Editing August Strindberg (section)

==Legacy==
[[Tennessee Williams]], [[Edward Albee]], [[Maxim Gorky]], [[John Osborne]], and [[Ingmar Bergman]] are among the many artists who have cited Strindberg as an influence.<ref name="Adams 2002">Adams (2002).<!-- missing page numbers for citations --></ref> [[Eugene O'Neill]], upon receiving the [[Nobel Prize]] in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists."<ref>{{cite web |url= http://nobelprize.org/nobel_prizes/literature/laureates/1936/oneill-speech.html |title= Banquet Speech |author= Eugene O'Neill |date= 10 December 1936 | publisher =The Nobel Foundation |access-date=12 July 2010}}</ref> Argentinian writer [[Jorge Luis Borges]] said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche".<ref>{{cite book |last1=Borges |first1=Jorge-Luis |title=Selected Non-Fictions |date=2000 |publisher=Penguin Books |location=New York |isbn=9780140290110 |page=179 |volume=3}}</ref>

A multi-faceted author, Strindberg's novel ''[[The Red Room (Strindberg)|The Red Room]]'' (1879) made him famous. His early plays belong to the [[Naturalism (theatre)|Naturalistic]] movement. His works from this time are often compared with the Norwegian playwright [[Henrik Ibsen]]. Strindberg's best-known play from this period is ''[[Miss Julie]]''. Among his most widely read works is the novel ''[[The People of Hemsö]]''.

Strindberg wanted to attain what he called "greater Naturalism". He disliked the expository character backgrounds that characterise the work of [[Henrik Ibsen]] and rejected the convention of a dramatic "[[slice of life]]" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science.

Following the inner turmoil that he experienced during the "Inferno crisis", he wrote an important book in French, ''[[Inferno (Strindberg novel)|Inferno]]'' (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with [[Friedrich Nietzsche]].<ref>{{cite journal |last1=Scheffauer |first1=Herman |title=A Correspondence between Nietzsche and Strindberg |journal=The North American Review |date=1 August 1913 |volume=198 |url=https://archive.org/stream/jstor-25120062/25120062#page/n1/mode/2up |access-date=1 July 2018}}</ref>

Strindberg subsequently ended his association with Naturalism and began to produce works informed by [[Symbolism (arts)|Symbolism]]. He is considered one of the pioneers of the modern European stage and [[Expressionism (theatre)|Expressionism]]. ''[[The Dance of Death (Strindberg)|The Dance of Death]]'', ''[[A Dream Play]]'', and ''[[The Ghost Sonata]]'' are well-known plays from this period.

His most famous and produced plays are ''[[Master Olof]]'', ''[[Miss Julie]]'', and ''[[The Father (Strindberg)|The Father]]''.

Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. ''Röda rummet'' (The Red Room), ''Hemsöborna'' (The People of Hemsö), ''Giftas'' (Getting Married), ''En dåres försvarstal'' (The Confession of a Fool), and ''Inferno'' remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, [[Augustpriset]], is named for Strindberg.

The Swedish composer [[Ture Rangström]] dedicated his first Symphony, which was finished in 1914, to ''August Strindberg in memoriam''.