A Dream Play (Swedish: Ett drmspel), sometimes staged in English as The Dream Play, is a fantasy play in 14 scenes written in 1901 by the Swedish playwright August Strindberg. It was published in Swedish in 1902[1] and first performed in Stockholm on 17 April 1907. It remains one of Strindberg's most admired and influential dramas, seen as an important precursor to both dramatic Expressionism and Surrealism.
The primary character in the play is Agnes, a daughter of the Vedic god Indra. She descends to Earth to bear witness to problems of human beings. She meets about 40 characters, some of them having a clearly symbolical value (such as four deans representing theology, philosophy, medicine, and law) and is herself enmeshed in a wrenching marriage. After experiencing all sorts of human suffering (for example poverty, cruelty, and the routine of family life), the daughter of gods realizes that human beings are to be pitied. Only the Poet, who has created the dream, seems unaffected by human suffering.[1] Finally, she returns to Heaven and this moment corresponds to the awakening from a dream-like sequence of events.
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The use of a dream to represent a setting in a theatrical work appealed to the traditionally realist author in that Strindberg expresses realistic concerns such as materialism, class struggle, gender role struggle, and the destruction of traditional marriage in (as stated in the preface) "the disconnected but apparently logical form of a dream. Everything can happen; everything is possible and likely."
The play itself represents a change in his style, one that would have widespread influence on the development of modernist drama. Eschewing realism, Strindberg explained that he had modeled his play, not on the pattern of cause and effect that had characterized the well-made play, but on the associative links found in dreams. Locales dissolve and give way to each other; time both moves forward and backward. During the course of the play, a castle grows up in the garden, as if it were a plant. At the play's end, it burns, revealing a wall of suffering and despairing faces, then blossoms at its top in a huge chrysanthemum.
The characters split, double, multiply, evaporate, condense, dissolve and merge. But one consciousness rules them all: the dreamer's; for him there are no secrets, no inconsistencies, no scruples and no laws. He does not judge or acquit, he merely relates; and because a dream is usually painful rather than pleasant, a tone of melancholy and compassion for all living creatures permeates the rambling narrative.[2]:12
The play itself does not center around a single well-defined individual, but rather simply follows someone who seems to be a combination of different professional men, all confused. The feminine foil to these men is Indra's Daughter, a Christ-like figure.[citation needed] She was played in the original production by Harriet Bosse, Strindberg's ex-wife.[3]:59
Strindberg wrote it following a near-psychotic episode. During that time, he came to be extremely disturbed, thinking witches were attempting to murder him.[4][5] He later wrote a memoir about this period of his life. Eventually, though, he recovered, thanks to his mother-in-law.[6]
Previously, Strindberg had seen himself as a martyr, constantly persecuted by women. This affected his view of the overall relationship between the sexes, and of course his writing. He finally realized that he was playing a part in his failed relationships after his third marriage to Bosse collapsed.[citation needed] Bosse was behind the main character of A Dream Play.
The world premiere of A Dream Play was performed at The Swedish Theatre in April 1907, six years after it was written. Harriet Bosse, Strindberg's third wife (divorced by this time) played Indra's daughter. Victor Castegren directed the production and Carl Grabow was the designer. Critics at the time noted that the demands of the play made it nearly impossible to mount a satisfactory production. Strindberg himself desired to re-stage it in his Intimate Theatre, but ultimately it was not successful.
Max Reinhardt directed one of the most influential versions of the play. First staged in 1921 at the Royal Dramatic Theatre, Stockholm,[7]:38 later that year he mounted a more famous production at Berlin's Deutsches Theater.[8] The New York premiere of the play was directed by James Light for performance by the Provincetown Players at the Provincetown Playhouse in 1926 under the title The Dream Play.[9]
The play afterward attracted some of the 20th century's most celebrated directors, including , Olof Molander, Antonin Artaud, Ingmar Bergman, Roger Blin, Robert Wilson, Mike Dempsey, Robert Lepage and Alejandro Jodorowsky.[10] The German director Knut Strm staged A Dream Play in Dsseldorf in 1918, co-directed with Paul Henkels.[11]
An edited version by Caryl Churchill[13] was staged at the National Theatre in London in 2005. The edited version was brought to other areas too, such as Edge Theatre Ensemble in Seattle[14] and Jobsite Theater in Tampa,[15] and was brought to Sheffield's Drama Studio[16] in February 2012.
