UDK 821.113.6-2 Strindberg A.:792.02(497.4) 
RESPONSES TO AUGUST STRINDBERG'S MISS JULIE IN SLOVENIA 
Mita GustinCic Pahor 
Abstract 
Miss Julie (Froken Julie) is one of August Strindberg's most popular and well-known plays. 
Today, almost 120 years after its first appearance, what Strindberg called the "first naturalistic tragedy 
in Swedish drama" is still being staged worldwide, with Slovenia being no exception. This article 
examines the critical response to Miss Julie staged in Slovene professional theatres from its first ap-
pearance in 1921 to its latest in 2008. It aims to establish to what extent critics' attitude towards the 
play and the author have changed over a time span of ninety years. 
INTRODUCTION 
The body of the article studies the critical response to productions of Miss Julie in 
Slovenia from its first appearance in 1921 to its latest in 2008. The sources of the reviews 
examined are the leading Slovene national dailies and in some cases local papers and 
magazines. The productions that have been taken into consideration were in most cases 
performed by institutional professional theatres and recorded in Repertoar slovenskih 
gledalisc. 1867 - 1967 (A Repertoire of Slovene Theatres. 1867 - 1967), Dokumenti 
slovenskega gledaliskega muzeja (Documents of the Slovene Theatre Museum), pub-
lished every five years, and Slovenski gledaliski letopis (the Slovene Theatre Annual), 
all published by Slovenski gledaliski muzej (the Slovene Theatre Museum)'. 
Miss Julie (Froken Julie) was written in 1888 and, together with The Father 
(Fadren), it is one of Strindberg's major dramas. Strindberg called Miss Julie the "first 
Naturalistic Tragedy in Swedish Drama" (Tornqvist & Steene 2007: 62) and in a letter 
to his publisher Carl Otto Bonnier correctly predicted the future success of the play: 
'"Ceci datera!' =this play will go down to the annals" (ibid.). 
The subject of the play is the seduction of Miss Julie, the count's daughter, by the 
valet Jean, or as one might equally well put it, the seduction of Jean by Miss Julie. The 
action takes place one midsummer's eve in the kitchen of the count's house; Kristin the 
cook, and Jean's fiance, is the only other character. After the seduction Julie sees her 
1 In the bibliographical compilations of the Slovene Theatre Museum the productions of the Academy 
for Theatre, Radio, Film and Television (Akademija za gledalisce, radio, film in televizijo) are included 
selectively. Consequently, some of the productions of Miss Julie at the Academy have been left out in this 
study, together with the productions of non-professional theatres or theatre groups. 
87 
terrible mistake and orders Jean to hypnotize her, so that she may go out with his razor 
in her hands and commit suicide. 
Bonnier rejected the play because he deemed it too controversial. Strindberg was 
in fact too direct- the public was not yet ready for an open debate on sexuality on stage. 
After much trouble Strindberg eventually managed to have the play published by his old 
publisher Seligmann (the publisher of his breakthrough novel The red room [Roda rum-
met, 1879]), but the author had to compromise by allowing some changes to the text. 
INTERNATIONAL PRODUCTIONS OF MISS JULIE 
At the time of its publication there was no theatre prepared to stage Miss Julie. 
Consequently, Strindberg decided to establish his own theatre, having in mind Andre 
Antoine's Theatre Libre in Paris. On November 14, 1888, he started the short and tur-
bulent life of the 'Skandinavisk Forsoksteater' ('Scandinavian Experimental Theatre' 
later renamed 'Strindbergs Forsoksteater' - 'Strindberg's Experimental Theatre')2 in 
Copenhagen. Strindberg's wife, Siri von Essen, would be the theatre's prima donna 
and play Julie. However, one day before the planned premiere (March 2, 1889) the 
play was banned by the censors, which was a result of the brutal campaign towards 
Strindberg led by moralistic witch-hunters in Swedish and Danish newspapers. The 
play was performed on March 9, and it marked the end of Strindberg's experimental 
theatre. On March 14, Miss Julie was performed privately in the Copenhagen Uni-
versity Students' Union and two days later the performance was repeated in Malmo. 
Siri von Essen had the lead role, but according to Ollen (1986: 133) her performance 
was quite flat. 
