In the following essay, Berry presents how Strindberg uses the dialogue and staging of The Ghost Sonata to develop his concept of reality as a “single and unified fabric consisting of a homogeneous blend of matter and mind.”. Johansson quickly realizes that this mansion, the “paradise” that the Student so desperately wanted to enter, is really a house of horrors, filled with dreadful secrets and frightening people. The Ghost Sonata is a key text in the development of modernist drama and a vivid example of a chamber play. Cite this article Pick a style below, and copy the text for your bibliography. The complex episodic form of this trilogy looks back to the sequential tableaux arrangement of medieval drama, to the literature of quest and pilgrimage generally {Piers Plowman, Pilgrim’s Progress) to Romantic drama (Shelley’s Prometheus Unbound, Goethe’s Faust, Ibsen’s Peer Gynt) and, perhaps more significantly, to Büchner’s Woyzeck which itself was influenced by the genre painting techniques of the Sturm and Drang movement. The lesson Arkenholtz learns—that the world can be a cold, cruel place—is one Strindberg seemed to live, and desperately wanted to express in The Ghost Sonata. 4) Jacob and Lia are parents of a single daughter (though of many sons), Dina, who is later ravished. Then Bengtsson recognizes him as the man who once tried to starve his family to death, and later murdered the Milkmaid to prevent her from revealing a crime he had committed. All is for the young couple; Hummel’s cleansing revenge is to involve the “ghosts” only. These basic states of consciousness are an awareness of evanescence and of solidity, of emptiness and of too much presence, of the unreal transparency of the world and its opacity, of light and of thick darkness. Strindberg’s was a basically religious consciousness, and a fascination with the concept of Original Strindberg was born in Stockholm on January 22, 1849. After struggling in a minor part, someone advised Strindberg that he should train at the Dramatic Academy to improve his skills. The Student realizes that madness and suffering often lie behind beauty and the promise of life. Their child is the Dark Lady. Hence, if we can label Strindberg a We well know that when we reduce the play to an obvious homily on greed, or age, we have no more a paraphrase of The Ghost Sonata than of King Lear. Still, though the room looks beautiful and perfect, it is called the “room of ordeals” because it is really full of defects. The Ghost Sonata' - is a play in three acts, written by a famous Swedish writer and playwright August Strindberg (Swedish: Johan August Strindberg, 1849 - 1912). Does the play’s conclusion leave him saved or damned? ed., 1976. ." Scene One portrays vague interior details which become visually clearer in each of the following. Is the Old Man, Hummel, a benefactor, or a self-serving user of other people, after power—or what? The Colonel’s wife, Amelia, was once young and beautiful, and she had an affair with the Old Man when he was a youth called Jacob Hummel. It is about " a young student, who idealizes the lives of the inhabitants of a stylish apartment building in Stockholm. 373-86. In other words, will becoming world according to the principium individuationis, and being dispersed into a multiplicity of parts, forgets its original unity and although in all its divisions it remains essentially one, it becomes will a million times divided against itself. She left him within three months and, though she returned and they had one child together, their relationship ended permanently in 1895. Still, he managed to build a wide-ranging resume. Several details of that meeting, the telling of which takes up the greater portion of a chapter in the Gospel According to St. John, are reflected to a striking degree in the opening lines of The Ghost Sonata. Geben Sie es weiter, tauschen Sie es ein, © 1998-2021, Amazon.com, Inc. oder Tochtergesellschaften, Entdecken Sie Jennifer Allison bei Amazon. Strindberg’s The Ghost Sonata contains many elements also found in later twentieth century ex-pressionistic dramas. He actually tried to discover a chemical secret for producing gold and, in the process, injured himself severely and spent several months in the hospital. Jacob, on the other hand, denies his own crimes and pretends to be virtuous. Elements in To Damascus also appear to foreshadow the techniques of radical visual and auditory juxtaposition in such plays as Artaud’s Jet of Blood, and Ghelderode’s The Chronicles of Hell. Each year, 2.5 million people marry in the United States, and nearly half of those marriages are expected to end in divorce. https://www.encyclopedia.com/arts/educational-magazines/ghost-sonata, "The Ghost Sonata The themes of The Ghost Sonata mainly relate to secrets, illusions, and the disappointments and tragedies of life, and it is the revelation