Miss JulieMiss Julie

Miss Julie , part 1: Janet McTeer

http://www.youtube.com/watch?v=4TGjwdnlw9k&list=PLBA3DBABB34EEAEAB

August Strindberg August Strindberg (1849-1912)(1849-1912)

1849:1849: born in Stockholm to a shipping agent and a former born in Stockholm to a shipping agent and a former maidservant.maidservant.

1856-67:1856-67: attends a variety of schools (socially diverse upbringing). attends a variety of schools (socially diverse upbringing). 1869:1869: briefly studies medicine. briefly studies medicine. 1877:1877: marries the divorced aristocrat Siri von Essen. marries the divorced aristocrat Siri von Essen. 1879:1879: first major literary success with his satirical novel first major literary success with his satirical novel The Red The Red

RoomRoom.. 1883-9:1883-9: lives in France, Switzerland, Germany, and Denmark. lives in France, Switzerland, Germany, and Denmark. 1886:1886: begins his 4-volume novel begins his 4-volume novel The Son of a ServantThe Son of a Servant, in which he , in which he

writes semi-autobiographically about himself as the character ‘Johan’.writes semi-autobiographically about himself as the character ‘Johan’. 1887:1887: The Son of a ServantThe Son of a Servant and and The FatherThe Father (among others) (among others) 1888:1888: Miss JulieMiss Julie and and CreditorsCreditors (among others). (among others). Miss JulieMiss Julie is refused is refused

publication and not performed in Sweden until 1904; its performances publication and not performed in Sweden until 1904; its performances elsewhere in Europe are initially met with hostility.elsewhere in Europe are initially met with hostility.

1891:1891: divorces Siri von Essen. divorces Siri von Essen. 1892-1912:1892-1912: far too many interesting things to mention here! far too many interesting things to mention here!

NaturalismNaturalism

http://www.bbc.co.uk/programmes/p00m7qq1

DarwinismDarwinism Charles Darwin (1809-82) was a Charles Darwin (1809-82) was a

‘Naturalist’ in the scientific sense ‘Naturalist’ in the scientific sense of the word.of the word.

He published He published The Origin of The Origin of SpeciesSpecies in 1859. in 1859.

Natural selection: those members Natural selection: those members of a species best adapted to of a species best adapted to survive in their environment are survive in their environment are more likely to reproduce and more likely to reproduce and thereby pass their traits on to the thereby pass their traits on to the next generation. next generation.

Darwin encouraged a rational and Darwin encouraged a rational and critical outlook based upon critical outlook based upon empirical evidence.empirical evidence.

His theory was shocking and His theory was shocking and controversial in its challenge to controversial in its challenge to traditional religious beliefs.traditional religious beliefs.

Émile Zola (1840-1902)Émile Zola (1840-1902) French novelist and playwrightFrench novelist and playwright Influenced by Darwin and the Influenced by Darwin and the

other scientific developments other scientific developments of the century, Zola proposed of the century, Zola proposed that literature should reflect that literature should reflect the principles of scientific the principles of scientific Naturalism:Naturalism: Determinism: all behaviour is Determinism: all behaviour is

determined by genetics and determined by genetics and environment.environment.

The writer’s task was to depict The writer’s task was to depict reality as objectively and as reality as objectively and as scientifically as possible.scientifically as possible.

‘‘Naturalism on the Naturalism on the Stage’Stage’

Zola published his manifesto on this subject in Zola published his manifesto on this subject in 1881, in an essay titled ‘Naturalism on the Stage’.1881, in an essay titled ‘Naturalism on the Stage’.

