directed by Rebecca Scott
1 Text. 2 Women. 4 Versions.
In the aftermath of the peak #metoo movement it is interesting to reflect back on the same stage of ‘The Women Question’ in the late 19th century through the stream of consciousness of Swedish playwright August Strindberg. Strindbergs’ historical moment was also the historical moment of the transition for women. His work is particularly interesting as a study on this topic because, as said by Stella Adler, ‘Strindberg was convinced Ibsen was a fervent champion of his hated enemy: the emancipated woman. Strind- berg saw the cult of feminism infecting Scandinavia like a pestilence: wo- men were trying to undermine the male domination of society.’
Strindberg was concerned with a conflict of sex. From a female perspective this view is very difficult to swallow from someone who demonstrated such a keen insight and capacity for observation of human nature and its machinations. However, one must challenge themselves to look through that trigger and deeper into the real swamp that Strindbergs body of work exists in. Women weren’t his particular target, he was foreseeing the problems that would continue to occur and worsen in a world devoid of rules and values. One where values taught through religion are no longer as im- portant and where social rules and etiquette are waning. He seemed to follow a paradigm that modern ideas have no quality or ethics. He believed relationships could not survive unless they had a clear power structure, one person having a higher status than the other.
In the Berlin of 2020 even fewer lifestyle restrictions exist - but does this apparent freedom cause a different internal struggle?
performers: Lucie Aron, Judith Shoemaker and Anton Pohle
stage design: Nina Kay
sound design: Snorre Sjønøst Henriksen
costume: Nuria Gregorio
WORK IN PROGRESS