Greig brings out the humor in Creditors, not a quality usually associated with Strindberg's work." Greig's adaptation was a huge hit recently with critics and audiences in London and New York, where the New York Times called it a "thrilling new interpretation." Remy Bumppo will be presenting its Midwest premiere. Creditors will be performed April 10 through June 2 in the intimate upstairs studio space of the Greenhouse Theater Center, which will virtually put the audience in the set. Shinner, renowned for her work while the long-time Associate Artistic Director at Victory Gardens, says the studio is a choice Strindberg himself would have made; that in developing his theory of "modern psychological drama" Strindberg wanted "first and foremost, a small stage and a small auditorium." In the case of Creditors, Shinner says, "The audience will feel like eavesdroppers." Creditors is set in a Swedish island resort, in the rooms of an established writer (Remy Bumppo Artistic Associate Linda Gillum) and her new young artist husband (Teatro Vista ensemble member Gabriel Ruiz, Boss's Dilip Singh). The plot begins to twist and turn with the arrival of an older second man (Chicago veteran Mark L. Montgomery, last with Remy Bumppo in Some Americans Abroad in 2004), who proceeds to deviously toy with the minds of the couple, digging into the depths of their psyches. Amy M. Bertacini is Stage Manager for Creditors. The set is by Jeffrey W. Bauer, costumes by Jeremy Floyd, lights by Charles Cooper, sound design and composition by Christopher Kriz, and props by Julie Allen. Creditors is partially underwritten by the Jane Ellen Murray Foundation. Remy Bumppo 2012/2013 Season Sponsors are Terri Abruzzo Callahan and Dave Callahan, and Brenda and James Grusecki Link: http://www.dailyherald.com/article/20130307/submitted/130309881/   Brasil Breve romance de sonho Grupo Tapa envolve Senhorita Júlia, clássico naturalista de Strindberg, em aura onírica Por Maria Eugênia De Menezes Estadão 08 de março de 2013 - O Estado de S.Paulo Quando escreveu Senhorita Júlia, a intenção de August Strindberg era fincar, de vez, seus pés no naturalismo. Era época em que o movimento ganhava força com os livros de Émile Zola, na França. Também chegava com ímpeto aos palcos pelas mãos de André Antoine, criador do Teatro Livre de Paris. A intenção era fazer da arte um meio de representar a vida com a maior exatidão possível. Reproduzi-la em todos os seus detalhes. Sem escamotear seus aspectos mais desagradáveis. O dramaturgo sueco tinha todas essas ideias no horizonte. Mas o resultado alcançado, argumenta o diretor Eduardo Tolentino, está longe de seguir à risca todos os preceitos do gênero. "Ele até começa a peça como se fosse um texto completamente naturalista. Desloca a ação teatral da sala burguesa para a cozinha. Tenta trazer detalhes desse universo, que não é mais unicamente o da burguesia." O intrigante é que Strindberg não consegue manter-se nessa toada por toda a obra. Convoca à trama elementos que escapam do seu ímpeto de mimetizar a realidade. Na montagem que o grupo Tapa estreia hoje, a direção de Tolentino mostra o texto à luz dessas constatações. Usa a encenação para aproximar Senhorita Júlia (1888) do aspecto onírico das últimas criações de Strindberg - caso de Rumo a Damasco (1898) e O Sonho (1902). Leia mais: http://www.estadao.com.br/noticias/impresso,breve-romance--de-sonho-,1006043,0.htm (&: http://www.estadao.com.br/noticias/arteelazer,senhorita-julia-estreia-hoje-em-sao-paulo,1006142,0.htm)   Brasil Credores tem duas versões em Cartaz Estadão 08 de março de 2013 O Estado de S.Paulo Em Credores, a personagem feminina é tão controversa quanto em Senhorita Júlia. A peça examina os conflitos de poder que regem um relacionamento conjugal. Adolfo é um marido acossado dentro de casa por uma mulher que o manipula constantemente. Será a chegada de um homem desconhecido que virá alterar o quadro. E servirá como estopim para conflitos até então latentes. A versão do grupo Tapa, que estreou em 2011, segue em cartaz nessa temporada de verão que o grupo faz no Viga Espaço Cênico. É a oportunidade de comparar dois momentos distintos na carreira do autor sueco e também de examinar seus temas mais caros. "É algo raro de se ver no Brasil, que tem poucas vezes acesso a montagens desses textos", comenta o diretor Eduardo Tolentino. Nos últimos meses, a proximidade do centenário da morte de Strindberg - que ocorreu em 2012 - ajudou a suprir um pouco essa lacuna apontada por Tolentino. Uma outra versão de Credores cumpre temporada atualmente na cidade. Na montagem assinada pelo diretor Nelson Baskerville, o triângulo amoroso é acompanhado por uma quarta personagem e trazido para a contemporaneidade. / M.E.M. Link: http://www.estadao.com.br/noticias/impresso,credores-tem--duas-versoes--em-cartaz-,1006048,0.htm   UK August Strindberg’s Miss Julie gets two very different treatments Metro, Thursday 7 Mar 2013 August Strindberg’s classic Miss Julie gets two very different London outings. ‘During the first three weeks of rehearsal, whenever we’d get to the part in the text where it says: “He rips her dress off, they have sex,” we’d stop,’ says Hilda Cronje. Her performance in Mies Julie, Yael Farber’s erotically charged adaptation of August Strindberg’s Miss Julie, has drawn rave reviews from Cape Town to Edinburgh, where it was one of the hits of last year’s festival. It’s fascinating that a single sex act can still feel dangerous 125 years after it was first performed. In writing Miss Julie, about a liaison between the aristocratic Julie and her servant, Jean, Strindberg drew directly from the fount of eternal, global provocation. Every age and culture gets its own Miss Julie, it seems. British playwright Patrick Marber’s version, After Miss Julie, relocated the action to the night of Labour’s 1945 election victory; Frédéric Fisbach’s more recent Mademoiselle Julie, with Juliette Binoche, used it to investigate modern French sexual mores. A new film adaptation starring Jessica Chastain and Colin Farrell is in the works. Farber’s adaptation, which opens at London’s Riverside Studios tonight, is set in South Africa in 2012 and pits Cronje’s white farmer’s daughter against Bongile Mantsai’s black farm labourer. ‘Even though it’s [nearly two decades] after apartheid, we’re still struggling in our own ways to come to terms with what’s happening,’ says Cronje. ‘Mies Julie lays everyone’s truths on the table.’ [...] Fräulein Julie, British director Katie Mitchell’s ‘reimagining’ of Strindberg’s classic, opens at the Barbican next month and provides yet another framework for the action, filtering it through the consciousness of the third character, Jean’s fiancée. ‘If you do the play through the lens of Kristin the cook,’ says Mitchell, ‘you see the way rich, careless, dysfunctional people destroy lives.’ But the jumping-off point for Mitchell’s adaptation, created for Berlin’s Schaubühne Theatre, is less Strindberg’s attitudes to class or women and more his desire to challenge dramatic convention. ‘There are stage directions that are breathtaking in their revolutionary nature,’ she says, pointing to instructions for performances to be as naturalistic as possible. ‘The play was an attack on the theatrical culture of its time.’ [...] Mies Julie opens tonight at Riverside Studios. http://www.riversidestudios.co.uk/ Fräulein Julie opens on April 30 at Barbican. http://www.barbican.org.uk/ Read more: http://metro.co.uk/2013/03/07/august-strindbergs-miss-julie-gets-two-very-different-treatments-at-riverside-studios-and-the-barbican-3530054/   Brasil, São Paulo Senhorita Julia, de August Strindberg, estreia em 8 de março A disputa entre os sexos e as classes e a contradição entre pulsão erótica e realidade, são os temas recorrentes na obra Por: Panorama Brasil, 02/03/2013 São Paulo A peça Senhorita Julia, baseada na obra de August Strindberg, estreia no dia 8 de março, às 21h, no VIGA Espaço Cênico. As apresentações acontecem de terça a domingo, até o dia 31 de março. Escrita em 1887, a peça é um marco da dramaturgia naturalista que na versão do TAPA ganha contornos de peça-sonho, afinados com a fase final da obra do autor. Através do embate entre uma jovem aristocrata (Anna Cecília Junqueira) e seu criado (Augusto Zacchi), Strindberg aborda seus temas recorrentes: a disputa entre os sexos e as classes e a contradição entre pulsão erótica e realidade. A ação acontece sempre sob o olhar atento da cozinheira (Paloma Galasso) que com sua presença corrobora a máxima, imortalizada anos depois por Jean Paul Sartre: “O inferno são os outros”. Serviço Senhorita Julia Direção: Eduardo Tolentino de Araújo Elenco: Anna Cecília Junqueira, Augusto Zacchi e Paloma Galasso Estreia dia 8 de março – sexta-feira, às 21h30 Temporada: de 08 a 31 de março de 2013 Horários: de terça a quinta e sábado: 21hs Sextas: 21h30, domingo: 19hs Ingresso: R$ 40,00/ R$ 20,00 (meia-entrada)/ R$ 10,00 (com apresentação do passaporte do Repertório de Verão do Grupo Tapa) Local: Viga Espaço Cênico - Rua Capote Valente, 1323 – Próximo ao metrô Sumaré - Tel: 11. 3801.1843 - Sem acesso para deficientes Bilheteria abre uma hora antes do espetáculo - Aceita cheque ou dinheiro. Não aceita cartões. Recomendação: 14 anos - Duração: 1h10 - Capacidade: 74 lugares Link: http://www.panoramabrasil.com.br/diversao-e-arte/senhorita-julia,-de-august-strindberg,-estreia-em-8-de-marco-id104046.html   Denmark, Copenhagen The OBIE Award-winning National Asian American Theatre Company (NAATCO) -- now in its 23rd season of presenting classics and new works performed by Asian American actors -- will present August Strindberg's A DREAM PLAY in a new adaptation by Sung Rno and Andrew Pang, directed by Mr. Pang, with previews set to begin March 22 prior to an official opening night of March 27 at HERE, 145 Sixth Avenue (entrance on Dominick, 1 Block South of Spring). A DREAM PLAY runs through April 13. Tickets are priced from $15 (for preview performances, March 22nd- 26th) - $25 (for performances March 27th - April 13th). For Tickets & Information, please visit www.here.org or call 212-352-3101. This production of A DREAM PLAY is a part of SubletSeries@HERE, HERE's curated rental program, which provides artists with subsidized space and equipment, as well as technical support. Read more about OBIE Award-Winning Theatre Company NAATCO Presents August Strindberg's A DREAM PLAY, Beginning 3/22 by broadwayworld.com The OBIE Award-winning National Asian American Theatre Company (NAATCO) -- now in its 23rd season of presenting classics and new works performed by Asian American actors -- will present August Strindberg's A DREAM PLAY in a new adaptation by Sung Rno and Andrew Pang, directed by Mr. Pang, with previews set to begin March 22 prior to an official opening night of March 27 at HERE, 145 Sixth Avenue (entrance on Dominick, 1 Block South of Spring). A DREAM PLAY runs through April 13. Tickets are priced from $15 (for preview performances, March 22nd- 26th) - $25 (for performances March 27th - April 13th). For Tickets & Information, please visit www.here.org or call 212-352-3101. This production of A DREAM PLAY is a part of SubletSeries@HERE, HERE's curated rental program, which provides artists with subsidized space and equipment, as well as technical support. Read more about OBIE Award-Winning Theatre Company NAATCO Presents August Strindberg's A DREAM PLAY, Beginning 3/22 by broadwayworld.com See some Strindberg, Sweden's Shakespeare By Anna Ackerman The Copenhagen Post, March 1, 2013 Who exactly was Swedish playwright Johan August Strindberg? Edvard Munch’s portrait of him (1892) depicts a man with a striking, stern expression and a clenched-fist pose. Richard Bergh’s painting of him (1905) reveals a more whimsical character staring off into the distance with one hand reaching inside his jacket. Strindberg, a painter himself, captured stormy, expressionist seascapes on canvas, which demonstrate his willingness to experiment with modern trends of the time. We can try analysing all sorts of two-dimensional works to discover who he truly was – but let’s be honest. The most effective way to understand the multifaceted Strindberg is to witness one (or two) of his plays. [...] The Stronger & Simoom Krudttønden, Serrdslevvej 2, Cph Ø; Sat 9 March,16:00 & 19:00, to 27 April; Tickets: 60kr, http://www.ctcircle.dk Read more: http://cphpost.dk/inout/see-some-strindberg-swedens-shakespeare   España 'El pelícano', de Strindberg, en La Nau de la Universitat Interpretada por escena cero y dirigidad por Tono Berti I.L./Redacción InformaValencia, martes, 26 de febrero de 2013 La Sala Matilde Salvador del Centre Cultural La Nau acogerá los días 27 y 28 de febrero la obra 'El pelícano', de August Strindberg, interpretada por Escena Cero y dirigida por Tono Berti. La obra se enmarca en la programación del Aula de Teatre del Vicerrectorado de Cultura e Igualdad de la Universitat de València, que incluye una treintena de obras hasta el próximo mes de mayo. Todas las representaciones se realizan a las 19:30 horas, en la Sala Matilde Salvador de La Nau y las entradas, libres con invitación, pueden recogerse dos horas antes del comienzo de la obra en la conserjería del Centre Cultural La Nau de la Universitat de València. En esta obra, Strindberg muestra los últimos días de una familia burguesa católica venida a menos en el convulso inicio del siglo pasado. Una familia en la que impera el frío y el hambre impuesto por una madre que devora todo aquello que le rodea. Una familia imagen de la sociedad en la que vive. El pelícano es, por tanto, una metáfora del hundimiento del capitalismo que tanto deseaba Strindberg como socialista militante. Leer más: http://www.informavalencia.com/noticias/ampliar/4041/el-pelicano-de-strindberg-en-la-nau-de-la-universitat-   Kanonisera inte Strindberg! Av Christian Dahlgren Corren 26 feb 2013 I den pågående politikerkampen om vem som kan stjäla Folkpartiets paradfråga, har turen kommit till KD att ge sig ut i trängseln på skolgården. Just nu arbetar partiet med sin egen frälsningsplan för det svenska utbildningsväsendet, som är tänkt att presenteras i maj. Bland annat vill KD lyfta fram vikten av läsning, kultur och bildning för verklighetens folk i klassrummen. Det låter ju finemang. Tyvärr funderar KD:s skolgrupp också på att sno FP:s gamla usla idé om en statligt sanktionerad kanon av litterära klassiker. Vissa politiker lär sig tydligen aldrig. En sådan kulturkonserverande pekpinne visar inte bara bristande förståelse för litteraturens väsen, utan fungerar sannolikt rent kontraproduktivt när det gäller att väcka elevernas läslust. Begrunda Vladimir Majakovskijs förskräckande öde. Efter hans tragiska självmord 1930 blev denna briljanta och nyskapande ryska poet upphöjd till statlig författarikon i Sovjetunionen. Gator och torg över hela det röda imperiet fick bära Majakovskijs namn. Kommunistpartiets kulturkommissarier hyllade honom i alla möjliga och omöjliga sammanhang. I skolorna tvingades varenda elev traggla hans dikter. Följden? Numera är Majakovskij stendöd i sitt hemland. Ingen ryss läser honom frivilligt. Det är utanför Ryssland han har sin stora och hängivna publik i dag, bland dem som sluppit utsättas för den politiska kanoniseringen. Hemska tanke om August Strindberg eller Hjalmar Söderberg drabbades av samma sak i Sverige! Vill man hålla litteraturen levande och angelägen kan man inte behandla den som någons slags kulturell kostcirkel, kommenderad av Socialstyrelsen. Fokusera istället på att generellt stärka lärarnas status och kompetens, så fixar nog dessa utmärkt själva att förmedla ingångarna till litteraturens värld - utan politisk dirigering. Länk: http://www.corren.se/asikter/ledare/kanonisera-inte-strindberg-6319218-artikel.aspx   USA, Los Angeles (CA) Boundary-Breaking 'Miss Julie[n]' Turns Strindberg Gay By Travis Michael Holder Backstage, Feb. 24, 2013 When one of Los Angeles’ cheekiest theatrical auteurs decides to adapt August Strindberg’s “Miss Julie” as the story of a lonely gay man in love with his valet, it would be difficult not to anticipate something special. Ken Roht’s boundary-breaking “Miss Julie[n]” goes beyond special to brilliance. Presented in a drafty old Highland Park warehouse transformed into a bizarre counterculture art gallery that could have been created by Santo Loquasto on hallucinogens, Strindberg’s classic is reinvented with multimedia extravagance. The piece has been updated by Roht and playwright Erik Patterson from 1888 to 1905 and set on a plantation in South Carolina. The effeminate Julien alternately bullies and tantalizes John, his patiently enduring target from another caste, as a chorus of dancing townspeople and servants winds through the action, appearing behind and around the crowded shelves of eclectic folk art. Their presence infuses the tale with the voice of the conservative mores of the era, similar to those that polarized Strindberg’s original audience, something accentuated by Erica Rice’s striking period costumes boldly adorned with glitter, shimmering gold lame, and blue tendrils peeking from cloche hats. Read more: http://www.backstage.com/review/la-theater/miss-julien-august-strindberg-ken-roht-orphean-circus/   Karlskrona Strindbergbrev del i guldskatt på Blekinge Museum Av Tove Kluge SR, Nyheter P4 Blekinge, fredag 22 februari 2013 I arkiven på Blekinge Museum finns en riktig guldgruva. Brev skrivna av August Stringberg, Ulrika Eleonora och Victoria Benedictsson vårdas av Christer Fröborns ömma händer. Författaren August Strindberg låg inte på latsidan när det kom till att skriva brev. Förutom alla de romaner, noveller och skådespel som han står bakom, så skrev han också runt 10 000 brev. Ett av alla hans brev hittades i slutet av förra året i Blekinge Museeums arkiv. Det skrevs 1881 på Kymmendö där August Strindberg bodde när han fick inspiration till Hemsöborna. "Tackar för ledighet" – Vi satt och förtecknade och la in delar av arkivet digitalt så att vi ska hitta delar lättare. Då låg det en liten lapp i Karl von Feilitz autograf-samling om att det skulle finnas ett brev från August Strindberg. Och sen så ringade vi in var det skulle vara och satte vi oss ner en eftermiddag och plockade fram det, berättar Christer Fröborn. Brevet är skickat till överbibliotekarien på Kungliga Biblioteket i Stockholm där Strindberg vid den tiden jobbade. Han tackar sin chef för den tjänstledighet som han beviljats för att skriva om medeltidens historia. Brevet kom till Karlskrona med hjälp av en av grundarna till Blekinge Museum, Carl von Feilitzen, som