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August Strindberg

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"Strindberg" redirects here. For other uses, see Strindberg (disambiguation).August StrindbergBorn Johan August Strindberg22 January 1849Stockholm, SwedenDied 14 May 1912 (aged 63)Stockholm, SwedenResting place Norra begravningsplatsenOccupation Playwright Novelist Essayist Poet PainterNationality SwedishPeriod ModernismLiterary movement NaturalismExpressionismNotable work(s) The Red Room (1879)The Father (1887)Miss Julie (1888)Inferno (1897)To Damascus (1898)

A Dream Play (1902)The Ghost Sonata (1908)Spouse(s) Siri von Essen (187791)Frida Uhl (189395)Harriet Bosse (190102)Signature

Johan August Strindberg ( pronounced (helpinfo); 22 January 1849 14 May 1912)was a Swedish playwright, novelist, poet, essayist and painter.[1][2][3] Aprolific writer who often drew directly on his personal experience, Strindberg'scareer spanned four decades, during which time he wrote over 60 plays and morethan 30 works of fiction, autobiography, history, cultural analysis, and

politics.[4] A bold experimenter and iconoclast throughout, he explored a widerange of dramatic methods and purposes, from naturalistic tragedy, monodrama,and history plays, to his anticipations of expressionist and surrealist dramatictechniques.[5][6] From his earliest work, Strindberg developed forms of dramaticaction, language, and visual composition so innovative that many were to becometechnically possible to stage only with the advent of film.[7] He is consideredthe "father" of modern Swedish literature and his The Red Room (1879) hasfrequently been described as the first modern Swedish novel.[8][9]

In Sweden Strindberg is both known as a novelist and a playwright, but in mostother countries he is almost only known as a playwright.

The Royal Theatre rejected his first major play, Master Olof, in 1872; it wasnot until 1881, at the age of 32, that its premire at the New Theatre gave himhis theatrical breakthrough.[1][10] In his plays The Father (1887), Miss Julie (1888),and Creditors (1889), he created naturalistic dramas that building on theestablished accomplishments of Henrik Ibsen's prose problem plays whilerejecting their use of the structure of the well-made play responded to thecall-to-arms of mile Zola's manifesto "Naturalism in the Theatre" (1881) andthe example set by Andr Antoine's newly established Thtre Libre (opened 1887).[11]


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In Miss Julie, characterisation replaces plot as the predominant dramaticelement (in contrast to melodrama and the well-made play) and the determiningrole of heredity and the environment on the "vacillating, disintegrated"characters is emphasised.[12] Strindberg modelled his short-lived ScandinavianExperimental Theatre (1889) in Copenhagen on Antoine's theatre and he exploredthe theory of Naturalism in his essays "On Psychic Murder" (1887), "On ModernDrama and the Modern Theatre" (1889), and a preface to Miss Julie, the last ofwhich is probably the best-known statement of the principles of the theatricalmovement.[13]

During the 1890s he spent significant time abroad engaged in scientificexperiments and studies of the occult.[14] A series of psychotic attacks between1894 to 1896 (referred to as his "Inferno crisis") led to his hospitalisationand return to Sweden.[14] Under the influence of the ideas of Emanuel Swedenborg,he resolved after his recovery to become "the Zola of the Occult."[15] In 1898he returned to playwriting with To Damascus, which, like The Great Highway (1909),is a dream-play of spiritual pilgrimage.[16] His A Dream Play (1902) with itsradical attempt to dramatise the workings of the unconscious by means of anabolition of conventional dramatic time and space and the splitting, doubling,merging, and multiplication of its characters was an important precursor toboth expressionism and surrealism.[17] He also returned to writing historical

drama, the genre with which he had begun his playwriting career.[18] He helpedto run the Intimate Theatre from 1907, a small-scale theatre, modelled on MaxReinhardt's Kammerspielhaus, that staged his chamber plays (such as The GhostSonata).[19]Contents [hide]

1 Biography

1.1 Youth

1.2 1870s

1.3 1880s

1.4 1890s

1.5 1900s

1.6 Later life and death

1.7 Legacy

2 Politics

3 Other interests

4 Personal life

5 Bibliography

6 Notes

7 Sources

8 External links


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8.1 English-language translations in the public domain

8.2 Other

Biography[edit]

Youth[edit]

The school in Klara, Stockholm, whose harsh discipline haunted Strindberg in hisadult life.

Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third survivingson of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (aserving-maid).[20] In his autobiographical novel The Son of a Servant,Strindberg describes a childhood affected by "emotional insecurity, poverty,religious fanaticism and neglect.".[21] When he was seven, Strindberg moved toNorrtullsgatan on the northern, almost-rural periphery of the city.[22] A yearlater the family moved near to Sabbatsberg, where they stayed for three yearsbefore returning to Norrtullsgatan.[23] He attended a harsh school in Klara forfour years, an experience that haunted him in his adult life.[24] He was movedto the school in Jakob in 1860, which he found far more pleasant, though heremained there for only a year.[25] In the autumn of 1861, he was moved to the

Stockholm Lyceum, a progressive private school for middle-class boys, where heremained for six years.[26] As a child he had a keen interest in natural science,photography, and religion (following his mother's Pietism).[27] His mother,Strindberg recalled later with bitterness, always resented her son'sintelligence.[26] When he was thirteen, she died.[28] Though his grief lastedfor only three months, in later life he came to feel a sense of loss and longingfor an idealised maternal figure.[29] Less than a year after her death, hisfather married the children's governess, Emilia Charlotta Pettersson.[30]According to his sisters, Strindberg came to regard them as his worst enemies.[29]He passed his graduation exam in May 1867 and enrolled at the Uppsala University

,where he began on 13 September.[31]

Strindberg spent the next few years in Uppsala and Stockholm, alternatelystudying for exams and trying his hand at non-academic pursuits. As a youngstudent, Strindberg also worked as an assistant in a pharmacy in the universitytown of Lund in southern Sweden. He supported himself in between studies as asubstitute primary-school teacher and as a tutor for the children of two well-knownphysicians in Stockholm.[32] He first left Uppsala in 1868 to work as aschoolteacher, but then studied chemistry for some time at the Institute ofTechnology in Stockholm in preparation for medical studies, later working as aprivate tutor before becoming an extra at the Royal Theatre in Stockholm. In May

1869, he failed his qualifying chemistry exam which in turn made himuninterested in schooling.