He claimed to be reflecting the scientific and He claimed to be reflecting the scientific and rational spirit of the age in which he lived; ‘the rational spirit of the age in which he lived; ‘the impulse of the century,’ he argued, ‘is toward impulse of the century,’ he argued, ‘is toward naturalism’ (1881: 5):naturalism’ (1881: 5): ‘‘I am waiting for someone to put a man of flesh and bones I am waiting for someone to put a man of flesh and bones

on the stage, taken from reality, scientifically analyzed, on the stage, taken from reality, scientifically analyzed, and described without one lie. … I am waiting for and described without one lie. … I am waiting for environment to determine the characters and the environment to determine the characters and the characters to act according to the logic of facts combined characters to act according to the logic of facts combined with logic of their own disposition. … I am waiting, finally, with logic of their own disposition. … I am waiting, finally, until the development of naturalism already achieved in until the development of naturalism already achieved in the novel takes over the stage, until the playwrights the novel takes over the stage, until the playwrights return to the source of science and modem arts, to the return to the source of science and modem arts, to the study of nature, to the anatomy of man. (1881: 6)study of nature, to the anatomy of man. (1881: 6)

‘‘Naturalism on the Naturalism on the Stage’Stage’

Zola proposed that naturalistic drama Zola proposed that naturalistic drama should focus on ‘natural man’:should focus on ‘natural man’: ‘…‘…put him in his proper surroundings, and put him in his proper surroundings, and

analyze all the physical and social causes analyze all the physical and social causes which make him what he is… he is a which make him what he is… he is a thinking animal, who forms part of nature, thinking animal, who forms part of nature, and who is subject to the multiple influences and who is subject to the multiple influences of the soil in which he grows and where he of the soil in which he grows and where he lives. That is why a climate, a country, a lives. That is why a climate, a country, a horizon, are often decisively important.’ horizon, are often decisively important.’ (1881: 10)(1881: 10)

Thérèse RaquinThérèse Raquin Zola’s first play to explore these ideas was Zola’s first play to explore these ideas was Thérèse Thérèse

RaquinRaquin (1873), an adaptation of his 1867 novel. (1873), an adaptation of his 1867 novel. This play examined its characters as ‘human organisms’ This play examined its characters as ‘human organisms’

– as Zola put it in his Preface, ‘a study in physiology’:– as Zola put it in his Preface, ‘a study in physiology’: Surroundings were described in detail and realistically Surroundings were described in detail and realistically

depicted, emphasising the physiological effects of environment depicted, emphasising the physiological effects of environment upon characters;upon characters;

Characters are driven primarily by natural urges and instincts – Characters are driven primarily by natural urges and instincts – the sexual urge, the instinct of self preservation, the parental the sexual urge, the instinct of self preservation, the parental instinct (‘Therese and Laurent are human beasts, nothing instinct (‘Therese and Laurent are human beasts, nothing more.’)more.’)

The culmination of the play was to be ‘the mathematical The culmination of the play was to be ‘the mathematical solution of the problem posed.’solution of the problem posed.’

In contriving a ‘comeuppance’ for Therese and Laurent, In contriving a ‘comeuppance’ for Therese and Laurent, however, Zola turns the play into something of a moral however, Zola turns the play into something of a moral fable.fable.

Strindberg the naturalistStrindberg the naturalist Like Zola, Strindberg saw naturalism as reflective of Like Zola, Strindberg saw naturalism as reflective of

the scientific age:the scientific age: ‘‘Nowadays the primitive process of intuition is giving way Nowadays the primitive process of intuition is giving way

to reflection, investigation and analysis, and I feel that the to reflection, investigation and analysis, and I feel that the theatre, like religion, is on the way to being discarded as a theatre, like religion, is on the way to being discarded as a dying form which we lack the necessary conditions to enjoy. dying form which we lack the necessary conditions to enjoy. … we have not succeeded in adapting the old form to the … we have not succeeded in adapting the old form to the new content. (1888: 91)new content. (1888: 91)

During the 1880s, Strindberg wrote that literature During the 1880s, Strindberg wrote that literature ‘ought to emancipate itself from art entirely and ‘ought to emancipate itself from art entirely and become a science’ (1992: 202).become a science’ (1992: 202).

Strindberg, it should be noted, had also published Strindberg, it should be noted, had also published academic studies in the fields of anthropology and academic studies in the fields of anthropology and nature.nature.

Strindberg described Strindberg described Miss JulieMiss Julie as ‘the first as ‘the first Naturalistic Tragedy in Swedish Drama’ (1992: 280).Naturalistic Tragedy in Swedish Drama’ (1992: 280).

