Frøken Julie
Miss Julie
Miss Julie (Swedish: Fröken Julie) is a naturalistic play written in 1888 by August Strindberg. It is set on Midsummer's Eve on the estate of a Count in Sweden. The young woman of the title is drawn to a senior servant, a valet named Jean,[1] who is particularly well-traveled, well-mannered and well-read. The action takes place in the kitchen of Miss Julie's father's manor, where Jean's fiancée, a servant named Christine, cooks and sometimes sleeps while Jean and Miss Julie talk.
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On this night, the relationship between Miss Julie and Jean rapidly escalates to a love relationship and is fully consummated. Over the course of the play, Miss Julie and Jean battle until Jean convinces her that the only way to escape her predicament is to commit suicide.
The major theme of the play is Darwinism, a theory that was a significant influence on the author during his naturalistic period. It isn't explicitly stated in the script, but it is in the preface, where Strindberg describes his two lead characters, Miss Julie and Jean, as vying against each other in an evolutionary “life and death” battle for a survival of the fittest. The character, Miss Julie, represents the last of an old aristocratic breed about to die out.
Whereas Jean represents one who is clambering upwards, and who is more fit to thrive because he is better able to adapt in terms of the “life roles” he can take on. The play contains a variety of themes, partly because Miss Julie’s actions are motivated by a range of factors and influences: Her class, her desires and impulsive nature, her father, and the dynamic traumas of her family histories. She is given a number of motivations because the author, in wanting to be naturalistic, realizes that in life people can be motivated in a number of ways, and also because the author is taking a stand against the dominant theatrical idea that says that characters should be written with only one primary motivation.
Strindberg wrote this play with the intention of abiding by the theories of “naturalism” — both his own version, and also the version described by the French novelist and literary theoretician, Émile Zola. Zola’s term for naturalism is la nouvelle formule. The three primary principles of naturalism (faire vrai, faire grand and faire simple) are first, that the play should be realistic, and the result of a careful study of human behavior and psychology. The characters should be flesh and blood; their motivations and actions should be grounded in their heredity and environment. The presentation of the play in terms of the setting and performances should be realistic and not flamboyant or theatrical. The single setting of Miss Julie, for example, is a kitchen.
Second, the conflicts in the play should be issues of meaningful, life-altering significance — not small or petty.
And third, the play should be simple — not cluttered with complicated sub-plots or lengthy expositions.
Strindberg was keenly aware that the French playwrights had been unable to achieve naturalism, and he felt that he could do it. Miss Julie is not only successful as a naturalistic drama, but it is a play that has achieved the rare distinction of being performed on stages all over the world every year since it was written in 1888
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