of these terrible details of the characters’ past lives that form the action of the play. The Ghost Sonata is a one act play in three scenes; it is considered a chamber play because of its limited cast and small staging space required. She was seduced away from him by the Colonel, Amelia’s husband. This place is not what it seems; it is no paradise, and no fairy-tale “ever-after,” but is “bewitched”—“bedeviled” we might more literally call the post-lapsarian world. Despite the seeming justice of Hummel’s end, and the suggestion that the sinners of the house have suffered enough, and order will now be restored, the still-innocent young people in the play who were viewed as the hope for tomorrow do not fare any better than their guilty parents. Arguably, what ultimately saved Strindberg from a complete nervous breakdown that summer was his discovery of a new spiritual faith. Amalia abruptly breaks out of the trance that has held her for twenty years and turns the tables on the group’s accuser. . It opens in Stockholm, Sweden. In his autobiography The Son of a Servant (1886), he blames his father for marrying beneath him, reflects on the family’s bankruptcy, his mother’s tuberculosis and death, and the sexual conflicts he felt when his father later married the family’s housekeeper. Drama for Students. Ask questions and download or stream the entire soundtrack on Spotify, YouTube, iTunes, & Amazon. She has felt guilty about her mistake ever since, and has locked herself away from the world in a closet where she dwells on her sins and becomes less and less human with each passing day. By the time of the writing of The Ghost Sonata, Strindberg was clearly beyond the realist conventions which informed such achievements as The Father, Miss Julie and The Bond—although he continued his intense concern with the problems of guilt and the class-sex struggle with which those and other plays dealt. The Aristocrat, Baron Skanskorg, is the son-in-law of the Dead Man. Worst of all, he once committed a crime and murdered the only witness, an innocent Milkmaid, to prevent her from reporting him. Kostenlose Lieferung für viele Artikel! Once a lovely, radiant young lady, the Mummy is now, according to the Old Man, a half-crazed recluse who lives in a closet and worships her own statue. Later, he encountered the Old Man in Hamburg, where he had become a money-lender and was charged with the murder of a young girl, the Milkmaid. The Old Man does not fear his own death, however, and explains that he must complete his revenge. In The Ghost Sonata, a student stops at a public water fountain to replenish himself after having been up all night saving people from a collapsing house. Amelia warns Jacob that if he harms the Colonel, now the Girl’s father, he will die in that very room, behind a black Japanese death screen that is standing near a couch. Even more importantly, the Old Man convinces the Student he will get him introduced to the beautiful Girl, Adele, who lives inside the rich house Arkenholtz has been admiring. That this whole fairy-tale gone crazy is a projection of the Student’s we may take as admitted in his saying that he is a man born with one of those “poisons that open the eyes”—or does it “destroy the sight”?—“for I cannot see what is ugly as beautiful, nor call evil good.”. Along with the Student, Adele is one of the few “innocent” people in the play, but she must suffer along with all of her guilty family. Wiederholen Sie die Anforderung später noch einmal. The Old Man approaches the Student and asks him questions about his life and family. The Girl, Adele, has lived too long in the polluted air of the house, and now suffers like a vicarious sinner in her Hyacinth Room where everything seems perfect, but is really damaged and dying. CHARACTERS He explains to the Colonel that he has gone around and bought up all of his promissory notes—the debts the Colonel has accumulated in order to keep up his wealthy standard of living. Arcadia Ibsen wrote about marital problems, disease, poverty, inter-class conflict and many other issues faced by his audiences in the 1880s and 1890s. The Old Man tells the Student that Amelia once left the Colonel, that he beat her, and that she returned to marry him again. Some critics have found fault with Strindberg’s variation on a fundamental Christian principle that is reflected in the Student’s new outlook. Rather, the mention of Buddha seems to serve in The Ghost Sonata chiefly as the antithesis of the deadly self-seeking which possesses the intimates of Jacob Hummel. He has had dreams of living in such a home, with a wife, two children, and a generous income. Antonin Artaud, the famous French director and playwright, credited Strindberg’s work as an important precursor to his own “Theatre of Cruelty.” Randolph Goodman, in the introduction to his English version of the play in