After the premiere in Copenhagen, the next theatre group that dared to perform 
Miss Julie was Freie Btihne in Berlin. The performance took place at the Residenztheater 
in 1892 and Ollen says that the critics' response was "predominantly positive" (Ollen 
1986: 134). From 1902 a great number of stagings began to take place in Germany, 
among others Max Reinhardt's, who "had begun to show his lion claws as director and 
theatre leader at Kleines Theater" (ibid.)3. 
In France the curtain went up for Miss Julie in 1893 at the Theatre Libre itself. 
With this performance Strindberg's wish to become the first Swedish playwright staged 
in Paris came true. According to Ollen (1986: 144) "[t]he reviewers were bewildered 
and astounded but the general opinion was that the play was too pungent even for the 
Theatre Libre"4• 
The first staging of Miss Julie in the U.S. took place in New York in 1905, though 
the performance was in Russian. The English version found its way onto the American 
stage in 1913. 
The British saw Miss Julie for the first time in 1912, at The Little Theatre in 
London. Ollen reports on the first reception: 
2 Unless otherwise stated, all translations are my own. 
3 "[ ••• ] som pa Kleines Theater hade borjat visa lejonklon som regissor och teaterledare." 
4 "Recensentema var omtumlade och hiipna men tyckte i allmiinhet att det var en pjiis i friinaste laget 
iiven for Theatre Libre." 
88 
[ ... ] the critical response was, with some exceptions, quite unappreciative 
and Strindberg's view of life was called 'distorted and a waste of vital 
imaginative power'. The Daily Telegraph opined that the play 'proved 
with distressing strength that it is possible to be very unpleasant and yet 
remain boring' (Ollen 1986: 150)5• 
In Sweden the play was boycotted for sixteen years. Only after all the productions 
across Europe were the Swedes ready to welcome Julie in 1904. However, the play was 
not staged in the capital Stockholm but in Uppsala and only as a private performance. In 
1906 Julie came to Stockholm and since then the play has been popular and staged an 
enormous number of times. Ollen provides as an example the actor OlofHillberg, who in 
the period 1922 - 1938 played in Miss Julie no less than 730 times. The play fascinated 
many Swedish, but also other renowned actors, theatre and film directors (such as Ingrnar 
Bergman, who at the Residenztheater in Mtinchen interpreted the play as a triangle drama 
in 1981 ), choreographers and musicians. As a result, the public could witness a number of 
theatre, film, radio and TV versions. Miss Julie entered opera houses and became ballet. 
In Sweden the play was even performed for the deaf in sign language (1981). 
In the first years the general response to Miss Julie was quite negative because 
the public was not yet ready for such "boldness" on stage. In the course of time, how-
ever, the attitude towards Miss Julie changed and a positive critical response began to 
predominate. The reason for this, paraphrasing Ollen (1986: 132), was the change of 
sexual morality in the late 1920s in accordance with Freud and the new psychology. 
The times had caught up and unconscious instincts started to be a fashionable subject. 
Later, the sexual component of the play was toned down, only to become emphasized 
again in the 1960s. The class conflict was another motif in which the directors and the 
spectators gradually lost interest. What never changed was the universality of the play, 
the telling depiction of the characters and the "living humanity that all three actors 
conveyed in the play" (Ollen 1986: 133)6• Ollen (1986: 128) states that after the first 
critical response emphasizing the inadequacy of the play, the negative criticism mostly 
dealt with the final scene: Julie's suicide under hypnosis. 
SLOVENE STUDIES ON STRINDBERG 
Despite the rather frequent productions of Strindberg' s plays in Slovenia, studies 
on the author have been rather scattered. A very valuable source of information regarding 
Slovene critics dealing with Strindberg is Tomazin's MA thesis from 1995, in which she 
studies the reception of Strindberg, focusing on the Slovene literary period of Modern-
ism. Considering this, only the most important names are given in this study. 
According to Tomazin (1995: 103), the first information for the Slovene public 
about Strindberg was provided by Josip Stritar in an 1894 Vienna lecture that was 
5 "Kritiken var med nagot undantag mycket of6rstaende, man kallade Strindbergs livssyn "distorted and 
a waste of vital imaginative power". Daily Telegraph menade, att pjiisen bevisade med smartsam styrka, att 
det ar mojligt att vara mycket obehaglig och likval forbli trakig." 
