This one-page guide includes a plot summary and brief analysis of The Ghost Sonata by August Strindberg. The Ghost Sonata () by seminal Swedish. The Ghost Sonata (Swedish title: Spöksonaten) was written in and first performed the January 21st, at Strindberg’s Intimate Theater in Stockholm. For his final Strindberg staging, Bergman returns to The Ghost Sonata for the fourth time and the result is ‘more a farewell tale than an unmasking’.

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In his work, Freud emphasized the importance of the unconscious mind, a place where dreams may be interpreted as the key to understanding suppressed desires.

The Ghost Sonata

For a few years he worked at various jobs while continuing to write poetry and plays, then landed a position as an assistant librarian at the Royal Library of Stockholm. According to ghosst or depictions provided by believers, a ghost may appear as a living being or as a nebulous likeness…. On the one hand, there is the straightforward pattern of spiritual action: 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.

They seem, at first glance, singularly out-of-place in a play so largely taken up with intramural debate over Judeo-Christian theology.

The Ghost Sonata

Strindberg was born in Stockholm on January 22, Bengtsson runs off to fetch his master, and the Old Man sends Johansson away, leaving himself alone in the room with the statue of Amelia as a young lady. The Old Strindebrg out of his wheelchair and hobbling along on crutches arrives uninvited and demands to be srrindberg in to see the Colonel. The will objectivating itself in all existing things, quite literally wreaks on the physical its metaphysical craving; satisfies that craving in the most frightful way in the world and through the world which it ghlst brought forth, and which, born of greed and compulsion, turns out to be a thing to shudder at.

Even the minor characters of the play live on a merry-go-round of betrayal.

Guest performances The Ghost Sonata was awarded the first annual Scandinavian Theatre Prize, a prize instituted to honour the best soanta production of a Scandinavian play, put on by one of the three Scandinavian national stages. I ggost it yesterday when the sun was shining on the window panes, and I imagined all the beauty and luxury in there.


Besides his sexual conflicts, Strindberg also suffered from a severe obsessive-compulsive disorder, frequent bouts of paranoia, hypochondria, delusions, and hallucinations.

The Student and the Girl are again in the Hyacinth Room, where the Girl spends all of her time when she is not outdoors. But before we can understand more fully why this is not the case, the Student must be considered.

He woos her, even proffers marriage, but she is not to be moved. For her part, Siri was enchanted by romantic notions of the theatre and wanted to leave her dull family life and become an actress. The world Strindberg created in The Ghost Sonata was one he found in his own tortured imagination.

Divorce was available and Strindberg relied upon it frequentlybut only if both parties agreed, and if there was a strong, just cause, such as infidelity, criminal activity, physical incapacity or insanity. In the year that they were married, they actually only spent a few months together—just long enough to have one daughter together.

In The Ghost Sonata Strindberg uses parody and distortion of the fairy tale to make it say the opposite thing: Little wonder, then, that the Girl wonata The Ghost Sonata is so dismayed by a housekeeper who dirties more than she cleans. Yet even as you flinch, you are unlikely to look away. Most tragic of all, the Girl suffers because of the sinners and criminals around her.

She witnessed a crime Hummel committed, and to avoid being caught he lured her out onto some thin ice, and she fell through and drowned.

While observing the statue of the woman, Hummel reveals that her name is Amalia and hears the old parrot-woman cackling behind the wall. Johansson hopes that the Student will realize that this sonaha idyllic house is actually quite frightening. The relative calm of the opening dialogue in this scene rises rapidly into a crescendo of voices and excitement. Such arrangement permitted uncluttered visual representation which would not interfere with language and gesture, which would unobtrusively as in medieval stage practice contribute symbolic visual reinforcement to the complex drama of a spiritual journey.

During the development stage, the themes presented in the exposition are played in new ways, with new combinations and variations that may include minor keys not found in the exposition.

To Strindberg, family was something that he could never understand or even be a functioning part of: The metaphor for this in The Ghost Sonata is domestic—if insane. This page was last edited on 13 Novemberat It is clear that in the world inhabited by Jacob Hummel, the mystifications of Christianity are merely a cruel deception.


Baron Skanskorg is divorcing his wife in order to marry his lover, the Dark Lady.

Strindberg was, in his peculiar way, constantly preoccupied with all manner of religious literature and doctrine. He has had dreams of living in such a home, with a wife, two children, and a generous income. Initially, the Old Man presides over the unmasking.

Theatre, Theatre – Productions – Ingmar Bergman

In the third and final scene, the recapitulation, both osnata the themes presented in the exposition are proven faulty and destructive. Instead of dying, though, he awoke from the effects of the drug with vivid memories of his childhood, which he turned into his first three plays inThe Freethinker, A Nameday Gift, and Hermione. His mind once again occupied with thoughts of the Girl, the Student decides to stay ghosf do whatever the Old Man asks.

Nor is there any Paradise to be regained in the last act.

At the bottom of the article, feel free to list any sources that support your yhost, so that we can fully understand their context.

Consequently, his own hands are soiled from contact with wounds and corpses. Johansson mentions that there is only one thing that Hummel fears, and the Student surmises that it is the Milkmaid. Crushed by the weight of his crimes brought to light, the Old Man gives up. She drinks the soup stock herself and feeds the family watery broth. It asserts, or, rather, it shows—it does not prove.

The old man will begin his invocations from very far off, and the beggars will answer him in several stages. The Student is actually speaking to the ghost of a Milkmaid whom only he can see. It is not a series of images, like the cinema, but a construction, a moving architecture of scenic images.