Drama on Stage, writes, “His [Strindberg’s] influence is clearly discernible in the work of Luigi Pirandello, Eugene O’Neill, and Sean O’Casey, to name but a few of the masters. But, with due regard for these pitfalls, we would not go too far to suggest that in The Ghost Sonata Strindberg has turned inside-out the traditional meaning on the passion of Christ: he transforms it into an eternal image of the Student’s bitter disillusionment. The telling of truths begins when he encounters the Mummy, Amelia, who was once his lover. Again, in Thomas Mann’s words, “every expression of the will to live has always something of the infernal about it, being itself a metaphysical stupidity, a frightful error, the sin.” The action of the play is, then, on this primary level of “idea” entirely spiritual, and, as in the case of To Damascus, the controlling pattern is that of a quest. As the visual pattern gains a momentum culminating in a conglomeration of images, so does the language rapidly dissolve into a melange of voices, until both the visual and the auditory are silenced and stilled by a darkness which serves as a release from the multiplicity of divided and warring parts in a world born of the principium individuationis. Additionally, the themes employed by realist writers are common, everyday problems with significance to many people. For Strindberg, writing The Ghost Sonata and his other “chamber plays” that addressed the sin, guilt and terror of life was a form of therapy. Seated at the window of another room is the Fiancee, a white-haired old woman who was once engaged to the Old Man. Hummel’s first wife was Amalia. In the 1970s, Britain and France developed the Concorde, a jet plane that allows travelers to fly faster than the speed of sound, and reach the United States from Europe in only a few hours. The auditory and the visual together constitute “beneath language,” as Artaud advocated, “a subterranean current of impressions, correspondences, and analogies.” As components of the mise en scene, they assist the main action, and they possess a certain sub-textual quality which elicits a response not unlike that demanded by music and painting. Readers and audiences generally agree that August Strindberg’s The Ghost Sonata is a highly provocative play. The Father (1887) and Miss Julie (1888) are both considered to be masterpieces of realism, depicting natural characters in mundane, ordinary surroundings. The Student cannot reconcile himself to the fact that, although Christ revealed himself as the Messiah whom Jacob had foreseen, he was nonetheless sacrificed. SOURCES The Realism movement in the theatre that shaped Strindberg’s early writing owes a great debt to Henrik Ibsen, the Norwegian playwright who produced works like A Doll’s House (1879), Ghosts (1881), An Enemy of the People (1882), and Hedda Gabler (1890). Rezension aus den Vereinigten Staaten vom 16. In a final irony, the Student, far from preserving any of the self-destructive and doomed “Hummel family of vampires,” is perhaps himself converted by them. Today: The wartime uses for airplanes helped speed the development of the transportation technology. In Adam’s fall, sinned we all. In many countries, women could not legally borrow money or even own property without their husbands’ permission. The Mummy says that Hummel’s “whole life has been falsified, including his family tree.”. His dream of bliss is all bourgeois: ‘“Think of living up there in the top flat, with a beautiful young wife, two pretty little children and an income of twenty thousand crowns a year.‘” The conclusion of Scene I is also parodistic, and splendid theater: Hummel, standing in his wheel chair which is drawn in by the beggars, cries: “Hail the noble youth who, at the risk of his own life, saved so many in yesterday’s accident. GHOST SONATA Characterization The stereotypical names of the characters signifies expressionistic techniques. Though we recognize the fundamental similarity to Christ at Jacob’s well when the play begins, we are soon aware of a profound departure from the model. August Strindberg is now considered to be one of Sweden’s finest dramatists and among the most important contributors to the modern theatre. But the early resemblance in The Ghost Sonata of the Student to Christ is confirmed, I think, by another mention of Christ—this time explicit and fully developed—at the very conclusion of the play. Also includes a chronology of Strindberg’s work and a bibliography of other research sources. . as the opposite pole of passive satisfaction, is naturally a fundamental unhappiness, it is unrest, a striving for something-it is want, craving, avidity, demand, suffering; and a world of will can be nothing else but a world of suffering. Our expectations as an audience are properly outraged by such prodigal expense of character and dramatic situation, to no purpose. Pick