6 
"[ ... ]den levande mansklighet som alla tre aktiirema i dramat f6rmedlade." 
89 
published in the magazine Ljubljanski zvon, "where he expressed his indignation over 
modern European literature, its naturalism and decadence and on this basis collectively 
condemned Dostoevsky, Tolstoy, Ibsen and Strindberg" (ibid)7• 
Around 1900 there began to appear more objective studies, which still considered 
Strindberg as a part of the German literary Modernist movement. The critics exposed 
in their studies Strindberg's curious relationship to women. Their label of Strindberg 
as hater of women was predominant until World War II. 
Tomazin conveys that the leading Slovene critics in the first decades of the 20th 
century were Adolf Robida and Fran Albreht, followed by France Koblar in the 1920s. 
The first two autonomous portraits of Strindberg were written in 1912, the year of the 
author's death, by Fran Albreht and Vinko Zupan. In 1920 another study was written 
by Angelo Cerkvenik, followed by Janka Lavrin's in the late 1920s. 
From the 1930s until World War II the major critics were Bratko Kreft, Jus Kozak, 
Josip Vidmar, Anton Ocvirk, Vladimir Pavsic and Ivo Brncic. After World War II the 
interest in Strindberg slowly began to decrease and the studies were mainly confined to 
theatre bills and new published editions of Strindberg's plays (Tomazin points out that, 
as in the rest of Europe, Strindberg's name was now associated only with drama). In 
this period the following leading critics are mentioned: Vladimir Kralj, France Koblar, 
Fran Zadravec and Dusan Pirjevec. 
The authors of autonomous studies in the 1970s and 1980s are Mirko Zupancic, 
Bratkcr Kreft and Barut Trekman. 
MISS JULIE ON THE SLOVENE STAGE 
Miss Julie appeared on Slovene stages relatively late in comparison to the rest of 
Europe. The Slovene premiere took place on April 6, 1921 at the Slovene National Theatre 
in Ljubljana (Narodno gledalisee v Ljubljani, today Drama SNG v Ljubljani). (The very first 
play by Strindberg staged by an institutional theatre group was The Father, performed in 1909 
by the Regional Theatre in Ljubljana (Derelno gledalisce v Ljubljani).8 A rather short review 
of the first staging of Miss Julie is found in the monthly magazine Dom in svet (1921: 173), 
where France Koblar focuses mainly on the actors' performance and not so much on the 
play as such: "We have seen in Julie (Mrs. Pregarc) and Jean (Mr. Kralj) a lot of ambition, 
but the roles were not fully developed" (ibid.)9. Another short critical review was written 
by Fran Albreht and published in a prominent Slovene cultural magazine Ljubljanski zvon. 
He is of the opinion that the play is "live and real at its core" but "outdated in its details" 
and that the director should have "tamed the author's [i.e. Strindberg's] vehemently mel-
low dramaticality and crossed out many an inessentiality" (Albreht 1921: 446)10• Albreht, 
however, does not specify which inessential elements he has in mind. 
7 
"[ ••• ] kjer je izrazil ogorcenost nad moderno evropsko literaturo, njenim naturalizmom in dekadenco 
ter na tej osnovi skupno obsodil Dostojevskega, Tolstoja, Ibsena in Strindberga." Note: All the translations 
into English were made by the author of this article. 
8 The Regional Theatre in Ljubljana is the forerunner of the Slovene National Theatre in Ljubljana. 
9 "V Juliji (ga. Pregarceva) in Jeanu (g. Kralj) smo videli mnogo ambicije, izcrpani pa vlogi nista bili." 
10 "V svojem osrcju ziva in resnicna, je v svojih detajlih Gospodicna Julija <lanes zastarela in rezija bi 
morala krotiti avtorjevo vehementno socno dramaticnost ter ertati marsikatero nebistvenost." 
