By Egil Tornqvist
In this monograph of the play as textual content and as functionality —the first of its kind—Egil Törnqvist examines, in 4 chapters, the resource textual content, a number of translations of it into English, the degree types of Max Reinhardt, Olof Molander and Ingmar Bergman, and choose radio and television diversifications. In framing chapters the history and effect of the play are illuminated. targeting Bergman's 1973 construction, the booklet furthermore encompasses a practice session diary and a transcription of this creation. it truly is concluded with an annotated checklist of opt for productions.
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Additional resources for Strindberg's The Ghost Sonata
Example text
The Mummy's social status is unclear. The Dark Lady, daughter of the Consul and the Caretaker's Wife, is a social hybrid. And so is, and to an even greater extent, the Young Lady, daughter of a former servant, now company director, brought lip by a former servant, now false nobleman and colonel. It could, of course, be argued that The Ghost Sonata is an attack on bourgeois society and that Buddha's dream that "poor earth is to become a heaven" concerns a social utopia. But this idea would only he convincing if it could be demonstrated that the collapse of the house at the end represents the collapse of a soda-economic system.
When the Old Man finally answers the Mummy's question with his "jacob is there," it indicates that he acknowledges that he is caught. The game has come to an end. THE YOUNG LADY. " The description admirably fits Miss Adele. e does nor perform any actions which contribute to a profound characterization of herself. The most enigmatic character 111 the play, she is primarily delineated by what others have to say about her. The Young Lady IS ignorant of the fact that Hummel is her father. This is at any rate the conclusion we must draw when she refers to "company director Hummel's" funeral at which she has evidently not been present.
It is hardly surprising that the social criticism plays a limited role in The Ghost Sonata. If each individual has been given a task in life, as Stnndberg wished to believe, and if his salvation depends on whether he accepts this task or not, there is no reason to admonish the lower classes to revolt. To the elderly Strindberg religion is no opium for the people. The Milkmaid and the Dead Man are the two ghosts of the play. Their function is similar to that of the Ghost in Hamlet. They bear witness to secret crimes which must be expiated.