Strindberg’s Preface to Strindberg’s Preface to Miss JulieMiss Julie

Michael Robinson argues that ‘the Preface Michael Robinson argues that ‘the Preface was partly written to convince Zola of was partly written to convince Zola of [Strindberg’s] naturalist credentials’:[Strindberg’s] naturalist credentials’: ‘‘Strindberg had sent him a copy of his own Strindberg had sent him a copy of his own

French translation of French translation of The FatherThe Father, in the hope that , in the hope that he would promote it, but Zola’s response was he would promote it, but Zola’s response was lukewarm. Although he praised the play in lukewarm. Although he praised the play in general terms for its “daring” idea, which is general terms for its “daring” idea, which is presented to “powerful and disquieting effect”, presented to “powerful and disquieting effect”, he found the characterization abstract. According he found the characterization abstract. According to Zola, Strindberg’s figures lacked “a complete to Zola, Strindberg’s figures lacked “a complete social setting” (social setting” (unun état civil completétat civil complet).’ (1998: xiii)).’ (1998: xiii)

Determinism in Determinism in Miss Miss JulieJulie

In his Preface, Strindberg describes Miss Julie’s In his Preface, Strindberg describes Miss Julie’s motives as neither ‘purely physiological’ nor motives as neither ‘purely physiological’ nor ‘exclusively psychological’ (1888: 94):‘exclusively psychological’ (1888: 94): ‘‘The passionate character of her mother; the upbringing The passionate character of her mother; the upbringing

misguidedly inflicted on her by her father; her own misguidedly inflicted on her by her father; her own character; and the suggestive effect of her fiancé upon character; and the suggestive effect of her fiancé upon her weak and degenerate brain. Also, more immediately, her weak and degenerate brain. Also, more immediately, the festive atmosphere of Midsummer Night; her father’s the festive atmosphere of Midsummer Night; her father’s absence; her menstruation; her association with animals; absence; her menstruation; her association with animals; the intoxicating effect of the dance; the midsummer the intoxicating effect of the dance; the midsummer twilight; the powerfully aphrodisiac influence of the twilight; the powerfully aphrodisiac influence of the flowers; and, finally, the chance that drove these two flowers; and, finally, the chance that drove these two people together into a private room – plus of course the people together into a private room – plus of course the passion of the sexually inflamed man.’ (1888: 93-4)passion of the sexually inflamed man.’ (1888: 93-4)

It is worth thinking about the specificity of the It is worth thinking about the specificity of the play’s setting: décor, light, symbolism of wider play’s setting: décor, light, symbolism of wider social pressures (e.g. bell, boots).social pressures (e.g. bell, boots).

Survival of the fittestSurvival of the fittest Strindberg’s plays often focus on a fight for Strindberg’s plays often focus on a fight for

dominance (or even for survival) which dominance (or even for survival) which Strindberg characterised as ‘the battle of the Strindberg characterised as ‘the battle of the brains’: a battle between ‘two implacably hostile brains’: a battle between ‘two implacably hostile minds, bound to each other by desire and hatred’ minds, bound to each other by desire and hatred’ (Robinson 1998: xi).(Robinson 1998: xi).

Survival in Strindberg’s universe is not a matter Survival in Strindberg’s universe is not a matter of morality:of morality: ‘‘The naturalist has abolished guilt with God’ (1888: The naturalist has abolished guilt with God’ (1888:

96);96); ‘‘The servant Jean is the type who founds a species… The servant Jean is the type who founds a species…

He has already risen in the world, and is strong He has already risen in the world, and is strong enough not to worry about using other people’s enough not to worry about using other people’s shoulders to climb on. … his tendency is to say what is shoulders to climb on. … his tendency is to say what is likely to prove to his own advantage rather than what likely to prove to his own advantage rather than what is true.’ (1888: 96-7)is true.’ (1888: 96-7)