90 
Albreht translated Miss Julie in 1938,11 when the play, after seventeen years, was 
staged again at the Slovene National Theatre in Ljubljana. The play was reviewed in 
four Slovene dailies (Slovenski dom, Slovenec, Jutro, Slovenski narod), the most exhaus-
tive and at the same time the harshest being the one in Slovenski narod by Fr. G. (Fran 
Govekar): 
[ ... ] Strindberg and his Miss Julie are today no longer revolutionarily 
horrifying, excitingly bold, but rather out of date, not really naturalistic in 
diction or form, barely interesting and, towards the end, plain long-winded 
and therefore boring (Slovenski narod 1938: 3)12• 
The author seems to repudiate the naturalistic features of the play as if he was 
expecting an adaptation or modernization. He claims that the play came to the Slovene 
stages too late and that naturalistic features (e.g. the hereditary burden of the charac-
ters) are archaic and forced. Strindberg's everlasting hatred of women is described by 
the author as "queerness" and his "funny attacks on feminism [as] open reactionary 
behaviour, which was so often repudiated by life (ibid.). 13 The critic seeks a "sound" 
kind of art: 
His [i.e. Strindberg's] extremely original, cold, decadent, destructive mind 
was without any doubt a genuine spirit of its time, but his works do not give 
us consolation or satisfaction, nor joy for life and work. During the war 
[i.e. WWI] he was still attractive for a certain kind of spectators; nowadays, 
however, the times require a different, sound kind of art (ibid.) 14• 
The author mentions also the scenery taking up the whole stage, contrary to 
Strindberg's instructions, which require an intimate setting. In his preface to Miss 
Julie Strindberg opts for a single set, "both to allow the characters time to merge with 
their milieu and to break with the custom of expensive scenery" (Tornqvist & Steene 
2007: 71).15 He demands that the scenery be credible and as close to life as possible. 
Strindberg suggests also some other innovations in the theatre, which would suit the 
modern psychological drama: e.g. less make-up, the removal of the foot-lights and the 
introduction of strong side lighting, the removal of the proscenium boxes, the raising 
of the stalls and the introduction of complete darkness in the auditorium. He wanted 
an intimate kind of theatre, which he managed to open in Stockholm in 1907 under the 
name Intima Teatern. 
F.K.'s (France Koblar's) review published in the newspaper Slovenec praises the 
scenery and labels it as "an architectural work of art" ("gradbena umetnina") (Koblar 
11 Both translations, the one made in 1921 by Ferdo Kozak, and Albreht's in 1938 were from German. 
12 "Tudi Strindberg in njegova 'Gospodicna Julija' nam nista <lanes prav nic vec revolucionarno strasna, 
razburljivo predrzna, temvec zastarela, niti ne cisto naturalisticna v dikciji in formi, komaj se zanimiva, toda 
proti zakljucku naravnost dolgovezna in zato dolgocasna." 
13 "[ ••• ]a njegovi sme8ni naskoki na feminizem odkrito reakcionarstvo, ki gaje zivljenje ze nestetokrat 
blamiralo." 
14 "Njegov silno izvirni, mrzli, dekadentni, destruktivni duhje bi! brez dvoma pristen duh svojega casa, 
toda njegova dela ne prina8ajo utehe in zadovoljstva, veselja za zivljenje in delo. Med vojno je bi! se privlaeen 
za neke vrste gledalcev, <lanes zahteva eas drugacne, zdrave umetnosti." 
15 Translated by Egil Tornqvist. 
91 
1938: 7). As to the play itself, the author says that Strindberg's statement in the preface 
to Miss Julie that "theatre is a Bible for the poor (biblia pauperum) openly representing 
life itself, cannot hold true" for Miss Julie (ibid.).16 According to the author the reason is 
Strindberg's excessive hatred of mankind and his bitter preaching about the concealed 
human evil and man's proneness to crime. He says: "This 'biblia pauperum' teaches 
hatred of crime, but is at the same time its founder; it is moral and morally nonchalant 
at the same time" (ibid.).17 
In the newspaper Jutro, too, the review is negative. The reviewer L.M. (Ludvik 
Mrzel) writes: 
Miss Julie is interesting for today's modern man only as a pure psychologi-
cal problem, but even here we might have just minor understanding for 
the stubborn, capricious whims of the humanly and socially uninteresting 
count's daughter. The lengthy and wordy wavering between the beginning 
and the end is today merely tiring for the spectator and Julie, as the ultimate 
victim, does not touch anybody's heart (Mrzel 1938: 7).18 
The last review that deals with the staging of Miss Julie in 1938 appears in the paper 
Slovenski dom under the title "A. Strindberg: Gospodicna Julija", where the anonymous 
author describes the play and its characters but does not comment on it. 
