Naturalism in Miss Julie Essay -- Julie

Naturalism in Miss Julie Writers involved in the naturalist movement believed that actors lines should be utter naturally, and that mechanical movements, vocal effects, and irrational gestures should be banished. A return to veracity was proposed, with the old theatrical attitudes replaced with effects produced solely by the voice. There was a call to individualise characters, instead of generalising them, to produce characters whose minds and bodies would function as they would in real life. Strindbergs Miss Julie has been said to be an excellent example of this movement, as it involves try on multiple motivation of action a departure from the unimaginative depictions of character and random, illogical talk. Strindbergs naturalistic cin one caseption of theatre also extends to non-literary aspects of staging such as stage dcor, lighting, and make-up. Strindberg avoids the regularity of mechanical inquiry and answer dialogue, instead allowing his dialogue to me ander, encouraging themes to be repeated and genuine over the course of the play. In the insert to the play, Strindberg explains that he has broken with usage by avoiding symmetrical, mathematically constructed dialogue. The sexual tension and hidden aggression in the first scene of Miss Julie could be said to be an example of this, especially while the cook Christine is present with Julie and Jean to inhibit the expression of what they very mean. However, it is noticeable that Strindbergs sub-textual dialogue at the start of the play radically changes once the seduction is completed and there is no more to hide. It is then that the dialogue becomes explicit and ceases to meander. An excessively theatrical sce... ...e dialogue has entirely ceased to meander realistically, and it is challenging to recognise the play itself as a cornerstone of the naturalistic movement. However, Strindbergs preface to Miss Julie has been heralded as the best manifesto of naturalism written, and the techniques that he advocated such as the removal of intervals and orchestras, the use of real props, and a reduction in theatre size, have come to have strong repercussions in juvenile theatre. Bibliography Brandt, George, Modern theories of Drama a selection of writings on frolic and theatre 1850 - 1990, (Oxford Clarendon Press, 1998) Strindberg, August. Three Plays. England Penguin Group Penguin Classics, 1958. Styan, J. L., Modern Drama in possibleness and Practice Vol .2 symbolism, surrealism and the absurd. - Cambridge, (Cambridge Cambridge University Press, 1981)