1870s[edit]

Strindberg returned to Uppsala University in January 1870 to study aestheticsand modern languages and to work on a number of plays.[33] It was at this timethat he first learnt about the ideas of Charles Darwin.[34] He co-founded theRune Society, a small literary club whose members adopted pseudonyms taken from


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runes of the ancient Teutonic alphabet Strindberg called himself Fr (Seed),after the god of fertility.[35] After abandoning a draft of a play about EricXIV of Sweden halfway through in the face of criticism from the Rune Society, on30 March he completed a one-act comedy in verse called In Rome about BertelThorvaldsen, which he had begun the previous autumn.[36] The play was acceptedby the Royal Theatre, where it premired on 13 September 1870.[37][38] As hewatched it performed, he realised that it was not good and felt like drowninghimself, though the reviews published the following day were generallyfavourable.[39] That year he also first read works of Sren Kierkegaard andGeorg Brandes, both of whom influenced him.[38][40]

Portrait of Strindberg from April 1875.

Taking his cue from William Shakespeare, he began to use colloquial andrealistic speech in his historical dramas, which challenged the convention thatthey should be written in stately verse.[citation needed] During the Christmasholiday of 187071, he re-wrote an historical tragedy, Sven the Sacrificer, as aone-act play in prose called The Outlaw.[38][41] Depressed by Uppsala, he stayedin Stockholm, returning to the university in April to pass an exam in Latin andin June to defend his thesis on Adam Gottlob Oehlenschlger's Romantic tragedyEarl Haakon (1802).[42] Following further revision in the summer, The Outlawopened at the Royal Theatre on 16 October 1871.[38][43][44] Despite hostile

reviews, the play earned him an audience with King Charles XV, who supported hisstudies with a payment of 200 riksdaler.[45] Towards the end of the yearStrindberg completed a first draft of his first major work, a play about OlausPetri called Master Olof.[38][46] In September 1872, the Royal Theatre rejectedit, leading to decades of rewrites, bitterness, and a contempt for officialinstitutions.[47][48] Returning to the university for what would be his finalterm in the spring, he left on 2 March 1872, without graduating.[49] In Town andGown (1877), a collection of short stories describing student life, he ridiculedUppsala and its professors.[50][51][52]

Strindberg embarked on his career as a journalist and critic for newspapers inStockholm.[53] He was particularly excited at this time by Henry Thomas Buckle'sHistory of Civilization and the first volume of Georg Brandes' Main Currents ofNineteenth-Century Literature.[54] From December 1874, Strindberg worked foreight years as an assistant librarian at the Royal Library.[55][55][56][57] Thatsame month, Strindberg offered Master Olof to Edvard Stjernstrm (the directorof the newly built New Theatre in Stockholm), but it was rejected.[55] Hesocialised with writers, painters, journalists, and other librarians; they oftenmet in the Red Room in Bern's Restaurant.[38][58]

Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiringactress who, by virtue of her husband, was a baroness he became infatuatedwith her.[59][60] Strindberg described himself as a "failed author" at this time:"I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted towrite; sometimes I stand in the middle of my room that seems like a prison cell,and then I want to scream so that walls and ceilings would fly apart, and I haveso much to scream about, and therefore I remain silent."[61] As a result of an


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argument in January 1876 concerning the inheritance of the family firm,Strindberg's relationship with his father was terminated (he did not attend hisfuneral in February 1883).[62] From the beginning of 1876, Strindberg and Siribegan to meet in secret.[63][64] Following a successful audition that December,Siri became an actress at the Royal Theatre.[65][66] They married a year later,on 30 December 1877;[67][68] Siri was seven months pregnant at the time. Theirfirst child was born prematurely on 21 January 1878 and died two days later.[69][70]On 9 January 1879, Strindberg was declared bankrupt.[71][72] In November 1879,his novel The Red Room was published.[73] A satire of Stockholm society, it hasfrequently been described as the first modern Swedish novel.[73] While receivingmixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg washailed as a genius.[74] As a result of The Red Room, he had become famousthroughout Scandinavia.[75][76] Edvard Brandes wrote that the novel "makes thereader want to join the fight against hypocrisy and reaction."[77] In hisresponse to Brandes, Strindberg explained that:

I am a socialist, a nihilist, a republican, anything that is anti-reactionary!...I want to turn everything upside down to see what lies beneath; I believe we areso webbed, so horribly regimented, that no spring-cleaning is possible,everything must be burned, blown to bits, and then we can start afresh...[78]

1880s[edit]

Strindberg's first wife, Siri von Essen, as Margit in Sir Bengt's Wife (1882) atthe New Theatre.

Strindberg and Siri's daughter Karin was born on 26 February 1880.[79] Buoyantfrom the reception of The Red Room, Strindberg swiftly completed The Secret ofthe Guild, an historical drama set in Uppsala at the beginning of the 15thcentury about the conflict between two masons over the completion of the citycathedral, which opened at the Royal Theatre on 3 May 1880 (his first premirein nine years); Siri played Margaretha.[80] That spring he formed a friendship

with the painter Carl Larsson.[79] A collected edition of all of Strindberg'sprevious writings was published under the title Spring Harvest.[81] From 1881,at the invitation of Edvard Brandes, Strindberg began to contribute articles tothe Morgenbladet, a Copenhagen daily newspaper.[82] In April he began work onThe Swedish People, a four-part cultural history of Sweden written as a seriesof depictions of ordinary people's lives from the 9th century onwards, which heundertook mainly for financial reasons and which absorbed him for the next year;Larsson provided illustrations.[83] At Strindberg's insistence, Siri resignedfrom the Royal Theatre in the spring, having become pregnant again.[84] Theirsecond daughter, Greta, was born on 9 June 1881, while they were staying on theisland of Kymmend.[85] That month, a collection of essays from the past tenyears, Studies in Cultural History, was published.[86] Ludvig Josephson (the new

artistic director of Stockholm's New Theatre) agreed to stage Master Olof,eventually opting for the prose version the five-hour-long production openedon 30 December 1881 under the direction of August Lindberg to favourable reviews.[87]While this production of Master Olaf was his breakthrough in the theatre,Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22December 1883, brought him his first significant success, although he dismissedit as a potboiler.[88] In March 1882 he wrote in a letter to Josephson: "Myinterest in the theatre, I must frankly state, has but one focus and one goal


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my wife's career as an actress"; Josephson duly cast her in two roles thefollowing season.[89]

Having returned to Kymmend during the summer of 1882, Strindberg wrote acollection of anti-establishment short stories, The New Kingdom.[90] While there,to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll'sHouse (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882at the New Theatre.[91] He moved to Grez-sur-Loing, just south of Paris, France,where Larsson was staying. He then moved to Paris, which they found noisy andpolluted. Income earned from Lucky Peter's Journey enabled him to move toSwitzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3April 1884, Siri gave birth to their son, Hans.[92]

Newspaper illustration of Strindberg's reception on his return to Stockholm on20 October 1884 to face charges of blasphemy arising from a story in the firstvolume of his collection Getting Married.