Fifteen years passed until the next production of Miss Julie took place in 1953, 
this time l:5y llie newly-graduated students at the academy of acting arts in Ljubljana. 
The director Bostjan Hladnik (then a student of directing, today a famous film director) 
used Albreht's translation. The reviews, published in the newspapers Ljudska pravica, 
Slovenski porocevalec and Ljubljanski dnevnik, deal mainly with the actors' performance 
and the director's work. All three critics share the opinion that the actor Jurij Soucek was 
excellent in the role of Jean and that the director Bostjan Hladnik could have done better. 
The anonymous reviewer in Slovenski porocevalec (1953: 2) points out that the director 
interpreted Strindberg in a singular and romantic way, but that he nevertheless managed 
to round up his interpretation in full. Jamar (pseudonym for Marjan Javornik), the critic 
in Ljubljanski dnevnik, on the other hand says that Hladnik's film concept of the play 
"expressed searching, preoccupation with new directing moves and absorption in work, 
but it did not fully mature" (Jamar 1953).19 
In 1964 another staging of Miss Julie took place in Ljubljana, this time performed 
by the Drama Studio (Dramski studio), the former Ad Hoe Theatre Group (gledaliska 
skupina Ad hoe). The director was Draga Ahacic, the founder of this alternative theatre, 
16 "[ ••• ] je gledalisce sveto pismo za uboge (biblia pauperum), da kafo v neprikritih podobah zivljenje 
samo, se prav ob tej igri zdi malo resnicna." 
17 "Ta biblia pauperum uci sovrastvo do zloCina in ga obenem utemeljuje, je nravna in nravno brezbrifoa 
obenem." 
18 "Sodobnega cloveka zanima 'Gospodicna Julija' samo se kot Cisti psiholoski problem, a se na tern 
podrocju utegnemo imeti le malo razumevanja za trmoglave kapriciozne domislice, ki se porajajo v dusi 
clovesko, zivljenjsko, socialno povsem nezanimive grofovske hcere. Dolgotrajno, sirokobesedno oklevanje 
med zacetkom in koncem dandanes gledalca samo se utruja in Julijina poslednja frtev ne gre skoraj nikomur 
do srca." 
19 "IzraZalaje iskanje, skrb za nove rezijske poteze in poglabljanje v delo, vendar pa v celoti ni dozore-
la." 
92 
who also played the role of Kristin. Critical reviews were found only in two newspapers. 
The author F. V. (France Vurnik) in Ljubljanski dnevnik wonders why this theatre had 
decided to stage Miss Julie and speculates that the reason might be the "scarcity of 
classic and older drama plays in the repertoires of professional theatres" (Vurnik 1964: 
2).20 The reviewer describes the play as poor, average: "The revival of Strindberg's Miss 
Julie was realistically calm; had it not lack above all persuasion, it would not die away 
as a school-like, somewhat dry performance" (ibid.). 21 
Lojze Smasek is more thorough in his critical review titled "Neprepricljivo" ("Un-
covincing") in Veeer. He points out that Miss Julie reminds us of Shakespeare's plays 
such as Hamlet, King Lear and Othello because all these works are open to a number 
of interpretations: 
The characters are conceived so openly or, let us say fully, that they do 
not impose just one staging possibility, but they give us material for many 
variants, which are not completely separated, but intertwined, the emphasis 
lying now on the one end and now on the other end (Smasek 1964).22 
Smasek (ibid.) claims that the easiest interpretation of Miss Julie is the class 
interpretation, where the class difference between Julie and Jean is the reason for their 
unfulfilled love. He points out that some interpreters have gone further and seen in Julie 
"a will to overcome this barrier" ("foljo, da bi prerasla to pregrajo") (ibid.) and that there 
have also appeared interpretations of "Julie striving for a fall, for being trampled on and 
; punished" ("o Julijinem prizadevanju, da bi padla, da bi bila pohojena, kaznovana") (ibid.). 
