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Father

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'Poulton is the adapter of the moment... The Father is franker, more revealing than almost any other play, an X-ray of a gifted, deranged mind'

»

Observer

Written in 1887, the year before Strindberg's most famous play, "Miss Julie", and only a few years after Ibsen's "A Doll's House", "The Father" deals with the same theme of male versus female domination. Les mer

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Written in 1887, the year before Strindberg's most famous play, "Miss Julie", and only a few years after Ibsen's "A Doll's House", "The Father" deals with the same theme of male versus female domination. Laura and Adolf have a daughter, Bertha, whom they both wish to claim as their own. Laura tells Adolf that (in those pre-DNA days) he cannot be sure he is her real father. Wrestling with this thought, driven mad by Laura's malice, and finally betrayed even by Bertha, Adolf is last seen being strapped into a straitjacket...This extraordinarily modern take on the eternal battle of the sexes combines naturalism and expressionism to startling effect, so that the audience never quite knows what is real, what is the projection of the characters' highly pitched emotions. Mike Poulton, the author of this spiky new version, comes to Strindberg via enormous successes with Turgenev, Chekhov, Ibsen and, very recently, with Schiller's "Don Carlos" and Chaucer's "Canterbury Tales". "The Father" premieres at Chichester in September 2006 with a no-doubt-starry cast yet to be announced.

Detaljer

Forlag
Nick Hern Books
Innbinding
Paperback
Språk
Engelsk
ISBN
9781854599414
Utgivelsesår
2006
Format
20 x 13 cm

Om forfatteren

August Strindberg (1849-1912) was a Swedish playwright, novelist, poet, essayist and painter. His plays include The Father (1887), Miss Julie (1888), To Damascus (1898), The Dance of Death (1900), A Dream Play (1902) and The Ghost Sonata (1908).

Mike Poulton is an award-winning dramatist whose many adaptations and translations for the stage include: Philippa Gregory's The Other Boleyn Girl (Chichester Festival Theatre, 2024); Robert Harris's Imperium (Royal Shakespeare Company); The York Mystery Plays (directed by Philip Breen at York Minster); Hilary Mantel's Wolf Hall and Bring Up the Bodies (directed by Jeremy Herrin for the Royal Shakespeare Company); Dickens’s A Tale of Two Cities (directed by James Dacre at the Royal & Derngate, Northampton); Fortune’s Fool (directed by Lucy Bailey at the Old Vic, London); Chekhov’s Uncle Vanya (directed by Lucy Bailey at The Print Room, London); Schiller’s Luise Miller (directed by Michael Grandage for the Donmar Warehouse, London); Anjin: The English Samurai (directed by Gregory Doran for Horipro in Tokyo); Malory’s Morte d’Arthur (directed by Gregory Doran for the Royal Shakespeare Company); Schiller’s Wallenstein (directed by Angus Jackson at Chichester Festival Theatre); Schiller’s Mary Stuart (directed by Terry Hands at Clwyd Theatr Cymru); Ibsen’s The Lady from the Sea (directed by Lucy Bailey at Birmingham Repertory Theatre); Chekhov’s The Cherry Orchard (directed by Philip Franks at Chichester Festival Theatre, and Terry Hands at Clwyd Theatr Cymru); Ibsen’s Rosmersholm (directed by Anthony Page at the Almeida Theatre, London); Strindberg’s The Father (directed by Angus Jackson at Chichester); Myrmidons (directed by Simon Coury at the Samuel Beckett Theatre, Dublin); and a two-part adaptation of Chaucer’s Canterbury Tales (directed by Gregory Doran for the Royal Shakespeare Company, and performed at the Swan Theatre, Stratford-upon-Avon, in the West End, and on tour of the US and Spain).


His acclaimed version of Schiller’s Don Carlos premiered at the Sheffield Crucible in a production directed by Michael Grandage with Derek Jacobi as King Philip II of Spain. It has since been widely performed, including by Rough Magic Theatre Company in Dublin (directed by Lynne Parker), and at the Göteborgs Stadsteater (directed by Eva Bergman). Other productions include Ibsen’s Hedda Gabler (West Yorkshire Playhouse/Liverpool Playhouse); Turgenev’s Fortune’s Fool (directed by Arthur Penn at the Music Box Theater, Broadway; nominated for a Tony Award for Best Play, and winner of seven major awards including the Tony Awards for Best Actor for Alan Bates and Best Featured Actor for Frank Langella); Uncle Vanya (directed by Michael Mayer at the Brooks Atkinson Theatre, Broadway; with Derek Jacobi, Roger Rees and Laura Linney); Three Sisters (directed by Bill Bryden at the Birmingham Rep; with Charles Dance); Ghosts (Theatre Royal Plymouth); The Seagull, Three Sisters, The Dance of Death and an adaptation of Euripides’ Ion (all directed by David Hunt at the Mercury Theatre, Colchester).


He was made an Associate Artist of the Royal Shakespeare Company in 2017.

Anmeldelser

«

'Poulton is the adapter of the moment... The Father is franker, more revealing than almost any other play, an X-ray of a gifted, deranged mind'

»

Observer

«

'Poulton's terrific new adaptation is absolutely true to Strindberg's dark spirit... blows the dust off the text while capturing all its wild and idiosyncratic torment... The Father will knock your socks off'

»

Telegraph

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'A startling emotional roller-coaster ride'

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Guardian

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'Fully confirms the play's power to rivet and disturb'

»

The Times

Medlemmers vurdering

f
fredø – 27.01.2005

– Hovedpersonen i dette dramaet, Rittmästarn, er en sjalu ektemann og far som vakler mellom sitt behov for å dyrke hustruen Laura som make og som mor. Den viljesterke Laura vil utdanne datteren deres Bertha til malerinne, men Rittmästarn vil at hun skal bli lærerinne. Det fører til en kamp på liv og død mellom ektefellene som ender med tragedie. Stykket har sin styrke i det personlige spillet mellom de tre medlemmene av familien. Den dynamiske og fengslende handlingen viser hvordan karakterenes ulike roller overfor hverandre skaper dype konflikter, og gjennm språk og dramaturgiske grep viser Strindberg dette på en glimrende måte. Det er et stykke jeg fant både spennende og givende, og som ga mersmak.

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