In 1884 Strindberg wrote a collection of short stories, Getting Married, thatpresented women in an egalitarian light and for which he was tried for andacquitted of blasphemy in Sweden.[93] Two groups "led by influential members ofthe upper classes, supported by the right-wing press" probably instigated theprosecution; at the time, most people in Stockholm thought that Queen Sophia was

behind it.[94] By the end of that year Strindberg was in a despondent mood: "Myview now is," he wrote, "everything is shit. No way out. The skein is tootangled to be unravelled. It can only be sheared. The building is too solid tobe pulled down. It can only be blown up."[95] In May 1885 he wrote: "I am on myway to becoming an atheist."[96] In the wake of the publication of GettingMarried, he began to correspond with mile Zola.[97] During the summer hecompleted a sequel volume of stories, though some were quite different in tonefrom those of the first.[98] Another collection of stories, Utopias in Reality,was published in September 1885, though it was not well received.[99]

In 1885, they moved back to Paris.[citation needed] In September 1887 he beganto write a novel in French about his relationship with Siri von Essen called The

Defence of a Fool.[100] In 1887, they moved to Issigatsbhl, near Lindau by LakeConstance. His next play, Comrades (1886), was his first in a contemporarysetting.[101] After the trial he evaluated his religious beliefs, he concludedhe need to leave Lutheranism, which he had been since childhood, and afterbriefly being a deist, he became an atheist. He needed a credo and he used Jean-JacquesRousseau nature worshiping as one, which he had studied while a student. Hisworks The People of Hems (1887) and Among French Peasants (1889) wereinfluenced by his study of Rousseau. He then moved to Germany, where he fell inlove with Chancellor Otto von Bismarck's Prussia status of the officer corps.After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's

philosophies, which emphasized the male intellect. Nietzsche's influence can beseen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and Bythe Open Sea (1890).

Another change in his life after the trial is that Strindberg decided he wanteda scientific life instead of a literary one, and began to write about non-literarysubjects. When he was 37, he began The Son of a Servant, a four-partautobiography. The first part ends in 1867, the year he left home for Uppsala.Part two describes his youth up to 1872. Part three, or The Red Room, is when he


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is a poet and journalist and it ends with him meeting Siri von Essen. Part four,which dealt with the years spanning from 1877 to 1886, was banned by hispublishers and was not published until after his death. The three missing years,18751877, was the time Strindberg was wooing von Essen and their marriage;entitled He and She, it was not printed until 1919, after his death. It containsthe love letters between the two during that period.

In the later half of the 1880s Strindberg discovered Naturalism. Aftercompleting The Father in matter of weeks, he sent a copy to mile Zola for hisapproval, though his reaction was lukewarm. The drama revolves around theconflict between the Captain, a father, husband, and scientist, and his wife,Laura, over the education of their only child, a fourteen-year-old daughternamed Berta. Through unscrupulous means, Laura gets the Captain to doubt hisfatherhood until he suffers a mental and physical collapse. While writing TheFather, Strindberg himself was experiencing marital problems and doubted thepaternity of his children. He also suspected that Ibsen had based Hjalmar Ekdalin The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as aweak and pathetic husband; he reworked the situation of Ibsen's play into awarfare between the two sexes. From November 1887 to April 1889, Strindberg

stayed in Copenhagen. While there he had several opportunities to meet with bothGeorg Brandes and his brother Edvard Brandes. Georg helped him put on The Father,which had its premire on 14 November 1887 at the Casino Theatre in Copenhagen.[102]It enjoyed a successful run for eleven days after which it toured the Danishprovinces.[103]

First Stockholm production of Strindberg's 1888 naturalistic play Miss Julie,staged at The People's Theatre in November 1906. Sacha Sjstrm (left) asKristin, Manda Bjrling as Miss Julie, and August Falck as Jean.

Before writing Creditors, Strindberg completed one of his most famous pieces,Miss Julie. He wrote the play with a Parisian stage in mind, in particular theThtre Libre, founded in 1887 by Andre Antoine. In the play he used CharlesDarwin's theory of survival of the fittest and dramatized a doomed sexualencounter that crosses the division of social classes. As the "son of a servant",it is believed this play was inspired by his marriage to an aristocratic woman.

In the essay On Psychic Murder (1887), he referred to the psychological theoriesof the Nancy School, which advocated the use of hypnosis. Strindberg developed atheory that sexual warfare was not motivated by carnal desire but by relentless

human will. The winner was the one who had the strongest and most unscrupulousmind, someone who, like a hypnotist, could coerce a more impressionable psycheto submission. His view on psychological power struggles may be seen in workssuch as Creditors (1889), The Stronger (1889), and Pariah (1889).

In 1888, after a separation and reconciliation with Siri von Essen, he foundedthe Scandinavian Experimental Theatre in Copenhagen, where Siri became manager.He asked writers to send him scripts, which he received from Herman Bang, GustavWied and Nathalia Larsen. Less than a year later, with the theatre and


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reconciliation short lived, he moved back to Sweden while Siri moved back to hernative Finland with the children. While there, he rode out the final phase ofthe divorce and later used this agonizing ordeal for the basis of The Bond andthe Link (1893). Strindberg also became interested in short drama, called Quartd'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan.His notable contribution was The Stronger (1889). As a result of the failure ofthe Scandinavian Experimental Theatre, Strindberg did not work as a playwrightfor three years. In 1889, he published an essay entitled "On Modern Drama andthe Modern Theatre", in which he disassociated himself from naturalism, arguingthat it was petty and unimaginative realism. His sympathy for Nietzsche'sphilosophy and atheism in general were also on the wane. He entered the periodof his "Inferno crisis," in which he had psychological and religious upheavalsthat influenced his later works.