samlade på autografer. Hittades i autografsamling – Han fick brevet skickat till sig av en man som hette Klemming som var överbibliotekarie på Kungliga Biblioteket där Strindberg jobbade en tid. Klemming visste att von Feilitzen samlade på autografer och skickade det till honom, säger Christer Fröborn. Men i von Feilitzens autografsamling hittas inte bara Strindberg. Även andra texter undertecknade av olika kända personer finns där. Bland annat hittades en autograf från Gustav III:s mördare, Jakob Johan Ankarström, dikter av Viktor Rydberg och en novell skriven av Victoria Benedictsson, som är verklighetens Fröken Julie. Länk, läs brevet i sin helhet: http://sverigesradio.se/sida/artikel.aspx?programid=105&artikel=5451949   USA Upcoming: The Dance of Death By George Hunka Superfluities Redux 19 February 2013 If George and Martha werent enough for you, meet Edgar and Alice, the witty, tormented married couple at the center of August Strindbergs 1900 play The Dance of Death. The Red Bull Theater, whose career Ive been following since its masterly production of The Revengers Tragedy eight years ago in the basement of the Culture Project on Bleecker Street, will present the American premiere of Mike Poultons new adaptation from 10 April through 4 May 2013 at the Lucille Lortel Theatre, 121 Christopher Street. Joseph Hardy directs Daniel Davis, Laila Robins, and Matthew Rauch in the production, described in the press release as follows: Read more: http://www.superfluitiesredux.com/category/august-strindberg/   Finland Med Strindberg i Köpenhamn I Ulf Peter Hallbergs nya roman om Strindberg och hans samtida blandas dråplig humor med poetisk innerlighet på ett ofta överväldigande sätt. Av Michel Ekman Hufvudstadsbladet 14.2.2013 10.17 Strindbergs skugga i Nordens Paris Ulf Peter Hallberg Norstedts Är konsten vägen till djup kännedom om livet? Eller är den tvärtom en flyktväg, i värsta fall en estetiserande blindhet för dess ofta grymma realiteter? Det är den centrala frågan i Ulf Peter Hallbergs mångskiktade men inte svårtillgängliga roman Strindbergs skugga i Nordens Paris. Här förenas frågor om konstnärens roll och ansvar med en levande och dramatisk skildring av det moderna genombrottets Köpenhamn vid 1880-talets slut. Många av romanens personer är historiska: August Strindberg och Siri von Essen, den svenska författaren Victoria Benedictsson och bröderna Brandes, journalisten Edvard och kritikern Georg. Men den som knyter ihop både persongalleriet och romanens olika tidsplan, Strindbergs sekreterare Knud Wiisby, är Hallbergs påfund. Wiisby är en sensibel ung man i utpräglad kontrast till de egomaniska och själviska stormän som omger honom. En del av den sorg som vilar över berättelsen har att göra med att vi antydningsvis förstår att också Wiisby som en följd av det som sker kommer att förlora sin känslighet och uppmärksamhet på det etiskt riktiga, helt enkelt att inrätta sig i det borgerliga klättrarsamhället. Läs mer: http://hbl.fi/kultur/recension/2013-02-14/med-strindberg-i-kopenhamn   UK Review of Creditors by August Strindberg, adpt. by David Greig "Peoples stage Strindberg's powerful 'Creditors'" By Anna Ambelez RemoteGoat 13/02/13 Set in a Swedish seaside resort hotel, this powerful Strindberg play begins slowly with two men, Gustav and Adolph, tantalisingly revealing pointers and clues to their scenario; almost pinteresque, who are these people, where do they come from? 'Creditors' concentrates largely on the dynamics of marriage, the role each partner plays and shifting power games of who is "top dog". Written in 1888, its subject is relevant today, we are answerable for our deeds, as Gustav says "sooner or later the creditors appear.." and "..you are… accountable.." A chess game of three pieces with a surprise move, a fatal sexual triangle, a tragicomedy, containing feral Strindberg poetry, "it's a dark beast that lives in a man's soul". This is an excellent example of real drama, honest and truthful, seemingly based on personal experience. Strindberg's personal life and three failed marriages helped shape this play. Gustav (Peter Harrison) with his composed, measured speech is like a psychological surgeon, giving a performance as powerful as the play, he is a master of what he defines "life offers a thousand means by which we can hurt each other" . The vulnerable husband Adolph (Jake Wilson Craw) has to be greatly applauded for remaining focused through an extremely difficult long monologue despite an unfortunate disturbance in the audience. Whilst his wife, the complex Tekla (Moira Valentine), allegedly based on the wife Stringberg called the "vampire" a manipulative character, initially lightens up the plays content, coquetishly adding a real "lift" to the second half and changing its dynamics. The electric tension created between her and Gustav becomes palpable. Read more: http://www.remotegoat.co.uk/review_view.php?uid=9441   DN:s kulturpris till Anna Pettersson Skådespelaren och regissören Anna Pettersson är årets mottagare av Dagens Nyhets kulturpris. Hon tog emot priset vid en tillställning på Konstakademien i Stockholm under tisdagskvällen. Stockholm/TT Spektra 6 februari 2013 Anna Petterson får priset för sin iscensättning av ”Fröken Julie” på Strindbergs Intima Teater i Stockholm, där hon ”ger liv åt tre komplicerade roller i en föreställning där stridslinjerna mellan man och kvinna och mellan över- och underklass korsar varandra som fräsande blixtar”, enligt delar av motiveringen. Övriga nominerade var Göran Sonnevi (litteratur), Malik Bendjelloul (film), Makode Linde (konst) och Anna von Hausswolff (musik). Priset som är på 50 000 kronor har delats ut sedan 2007 och tidigare mottagare är klarinettisten Martin Fröst, regissören Mikael Marcimain, singer/songwritern Frida Hyvönen och skådespelarna Noomi Rapace och Ann Petrén samt konstnären Ann-Sofi Sidén. Länkar: http://www.svd.se/kultur/dns-kulturpris-till-anna-pettersson_7891508.svd http://allehanda.se/mer/kultur/ttkultur/1.5556462-dn-s-kulturpris-till-anna-pettersson m. fl.   