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zakruti.com » Knowledge, science, education » Crash Course
Symbolism, Realism, and a Nordic Playwright Grudge Match: Crash Course Theater #33

Symbolism, Realism, and a Nordic Playwright Grudge Match: Crash Course Theater #33

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Rating: 4.0; Vote: 1
It's a Scandinavian grudge match on Crash Course Theater. We're looking at a couple of the key movements in European theater that deeply influenced the modern theater of today. We'll take a close look at two of the most radical and influential European playwrights of the 19th century, who just happened to be mortal enemies. Henrik Ibsen of Norway, and Swede August Strindberg reshaped theater, between bouts of hating each other
Date: 2022-04-04

Comments and reviews: 10


I can't keep watching this. There are too many inside references that I have no knowledge of (that could be entirely false. They expect us to look up these references, but I can barely catch the name. We haven't done a video on Opera or musical theater (American or otherwise. I want to get to Brecht, but because Brecht was part of German and American popular theater (and at times musical theater) we can't get their. I know this isn't -Crash Course Brechtian Studies- but I want to know what it means when someone talks about a musician or an entertainer presenting something that is -Brechtian-. What is Brechtian theater? What makes a Brechtian musical or comic opretta Brechtian?
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Well, Strindberg was a 'very' special individual who would go 100% in one direction of thought, just to randomly turn 120 degrees and go just as purposefully that way. For example, from being a convinced antisemite, he suddenly changed his mind and started to speak against antisemitism. Even his deranged views of women could change on a whim, and did so many times through his life.
In short, he was an insane genious who wrote fantastic work. Not only plays, but many books as well.

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I've just read Doll's House and Miss Julie, so I came back to this video. I can confirm that Ibsen is cool and Strindberg is a big weirdo. I LOVED Doll's House and was very impressed by Miss Julie, because it's at the same time intriguing and very, VERY weird. Strindberg's preface is even weirder. But I can see why both of them were important to theatre. Thanks for the great content!
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In a way, Strindberg was thinking in a typically Scandinavian way when he explained the tragic outcomes. His oversensitive psychological explanations are typical Scandinavian, and surprizingly more in Norway than in Sweden, even at these days. Ibsen was in some ways more Italian like than Scandinavian and he lived for a long time in Italy too.
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It's surprising you didn't talk more about the immense importance of -An Enemy of the People-, which is a huge championing of individualism, or individual responsibility, and the possible destructiveness of herd mentality on the herd itself.
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-An Enemy of the People- is one of the greatest plays ever, and still is. It's SO relevant even today. Environmentalism and its impact on the individual vs. government.
-A Doll's House- is also extremely relevant today. Feminism.

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I just want to clarify for how you made something I was completely uninterested and ignorant of interesting enough to watch till the end even though I clicked by accident. Thanks for 13 minutes of new info.
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Honestly, Ive read Dolls House. Ive read its sparknotes. I watched this. I still cant tell who's who or whats happening in that play. Its plot is thicker than a spanish soap opera.
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Yeah. gonna have to watch this one over again. So much interesting info, so much -Wha. what! --ing, so much that went over my head because it was just not what I expected. Take two.
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As someone who grew up upper middle class and went to school for finance, I'll never understand why my generation gets so upset with the pursuit of traditional values and lifestyle.
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