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Fadren; Spöksonaten Reviews
This is true Strindberg spirit. It's about the constant battle between the man and woman, which is Strindberg's trademark. It's about taking power. It's also about misinterpretation and a man that's very rough and judging in his behavior but never the less misunderstood. It's about love that's been fading away through the years, and hatred that have taken it's place.The Captain has served in the military and has been highly respected. In his own family, he feels that he gets none of this appreciation, and shrinks from his former self. This, he can't handle, and he craves the power of his family, and especially the right to raise his daughter as he please - as an atheist. As the swedish law at the time prevented women from having power over their children, the Captain's wife takes other measures to gain it. The play was considered as controversial and it was difficult to get it published at the time.This naturalistic tragedy reflects Strindberg's own life to a certain extent, as all his books tend to do. The strong love-hate relationship is something he himself has experienced and suffered from. Did he believe in marriage, after his own failed? Probably not. His controversial view of women have been disputed, but the often somewhat devious, manipulative female characters in his plays serve as proof of his opinion. It might have come from his own experiences. At the same time, he fell for these strong, independent women. Somehow he must have admired them. Just as the Captain. Be that as it may, it's a rather interesting play, but lacking in a few areas compared to Miss Julie.
Denne boka inneholder to nokså ulike skuespill. Fadren handler om en dårlig fungerende familie, bestående av en mann og en rekke fiendltige kvinner (kort fortalt). Mannen henger seg opp i tanken om at han aldri med sikkerhet kan vite om hans barn er hans egne (dette kan bare kvinner vite), og havner med hjelp av hans fiendtlige kone i fullstendig mental ubalanse. Strindberg blir ofte karikert som kvinnehater, og stykker som dette er nok bakgrunnen for dette. I dag er det vanskelig å ta det seriøst, og første del av stykket minner mer om en Holbergsk komedie enn et åndelig oppgjør. Til tross for dette, er det et nokså underholdende stykke, med mange gode scener i seg. Spöksonaten slet jeg litt mer med å få grep på. Denne er mer som Strindbergs "Et Drömspel", da stykkets virkelighet kun forholder seg til sin egen drømmeaktige logikk. Det virker som om Strindberg forsøker å si noe om hvordan familiers synder går i arv, kanskje? Eller om hvordan man ikke unnslipper løgnen i samfunnet? Et oppgjør mot naivitet, eller konfliktsky taushet? Jeg er ikke sikker. Men jeg liker måten Strindberg skriver og formulerer seg på. Så får heller en eventuelt ironi gå meg hus forbi.