a style below, and copy the text for your bibliography. It is not the real world, but the domestic-surreal, this house with servants who unclean, cooks who un-feed; but the surreal can be taken as measure of the recoil of the tender soul (Strindberg, the Student) from real life. Typically the first section of a sonata is exposition. It is interesting to observe the opinion of Swedenborg in this matter. Amelia is the Colonel’s wife. 10, pp. TOM STOPPARD 1993 After twenty years she realizes she has paid enough for her mistake, which was really quite human, and now has the strength to turn the tables and accuse Jacob for the crimes he has committed. That is, is he good fairy or wicked witch? The Student says of the girl’s house: “I thought it was paradise itself that first time I saw you coming in here.” But the flowers in the “paradise” are poisonous; it is in fact a place of ordeals, where no dreams come true. .” In the same way, the Student later comes to realize, was the Messiah destroyed by those whom he meant to save. A bourgeois lifestyle, however, does not begin to pay for Original Sin, and the Student, along with all of the other characters in the play, must begin the process of transformation from sinner to penitent to saved soul. It is no matter that Strindberg fails to offer a very definite idea of Buddhism, as it appears in the play. BBC Television, 16 March 1962 22.00. His family name, too, is borrowed. She appears from time to time throughout the play to terrify Hummel’s guilty conscience. Hummel’s former Fiancee will be attending the ghost supper. Today: Multimillion-dollar blockbuster films may now be purchased or rented, taken home, and viewed on a television with the help of a videocassette recorder (VCR) or digital video disc (DVD) player. Hummel’s abandoned natural-wife Amalia, now a grotesque mummy, is shut up in the closet because “her eyes can’t stand the light.”. In him the entire history of the stage from 1800 to the present day is epitomized.”. ,” has been expecting the Student, and knows all about him and his heroism in the burning house, without having to be told. . In the play, as in Swedenborg’s purgatory, Kama-Loka, masks, lies and illusions are slowly stripped away, baring the naked souls of the people underneath. . But now let us look more closely at this well, which the Samaritan woman has identified as the gift of the father of Israel. The Ghost Sonata. Goodman, Randolph. suggests that “A constant noise of water will be heard, loud at times, to the point of obsession.” Artaud also suggests that the return of Hummel with the Beggars, in Scene One, should take place “in a great din. The Student says that “The curse 428-437. My purpose in raising this point is not simply to provide an exercise in comparative You are freezing me.” Variations on this theme occur throughout the play, of course: “vampirism” is a multiplex symbol for vicarious gratification (“enjoy life so that I can watch, at least from a distance”), for enslaving others by a knowledge of their guilty secrets (Johansson, the Colonel), or by a sense of obligation (the Student) or by usury. . The Student makes a desperate attempt to save the Girl from her poisonous environment. The secrets of The Ghost Sonata are terrible indeed, and they are initially hidden behind an illusion of wealth, nobility and respect, inside the walls of a beautiful house. I donated these books to a RIF Program at my daughters school. By as early as the writing of Master Olof(lS72-6), Strindberg was experimenting with his concept of polyphonic composition, which he considered “a symphony, in which all the voices were interwoven (major and minor characters were treated equally), and in which no one accompanied the soloist.” This concept of polyphonic composition was, early in Strindberg’s dramatic career, expanded to embrace the functioning of the non-verbal “aesthetics of the theatre” in production. While the industrial age had brought many women out of the home and into the workplace, the jobs available to them were mainly unskilled, menial tasks that required long hours for little pay. Over the course of his lifetime, his madness took many forms. The Student is struck to the soul by her beauty, and more determined than ever to do whatever the Old Man wants in order to meet her and enter her house. November 2014, I have to warn you it's very boring at first. Yet, even the most thoughtful critics are hard pressed to explain exactly what this play is about, or to make much coherent sense of the action onstage. . Several of the characters in The Ghost Sonata betray one another in some form. Instead of allowing him to ruin them, she confronts him with all of his own crimes, and forces him to crawl into her closet where he hangs himself. Stereotypes / Prototypes: Writers also sometimes introduce stereotyped characters only to break their stereotypes later in a work to cause dramatic irony and plot twists to occur. During the ghost supper, when the Old Man is prepared to reveal everyone’s secrets and run them out of the house, Amelia stops time by holding back the hands on the clock, and turns the tables on Hummel. Hummel is, of course, the patriarch of the, “AND THUS IT APPEARS THAT STRINDBERG HAS PRESENTED US WITH NOTHING LESS THAN A MODERN-DRESS, THOROUGHLY UPDATED PARABLE OF REDEMPTION—BUT A REDEMPTION STRIPPED OF ITS CHRISTIAN IDEALISM AND OPTIMISM.”