If board seems odd in order to substitute that biblical word soul for character around the materialist economy connected with naturalistic drama, there happen to be other particularité as Strindberg works out an artistic for the atomized heart and soul of a hysterical get older, soon enough before Freud in addition to Breuer began their well known reports of hysteria. With regard to instance, you can find a new verse in the preamble exactly where, observing that people ended up increasingly interested in “psychological course of action, ” Strindberg—whose very own essays on mindsets possessed been titled Vivisections—goes about to sound, inside the demystifying mode, less just like Sigmund Freud and more just like Bertolt Brecht. “Our inquisitive souls, ” he claims, “are not satisfied just simply to find something happen; we want to understand how this happened. We would like to understand the strings, the machinery, analyze the double-bottomed box, go through the seam around the magic engagement ring, appearance at the cards to be able to see the direction they are marked” (57). But a minute after insisting that will theatricality reveal itself, that the tool of production be subjected, and presumably false impression having it, Strindberg writes concerning “the technical aspects of make up, ” that he features experimented in Miss Jules “with eliminating act divisions. ” Why? To preserve, like N