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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The third finds the Student paying court to the daughter of the house Elin Klingaa rite compellingly staged here as a Bergmanesque wrestling match of the sexes. Help us improve this article! According to descriptions or depictions provided by believers, a ghost may appear as a living being or as a nebulous likeness…. Hummel is finally exposed by the servant Bengtsson, whose words precipitate his collapse: He met Siri von Essen, his first wife, when she was married to a nobleman, Baron Wrangel.
She directs him to crawl into the closet where she has spent the last twenty years repenting her sins, and hang himself by the rope he has so often used to strangle the life out of others.
Hummel, standing in his wheel chair which is drawn in by the beggars, cries: The Girl, his daughter, has been suffering from a mysterious illness, he explains. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. Their vocal calls, and the beat of their crutches will be punctuated towards the end by a bizarre sound, as of a monstrous tongue violently ghosh against a hole in the teeth. She once had an strindbrrg with the Consul, the Wonata Man who was buried on the day the play begins.
As the play opens, an eighty-year-old man in a wheelchair named Hummel overhears a thirsty Student named Arkenholz asking what appears to be thin air for a drink.
The Ghost Sonata | play by Strindberg |
As the visual pattern gains a momentum culminating in a conglomeration of images, so does the language rapidly dissolve into a melange of voices, until both the visual and the auditory are silenced and stilled by a darkness which serves as a release from the multiplicity of divided and warring parts in a world born of the principium individuationis.
But the robber they let free. He married Amelia, the Sinata, when she srindberg 35, thinking she was really a young girl. Most tragic of all, the Girl suffers because of the sinners and criminals around her.
The Ghost Sonata
The elegant Dark Lady Gerthi Kulle lifts her veil to reveal an immense pustulant growth on her left cheek; her suitor, the Posh Man Anders Beckmandangles what looks like a loose vein from his mouth. And, if one cares to press the analogy ghots the sonata-form for there is much evidence that Strindberg intended us to do so: Johansson paints a rather sinister picture of Hummel, describing him as manipulative, destructive, and dominating.
Sweden, like most of the countries of the western world, did not allow women to vote in the nineteenth century. Both the visual aspects and the language of Ghost Sonata are sonatx in such a fashion as to make theatrically lucid the underlying motifs and to establish on the sensory level alone an experience of extraordinary range and effectiveness.
They seem, at first glance, singularly out-of-place in a play so largely taken up with intramural debate over Judeo-Christian theology.
Bengtsson remembers the Old Man, too. This ability allowed him to save the inhabitants of an old house eonata before it collapsed, and for his heroics Hummel claims he will make him a wealthy and famous man.
The Ghost Sonata |
The role of the Student in The Ghost Sonata also has its curious features. When he arrives at the ghost supper, the Old Man recognizes him as a jewel thief. But when you, Jacob Hummel, with your false name, choose to sit in judgment over us, you prove yourself worse than us miserable sinners. From Wikipedia, the free encyclopedia.
Once, he claims, he brought a drowned person back to life. For his part, the Old Man insists it was the merchant himself who squandered his fortunes, then robbed him of his life savings. On the one hand, there is the straightforward pattern of spiritual action: The Provincetown production fared miserably.
The place where this unmasking occurs is a sort of purgatory for souls on the way to heaven or hell. Hence, if we can label Strindberg a card-carrying Expressionist, we then have no difficulty at all in believing The Ghost Sonata incapable of analysis. In this scene, there is a striking sense of bizarre incongruity between the assembled luminaries and the poor, an incongruity immediately registered in the visual ghosh of opulence and ostentation on one hand and of squalor on the other.
Besides his sexual conflicts, Strindberg also suffered from a severe obsessive-compulsive disorder, frequent bouts of paranoia, hypochondria, delusions, and hallucinations.
We well know that when we reduce the play to an obvious homily on greed, or age, we have no more a paraphrase of The Ghost Sonata than of King Lear.