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If it seems unusual for you to substitute that theological statement soul for figure around the materialist economy involving naturalistic drama, there will be other anomalies as Strindberg works out a cosmetic for the atomized heart of a hysterical era, soon enough before Freud in addition to Breuer began their notorious research of hysteria. Regarding both , you can find some sort of passage in the preface wherever, observing that people were increasingly interested in “psychological procedure, ” Strindberg—whose very own essays on mindset experienced been called Vivisections—goes upon to sound, within the demystifying mode, less such as Sigmund Freud and more such as Bertolt Brecht. “Our inquisitive souls, ” he claims, “are not necessarily satisfied simply to notice something come about; we want to learn how this happened. We would like to view the strings, often the machinery, analyze the double-bottomed box, have the seam inside the magic engagement ring, appearance at the cards to help see how they are marked” (57). Yet a moment after insisting the fact that theatricality reveal itself, the device of production possibly be revealed, and presumably optical illusion with the idea, Strindberg writes concerning “the technical areas of make up, ” that he offers experimented in Miss Jules “with eliminating act partitions. ” Why? To protect, similar to Nietzsche, the potential of illusion. Or may