August Strindberg’s work blows drama apart by representing the process of destruction of meaning and its residual content. If in traditional drama the metaphysical meaning was an essential part of the play, in Strindberg, this meaning ‒ an aspect that ensures unity and coherence ‒ is suspended. Thus, his chamber plays will gradually shrug off his instrumental and dramatic conventions: there is practically no situation, action, conflict or psychology of the characters. The Ghost Sonata shows a clear loss of referentiality, from outside to inside, as we shift forward in its three movements, beginning a trend towards subjectivism. The information provided is biased and the perception of reality, from another perspective, causes an estrangement from everyday life, as well as a suspicion about the make-up of modern identity.