6/28/2023 0 Comments Bobok 1873![]() Since he can only subsist in translation, this volume is a welcome and valuable contribution to our experience of Strindberg. He has the plastic language and imagination thatcan almost cope with Strindberg's range- even with the thirty-odd diverse voices of A Dream Play, and with the rich theological dialectic of Master Okf. After all, Sprinchorn does suggest much of the demonic energy of the play, and that is what matters. But then, as a dog breeds fleas, almost all translations can breed cavil and quibble. 144), when the Swedish says, "The girl is guilty." Period. He smudges the character with small flubs such as having him say, "The girl is guilty to some extent" (p. However, no translator gets the captain in The Father quite right, and Sprinchorn only comes close. His voice accomplishes The Father considerably better than the "old chap" versions of the past, where too often Scandinavian forthrightness or cursing come forth stilted and silly. In general, Sprinchorn's renditions are superior. Thus, his plays can be exceedingly difficult to translate. Rhythm, tone, and nuance were of great importance he saw them as vital aspects ofmeaning-as were gestures, shadows, movements in the physicality of the stage. ![]() However, his plays were not attenuated by discursive abstractions they were vivid as art and theatre. Ghost Sonata (1907) is suffused with Strindberg's late Swedenborgian mysticism as he senses his approach to the Isle of the Dead.In lieu of an abstract, here is a brief excerpt of the content:ฤก52Philosophy and Literature mentation in A Dream Pky (1901): "Earthly existence is a dream, a Platonic non-reality reality exists in the life of the spirit and the artist who creates dreams is closest to the source of all being" (p.
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