Brendan Moir's Playwright Corner

August Strindberg: A Dream Play (Pt. 5)


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In August Strindberg's "A Dream Play," the surreal landscape of dreams becomes the stage for a journey through the human experience. Set in a world where time and space are fluid, the play follows Agnes, the daughter of the Hindu god Indra, as she descends to Earth to understand the struggles of mortal life.

Come join me where the boundaries between reality and fantasy blur--where the depths of the subconscious mind are just out of reach, and where we question the need for meaning, the nature of suffering, and the possibility of transcendence.

Through poetic language and striking imagery, "A Dream Play" offers a profound meditation on the human condition and invites audiences to embark on their own journey of self-discovery and introspection, where the boundaries between dreams and reality dissolve, and anything is possible.


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*This Season's Album Art by Breanna Rose*


Johan August Strindberg (1849 – 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades.A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.


*Any views/ideas expressed in these plays are not my own, and I do not believe in the censoring of anything controversial or problematic that the playwright/poet/author has written which will impact the way in which the story is told. The integrity of these works is much more important to me than any triggering content, and therefore I would ask that you have the same maturity and mental framework to listen to these pieces and appreciate them in their proper historical context.*



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Brendan Moir's Playwright CornerBy Brendan Moir