The Ghost Sonata | The Spectator Seized By the Theatre: Strindberg's The Ghost Sonata
In the following essay, Parker discusses Strindberg's use of the play's visual components in a way comparable to his polyphonic or symphonic arrangement of the oral components.
The divergence of critical response to Strindberg's The Ghost Sonata is adequately represented by Eric Bentley and Maurice Valency. Bentley writes:"For all the heterodoxy of style and the fantasy of the action, the play is simple in structure and straightforward in its symbolism. The three compact scenes constitute a statement, a counterstatement, and a conclusion.’’ Valency, on the other hand, states that ''Unquestionably the play has many faults. Its underlying narrative is fantastically complex. The relation of its three movements is neither close nor entirely apparent.''...
[The entire page is 5422 words long]
Join eNotes
The above is a free excerpt. Get total access to this content with the:
Summary and Analysis – Themes – Characters – And much more...
Join eNotes
Over 3,500 study guides, question and answer forums, literature criticism, reference content, and much more!
Navigate
Tell a friend about The Ghost Sonata at eNotes.
