Naturalism in Miss Julie Essay -- Julie

Naturalism in Miss Julie Writers involved in the naturalist movement believed that actors lines should be spoken naturally, and that mechanical movements, vocal effects, and irrational gestures should be banished. A return to real(a)ity was proposed, with the old theatrical attitudes replaced with effects proved only if 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 state to be an clear example of this movement, as it involves stress on multiple motivation of follow up a departure from the stereotypical depictions of character and random, illogical talk. Strindbergs naturalistic initiation of theatre also extends to non-literary aspects of staging such as stage dcor, lighting, and make-up. Strindberg avoids the regularity of mechanical question and answer dialogue, instead allowing his dialogue to mea nder, support themes to be repeated and developed over the course of the play. In the infix to the play, Strindberg explains that he has broken with tradition by avoiding symmetrical, mathematically constructed dialogue. The sexual tightness 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 blue jean to inhibit the expression of what they really mean. However, it is noticeable that Strindbergs sub-textual dialogue at the absorb 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 hard 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 naturali sm 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, bear come to have strong repercussions in modern theatre. Bibliography Brandt, George, neo theories of Drama a endurance of writings on drama and theatre 1850 - 1990, (Oxford Clarendon Press, 1998) Strindberg, August. Three Plays. England Penguin Group Penguin Classics, 1958. Styan, J. L., Modern Drama in Theory and Practice Vol .2 symbolism, surrealism and the absurd. - Cambridge, (Cambridge Cambridge University Press, 1981)