Survival of the fittestSurvival of the fittest Strindberg was equivocal about the Strindberg was equivocal about the

politics of a Darwinist view of human politics of a Darwinist view of human society:society: ‘‘As for the political planner, who wishes to As for the political planner, who wishes to

remedy the regrettable fact that the bird of remedy the regrettable fact that the bird of prey eats the dove, and the louse eats the prey eats the dove, and the louse eats the bird of prey, I would ask him: “Why should bird of prey, I would ask him: “Why should this state of affairs be remedied?” Life is not this state of affairs be remedied?” Life is not so foolishly and mathematically arranged so foolishly and mathematically arranged that the great always devour the small. It that the great always devour the small. It happens equally often that a bee kills a lion, happens equally often that a bee kills a lion, or at any rate drives it mad.’ (1888: 92) or at any rate drives it mad.’ (1888: 92)

The ‘half-woman’The ‘half-woman’ Strindberg’s view of human nature as a battle Strindberg’s view of human nature as a battle

between rival ‘types’ for dominance led him to some between rival ‘types’ for dominance led him to some rather questionable conclusions:rather questionable conclusions: ‘‘The half-woman is a type that pushes herself to the front, The half-woman is a type that pushes herself to the front,

nowadays selling herself for power, honours, decorations and nowadays selling herself for power, honours, decorations and diplomas, as formerly she used to for money. She is diplomas, as formerly she used to for money. She is synonymous with corruption. They are a poor species, for they synonymous with corruption. They are a poor species, for they do not last, but unfortunately they propagate their like by the do not last, but unfortunately they propagate their like by the wretchedness they cause; and degenerate men seem wretchedness they cause; and degenerate men seem unconsciously to choose their mates from among them, so that unconsciously to choose their mates from among them, so that their number is increased. They engender an indeterminate their number is increased. They engender an indeterminate sex to whom life is a torture, but fortunately they go under, sex to whom life is a torture, but fortunately they go under, either because they cannot adapt themselves to reality, or either because they cannot adapt themselves to reality, or because their repressed instinct breaks out uncontrollably, or because their repressed instinct breaks out uncontrollably, or because their hopes of attaining equality with men are because their hopes of attaining equality with men are shattered. It is a tragic type, providing the spectacle of a shattered. It is a tragic type, providing the spectacle of a desperate battle against Nature.’ (1888: 95-6)desperate battle against Nature.’ (1888: 95-6)

PhotographyPhotography First photograph taken First photograph taken

in 1826 by Joseph in 1826 by Joseph Nicéphore Niépce.Nicéphore Niépce.

Englishman William Fox Englishman William Fox Talbot invented the Talbot invented the photo negative in 1835; photo negative in 1835; this enabled photographs this enabled photographs to be reproduced.to be reproduced.

Long exposure times Long exposure times needed for sharp, clear needed for sharp, clear pictures.pictures.

Technological Technological breakthroughs meant breakthroughs meant that exposure time was that exposure time was reduced over the 19th reduced over the 19th century.century.

Early photograph by William Fox Early photograph by William Fox TalbotTalbot

Naturalism and Naturalism and photographyphotography

Zola on photography: Zola on photography: ‘‘To my mind, you cannot say that you have seen the essence of To my mind, you cannot say that you have seen the essence of

a thing if you have not taken a photograph of it, revealing a a thing if you have not taken a photograph of it, revealing a multitude of details which otherwise could not be discerned.’ multitude of details which otherwise could not be discerned.’ (Rugg 1997: 83)(Rugg 1997: 83)

Darwin appears to have agreed: in 1872, he published Darwin appears to have agreed: in 1872, he published The Expression of the Emotions in Man and Animals, The Expression of the Emotions in Man and Animals, with Photographic and Other Illustrations.with Photographic and Other Illustrations.

In this book, Darwin argues that humans and other In this book, Darwin argues that humans and other animals betray their own emotions and read those of animals betray their own emotions and read those of others – both consciously and unconsciously – by others – both consciously and unconsciously – by reading physiological signs.reading physiological signs.

He writes throughout this book about the relationship He writes throughout this book about the relationship between exterior signs of emotion, and the body’s between exterior signs of emotion, and the body’s nervous, respiratory, and circulatory systems.nervous, respiratory, and circulatory systems.

