Doing the Swedish Limbo
One
reason August Strindberg appeals so much to scholars is because he was so many
different people in the course of his life. He’s like getting to study a
half-dozen writers in one.
He
started out composing history plays, became a father of modern drama, an
authority of that oxymoron called theatrical naturalism, and finally a pioneer
of stage expressionism and surrealism.
By
the time we get to The Ghost Sonata, he has reinvented himself again,
this time as the metaphysically-focused developer of what are known as “chamber
plays,” productions performed in a small space by a handful of actors. The
ground he covered was varied and impressive; yet the shape of his work is hard
to gauge.