DN:s kulturpris 2013 DN:s kulturpris till Anna Pettersson Av Andreas Nordström DN 2013-02-06 Det var en strålande glad Anna Pettersson som tog emot DN:s kulturpris under festligheterna i går kväll. ”Det känns fantastiskt fint att bli uppmärksammad för något som man arbetat med så länge och som varit så viktigt för en”, säger skådespelaren. De yttre omständigheterna var som hämtade ur en film av Roy ­Andersson när DN ställde till med stor fest för årets kulturpristagare. Himlen såg ut som blött tidningspapper. Men inne på Konstakademien i Stockholm, där mängder med sorlande minglare samlats, var stämningen hög. Kvällens huvudperson, skådespelaren och regissören Anna Pettersson, var så glad att det lyste om henne. – Ja. Jag har levt med det här så länge. Anna Pettersson tog det första mentala spadtaget till teaterprojektet ”Fröken Julie” för drygt två år sedan. Men hon skulle inte beskriva tiden med föreställningen som arbetsam. Inte alls. – Nej, det låter så negativt. Det här har varit lustfyllt. Projektet kunde emellertid lika gärna ha slutat innan det ens börjat. Läs mer: http://www.dn.se/kultur-noje/dns-kulturpris-till-anna-pettersson   Italia Il padre: la follia nel teatro di August Strindberg Di Gianluca Frazzoni State of Mind. Il giornale delle scienze psycologiche, 6 feb 2013 August Strindberg – Ne ” Il padre ” c’è tentativo inconsapevole di aggredire se stesso, di espellere e combattere la propria parte femminile ”Il Padre“, tragedia in tre atti di August Strindberg scritto nel 1887, rappresenta uno dei più importanti tentativi del grande drammaturgo svedese di intessere un’opera naturalistica, in cui la distaccata osservazione di una vicenda familiare tormentata e grottesca venga svolta sulla scena attraverso uno stile semplice, privo di riflessi narrativi che facciano riferimento all’esperienza autobiografica dell’autore. L’esito appare in realtà distante da questo obiettivo, caricandosi di significati oscuri e complessi sui quali il percorso umano di August Strindberg aleggia con tutti i suoi temi irrisolti. La trama è lineare, la scenografia essenziale, la recitazione degli attori costruita sull’espressività enfatica del teatro classico. Il Capitano, ufficiale di cavalleria, è sposato con Laura, donna esuberante e scaltra; partendo da un dissidio sull’educazione da impartire alla figlia, ha inizio la caduta della potenza maschile e la cinica sopraffazione da parte della donna. Laura instilla nella mente del marito il dubbio che la figlia non sia sua e lo fa con perfidia strategicamente crescente, allusioni, provocazioni quasi impercettibili che l’uomo non riesce a contrastare; nello sviluppo di questa azione sadica vengono coinvolti il medico di famiglia, il fratello, la figlia e la balia che molti anni addietro aveva cresciuto il Capitano. Leggete il sito: http://translate.google.se/translate?hl=sv&sl=it&tl=sv&u=http%3A%2F%2Fwww.stateofmind.it%2F2013%2F02%2Fil-padre-august-strindberg%2F   Italia Commedia-gioiello di August Strindberg: «Creditori» sbarca al Piccolo Bellini di Napoli Da venerdì 8 fino al 17 febbraio 2013 per la regia e l´adattamento di Orlando Cinque, con Roberta Caronia, Orlando Cinque e Gabriele Russo. Metropolis 04/02/2013 NAPOLI - Ecco come presenta lo spettacolo il regista stesso. "Adolf si confida con il suo nuovo amico Gustav. Gli parla dell´immenso amore che nutre per la moglie Tekla e delle sue insicurezze rispetto alla relazione con lei - relazione che ha minato anche la sua salute. Dopo aver conquistato la fiducia di Adolf e aver acceso in lui la scintilla del dubbio, Gustav consiglia ad Adolf di mettere alla prova Tekla: prima osserverà l'amico nell'intimità coniugale, poi gli darà la possibilità di spiarla e di vedere com'è la sua donna quando lui non c'è. Gustav sembrerebbe avere a cuore la sorte del matrimonio di Adolf, ma non è per amicizia che ha architettato il suo piano. La trama di Creditori - capolavoro di August Strindberg del 1888, tra i meno rappresentati in Italia seppure di sconvolgente attualità - potrebbe essere vista come un tipico dramma borghese: una storia di amore coniugale, di tradimento e di vendetta. Leggete il sito: http://www.metropolisweb.it/Rubriche/Libri/commedia_gioiello_august_strindberg_creditori_sbarca_piccolo_bellini_napoli.aspx   Finland Teaterrecension: Fröken Julies valnatt Av Linnea Stara Hufvudstadsbladet 4.2.2013 After Miss Julie Helsinki Fringe Theatre Company Text: Patrick Marber. Regi: Marc Svahnström. Scenografi: Rici Sirén. Musik: Johan Grönlund. I rollerna: Karina Sugden, Eeva Hautala, Kris Gummerus. Helsinki Fringe Theatre Companys premiär på Diana-scenen 31.1. När den brittiske dramatikern Patrick Marber tog sig an August Strindbergs klassiker Fröken Julie i mitten av 1990-talet för en jazzig tv-dramatisering, flyttade han först händelseplatsen till England och ersatte sedan den för britter besynnerliga midsommardansen med festligheterna efter Labourpartiets stora valseger i juli 1945. På samma sätt som midsommardansen möjliggjorde sexuella transgressioner i Strindbergs kamp mellan könen, utgör valkvällen i Marbers bearbetning en fond för klassöverträdelser och uppror mot normer. Men betjänten hittar sig åter på sin gamla plats, medan Marber tvingar sin engelska Miss att gå i den svenska frökens fotspår. Premisserna är de samma, men Marber lämnar mycket osagt mellan raderna i sin läsning av Strindberg. När Helsinki Fringe Theatre Company, som sätter upp sina uppsättningar på engelska, dessutom tar sig an Marbers bearbetning av Strindbergs drama uppstår ännu ett lager av läsningar, med både intressanta och problematiska lösningar. För att vara en föreställning på drygt en timme hinner det ske väldiga omvälvningar nere i herrgårdens kök. Läs mer: http://hbl.fi/kultur/recension/2013-02-04/teaterrecension-froken-julies-valnatt   USA, New York (NY) AUGUST STRINDBERG REP WILL ADAPT STRINDBERG'S "EASTER" WITH AN ALL-BLACK CAST. Suspenseful masterpiece, set in a Swedish coastal town in 1901, will be adapted to Harlem in 1958. Jonathan Staff and Associates WHERE AND WHEN: Friday, March 8 to Sunday, March 31, 2013 (previews 3/8-10, official opening 3/14) Gene Frankel Theatre, 24 Bond Street (between Bowery and Lafayette, East Village) Presented by August Strindberg Repertory Theatre in association with Theater Resources Unlimited. Thursdays through Saturdays at 8:00 PM; Sundays at 