If it seems peculiar to help substitute that theological term soul for personality in the materialist economy connected with naturalistic drama, there can be other threats as Strindberg works out a artistic for the atomized heart of a hysterical age group, quickly before Freud and even Breuer began their known reports of hysteria. For instance, there exists a new passageway in the preface wherever, observing that people were being increasingly interested in “psychological procedure, ” Strindberg—whose own essays on psychology possessed been permitted Vivisections—goes with to sound, in the demystifying mode, less like Sigmund Freud and more just like Bertolt Brecht. “Our curious souls, ” he affirms, “are not really satisfied just to find something come about; we want to recognize how this happened. big desire to start to see the strings, typically the machinery, take a look at the double-bottomed box, go through the seam around the magic band, glimpse at the cards to help see that they are marked” (57). Yet a minute after insisting that will theatricality reveal itself, that this equipment of production end up being exposed, and presumably impression along with this, Strindberg creates regarding “the technical elements of composition, ” that he has experimented in Miss Julie “with eliminating act partitions. ” Why? To keep, similar to Nietzsche