A new adaptation by Emma Reay was performed at Oxford Playhouse in 2011.[17] Dreamplay: Asian Boys Vol. 1, playwright Alfian Sa'at's loose adaptation, premiered in Singapore in 2000 and was re-staged in 2014.[18]
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We believe that every child deserves a safe, beautiful space to play, learn, and grow. And our newest school delivers on that promise. This year, DREAM Charter School at 20 Bruckner in the South Bronx became the permanent educational home of DREAM Charter High School and DREAM Mott Haven, serving 1,300 DREAM scholars. Join us as we reimagine what a school can be.
While the story of this play is scattered and sporadic, the production, set design and performances were at their peak. While there was not a bad performance by any cast member, Hanna Stout (Agnes) and Zack Christensen (Officer) gave some of the most memorable performances, offering heart and soul in every line delivered.
More than 6,000 pedestrians are killed every year on US streets, representing an enormous 50% increase from the first part of the decade. For the Latinx population in particular, walking, biking, and using public transportation are the most affordable mobility options, thus putting the population at a higher risk of pedestrian death. Additionally, there's a lack of Latinx participation in the transportation planning process. The US-Latinx population's unique cultural perspective is needed in community development. Angie Schmitt, author of the new book Right of Way: Race, Class and the Silent Crisis of Pedestrian Deaths in America, will talk about the social trends that are putting people at risk. James Rojas, founder of the Latino Urban Forum, will discuss why it's important to incorporate the Latinx experience into mobility design throughout the built environment.
People love their communities and want them to become safer, healthier, more prosperous places. But the standard approach to public meetings somehow makes everyone miserable. Conversations that should be inspiring can become shouting matches. So what would it look like to facilitate truly meaningful discussions between citizens and planners? What if they could be fun?
As an added bonus, Island Press is offering 30% off your book purchase using the code WEBINAR during checkout. This offer is only valid at -play-build. They are also generously providing FREE books for 2 lucky webinar registrants. We will announce the winners at the end of the webinar and reach out via the email provided for mailing info.
People love their communities and want them to become safer, healthier and more prosperous places. But the standard approach to public meetings somehow makes everyone miserable, and conversations that should be inspiring regularly become shouting matches. What would it look like to facilitate truly meaningful and productive discussions between citizens and planners? And what if they could even be fun? The new book, Dream Play Build, shares ways to shake up the classic community meeting by building common ground and inviting active participation among diverse groups. Join authors James Rojas and John Kamp, two designers who have spent their careers successfully weaving storytelling and hands-on interaction into traditional design processes, for a hands-on exploration of some of the artful, playful lessons and methods that encourage individuals to make change within the landscape around them.
National conversations about equity have expanded into the pedestrian realm and have prompted increasing numbers of communities to examine how to improve pedestrian infrastructure in underserved neighborhoods. Nondrivers represent nearly one quarter of the population and yet often are not included in planning and policymaking discussions.
This session will look at how nondrivers are organizing to improve pedestrian infrastructure to better serve people of all ages, as well as those who cannot drive, do not have access to a car, or who cannot afford to own or maintain a vehicle.
The 10 Minute Walk program is an innovative approach to help ensure that all community members have easy and safe access to parks and green spaces. A coalition of mayors and stakeholders is working to achieve universal park access and create an equitable, safe, resilient, and healthy environment for communities to thrive. Tune in to learn more about this great initiative.
Finally, for two decades, Dream Play Build authors James Rojas and John Kamp have been looking to art, creative expression, and storytelling to shake up the classic community meeting. They will share their insights, experiences and provide pointers for building common ground and inviting active participation among diverse groups. 152ee80cbc
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