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The Ghost Sonata
Transcript of The Ghost Sonata
Lucas Shipley The Ghost Sonata August Strindberg Connection to Music Images Themes Sounds Why This Play, At This Time,
For This Audience? Considered the father of modern literature in Sweden
Fröken Julie is one of the best examples of naturalistic drama ever. Still performed today.
"Inferno Crisis" (1894-1897)
Fun Facts Beethoven's Piano Sonata No. 17 and No. 4
Only partial similaries to the music
Objective to Subjective
"Common Thread" Imminent Death
Exposure of Secrets
Life Outside of Reality
Death is the Only Relief, the Only Release (from Living Hell)
"Only death can liberate the human being from a suffering that is all-pervasive." - Strindberg
Visions Imperceptible to Others
Striving for Beauty Hyacinths
"Island of the Dead"
The Ghosts Moaning
Sonata Relevant to many of today's questions
Between Life and Death
Dream-like state ~ what if we are all living that way?
Are you living life to the fullest?
Or are you dwelling on the material items of this life and not actually exploring and indulging on the important things in life?
This is timeless tale, that can reach any audience, at any time, in any place of the world. The Chamber Plays Costuming 4 Chamber Plays by Strindberg:
The Burned House
The Ghost Sonata
Opened the Intimate Theatre in 1907 to stage chamber plays Acting Style Directorial Style Audience Outreach Design of the Period Our Production Set Lighting Sound Questions? Transition from Romanticism to Realism ~ THANK GOODNESS!!!
Principles of Stanislavsky
“To achieve the creative state of mind in an actor was his ultimate goal.” Acted through Realism
Timeless tale, so keepin' it real - not over the top.
Stuck between the Life and Death
Not all the characters are alive - but not giving this away
Some Important Elements: music and clock Some characters may enter from the back of the theater.
Breaking the fourth wall
Using the whole theater and audience as their stage - just as this world extends beyond ours, so does the stage.
Thus the world of the play is not confined to the space of the theatre. Strindberg originally subtitled his work "Kama-Loka" which is a mystical dreamworld to which mortals go before they reach the kingdom of death. Adolphe Appia Edward Gordon Craig Design of the Period Strindberg gave up writing altogether to pursue the observation of nature and to painting, photography, and optical experimentation.
These experiences led him to create a "new dramatic paradigm that revolutionized the stage." Constant clock ticking, softly.
Time feels as though it is continuing - but never actually moves forward.
Constant music, sonatas, as per the title of the play.
The sound should permeate the performance so fully, that in the absence of sound, the audience recognizes an important moment. Minimalistic
Transparent set pieces (furniture, boundaries of rooms)
Large clock that never changes time
Devoid of color with the exception of the hyacinths The dead: white, translucent material. Rosy cheeks and healthy skin.
The living: tattered clothing. Black or grey suits and dresses, unidentifiable by time period. Snow white, pale skin. The End Romanticism had its day, but it was time for a new manifestation of theatre.
Direct reaction to realistic theatre.
Influenced by Nietzsche, a prominent philosopher.
Drama was very ceremonial; there was almost no plot, the action was more inert than dynamic.
Symbolism aimed to make the inexpressable real, through symbols, music, even poetry.
Play concentrates on atmosphere instead of the action of the play. Symbolist Theatre Adams, Ann-Charlotte Gavel. "(Johan) August Strindberg." Twentieth-Century Swedish Writers Before World War II. Ed.
Ann-Charlotte Gavel Adams. Detroit: Gale Group, 2002. Dictionary of Literary Biography Vol. 259. Literature Resource
Center. Web. 20 Feb. 2013.
Dasgupta, Gautam. "The Hopeless Dream of 'Being' Ingmar Bergman's The Ghost Sonata." PAJ:
A Journal of Performance and Art 3.69 (2001): 64-69. MLA International Bibliography. Web. 22 Feb. 2013.
Gross, Robert F. "Strindberg's "The Ghost Sonata"" Rev. of The Ghost Sonata. Modern
Drama 46.1 (2003): 144-46. Humanities Abstracts. Web. 22 Feb. 2013.
Johns Blackwell, Marilyn. "Strindberg and Modernist Theatre." Rev. of To Damasctus, A
Dreamplay, and The Ghost Sonata. Scandinavian Studies 77.1 (2005): 152-
55. Humanities Abstracts. Web. 22 Feb. 2013.
Moréas, Jean. "Mutable Sound Symbolist Manifesto." Mutable Sound Â» MorÃ©asâ
Symbolist Manifesto. Trans. C. Liszt. Mutable Sound, 3 Oct. 2009. Web. 23 Feb. 2013.
Lide, Barbara. "The Ghost Sonata." Rev. of The Ghost Sonata. Theatre Journal 44 (1992): 109-
11. Humanities Abstracts. Web. 22 Feb. 2013.
Peacock, D. Keith. "The Ghost Sonata: Overview." Reference Guide to World Literature. Ed.
Lesley Henderson. 2nd ed. New York: St. James Press, 1995. Literature Resource Center. Web. 16 Feb. 2013.
Russell, Michael. "Acting - Techniques in the 20th Century." Ezine Articles. N.p., 10 June 2006.
Web. 18 Feb. 2013.
Stenport, Anna Westerstahl. "From Arsonists and Bastards to Vampires and Zombies: Urban
Spatio-Pathologies in Strindberg's Chamber Plays." Studies in the Literary Imagination 40.1 (2007): 35+. Literature
Resource Center. Web. 20 Feb. 2013.
"Strindberg, August." The Oxford Encyclopedia of Theatre and Performance Oxford Reference.
Ed. Dennis Kennedy. Oxford University Press, n.d. Web. 20 Feb. 2013.
Szalczer, Eszter. "Nature's Dream Play: Modes of Vision and August Strindberg's Re-Definition
of the Theatre." Theatre Journal 53.1 (2001): 33-52. Print. Bibliography Written by Wagner who is a major influence of symbolist and expressionist theatre
The protagonist enters "the house where ill luck lives"
The woman inside says that he can do nothing to change the misfortune in the house The Valkyrie All characters onstage will be lit at all times
The main action will be brightest