THE ECHOES OF IBSENISM IN STRINDBERG’S DRAMA
الباحث الأول:
Mithal Madlool Chilab
المجلة:
مجلة جامعة القادسية
تاريخ النشر:
None
مختصر البحث:
Henrik Ibsen (1828-1906) and August Strindberg (1849-1912) are two modern dramatists who belong to different nationalities (the first is Norwegian and the later is Swedish), but they are almost alike in tackling social subjects. Both playwrights’ d…
Henrik Ibsen (1828-1906) and August Strindberg (1849-1912) are two modern dramatists who belong to different nationalities (the first is Norwegian and the later is Swedish), but they are almost alike in tackling social subjects. Both playwrights’ drama have been characterized by a powerful style and coloured by didactic and psychological impulses that make Ibsen’s theatre as well as Strindberg’s a mirror that reflects the reality of modern life in general and modern woman in particular. Actually, Ibsen, the father of modern drama, and Strindberg, the highly controversial figure in modern dramatic literature, are two Scandinavian dramatists who join their hands in many aspects and reflect their hostility in others. It is true that each one has his uniqueness and significance in the development of modern drama in particular and modern literature in general and it is equally true that the interpretation of one’s work is done with a reference to the other’s. In brief, Ibsenism is the modern dramatic school whose initiator is Ibsen and strindberg is one of its talented students. This study aims at following up the echoes of Ibsenism in Strindberg’s drama. Hereupon it is divided into three sections and a conclusion. Section one is a brief commentary about Ibsen’s and Strindberg’s beliefs, concepts, styles and dramatic techniques that reflect their affinity at certain points and their hostility at others. So this section enables the reader to formulate a preliminary idea about Srindberg’s Ibsenism. Section two is devoted to the study of the characteristics of Ibsen’s drama and his Ibsenist qualities with special reference to his major realistic play, The Doll’s House(1879) and then it states the meaning of “Ibsenism”. Section three attempts an insight into the fields where Strindberg really relies on Ibsen for the treatment of the same subjects. i.e. this section is meant to be a detailed study of Strindberg’s Ibsenties and anti-Ibsenties by drawing a comparison between Ibsen’s A Doll’s House(1879) and Strindberg’s The Father(1887)and Miss Julie(1888). The study eventually ends with the conclusion where the major findings are introduced.
