If it seems distinct for you to substitute that biblical word soul for identity throughout the materialist economy associated with naturalistic drama, there are usually other anomalies as Strindberg works out a visual for the atomized spirit of a hysterical get older, soon enough before Freud and Breuer began their well known analyses of hysteria. Intended for instance, you can find some sort of penetration in the preamble exactly where, observing that people were increasingly interested in “psychological method, ” Strindberg—whose personal documents on mindset acquired been permitted Vivisections—goes in to sound, inside demystifying mode, less just like Sigmund Freud and more such as Bertolt Brecht. “Our inquisitive souls, ” he affirms, “are not necessarily satisfied only to discover something take place; we want to discover how this happened. We would like to begin to see the strings, this machinery, study the double-bottomed box, feel the seam in the magic band, glimpse at the cards in order to see how they are marked” (57). Although a moment after insisting of which theatricality reveal itself, that this tool of production always be subjected, and presumably impression having the idea, Strindberg publishes articles regarding “the technical facets of composition, ” that he possesses experimented in Miss Julie “with eliminating act divisions. ” Why? To protect, just like Nietzsche, the potential future of illusion. Or even, since Strindberg puts it: “The reason is that My