...Sarah Balkin August Strindberg once claimed that his novels and stories were “plays in epic form.” But Strindberg's fluid formulation of genre and medium is complicated and enriched by his understanding of narration and authorship as vampiric. In the novel The Red Room (1879) and the play The Dance...

... of theater” (67). For Strindberg, meanwhile, a play like The Dance of Death lets narration emerge as a distinctive practice among others, one that can vie with more expressively embodied performances of self and even come to dominate them. Similarly, theater allows Strindberg to foreground death itself...

... much of interest in Richard Barr's highly detailed study of the negotiation of "community" in four canonical modern dramatists—Henrik Ibsen, August Strindberg, Luigi Pirandello, and Samuel Beckett. In Barr's use of it, "social theory" encompasses a broad range of discourse defining...

... and theatrical theory will find much of interest in Richard Barr's highly detailed study of the negotiation of "community" in four canonical modern dramatists—Henrik Ibsen, August Strindberg, Luigi Pirandello, and Samuel Beckett. In Barr's use of it, "social theory" encompasses a broad range of discourse...

... much of interest in Richard Barr's highly detailed study of the negotiation of "community" in four canonical modern dramatists—Henrik Ibsen, August Strindberg, Luigi Pirandello, and Samuel Beckett. In Barr's use of it, "social theory" encompasses a broad range of discourse defining...

... highly detailed study of the negotiation of "community" in four canonical modern dramatists—Henrik Ibsen, August Strindberg, Luigi Pirandello, and Samuel Beckett. In Barr's use of it, "social theory" encompasses a broad range of discourse defining and contesting the possibilities and limits...

... highly detailed study of the negotiation of "community" in four canonical modern dramatists—Henrik Ibsen, August Strindberg, Luigi Pirandello, and Samuel Beckett. In Barr's use of it, "social theory" encompasses a broad range of discourse defining and contesting the possibilities and limits...

... in many different styles of drama from Calderon to Strindberg, it must become clear that this form of the mystery play still has a future.78 Instead of myth (as in tragedy) or eschatology (as in the mystery play), the dis- tinguishing characteristic of the Trauerspiel, according...