Word: strindbergism
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Swanwhite, Strindberg's little joke on the Medieval romance, was produced at the Ex this weekend. It was the most ambitious failure there in some time...
Joel DeMott directed and designed the show. She did an excellent job with the blocking and set, thereby proving once again that the Ex need not be used solely for Beckett. But Miss DeMott (following Strindberg) failed to decide whether the play was to be treated as camp or lyric poetry, and in the confusion she staged something that was often silly...
MINNEAPOLIS. Minnesota Theater Company. At the Tyrone Guthrie Theater: August Strindberg's The Dance of Death; Thornton Wilder's The Skin of Our Teeth; William Shakespeare's As You Like It; alternating through Sept...
Although powerful and highly theatrical, the play has its problems. Strindberg was interested in dramatic conflict and theatrical tension, not in plot, and his plays have a loose form and pay little attention to careful characterization. Frequently he would resort to conventional melodrama. A modern audience finds it difficult to accept a plot device as blatant as that of the hidden letter in the chiffonier's secret compartment. But Strindberg doesn't care that his plot device was awkwardly introduced. Once he has introduced it, it becomes the quickest means to a desired end, and he can forget about...
...audience on two sides. The Ex's seat-wagons are placed directly in front of the two open sides, so that the audience becomes in effect the two missing walls, and The Pelican thereby achieves intimacy and involves the audience. The conditions are close to ideal for Strindberg's "chamber play" (as in chamber music): the play was written for a theatre which seated 160, and the Ex seats about 120; the austere set even looks Swedish...