‘‘Expressions of Suffering Expressions of Suffering and Weeping’ (Darwin and Weeping’ (Darwin

1872: pl. 1)1872: pl. 1)

Strindberg the Strindberg the photographerphotographer

Strindberg himself was a keen photographer; around Strindberg himself was a keen photographer; around 80 of his photographs survive, many of them at the 80 of his photographs survive, many of them at the Strindberg Museum, Stockholm.Strindberg Museum, Stockholm.

In 1892, Strindberg planned to open a photographic In 1892, Strindberg planned to open a photographic studio in Berlin; he hoped to take what he called studio in Berlin; he hoped to take what he called ‘psychological portraits’ of his subjects (or ‘victims’):‘psychological portraits’ of his subjects (or ‘victims’): ‘‘I have prepared a story for myself … which contains all I have prepared a story for myself … which contains all

possible moods. I tell this story to myself while I am exposing possible moods. I tell this story to myself while I am exposing the plates and gazing fixedly at the victim. Without suspecting the plates and gazing fixedly at the victim. Without suspecting that I am forcing him to do so, only under the influence of my that I am forcing him to do so, only under the influence of my suggestion, he is obliged to react to all the moods I go through suggestion, he is obliged to react to all the moods I go through in the meantime. And the plate fixes the expression on his in the meantime. And the plate fixes the expression on his face. … In thirty seconds I have captured the whole man!’ face. … In thirty seconds I have captured the whole man!’ (Rugg 1997: 112-113)(Rugg 1997: 112-113)

Is this a Darwinist view of emotion? Is this a Darwinist view of emotion? Strindberg’s self-portraits show him in a variety of Strindberg’s self-portraits show him in a variety of

roles (author, father, gentleman, musician) – a roles (author, father, gentleman, musician) – a fractured, unstable ‘self’?fractured, unstable ‘self’?

Strindberg the Strindberg the photographerphotographer

Strindberg the Strindberg the photographerphotographer

Miss JulieMiss Julie in in performance, 1906performance, 1906

Modern tragedyModern tragedy

Raymond Williams’ Raymond Williams’ Modern TragedyModern Tragedy (1966) analyses some of the ways in (1966) analyses some of the ways in which various modern plays might which various modern plays might be conceived as having adapted the be conceived as having adapted the conventions of classical tragedy.conventions of classical tragedy.

Williams defines tragedy as ‘the Williams defines tragedy as ‘the conflict between an individual and conflict between an individual and the forces that destroy him’ (2006: the forces that destroy him’ (2006: 113).113).

Liberal TragedyLiberal Tragedy

For example, Williams describes For example, Williams describes Ibsen’s drama as ‘Liberal Tragedy’:Ibsen’s drama as ‘Liberal Tragedy’: ‘…‘…the hero defines an opposing world, full the hero defines an opposing world, full

of lies and compromises and dead of lies and compromises and dead positions, only to find, as he struggles positions, only to find, as he struggles against it, that as a man he belongs to this against it, that as a man he belongs to this world, and has its destructive inheritance world, and has its destructive inheritance in himself.’ (2006: 124)in himself.’ (2006: 124)

In this view, society is at fault: it is In this view, society is at fault: it is seen as false and oppressive, a trap seen as false and oppressive, a trap from which it is impossible to escape.from which it is impossible to escape.

Liberal TragedyLiberal Tragedy

HEDDA GABLER

General Gabler’s memory

Intellectual boredom

Oppressive environment

Regional location

Impending motherhood

Judge Brack’s ‘leverage’

Patriarchy

Social class / expectations

Tesman / identity as

‘wife’

Threat of scandal

Private TragedyPrivate Tragedy Strindberg’s drama, on the other hand, belongs Strindberg’s drama, on the other hand, belongs

to a category that Williams calls ‘Private to a category that Williams calls ‘Private Tragedy’, a form which ‘begins with bare and Tragedy’, a form which ‘begins with bare and unaccommodated man’:unaccommodated man’: ‘‘All primary energy is centred in this isolated All primary energy is centred in this isolated

creature, who desires and eats and fights alone. creature, who desires and eats and fights alone. Society is at best an arbitrary institution, to prevent Society is at best an arbitrary institution, to prevent this horde of creatures destroying each other. And this horde of creatures destroying each other. And when these isolated persons meet, in what are called when these isolated persons meet, in what are called relationships, their exchanges are forms of struggle, relationships, their exchanges are forms of struggle, inevitably. Tragedy, in this view, is inherent.’ (2006: inevitably. Tragedy, in this view, is inherent.’ (2006: 133)133)

