August Strindberg’s play ‘Miss Julie’ is a master playwright that has been the basis of critical controversy. Written during summer in 1888, the play was censored entirely in Europe during the late Nineteenth Century. The play was believed to deal with situations that were deemed as socially offensive. As much as the play presents a dramatic method which is characterised by an urge to experiment, the innovation Strindberg sought to cultivate were designed with having a social and moral agenda in mind through the use of naturalism. Therefore, the ‘Preface to Miss Julie’ illustrates ideological and artistic naturalism.
In order to illustrate the challenges and definitions of naturalism in relation to the ‘Preface’, one has to understand first …show more content…
The preface of Miss Julie also develops the aesthetics of the modern theatre which as a result presents a showcase of the naturalist theatre. Within the ‘Preface’, readers are propelled to get an understanding of the play basing on the co-existence of naturalism. This therefore structures the entire play and stresses the significance of the dialectic. The characters in the play were portrayed as products of social conditions, heredity and their environment. The depiction of the modern characters in the ‘Preface’ who are believed to be past cultures and new culture conglomerations, possessing ‘multiplicity of motives’, places the Preface within the naturalism …show more content…
For instance the play is subverted when the focus on a central heroic character is moved away. This possesses a challenge in that instead of main heroic characters or villains, the play bases on characters that are not particularly good or bad. In his play, he managed to create Naturalistic characters as much as possible and achieve what other Naturalists writers did not. He is stays as objective as a scientist (ibid). The sisters in the play are actually heroines, however their characters and actions within the play are deemed as not typically heroic, without obliging the audience to like the characters. The sisters mainly endure the natural forces in the play. Chekhov like Maeterlinck, finds drama in stillness and silence moving into a more Symbolist direction. Each act within the play begins with hope of promising activity but later on ends in stillness (Rebellato, 2010). For instance, in act three, there is a beginning of promising activity when the three sisters are in joint action to support the homeless individuals due to fire (ibid). However, at the end of the act, the thought of fire is no longer within the sisters and are left huddled. In addition, the play keeps on giving readers the idea on how the three sisters are dreaming of how to escape their estate and move to Moscow. At the end of the second and third scenes, Irena, one of the three
In order to illustrate the challenges and definitions of naturalism in relation to the ‘Preface’, one has to understand first …show more content…
The preface of Miss Julie also develops the aesthetics of the modern theatre which as a result presents a showcase of the naturalist theatre. Within the ‘Preface’, readers are propelled to get an understanding of the play basing on the co-existence of naturalism. This therefore structures the entire play and stresses the significance of the dialectic. The characters in the play were portrayed as products of social conditions, heredity and their environment. The depiction of the modern characters in the ‘Preface’ who are believed to be past cultures and new culture conglomerations, possessing ‘multiplicity of motives’, places the Preface within the naturalism …show more content…
For instance the play is subverted when the focus on a central heroic character is moved away. This possesses a challenge in that instead of main heroic characters or villains, the play bases on characters that are not particularly good or bad. In his play, he managed to create Naturalistic characters as much as possible and achieve what other Naturalists writers did not. He is stays as objective as a scientist (ibid). The sisters in the play are actually heroines, however their characters and actions within the play are deemed as not typically heroic, without obliging the audience to like the characters. The sisters mainly endure the natural forces in the play. Chekhov like Maeterlinck, finds drama in stillness and silence moving into a more Symbolist direction. Each act within the play begins with hope of promising activity but later on ends in stillness (Rebellato, 2010). For instance, in act three, there is a beginning of promising activity when the three sisters are in joint action to support the homeless individuals due to fire (ibid). However, at the end of the act, the thought of fire is no longer within the sisters and are left huddled. In addition, the play keeps on giving readers the idea on how the three sisters are dreaming of how to escape their estate and move to Moscow. At the end of the second and third scenes, Irena, one of the three