1890s[edit]

Edvard Munch Portrait of August Strindberg, 1892, Museum of Modern Art,Stockholm, Sweden

After his disenchantment with naturalism, Strindberg had a growing interest intranscendental matters. Symbolism was just beginning at this time. Verner vonHeidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that

rendered human experience in simplistic terms. This is believed to have stalledhis creativity, and Strindberg insisted he was in a rivalry and forced to defendnaturalism, even though he had exhausted its literary potential. These worksinclude: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), andThe First Warning (1893). His play The Keys of Heaven (1892) was inspired by theloss of his children in his divorce. He also completed one of his few comedies,Playing with Fire (1893) and the first two parts of his post-inferno trilogy ToDamascus (18981904).

In 1892, he experienced writer's block, which led to a drastic reduction in his

income. Depression followed as he was unable to meet his financial obligationsand to support his children and former wife. A fund was set up through an appealin a German magazine. This money allowed him to leave Sweden and he joinedartistic circles in Berlin, Germany. Otto Brahm's Freie Bhne theatre premieredsome of his famous works in Germany, including The Father, Miss Julie andCreditors.

Similar to twenty years earlier when he frequented The Red Room, he now went tothe German tavern The Black Porker. Here he met a diverse group of artists fromScandinavia, Poland, and Germany. His attention turned to Frida Uhl, who wastwenty-three years younger than him. They were married in 1893. Less than a year

later, their daughter Kerstin was born and the couple separated, though theirmarriage was not officially dissolved until 1897. Frida's family, in particularher mother, who was a devout Catholic, had an important influence on Strindbergand in an 1894 letter he declared "I feel the hand of our Lord resting over me."

Michael Chekhov as Erik in the Moscow Art Theatre 1921 production of Strindberg'splay Erik XIV (1899).


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Some critics think that Strindberg suffered from severe paranoia in the mid-1890s,and perhaps that he experienced temporarily insanity. Others, including EvertSprinchorn and Olof Lagercrantz believed he intentionally turned himself intohis own guinea pig by doing psychological and drug-induced self-experimentation.He wrote on subjects such as botany, chemistry, and optics before returning toliterature with the publication of his edited journals Legends and JacobWrestling (both 1898), where he noted the impact Emanuel Swedenborg had on hiscurrent work.

"The Powers" were central to Strindberg's later work. He said "the Powers" werean outside force that had caused him his physical and mental suffering becausethey were acting for retribution to humankind for their wrongdoings. As WilliamBlake, Ralph Waldo Emerson, Honor de Balzac, and William Butler Yeats had been,he was drawn to Swedenborg's mystical visions, with their depictions ofspiritual landscape and Christian morality. Strindberg believed for the rest ofhis life that the relationship between the transcendental and the real world wasdescribed by a series of "correspondences" and that everyday events were reallymessages from above of which only the enlightened could make sense. He also felthe was chosen by Providence to atone for the moral decay of others and felt histribulations were payback for misdeeds earlier in his life.

In 1899, he returned to Sweden, following a successful production of Master Olafin 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). Hehad the desire to become the national poet and felt historical dramas were theway to attain that status. Though Strindberg claimed that he was writing "realistically,"he freely altered past events and biographical information, and telescopedchronology. Works included the so-called Vasa Trilogy: The Saga of the Folkungs(1899), Gustavus Vasa (1899), and Erik XIV (1899).

1900s[edit]

Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a bigsupporter of his, staging some of his plays at the Kleines Theater in 1902 (includingThe Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his roleas head as of the Deutsches Theater, Reinhardt took over and produced Strindberg'splays.

In 1903, Strindberg planned to write a grand cycle of plays based on worldhistory, but the idea soon faded. He had completed short plays about MartinLuther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical

drama in 1908 after the Royal Theatre convinced him to put on a new play for itssixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger ofBjalbo (1909), and The Regents (1909).

A portrait of August Strindberg by Richard Bergh (1905).

His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907),and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black


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Banners Genre Scenes from the Turn of the Century,[104] (1907) have been viewedas precursors to Marcel Proust and Franz Kafka.

August Falck, an actor, wanted to put on a production of Miss Julie and wrote tohim for permission. In September 1906 he staged the first Swedish production ofMiss Julie. August Palme, Strindberg's friend, played Jean and Manda Bjorlingplayed Julie.

In 1909, Strindberg thought he might get the Nobel Prize in Literature, butinstead lost to Selma Lagerlf, the first woman and first Swede to win the award.The leader of the Social Democrat Youth Alliance started a fund-raiser for aspecial award. Nathan Sderblom was noted as a donor, yet he was criticized bythe conservative party. In total there was 45,000 Swedish crowns collected, bymore than 20,000 donors, most of whom were workers. Albert Bonniers frlag paidhim 200,000 Swedish crowns for his complete works. He invited his first threechildren to Stockholm and divided the money into five shares, one for each child,one for Siri, and the other for himself.

He founded The Intimate Theatre in Stockholm in 1907. His theatre was modeledafter Max Reinhart's Kammerspiel Haus. Strindberg had the intention of thetheatre being used for his plays and his plays only, he also had the intentionof the theatre being used mainly to perform chamber plays. For the theater's

opening, Strindberg wrote four chamber plays: Thunder in the Air, The BurnedSite, The Ghost Sonata, and The Pelican. Strindberg had very specific ideasabout how the theatre would be opened and operated. He drafted a series of rulesfor his theatre in a letter to August Falck: 1. No liquor. 2. No Sundayperformances. 3. Short performances without intermissions. 4. No calls. 5. Only160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage.7. The text will be sold at the box office and in the lobby. 8. Summerperformances. Falck helped to design the auditorium, which was decorated in adeep-green tone. The ceiling lighting was a yellow silk cover which created aneffect of mild daylight. The floor was covered with a deep-green carpet, and theauditorium was decorated by six ultra modern columns with elaborate up-to-date