The association between love and destruction is ‘so The association between love and destruction is ‘so deep that it is not, as the liberal writers [like Ibsen] deep that it is not, as the liberal writers [like Ibsen] assumed, the product of a particular history: it is, assumed, the product of a particular history: it is, rather, general and natural, in all relationships.’ rather, general and natural, in all relationships.’ (2006: 134)(2006: 134)

Private TragedyPrivate Tragedy

MISS JULIE

Environment, heredity, body, psyche, etc. JEAN

Environment, heredity, body, psyche, etc.

CHRISTINE

Environment, heredity, body, psyche, etc.

[Clip from Mike Figgis version, 1999 – track 4]

Private TragedyPrivate Tragedy

JEAN

Jean’s heredity, body, psyche, etc. are better equipped for survival…

MISS JULIE

A Naturalistic Tragedy?A Naturalistic Tragedy? Strindberg himself was ambivalent about Strindberg himself was ambivalent about

Miss JulieMiss Julie’s credentials as a modern ’s credentials as a modern tragedy: tragedy: ‘…‘…the time may come when we shall have the time may come when we shall have

become so developed and enlightened that we become so developed and enlightened that we shall be able to observe with indifference the shall be able to observe with indifference the harsh, cynical and heartless drama that life harsh, cynical and heartless drama that life presents – when we shall have discarded those presents – when we shall have discarded those inferior and unreliable thought-mechanisms inferior and unreliable thought-mechanisms called feelings, which will become superfluous called feelings, which will become superfluous and harmful once our powers of judgment and harmful once our powers of judgment reach maturity. (1888: 92)reach maturity. (1888: 92)

ReferencesReferences Darwin, C. (1955) Darwin, C. (1955) The Expression of the Emotions in Man The Expression of the Emotions in Man

and Animals, with Photographic and Other Illustrationsand Animals, with Photographic and Other Illustrations, , New York: Philosophical Library.New York: Philosophical Library.

Robinson, M. (1998) ‘Introduction’ in Strindberg, A. Robinson, M. (1998) ‘Introduction’ in Strindberg, A. Miss Miss Julie and Other PlaysJulie and Other Plays, Oxford University Press, pp. vii-, Oxford University Press, pp. vii-xxxvi.xxxvi.

Rugg, L. H. (1997) Rugg, L. H. (1997) Picturing Ourselves: Photography & Picturing Ourselves: Photography & AutobiographyAutobiography, University of Chicago Press., University of Chicago Press.

Strindberg, A. (1888) ‘Preface to Miss Julie’, in Meyer, M. Strindberg, A. (1888) ‘Preface to Miss Julie’, in Meyer, M. [trans.] (2000) [trans.] (2000) Strindberg, Plays: OneStrindberg, Plays: One, London: Methuen , London: Methuen Drama, pp. 91-103.Drama, pp. 91-103.

Strindberg, A. (1992) Strindberg, A. (1992) Selected Letters, Volume 1: 1862-Selected Letters, Volume 1: 1862-18921892, ed. M. Robinson, University of Chicago Press., ed. M. Robinson, University of Chicago Press.

Williams, R. (2006) Williams, R. (2006) Modern TragedyModern Tragedy, Peterborough, , Peterborough, Ontario: Broadview Press.Ontario: Broadview Press.

Zola, E. (1881) ‘Naturalism on the Stage’, in Cole, T. [ed.] Zola, E. (1881) ‘Naturalism on the Stage’, in Cole, T. [ed.] (2001) (2001) Playwrights on Playwriting: from Ibsen to IonescoPlaywrights on Playwriting: from Ibsen to Ionesco, , New York: Cooper Square Press, pp. 5-14.New York: Cooper Square Press, pp. 5-14.