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It has long been recognized that Strindberg's later plays－those written after the Inferno Crisis－have distinctly lyrical and musical qualities. Among the dramas of this period are the four one-act plays known collectively as the Chamber Plays. The theatre company Strindberg and his friend August Falck organized in 1906 was called "the Intimate Theatre." It may well be assumed that Strindberg had in mind that he sought to transfer the idea of chamber music to drama. All four of these plays manifest many of the general characteristics of chamber music. One of the plays, The Ghost Sonata, of the collection has a particularly close affinity with music as its title suggests. The title provides a key to the understanding and the interpretation of this rather enigmatic piece of dramatic work that otherwise might remain baffling. Strindberg was fond of referring to these four one-act plays as his "last sonatas" and gave them opus numbers as if they were musical compositions: Storm Weather is Opus no. 1; The Burned House is Opus no. 2; The Ghost Sonata is Opus no. 3; and The Pelican is Opus no. 4.
The purpose of this paper is to investigate and prove the fact that Strindberg apparently wanted to associate a thema of love, among others, in his Ghost Sonata with a musical work well known for its ghostly qualities, all to communicate more effectively in theatrical terms. There is a parallel indicated between the musicality of the Ghost Sonata and the Beethoven compositions, "The Tempest" in particular. In the simplest terms, sonata form consists essentially of three sections called exposition, development, and recapitulation, usually followed by a closing section called the coda. In the exposition the main musical ideas are "exposed"－often two themes connected by transitional or bridge passages. The development serves to develop the thematic material introduced in the exposition. This is all designed to bring about the special feeling of dynamic growth, tension and dramatic conflict which is characteristic of the development section. The recapitulation is essentially a restatement of the exposition with a modification of the key scheme.
This paper explores the thematic interdependence of its three basic sections in terms of the sonata form and applying the overall unity of Beethoven's sonata form to the thematic consistency of the drama. Within the framework of this musical formulation the scheme of The Ghost Sonata is considered as progression of three basic sections: (1) the first scene introducing two conflicting themes juxtaposed by Arkenholz and Hummel, (2) the series of unmaskings of the group of people in "the round room", and (3) the restatement of "the hyacinth room", which is symbolized as the lack of love and its consequences. However, it must be noted that the fundamental differences between music and language need to be considered in the process of its interpretation and discussion.
The purpose of this paper is to investigate and prove the fact that Strindberg apparently wanted to associate a thema of love, among others, in his Ghost Sonata with a musical work well known for its ghostly qualities, all to communicate more effectively in theatrical terms. There is a parallel indicated between the musicality of the Ghost Sonata and the Beethoven compositions, "The Tempest" in particular. In the simplest terms, sonata form consists essentially of three sections called exposition, development, and recapitulation, usually followed by a closing section called the coda. In the exposition the main musical ideas are "exposed"－often two themes connected by transitional or bridge passages. The development serves to develop the thematic material introduced in the exposition. This is all designed to bring about the special feeling of dynamic growth, tension and dramatic conflict which is characteristic of the development section. The recapitulation is essentially a restatement of the exposition with a modification of the key scheme.
This paper explores the thematic interdependence of its three basic sections in terms of the sonata form and applying the overall unity of Beethoven's sonata form to the thematic consistency of the drama. Within the framework of this musical formulation the scheme of The Ghost Sonata is considered as progression of three basic sections: (1) the first scene introducing two conflicting themes juxtaposed by Arkenholz and Hummel, (2) the series of unmaskings of the group of people in "the round room", and (3) the restatement of "the hyacinth room", which is symbolized as the lack of love and its consequences. However, it must be noted that the fundamental differences between music and language need to be considered in the process of its interpretation and discussion.
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참고문헌 (21)
참고문헌 신청
1. [학술지(정기간행물)] - / 1983 / August Strindberg와 the Ghost Sonata 8 : 155 ~ 76
2. [학술지(정기간행물)] - 쇼, 버나드 / 2005 / 바그너: 니벨룽의 반지
3. [학술지(정기간행물)] - Bentley,Eric / 1967 / .The Playwright as Thinker:A Study of Drama in Modern Times
4. [학술지(정기간행물)] - Croyden,Margaret / 1974 / .Lunatics and Poets:the Contemporary Experimental Theatre
5. [학술지(정기간행물)] - Bernard F / 1974 / Greeks to Grotowski
2. [학술지(정기간행물)] - 쇼, 버나드 / 2005 / 바그너: 니벨룽의 반지
3. [학술지(정기간행물)] - Bentley,Eric / 1967 / .The Playwright as Thinker:A Study of Drama in Modern Times
4. [학술지(정기간행물)] - Croyden,Margaret / 1974 / .Lunatics and Poets:the Contemporary Experimental Theatre
5. [학술지(정기간행물)] - Bernard F / 1974 / Greeks to Grotowski
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