. After the failure of The Ghost Sonata, Strindberg wrote no more great plays. Sleep without dreaming, and when you wake again, may you be greeted by a sun that does not burn, in a home without dust, by friends without stain, by a love without flaw.”. While his relationship with Siri was deteriorating, and his bouts with mental illness growing more severe, Strindberg produced some of his best-known plays. . The speeches delivered by the Professor, The Stranger, the Father and the Beggar come to occupy what Artaud termed theatrical “space,” to function within the complex visual context as mere sound. (1897)—a picture, incidentally, which seems to reflect something of the spiritual quest dimension of Ghost Sonata. I passed it yesterday when the sun was shining on the window panes, and I imagined all the beauty and luxury in there.” He is willing to do anything to get inside, and to meet the lovely young girl who dwells in the house’s Hyacinth Room. Like a dream, the play does not follow a straight line of cause-and-effect actions. It is tempting, but unnecessary, to seek out a Biblical analogue for every detail of The Ghost Sonata. He alleviated some of his own anxiety and misery by expressing his feelings, and promoting his religious beliefs, in his art. Seen in broad relief, The Ghost Sonata contains all the elements of the fairy story, and it is this which gives it a kind of structural cohesiveness not found in the other chamber plays, which seem to spill their symbols into a void. As Stephan C. Bandy explains in “Strindberg’s Biblical Sources for The Ghost Sonata,” “Instead of looking to Christ for release from his unhappy existence, the Student in fact redefines Christian salvation in his own terms. A review of The Ghost Sonata, in Theatre Journal, March, 1992, p. 109-111. After he had struggled with the angel, Jacob’s name was changed to “Israel,” for his sons were to found the tribes of that nation. The Father was staged in Denmark and Sweden in 1887, followed by Miss Julie in 1888. As Strindberg’s vision reached beyond the more narrow restrictions of realism, elements in the mise en scene were orchestrated in strikingly new ways, and given additional vitality and dramatic purpose. A new, hopeful theme emerges: the faint hope for the final salvation of mankind in an afterlife free of the miseries and disappointments of the mortal world. In the third scene we would further expect the fairy princess and hero to be united and “live happily ever after.” Just how true—and false—to the facts of the play this outline is should be apparent; yet in the play’s relation to this submerged paradigm, I am suggesting, lies much of its meaning. As an adult, however, and after experiencing some of the disappointments and tragedies of life, the troubled artist found himself searching for solace in the spiritual realm. . But when you, Jacob Hummel, with your false name, choose to sit in judgment over us, you prove yourself worse than us miserable sinners.” In the Swedenborgian realm, Amelia is warning, they have suffered for their sins, but now their souls are prepared for a rewarding afterlife. He has in mind that he will help the Student become rich, and that the Student will marry the Girl, and all he needs to carry out his plan is an invitation to the ghost supper being held that evening. Wir verwenden Cookies und ähnliche Tools, um Ihr Einkaufserlebnis zu verbessern, um unsere Dienste anzubieten, um zu verstehen, wie die Kunden unsere Dienste nutzen, damit wir Verbesserungen vornehmen können, und um Werbung anzuzeigen, einschließlich interessenbezogener Werbung. There were times in his life when he would write for days on end, producing volumes of prose or dramatic text; and there were other, less fertile periods when he would sit, stare into space, and ponder for hours, oblivious to anyone around him. He seduced Amelia then abandoned her. All 9 songs featured in Pretty Little Liars: The… season 1 episode 4: The Ghost Sonata, with scene descriptions. He was, by his own admission, compulsively neat, and he required an orderly, clean environment. artistic movements of the twentieth century, and as models for some of the great modern dramatists to follow, they are now viewed as monumental turning points in the history of dramatic literature. . 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