Bass, Ruth. “Backstage at the Guggenheim.” Review of The Intruder, by Maurice Maeterlinck. Art News 85, no. 6 (Summer, 1986): 16, 18. In this review of Hanne Tierney’s staging of Maeterlinck’s play with puppetlike figures at the Guggenheim Museum in New York in January, 1986, Bass shows how the play lends itself to creative revival and aesthetic innovation. Tierney designed her expressionistic figures, controled them at a keyboard by invisible fishing lines, and spoke all of their parts in a monotone.
Block, Haskell M. Mallarmé and the Symbolist Drama. Detroit: Wayne State University Press, 1963. Block provides a broad view of symbolist drama and discusses in depth the aesthetic theory of its precursor, Mallarmé, and its masters, of whom Maeterlinck was the most outstanding. Block includes a discussion of The Intruder.
Daniels, May. The French Drama of the Unspoken. Edinburgh: University Press, 1953. After discussing the positivistic mind-set of the end of the nineteenth century, Daniels devotes two chapters to Maeterlinck’s plays, all of which are a strong reaction to naturalistic theater. Analyzes the nature of spectator response to Maeterlinck’s theater of the unexpressed in The Intruder and Pelléas and Mélisande (1892).
Finney, Gail. “Dramatic Pointillism: The Examples of Holz and Schlaf’s Die Familie Selicke and Maeterlinck’s L’Intruse.” Comparative Literature Studies 30, no. 1 (1993): 1-15. Finney describes George Seurat’s pointillistic neo-impressionistic painting style and shows how “temporal or linguistic pointillism” occurs in Johannes Schlaf’s Die Familie Selicke (1890) and Maeterlinck’s The Intruder. She indicates that many of the dramatic techniques found in Maeterlinck’s play are used by such later twentieth century playwrights as Tennessee Williams, Arthur Miller, Eugene O’Neill, Samual Beckett, and Harold Pinter.
Heller, Otto. Prophets of Dissent: Essays on Maeterlinck, Strindberg, Nietzsche and Tolstoy. New York: Alfred A. Knopf, 1918. Includes one essay devoted to Maeterlinck. Heller in 1918 already understood that the dramatist’s secular mysticism represented a retreat into the “central ego” and an effort to express the unknown internal forces that motivate individuals. Maeterlinck’s theater communicates humankind’s frustration before the invisible, uncontrollable forces, both internal and external, that no longer fall under the old categories of fate and religion.