2:00 PM. Tickets $18 general admission; seniors and students $9 Box office: SMARTTIX, 212-868-4444; www.smarttix.com Running time: 100 minutes. CRITICS ARE INVITED on or after MARCH 8. NEW YORK, January 31 -- August Strindberg Repertory Theatre (www.strindberg.org), which was formed last year to illuminate Strindberg's plays for today's American audiences, will present Strindberg's "Easter" (Pask, 1901) with an all-black cast, adapted and directed by Robert Greer, from March 8 to 31 at the Gene Frankel Theatre, 24 Bond Street (East Village). The play has a similar complement of characters to Strindberg's "Playing With Fire" (Leka med elden, 1893), with which the young company made an auspicious debut last Spring. Cast members from "Playing With Fire" will be returning to play their corresponding roles in "Easter." "Easter" (Pask, 1901) is a strange mingling of symbolism and realism, bearing a spiritual message of resurrection. It examines themes of suffering and transcendence through forgiveness, as seen in the Hest family, which is shamed and tortured by a family disgrace. The father has been imprisoned for mismanaging orphans' estates. The daughter, Leonora, has been committed to an asylum, but has fled it to rejoin her family. In a foolish mistake, she has "bought" a flower from a closed shop and fears being exposed for it, which could lead to prison or being returned to the asylum. A major creditor of the family has moved next door and the family trembles at his every approach. Mrs. Hest and her son, Ellis, know that they are on the brink of ruin. Ellis is particularly burdened by the dark cold of winter and his depressing guilt over his father's sanctions. But as the snow melts and a single daffodil appears, Easter Eve brings them hope, joy and mercy. The play passes from impending doom to a rejoicing at deliverance with a power which can barely be matched in theater of its time. Read more: http://www.jsnyc.com/season/easter.htm Also: http://offoffbroadway.broadwayworld.com/article/August-Strindberg-Rep-Mounts-EASTER-With-an-All-Black-Cast-38-31-20130201 Read more about August Strindberg Rep Mounts EASTER With an All Black Cast, 3/8-31 by offoffbroadway.broadwayworld.co Portugal Jessica Chastain: uma Julie para os tempos modernos Por Tiago Bartolomeu Costa Público 31/01/2013 Jessica Chastain será Julie, a heroína trágica de Strindberg, num filme realizado por Liv Ullmann, musa de Ingmar Bergman Do Iraque para o sufoco que era ser-se filha de um homem rico e amar um motorista. Vai ser assim com Jessica Chastain, a actriz nomeada para o Óscar de Melhor Actriz com 00h30: Hora Negra, de Kathryn Bigelow, que, segundo o jornal inglês The Guardian, foi escolhida pela actriz e realizadora Liv Ullmann para interpretar Menina Júlia, a heroína trágica que August Strindberg desenhou no longínquo ano de 1888, mas que ainda é tida como um modelo de libertação das mulheres. Sem mais detalhes, avança-se, contudo, que será Colin Farrell a interpretar Jean, o empregado do pai de Julie por quem esta se apaixona e se dispõe a abandonar o fausto em que vivia. A observar tudo isto, como Christine, estará Samantha Morton, a criada que secretamente deseja Jean. O filme marcará o regresso de Liv Ullmann, conhecida pelas interpretações nos filmes de Ingmar Bergman, à realização, depois de Faithless (2000), filme a partir de um texto de Bergman, que havia encenado Miss Julie em 1985. Leia mais: http://www.publico.pt/cultura/noticia/jessica-chastain-uma-julie-para-os-tempos-modernos-1582845   USA Colin Farrell, Jessica Chastain Will Star in Miss Julie Robert Bernstein DenOfGeek Jan 31, 2013   The two will team up on screen for the movie adaptation of the Swedish Play, Miss Julie... Jessica Chastain will star opposite Colin Farrell for the big screen adaptation of a Swedish play entitled Miss Julie. The play was written by Swedish playwright August Strindberg way back in 1888. The play follows the story of sexuality, class and gender in 1874. The film will be directored by Liv Ullmann (Faithless, Sofie). Chastain recently won a Golden Globe for her role in Zero Dark Thirty, and is also nominated for an Oscar for the same role. Meanwhile, Farrell is currently filming A Winter's Tale for Warner Bros, and will also star opposite Noomi Rapace. Link: http://www.denofgeek.us/movies/miss-julie/55834/colin-farrell-jessica-chastain-will-star-in-miss-julie ----------------- August Strindberg och rivalen Alfhild Agrell En åtta dagar yngre kvinna, en svensk Ibsen från Härnösand blev mer spelad dramatiker än August Strindberg. Av Lars Landström Allehanda 26 januari 2013 1881 sattes August Strindbergs första stora pjäs Mäster Olof upp på Nya Teatern i Stockholm. Året efteråt satte Dramaten upp Alfhild Agrells första pjäs "Räddad". "Räddad" blev en stor framgång hos kritik och publik. Alfhild Agrell var en svensk Ibsen. Precis som "Ett dockhem" handlade pjäsen om en kvinna som söker och finner självständighet när hon lämnar sin man. August Strindberg var född 22 januari 1849. Alfhild Agrell var född den 14 januari 1849. Dramatikerna som var födda med åtta dagars mellanrum skulle bli de mest spelade dramatikerna under 1880-talet. Alfhild Agrell var den mest spelade av de två. Alfhild Agrell var född i Härnösand. August Strindberg var född i Stockholm. Hans farfar hade som 13-åring lämnat Multrå i Ångermanland. August Strindbergs farfarsfar var präst och byskomakare i Multrå. Han hade tagit efternamnet Strindberg efter det ångermanländska ordet för strand. August Strindberg var avundsjuk på Alfhild Agrell och Anne Charlotte Leffler, den andra stora kvinnliga dramatikern vid den här tiden, som hade stora framgångar som dramatiker. Läs mer: http://allehanda.se/mer/kultur/artiklar/1.5517566-august-strindberg-och-rivalen-alfhild-agrell   UK English reboot of Strindberg masterpiece Derbyshire Times, Wednesday 23 January 2013 09:54 MISS Julie, August Strindberg’s epic tale of lust, class conflict and boundaries broken, comes to Buxton Opera House on Tuesday April 30, at 7.30pm. Developed as part of Strindberg 2012 to mark the centenary of Strindberg’s death, UK Touring Theatre will present the world premiere of an exciting new English translation. Tickets, priced £15, are available from the Buxton Opera House Box Office on 0845 127 2190 or online at www.buxtonoperahouse.org.uk. Link: http://www.derbyshiretimes.co.uk/lifestyle/what-s-on/english-reboot-of-strindberg-masterpiece-1-5342972   Deutschland Strindberg tänzerisch näherkommen Das renommierte Cullberg Ballett aus Schweden gastiert mit einem Stück über den Dramatiker und Sinologen erstmals in Hamburg Von Annette Stiekele Hamburger Abenblatt 23.01.13 Kampnagel. August Strindberg ist in Schweden so etwas wie ein Nationalheiliger. So wie Goethe und Schiller bei uns oder Ibsen in Norwegen. Etwa 60 Theaterstücke hat er verfasst, vom Historiendrama über das naturalistische Trauerspiel bis zu den eher fantastisch geprägten Märchen- und Traumspielen. Den 100. Todestag des Autors von "Fräulein Julie" im vergangenen Jahr nutzte das Cullberg Ballett, sich intensiv mit dem Dramatiker auseinanderzusetzen. Nun präsentiert sich die Kompanie, die seit Ende der 1960er-Jahre klassischen Tanz und zeitgenössische Ansätze virtuos vereint, mit "The Strindberg Project" vom 24. bis zum 26. Januar erstmals auf Kampnagel. Der Abend besteht aus zwei grundverschiedenen Teilen, die jeder für sich den Zuschauer herausfordern. Im ersten Teil, "Translations" genannt, arbeitet die junge Choreografin Melanie Mederlind über Strindbergs Studien zur chinesischen Sprache. Strindberg war ein Kosmopolit, der ein Drittel des Jahres in anderen Ländern verbrachte und fundierte Kenntnisse als Sinologe besaß. Mederlind lässt acht in strenges Schwarz gewandete Tänzerinnen und Tänzer auf einem schlichten, mit weißen Linien markierten Feld Cha-Cha-Cha tanzen, David Bowies "China Girl" chorisch anstimmen, chinesische Alltagsvokabeln übersetzen und über die gewachsene Bedeutung des Reiches der Mitte lamentieren. Virtuos kombiniert der Abend Bewegung, Text und visuelle Umsetzung zu einem gleichberechtigten Nebeneinander. Lesen Sie mehr: http://www.abendblatt.de/kultur-live/article113064983/Strindberg-taenzerisch-naeherkommen.html   Idyllen säljs ut Strindbergsöar i Stockholms skärgård blir privata och oåtkomliga för Svensson Av Gustav Ingman Aftonbladet 2013-01-18 Ytterskärgården har alltid varit utsatt. Redan August Strindberg skildrar det i romanen I havsbandet: ”Inre skärgården tonade av, och man kände att man lämnade allt huld och skydd, när man skulle ut på det stora vattnet, som nu gränslöst öppnade sig och åt öster mörkt hotande. Det fanns ingen utsikt att kunna krypa dit i lä av holmar eller skär, ingen möjlighet i händelse av storm att lägga upp och reva; ut, mitt i fördärvet måste man och över det svarta svalget, ut till det lilla skäret, som icke såg större ut än en boj kastad i vattnet.” Strindbergs dramatiska beskrivning från 1890 har fått förnyad mening när privatiseringens vågor slår över öarna. Läs mer: http://www.aftonbladet.se/kultur/article16093894.ab   Finland Strindbergs metaforer om mat Av Leo Gammals YLE 17.01.2013 Vetenskapsdagarna bjöd på många fina program, men endast ett fåtal på svenska. På Svenska Litteratursällskapet ordnades ett seminarium om livsmedelskriser och des följder under rubriken Bröd och nöd. Ett av de mer intressanta bidragen stod professor Björn Meidal från Uppsala universitet för då han redogjorde för mat som metafor i August Strindbergs författarskap under rubriken Blodig biff och förfalskad buljong. Trots att det självbiografiska verket Tjänstekvinnans son (1886) inleds med kapitlet Rädd och hungrig, gör Meidal klart för publiken är att man inte behövde svälta i Strindbergs hem. Hos författaren åt man faktiskt mer kött än i borgerliga hem i snitt i Stockholm på 1850- och 1860-talen. Samtiden hade dock svårigheter att ta till sig Strindberg bildsfär utav mat som metaforer. Till en början var det därför främst avantgardister som uppskattade Strindberg. I ett flertal romaner och dramatiska verk använder han mat som bilder för kön, klass, livsglädje och sexualitet, men också metafysisk ondska, äckel och avsmak. Läs mer: http://svenska.yle.fi/artikel/2013/01/17/strindbergs-metaforer-om-mat Professor Björn Meidals hela föreläsning om mat som metaforer i Strindbergs litteratur kan du höra här: http://www.sls.fi/doc.php?docid=315   Deutschland Unstillbare Lebenswut Von Carola Wiemers Deutschland Radio 11.01.2013 Olof Lagercrantz: Strindberg und ich Aus dem Schwedischen von Renate Bleibtreu Berenberg Verlag, Berlin 2012 96 Seiten, 20 Euro In den Einsamkeitshöllen dieses Genies fand sich Olof Lagercrantz gut zurecht: Dem langjährigen Chefredakteur der Tageszeitung "Dagens Nyheter" gelang es, die intellektuelle Unrast und ästhetische Widerständigkeit von August Strindberg als ein Gesamtkunstwerk zu skizzieren. Die kleine Studie von 1980 gibt es jetzt auf Deutsch. Der englische Schriftsteller Samuel Butler soll einmal die Frage gestellt haben, wo eigentlich ein "Bewußtsein für das wahre Leben großer Dichter" entsteht: "in ihnen oder in uns?" Olof Lagercrantz (1911-2002), der 1979 eine Biografie über den Dramatiker und Romancier August Strindberg vorlegte, spitzt diese Frage zu, indem er antwortet, dass Strindbergs Zeitgenossen noch nicht einmal das "Exemplarische seines Werks" erkannt hätten. Der Lyriker Lagercrantz, der viele Jahre als Chefredakteur von "Dagens Nyheter" die Gesprächskultur des Landes kritisch beeinflusst hat, entfachte mit seiner Biografie eine hitzige Debatte in Schweden, in der es auch darum ging, wie sich ein Biograf dem fremden Leben und literarischem Werk überhaupt nähern sollte. Sein Strindberg-Buch wurde als "Schurkenstreich" und "Diebesgut" bezeichnet. Da Lagercrantz auf Quellenangaben verzichtet, sei es unwissenschaftlich und lediglich "das Porträt eines Dichters von einem Dichter". Auch deshalb verfasste Lagercrantz 1980 eine kleine Abhandlung mit dem Titel "Strindberg und ich", in der er über Irrwege und Fehldeutungen spricht, die während der intensiven Beschäftigung mit einem Leben und Werk passieren können. So hatte er Strindberg anlässlich seines 100. Geburtstages in einem Gedicht als "Märtyrer des Auges" und "Tagelöhner seiner Nerven" bezeichnet, um die Enge seiner Welt zu beschreiben. Jahre später muss Lagercrantz erkennen, dass darin gerade seine Größe und Singularität bestehen. Lesen Sie mehr: http://www.dradio.de/dkultur/sendungen/kritik/1974485/   México Reanudan temporada los "Acreedores" de Strindberg Diario Rotativo, jueves 10 de enero de 2013 México, 10 Ene. (Notimex).