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)
"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.
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
Sourze04 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.''
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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