capitals. Instead of the usual restaurant Strindberg offered a lounge for theladies and a smoking-room for the gentlemen. The stage was unusually small, only6 by 9 metres. The small stage and minimal amount of seats was meant to give theaudience a greater feeling of involvement in the work. Unlike most theatres atthis time, the Intima Teater was not a place in which people could come tosocialize. By setting up his rules and creating an intimate atmosphere,Strindberg was able to demand the audience's focus. When the theatre opened in1907 with a performance of The Pelican it was a rather large hit. Strindbergused a minimal technique, as was his way, by only having a back drop and somesea shells on the stage for scene design and props. Strindberg was much moreconcerned with the actors portraying the written word than the stage looking

pretty. The theatre ran into a financial difficulty in February 1908 and Falckhad to borrow money from Prince Eugn, Duke of Nrke, who attended the premireof The Pelican. The theatre eventually went bankrupt in 1910, but did not closeuntil Strindberg's death in 1912. The newspapers wrote about the theatre untilits death; however, Strindberg felt it was entirely unsuccessful. He felt thathe never had the opportunity to successfully stage a play the way he wanted to which was the purpose of the theatre in the first place.

Later life and death[edit]


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Strindberg in his later years

Strindberg died shortly after the first of his plays was staged in the UnitedStates The Father opened on 9 April 1912 at the Berkeley Theatre in New York,in a translation by Edith and Wrner Oland.[105]

During Christmas 1911, Strindberg became sick with pneumonia and he neverrecovered completely. He also started to suffer from a stomach disease,presumably cancer. He died on 14 May 1912 at the age of 63. Strindberg wasinterred in the Norra begravningsplatsen in Stockholm, and thousands of peoplefollowed his corpse during the funeral proceedings.

Legacy[edit]

Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergmanare a few of the many people who have cited him as an influence.[32] Eugene O'Neill,upon receiving the Nobel Prize in Literature, dedicated much of his acceptancespeech to describing Strindberg's influence on his work, and referred to him as"that greatest genius of all modern dramatists."[106]

A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879)made him famous. His early plays belong to the Naturalistic movement. His works

from this time are often compared with the Norwegian playwright Henrik Ibsen.Strindberg's best-known play from this period is Miss Julie. Among his mostwidely read works is the novel The People of Hems.

Detail of mural in honour of August Strindberg in Stockholm, at the Rdmansgatansubway station.

Strindberg wanted to attain what he called "greater Naturalism." He disliked theexpository character backgrounds that characterise the work of Henrik Ibsen andrejected the convention of a dramatic "slice of life" because he felt that theresulting plays were mundane and uninteresting. Strindberg felt that truenaturalism was a psychological "battle of brains": two people who hate each

other in the immediate moment and strive to drive the other to doom is the typeof mental hostility that Strindberg strove to describe. He intended his plays tobe impartial and objective, citing a desire to make literature akin to a science.

Following the inner turmoil that he experienced during the "Inferno crisis," hewrote an important book in French, Inferno (18967) in which he dramatised hisexperiences. He also exchanged a few cryptic letters with Friedrich Nietzsche.

Strindberg subsequently ended his association with Naturalism and began toproduce works informed by Symbolism. He is considered one of the pioneers of the

modern European stage and Expressionism. The Dance of Death, A Dream Play, andThe Ghost Sonata are well-known plays from this period.

His most famous and produced plays are Master Olof, Miss Julie, and The Father.

The Swedish Composer Ture Rangstrm dedicated his first Symphony, which wasfinished in 1914, to August Strindberg in memoriam.

Politics[edit]


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Carl Eldh's grand statue of Strindberg in Tegnrlunden, Stockholm.

The history of the Paris Commune, during 1871, caused young Strindberg todevelop the opinion that politics is a conflict between the upper and lowerclasses. He was admired by many as a far left writer. He was a socialist (orperhaps more of an anarchist, which he himself claimed on at least one occasion[107][108]).Strindberg's political opinions nevertheless changed considerably within thiscategory over the years, and he was never primarily a political writer. Nor didhe often campaign for any one issue, preferring instead to scorn his enemiesmanifesto-style the military, the church, the monarchy, the politicians, thestingy publishers, the incompetent reviewers, the narrow-minded, the idiots and he was not loyal to any party or ideology. Many of his works, however, hadat least some politics and sometimes an abundance of it. They often displayedthe conviction that life and the prevailing system was profoundly unjust andinjurious to ordinary citizens.

The changing nature of his political positions shows in his changing stance onthe women's rights issue. Early on, Strindberg was sympathetic to women of 19th-centurySweden, calling for women's suffrage as early as 1884. However, during otherperiods he had wildly misogynistic opinions, calling for lawmakers to reconsiderthe emancipation of these "half-apes... mad... criminal, instinctively evil

animals." This is controversial in contemporary assessments of Strindberg, ashave his antisemitic descriptions of Jews (and, in particular, Jewish enemies ofhis in Swedish cultural life) in some works (e.g., Det nya riket), particularlyduring the early 1880s. Strindberg's antisemitic pronouncements, just like hisopinions of women, have been debated, and also seem to have varied considerably.Many of these attitudes, passions and behaviours may have been developed forliterary reasons and ended as soon as he had exploited them in books.[109]

In satirizing Swedish society in particular the upper classes, the culturaland political establishment, and his many personal and professional foes hecould be very confrontational, with scarcely concealed caricatures of political

opponents. This could take the form of brutal character disparagement or mockery,and while the presentation was generally skilful, it was not necessarily subtle.

His daughter Karin Strindberg married a Russian Bolshevik of partially Swedishancestry, Vladimir Martynovich Smirnov ("Paulsson").[110] Because of hispolitical views, Strindberg was promoted strongly in socialist countries inCentral and Eastern Europe, as well as in the Soviet Union and Cuba.[citation needed]

Other interests[edit]

Self-portrait at Vrmd-Brevik, Tyres Municipality, in 1891.

The Town painting by Strindberg from 1903

Strindberg, something of a polymath, was also a telegrapher, theosophist,painter, photographer and alchemist.

