August Strindberg
![August Strindberg](https://upload.wikimedia.org/wikipedia/commons/0/0c/AugustStrindberg.jpg)
The Royal Theatre rejected his first major play, ''Master Olof'', in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays ''The Father'' (1887), ''Miss Julie'' (1888), and ''Creditors'' (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In ''Miss Julie'', characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to ''Miss Julie'', the last of which is probably the best-known statement of the principles of the theatrical movement.
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "''Inferno'' crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with ''To Damascus'', which, like ''The Great Highway'' (1909), is a dream-play of spiritual pilgrimage. His ''A Dream Play'' (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as ''The Ghost Sonata''). Provided by Wikipedia
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