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If it seems unusual to be able to substitute that theological expression soul for figure within the materialist economy regarding naturalistic drama, there are usually other threats as Strindberg works out a good visual for the atomized heart and soul of a hysterical era, quickly before Freud together with Breuer began their well known research of hysteria. Regarding instance, there exists a verse in the preamble wherever, observing that people had been increasingly interested in “psychological method, ” Strindberg—whose individual works on mindset acquired been allowed Vivisections—goes in to sound, in the demystifying mode, less such as Sigmund Freud and more such as Bertolt Brecht. “Our curious souls, ” he states, “are certainly not satisfied just to observe something transpire; we want to recognize how this happened. We want to understand the strings, the particular machinery, look at the double-bottomed box, feel the seam in the magic diamond ring, glance at the cards to see the way they are marked” (57). Nonetheless a moment after insisting of which theatricality reveal itself, how the apparatus of production always be revealed, and presumably false impression along with the idea, Strindberg is currently writing concerning “the technical areas of structure, ” that he provides experimented in Miss Julie “with eliminating act limbs. ” Why? To keep, like Nietzsche, the future of illusion. Or maybe, like Strindberg puts it: “The reason is that I consider our dwindling capab