Painting and photography offered vehicles for his belief that chance played acrucial part in the creative process.[111] Strindberg's paintings were uniquefor their time, and went beyond those of his contemporaries for their radical


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lack of adherence to visual reality. The 117 paintings that are acknowledged ashis were mostly painted within the span of a few years, and are now seen by someas among the most original works of 19th century art.[112] Today, his best-knownpieces are stormy, expressionist seascapes, selling at high prices in auctionhouses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, andwas thus familiar with modern trends, the spontaneous and subjectiveexpressiveness of his landscapes and seascapes can be ascribed also to the factthat he painted only in periods of personal crisis. Anders Zorn also did aportrait.[113]

His interest in photography resulted, among other things, in a large number ofarranged self-portraits in various environments, which now number among the best-knownpictures of Strindberg.

Alchemy, occultism, Swedenborgianism, and various other eccentric interests werepursued by Strindberg with some intensity for periods of his life. In thecurious autobiographical work Infernoa paranoid and confusing tale of his yearsin Paris, written in Frenchhe claims to have successfully performed alchemicalexperiments and cast black magic spells on his daughter.

Personal life[edit]Strindberg's third wife, the actress Harriet Bosse, as Indra's Daughter in the1907 premire of A Dream Play.

Strindberg was married three times, as follows:

Siri von Essen: married 187791 (14 years), 2 daughters (Karin Smirnov, Greta),1 son (Hans); and a daughter who died in infancy

Frida Uhl: married 189395, (2 years) 1 daughter, Kerstin, and

Harriet Bosse: married 190102(?) (2 years), 1 daughter, Anne-Marie.

Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44and Frida was 21 when they married and he was 52 and Harriet was 23 when theymarried. Late during his life he met the young actress and painter Fanny Falkner(18901963) who was 41 years younger than Strindberg. She wrote a book whichilluminates his last years, but the exact nature of their relationship isdebated.[114] He had a brief affair in Berlin with Dagny Juel before hismarriage to Frida; it has been suggested that the news of her murder in 1901 wasthe reason he cancelled his honeymoon with his third wife, Harriet.

He was related to Nils Strindberg (a son of one of August's cousins).

Strindberg's relationships with women were troubled and have often beeninterpreted as misogynistic by contemporaries and modern readers. Mostacknowledge, however, that he had uncommon insight into the hypocrisy of hissociety's gender roles and sexual morality. Marriage and families were beingstressed in Strindberg's lifetime as Sweden industrialized and urbanized at arapid pace. Problems of prostitution and poverty were debated among writers,critics and politicians. His early writing often dealt with the traditionalroles of the sexes imposed by society, which he criticized as unjust.


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Strindberg's last home was Bl tornet in central Stockholm, where he lived from1908 until 1912. It is now a museum. Of several statues and busts of him erectedin Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnrlunden,a park adjoining this house.

Bibliography[edit]

August Strindberg bibliographyTheatre portalNovels portal

See also categories: Novels by August Strindberg and Plays by August Strindberg

Notes[edit]

1.^ a b Lane (1998), 1040.

2.^ Meyer (1985), 3, 567.

3.^ Williams (1952), 75.

4.^ Williams (1952, 75).

5.^ Lane (1998), 104041.6.^ Williams (1952), 756, 100.

7.^ Raymond Williams offers the following example of the cinematic scope ofStrindberg's dramatic imagination: "Transformation. The landscape changes fromwinter to summer; the ice on the brook disappears and the water runs between thestones; the sun shines over all." Henrik Ibsen, too, developed a similar kind ofdramatic action in his Peer Gynt (1867); see Williams (1952), 767.

8.^ Adams (2002).

9.^ Meyer (1985), 79.

10.^ Meyer (1985), 49, 95.

11.^ Carlson (1993, 280), Innes (2000, 22), Lane (1998, 1040), and Williams (1952,7780).

12.^ Quoting from Strindberg's Preface to Miss Julie; see Carlson (1993, 281),Innes (2000, 1213), and Lane (1998, 1040).

13.^ Carlson (1993, 280) and Lane (1998, 1040).

14.^ a b Lane (1998, 1040).

15.^ Lane (1998, 1040) and Meyer (1985, 350); on 23 August 1896 he wrote in aletter to Torsten Hedlund: "You said recently that people are looking for theZola of occultism. That I feel is my vocation."

16.^ Lane (1998, 1041), Meyer (1985, 374), and Williams (1952, 8693).

17.^ Carlson (1993, 346347) and Lane (1998, 1041).


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18.^ Lane (1998, 1041).

19.^ Lane (1998, 1041) and Williams (1952, 9699).

20.^ Meyer (1985, 34). In his autobiographical novel, The Son of a Servant (1886),Strindberg described his father as "an aristocrat by birth and upbringing";quoted by Meyer (1985, 8). When Johan August was four his father was declaredbankrupt; see Meyer (1985, 7). He had two elder brothers, Carl Axel and Oscar,who were born before their parents were married. After Johan August came anotherbrother, Olle, and three sisters, Anna, Elisabeth, and Nora; see Meyer (1985, 3,7).

21.^ Merriam-Webster (1995, 10745). One of his biographers, Olof Lagercrantz,warns against the use of The Son of a Servant as a biographical source.Lagercrantz notes Strindberg's "talent to make us believe what he wants us tobelieve" and his unwillingness to accept any characterization of his personother than his own (1984).

22.^ Meyer (1985, 910). Norrtullsgatan is not far from Tegnrlunden, the parkwhere Carl Eldh's grand statue of Strindberg was later placed.

23.^ Meyer (1985, 11).24.^ Meyer (1985, 10).

25.^ Meyer (1985, 1113).

26.^ a b Meyer (1985, 13).

27.^ Meyer (1985, 1213).

28.^ Meyer (1985, 1315).

29.^ a b Meyer (1985, 15).

30.^ Meyer (1985, 15). Together they had a son, Emil, who was born in the yearafter their marriage.

31.^ Meyer (1985, 1819).

32.^ a b Adams (2002).

33.^ Meyer (1985), 30.

34.^ Meyer (1985), 302.

35.^ Meyer (1985, 31). The membership was restricted to a maximum of nine.

36.^ Meyer (1985), 312.

37.^ Meyer (1985), 32.

38.^ a b c d e f Robinson (2009), xvii.

39.^ Meyer (1985, 324).

40.^ Meyer (1985), 345.


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41.^ Meyer (1985), 37.

