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Miss Julie is preceded by an author's preface, which is considered a significant manifesto of naturalism in the theatre. In it Strindberg states that the source of the play is an actual story he once heard, which made a strong impression on him, and which "seemed appropriate for tragedy, for it still seems tragic to see someone favored by fortune go under, much more to see a family die out."
Its preface blamed women for religious persecution, war, and all of history's other misfortunes. [7] Both volumes were written at a time when Strindberg was still married to Siri von Essen , though the publication of the second volume had a disastrous effect on their marriage.
Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles ...
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Miss Julie is an opera by Ned Rorem to an English libretto by Kenward Elmslie, based on the play, Miss Julie (1888), by Swedish playwright August Strindberg. It explores the subject of the intersection of social class and illicit sexual relations in late 19th-century Sweden.
Miss Julie is a play by August Strindberg. Miss Julie may also refer to: Miss Julie (Rorem opera) by Ned Rorem; Miss Julie (Alwyn opera) by William Alwyn; Julie (Boesmans opera) by Philippe Boesmans; Miss Julie, a 1922 German silent drama film; Miss Julie, directed by Alf Sjöberg; Miss Julie, directed by Mike Figgis; Miss Julie, directed by ...
Miss Julie returns, dressed for travel, with a suitcase and her dog. Jean grabs, and orders Ulrik to dispose of, the dog. Offstage, a gunshot is heard. Miss Julie collapses. Jean and Kristin hurl accusations at each other. The ringing of the kitchen bell announces the return of the Count. Miss Julie watches as Jean begins to put on his uniform.
The use of a dream to represent a setting in a theatrical work appealed to the traditionally realist author in that Strindberg expresses realistic concerns such as materialism, class struggle, gender role struggle, and the destruction of traditional marriage in (as stated in the preface) "the disconnected but apparently logical form of a dream.