- El sufrimiento y el dolor son dos sentimientos que se insertan en la relación de un matrimonio, que es manipulado por un tercero, en la puesta en escena "Acreedores", del dramaturgo sueco Augusto Strindberg, que bajo la dirección de Fernando Reyes reanudó temporada en el Foro del Tejedor, en esta capital. La obra relata una situación que aunque fue escrita hace mucho tiempo puede ocurrir en una sociedad contemporánea, debido sobre todo a los celos, la venganza y el despecho que permea a los personajes. A través de una escenografía sencilla, que incluyó unos taburetes y un sofá, suficientes para el desarrollo de la obra, pues la actuación las actuaciones en escena destacan y llevan al espectador a adentrarse en la historia de la obra que de principio a fin muestra los estados de ánimo y sentimientos de cada personaje. Leer más: http://rotativo.com.mx/espectaculos/reanudan-temporada-los-acreedores-de-strindberg/149576/html/   España Strindberg, el loco sin brújula Por Toni Montesinos La Razón 4 de enero de 2013. La vida de este artista polifacético (químico, pintor, fotógrafo, dramaturgo, narrador, poeta) fue un infierno y así lo recogió en un libro con igual título. En este volumen se sitúa frente al espejo y desvela sus pasiones, soledades y miserias. «August strindberg...» A. Strindberg Nórdica 104 páginas. 22 euros. El paseante siente la sangre del cielo, dijo de su célebre cuadro «El grito» Edvard Munch. Fue en 1893 cuando el noruego reflejó en un lienzo la esquizofrenia, al individuo perdido que, sin saber encajar en la sociedad, se vuelve vagabundo de cuerpo y espíritu. Muy lejos de allí, al año siguiente, llegará a París otro nórdico –de Estocolmo, para más señas–, demente, amigo del pintor y al que le unía el amor por una misma mujer, un hombre sin brújula que oye voces y chillidos a su alrededor: el químico y escritor August Strindberg, quien se consagrará a la soledad, a la miseria, a una crisis que luego cobraría forma de un libro que titularía «Inferno» (la editorial Acantilado lo publicó hace algunos años). Igual que el nombre de uno de sus cuadros, de 1901, reproducido en este volumen misceláneo en el que conocemos otras facetas del narrador, poeta y dramaturgo: su pasión por la imagen, a través del pincel o de la cámara fotográfica. Así, Simon Zabell, en un prólogo magnífico, contextualiza las pinturas de Strindberg desde el punto de vista de su carácter visionario, moderno, anticipador. Así, lo emparenta con el amigo citado: «En 1893 Strindberg pintó uno de sus cuadros más representativos, "La noche de los celos", y se lo regaló a la que pronto se convertiría en su segunda esposa, Frida Uhl. Dos años más tarde, su amigo Edvard Munch trataría el mismo tema en su pintura "Celos"», un cuadro que muestra un estilo, dice el artista malagueño, que bien podría calificarse de expresionismo abstracto, al que se adelantaría medio siglo. Asimismo, lo vincula con el André Breton que, en 1924, escribiría sobre la escritura automática en el «Primer manifiesto surrealista» y, al fin, con vanguardistas de la Escuela de Nueva York como Jackson Pollock y Mark Rothko. Leer más: http://www.larazon.es/detalle_normal/noticias/812294/cultura+libros/strindberg-el-loco-sin-brujula   España Strindberg, escritor, pintor y fotógrafo Por María Trincado El Confidencial 2013/04/01 Strindberg. Escritor, pintor y fotógrafo. August Strindberg. 104 páginas; 22,00 euros. Comprar libro. La producción literaria de Johan August Strindberg (Suecia, 1849-1912) recibe un trato preferente en el mundo editorial español. Son muchas las ediciones disponibles de sus obras bajo diferentes sellos, peero la que quiero comentar hoy acaba de publicarse y es un homenaje a este singular y polifacético artista sueco en el año en que se cumplen cien años de su fallecimiento. Escritor de poemas, prosa y teatro, pintor y fotógrafo, viajero inquieto, desarrolló un lenguaje propio, duro, potente, expresivo que cambió para siempre la literatura sueca. También en el campo pictórico su contribución resultó enormemente original. Esta última faceta era, antes de la aparición de este libro, la menos divulgada en España a pesar de ser el precursor del expresionismo abstracto, desarrollado cincuenta años más tarde por la Escuela de Nueva York. Strindberg es una obra miscelánea, preparada con devoción, que reúne pintura, fotografía, poesía, prosa y fragmentos autobiográficos; acompañados de una introducción y un epílogo que nos ayudan a conocer la herida y apasionada personalidad del artista. En cualquier reseña sobre él se destaca su triste infancia, hijo de un matrimonio desigual, sus tres fracasos matrimoniales, sus constantes viajes por Europa, tratando de aprender siempre y de remediar su precaria situación económica. Pero sobre todo se hace hincapié en su trastorno nervioso, que tantos periodos de aguda melancolía le hizo sufrir y que tanto se refleja en su producción. Leer más: http://www.elconfidencial.com/opinion/rincon-maria-trincado/2013/01/04/strindberg-escritor-pintor-y-fotografo-4309/   Strindbergs Norénjul Av Clemens Altgård Skånskan 3.1 2013 NY SERIE. Familjeidyll eller en riktig Norénjul? Nu ligger både julfirandet och nyår bakom oss men snart stundar trettonhelgen med fler familje- och släktkalas. För att uppmärksamma familjen, på gott och ont, har vi på kulturredaktionen gjort en djupdykning i familjeskildringar i litteratur, på film, på tv och på scen. Älskade familj blev det självklara namnet på den här serien i fem delar. Först ut är Clemens Altgård med en mörk Strindbergnovell. August Strindbergs novell Pål och Per inleds med en kärv beskrivning av hur "julnatten vilar bisterkall och dödstyst över huvudstaden" och "allt liv är som förfruset". Därefter tas läsaren med in i köpman Pål Hörnings bostad i ett knakande trähus i Drakatorns gränd. Här använder sig Strindberg av en journalistisk reportagestil som är mycket suggestiv med fina detaljer. Läs mer: http://www.skanskan.se/article/20130103/NOJE/701029978/1007/-/strindbergs-nornjul