42.^ Meyer (1985), 389.

43.^ Meyer (1985), 37, 401.

44.^ The Outlaw was first published in December 1876; see Meyer (1985), 71.

45.^ Meyer (1985, 413). After asking when he could expect the next payment inthe spring of 1872, he was informed that it was not a regular arrangement, butwas sent one further payment.

46.^ Meyer (1985), 43.

47.^ Merriam-Webster (1995), 10745.

48.^ Meyer (1985, 49).

49.^ Meyer (1985, 434).

50.^ Lagercrantz (1984), 73.

51.^ Meyer (1985), 70.

52.^ Robinson (2009, xviii). Meyer gives the collection's date of publicationas December 1876, while Lagercrantz and Robinson give it as December 1877.

53.^ Meyer (1985, 44).

54.^ Meyer (1985, 467).

55.^ a b c Lagercrantz (1984), 49.

56.^ Meyer (1985), 53. He was accepted for the position despite not possessingthe requisite university degree; it is possible that two articles that had beenpublished in The Swedish Citizen in March 1874, in which he praised the library

and its chief librarian, may have prompted his acceptance. After taking severalperiods of unpaid leave in 188182, he finally resigned from the library on 31August 1882.

57.^ Meyer (1985), 92.

58.^ Meyer (1985), 556.

59.^ Lagercrantz (1984), 5458.

60.^ Meyer (1985), 5760. "All his life, Strindberg, while affecting todespise aristocrats, was unwillingly attracted by them." Strindberg in different

works gives both late May and June as the date of their first meeting. Siri hadperformed as an amateur, but her husband did not want her to become aprofessional.

61.^ Lagercrantz (1984), 57.

62.^ Lagercrantz (1984, 6061) and Meyer (1985, 63, 109).

63.^ Lagercrantz (1984), 613.


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64.^ Meyer (1985, 63).

65.^ Lagercrantz (1984), 71.

66.^ Meyer (1985), 702.

67.^ Lagercrantz (1984), 6970.

68.^ Meyer (1985, 75).

69.^ Lagercrantz (1984), 757.

70.^ Meyer (1985, 76).

71.^ Lagercrantz (1984), 79.

72.^ Meyer (1985, 77).

73.^ a b Meyer (1985, 79).

74.^ Meyer (1985, 7980).

75.^ Meyer (1985), 81.

76.^ Robinson (2009, xix).77.^ Quoted by Meyer (1985, 84).

78.^ Letter to Edvard Brandes, 29 July 1880; quoted by Meyer (1985, 85).

79.^ a b Meyer (1985, 82).

80.^ Meyer (1985, 812) and Robinson (2009, xix).

81.^ Meyer (1985, 81, 86). The first two volumes appeared in November andDecember 1880.

82.^ Meyer (1985, 88).83.^ Meyer (1985, 83, 9097) and Robinson (2009, xix).

84.^ Meyer (1985, 90).

85.^ Meyer (1985, 91).

86.^ Meyer (1985, 91) and Robinson (2009, xix). Meyer translates the title asCultural-Historical Studies. The collection includes Strindberg's assessment ofImpressionism.

87.^ Meyer (1985, 89, 95) and Robinson (2009, xix). Lane gives the length of

the production as six hours. The name of the theatre in Swedish is Nya Teatern.Two former theatres of Stockholm have used this name (one is also known as theSwedish Theatre, which burnt-down in 1925, while the other, Mindre teatern, wasdemolished in 1908). August Lindberg took over from Edvard Stjernstrm, whofounded the one known as the Swedish Theatre; see Lane (1998, 1040) and Meyer (1985,89).

88.^ Lane (1998, 1040), Meyer (1985, 96), and Robinson (2009, xix).


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89.^ Meyer (1985, 9697).

90.^ Meyer (1985, 99).

91.^ Meyer (1985, 81, 102) and Robinson (2009, xixxx).

92.^ Meyer (1985, 126) and Robinson (2009, xx).

93.^ Meyer (129141) and Robinson (2009, xx).

94.^ Meyer (1985, 135).

95.^ Quoted by Meyer (1985, 142).

96.^ Meyer (145).

97.^ Meyer (1985, 143).

98.^ Meyer (1985, 130, 146147).

99.^ Meyer (1985, 147).

100.^ Lagercrantz (1984, 55), Meyer (1985, 178179), and Schleussner (1912).The title of the novel (Le Plaidoyer d'un Fou) has also been translated as The

Confession of a Fool, A Madman's Defence and A Fool's Apology. A public domainEnglish-language translation is available online.

101.^ Robinson (2009, xxi). The play's original title was Marauders. Itreceived its premire on 23 October 1905 at the Lustspieltheater in Vienna.

102.^ Meyer (1985, 183) and Robinson (2009, xxi).

103.^ Meyer (1985, 183185).

104.^ Strindberg, August. Translated and with an Introduction by Donald K.Weaver. Series: Studies on Themes and Motifs in Literature Volume 101. PeterLang, New York, 2010. ISBN 978-1-4331-0783-2

105.^ Oland and Oland (1912a) and (1912b, v).

106.^ Eugene O'Neill (10 December 1936). "Banquet Speech". The NobelFoundation. Retrieved 12 July 2010.

107.^ Inferno, Alone, and other writings: In new translations, AugustStrindberg, Edited by Evert Sprinchorn, Anchor Books, 1968, p. 62

108.^ Selected essays, August Strindberg, Edited by Michael Robinson,Cambridge University Press, 1996, p. 233

109.^ Lagercrantz (1984).

110.^ "Usykin", RCHGI (in Russian), RU: SPB, 2001.

111.^ Strindberg exhibition, Tate Modern

112.^ Gunnarsson (1998, 25660).

113.^ Gunnarsson (1998, 256).

114.^ Falkner (1921). The book's title includes the name of Strindberg's home


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in his final years (Bla Tornet).

Sources[edit]

Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. ISBN 0-7876-5261-X.

Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Surveyfrom the Greeks to the Present. Expanded ed. Ithaca and London: CornellUniversity Press. ISBN 978-0-8014-8154-3.

Ekman, Hans-Gran. 2000. Strindberg and the Five Senses: Studies in Strindberg'sChamber Plays. London and New Brunswick, New Jersey: Athlone. ISBN 0-485-11552-2.

Falkner, Fanny (1921), August Strindberg i bl tornet (in Swedish), Stockholm,SE: Norstedt.

Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century.New Haven: Yale UP. ISBN 0-300-07041-1.

Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and NewYork: Routledge. ISBN 0-415-15229-1.

Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York:Farrar Straus Giroux. ISBN 0-374-10685-1.

Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed.Martin Banham. Cambridge: Cambridge UP. 104041. ISBN 0-521-43437-8.

Strindberg, August; Martinus, Eivor, trans (1987), Motherly Love, Pariah, TheFirst Warning, Oxford: Amber Lane, ISBN 0-906399-79-3.

Strindberg, August; Martinus, Eivor, trans (1990), The Great Highway, Classics,Bath: Absolute, ISBN 0-948230-28-2.

Strindberg, August (1995), McLeish, Kenneth, ed., Miss Julie, London: Nick HernBooks, ISBN 978-1-85459-205-7

Encyclopedia of Literature, Springfield, MA: Merriam-Webster, 1995, ISBN 0-87779-042-6.

Meyer, Michael (1987) [1985], Strindberg: A Biography, Lives, Oxford: Oxford UP,ISBN 0-19-281995-X.

Strindberg, August; Oland, Wrner, transl. (1912), Plays (PDF), 1: The Father,Countess Julie, The Outlaw, The Stronger, Boston: Luce More than one of |last1=and |last= specified (help); More than one of |first1= and |first= specified (help).

Strindberg, August; Oland, Wrner, transl. (1912), Plays (PDF), 2: Comrades,Facing Death, Pariah, Easter, Boston: Luce More than one of |last1= and |last=specified (help); More than one of |first1= and |first= specified (help).

Strindberg, August; Oland, Wrner, transl. (1912), Oland, ed., Plays (PDF), 3:


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Swanwhite, Advent, The Storm, Boston: Luce More than one of |first1= and |first=specified (help).

Strindberg, August (1970), World Historical Plays, New York: Twayne Publishers &The American-Scandinavian Foundation, ISBN 1-135-84140-3 More than one of |last1=and |last= specified (help); More than one of |first1= and |first= specified (help).

2009, Robinson, Michael, ed., The Cambridge Companion to August Strindberg,Companions to Literature, Cambridge: Cambridge UP, ISBN 0-521-60852-X.

Strindberg, August (1987), By The Open Sea, Harmondsworth, Middlesex: Penguin,ISBN 0-14-044488-2 More than one of |last1= and |last= specified (help); Morethan one of |first1= and |first= specified (help).

Strindberg, August (1912), The Confession of a Fool (PDF), London: Stephen SwiftMore than one of |last1= and |last= specified (help); More than one of |first1=and |first= specified (help).

Strindberg, August (1913), The Red Room (PDF), New York and London: Putnam More

than one of |last1= and |last= specified (help); More than one of |first1= and |first=specified (help).

Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone.ISBN 0-485-11183-7.

Williams, Raymond (1993), Drama from Ibsen to Brecht, London: Hogarth, ISBN 0-7012-0793-0.

Williams, Raymond (1966), Modern Tragedy, London: Chatto & Windus, ISBN 0-7011-1260-3.

Williams, Raymond (1989), Pinkney, Tony, ed., The Politics of Modernism: Againstthe New Conformists, Verso, ISBN 0-86091-955-2.

Further reading

Livry, Anatoly, "August Strindberg : de Rhadamanthe Busiris et l'Etna deZarathoustra", Nietzscheforschung, Berlin, "Akademie Verlag", 2011, p. 123 135

Prideaux, Sue, Strindberg: A Life, Yale University Press, 15 May 2012. ISBN 978-0300136937

Sprinchorn, Evert, Strindberg As Dramatist, Yale University Press, October 1982.ISBN 978-0300027310

External links[edit]

English-language translations in the public domain[edit]

Works by or about August Strindberg at Internet Archive (scanned books originaleditions color illustrated)


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Works by August Strindberg at Project Gutenberg (plain text and HTML)

Public domain translations of Strindberg's drama

The Father, Countess Julie, The Outlaw, The Stronger

Comrades, Facing Death, Pariah, Easter

Swanwhite, Advent, The Storm

There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah

To Damascus Part 1

Road To Damascus Parts 1, 2, and 3

Public domain translations of Strindberg's novels

The Red Room.

The Confession of a Fool.

Other[edit]

Wikimedia Commons has media related to: August StrindbergWikisource has original works written by or about:

Johan August Strindberg

August Strindberg at the Internet Broadway Database

August Strindberg at the Internet Movie Database

Photographs by Strindberg from the National Library of Sweden on Flickr

Strindberg, August, Works (in Swedish), Projekt Runeberg.

Strindberg, Collected works (in Swedish) (National ed.), Stockholm University."Concordance", Sprkbanken, SE: Gothenburg University.

Strindbergssllskapet [The Strindberg Society] (in Swedish).

August Strindberg and absinthe; in his life and in his works

Strindbergssllskapet [The Strindberg Society].

Strindbergs Museet [The Strindberg museum], SE.

Strindberg Museum in Austria (in German), Saxen, Upper Austria.

August Strindberg Society, Los Angeles, CA, USA.

Strindberg, Citations in the streets, Stockholm

Productions of Strindberg's plays, Australia: AusStage

"The Celestographs of August Strindberg", Cabinet (3), Summer 2001.

Review of exhibition of paintings by Strindberg, British Theatre Guide


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Strindberg and Helium.

Strindberg, August, "The New Arts! or The Role of Chance in Artistic Creation",in Robinson, Michael, Selected essays.[show] v t e

August Strindberg[show] v t e August Strindberg's Miss Julie (1888)Authority control VIAF: 54154627

Categories: August Strindberg1849 births1912 deaths19th-century dramatists andplaywrights19th-century Swedish peopleAlchemistsExpressionist dramatists andplaywrightsFrench-language writersModernist theatreOccultistsArtists fromStockholmPeople prosecuted for blasphemySwedish dramatists and playwrightsSwedish-languagewritersSwedish novelistsSwedish socialistsSwedish writersUppsala UniversityalumniSwedish theatre directorsSwedish paintersSwedish photographersSwedishautobiographersWriters from Stockholm

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