Smasek points out that it is up to the director to choose an interpretation, according to their 
. taste but also according to the requirements of the time in which one lives. His opinion is 
that the director Draga Ahacic did not succeed in staging a sovereign modern interpreta-
tion although she chose a "soft class variant" ("razredno nepotencirano varianto") (ibid.) 
and she "avoided time bonds" ("izognila se je casovni vezanosti") (ibid.). According to 
Smasek the modern Miss Julie of the 1960s should not be "a 'classless' battle of the sexes, 
but a testimony of the impossibility of fulfillment of integral beauty, a testimony of the 
discrepancy between big wishes and small achievements and of the disappointment that 
follows, but also of 'better' chances with a realistic approach ... "(ibid.).23 
Smasek, too, like Vurnik in Ljubljanski dnevnik, believes that the play was per-
formed quite flatly, the actors having too little force of expression. He states also that 
AhaCic did not form Julie's character tragically enough and that a Julie like the one 
presented would never commit suicide. 
Six years later, in 1970, Miss Julie was performed at the Slovene Folk Theatre 
of Celje (Slovensko ljudsko gledalisee Celje) under the direction of Dusan Jovanovic. 
20 
"[ ••• ] pomanjkanja klasicnih in starejsih gledaliskih de! v repertoarju poklicnih gledalisc" 
21 "Ozivitev Strindbergove Gospodicne Julije je bila realisticno umirjena; manjkalo ji je predvsem pre-
pricljivosti, sicer ne bi izzvenela kot folska in nekoliko suha predstava." 
22 "Karakterji so zasnovani tako siroko ali, recimo, polno, da ne vsiljujejo ene same upodobitvene mo-
foosti, temvec dajejo gradiva za vec variant, ki pa niso stoodstotno locene in se prepletajo, samo enkrat s 
poudarkom na tern, drugic na onem koncu." 
23 "Ne 'brezrazredna' borba spolov, temvee prieevanje o neuresnicljivosti integralne lepote, o neskladju 
med velikimi zeljami in skromnimi dosezki, o razocaranju, ki sledi, pa tudi o 'boljsih' mofoostih realnega 
racuna ... " 
93 
The new translation, this time from Swedish, was rendered by Janko Moder. The re-
viewer Marjan Javornik, in Delo, responds positively to JovanoviC's work and praises 
the play as such. According to him Jovanovic picked the main motifs from the "gener-
ally known naturalistic arsenal (wine, illness, crime, sex, etc.)" ("[i]z splosno znanega 
naturalistienega arzenala (vino, bolezen, kriminal, spolnost, itd.)") (Javornik 1970) and 
adapted them to the "perception of the world and life own to e.g. contemporary young 
theatre-goers" ("obcutje sveta in zivljenja, kakrsnega ima - recimo - sodobna gleda-
liska mladina") (ibid.). This feeling expresses itself in "a stylized form of life [and] in 
a stylized theatrical idea of the basic motives of human existence" ("v [ ... ] stilizirani 
formi Zivljenja, v stilizirani gledaliski ideji o osnovnih gibalih Clovekovega bivanja") 
(ibid.). In this interpretation the role of the dialogue as a story-telling feature is set 
aside. The dialogue functions mainly as an expression of the inability of communica-
tion between the characters and their loneliness. In this Javornik sees the modernity 
of Strindberg and labels him a forerunner of modern existential drama. Other features 
that made the performance "a new kind of theatrical hypnosis" ("nove vrste gledaliska 
hipnoza") were the "colour component of the scenery, the colourful playing of the stage 
lights, the accompanying mood music [and] the pantomimic-dance inserts" ("barvni 
komponenti scene, barvnim igram luCi, razpolofenjsko intonirani glasbeni spremljavi, 
pantomimicno-plesnim sestavinam") (ibid.). 
According to Javornik, JovanoviC's main idea of Miss Julie was the battle of 
the sexes - "not a philosophical dispute but ah inexorable and brutal play of violence" 
("nikakrsen filozofski disput [ ... ] temvec neizprosna, brutalna igra nasilja") (ibid.). The 
social component of the play was deliberately blurred. Javornik sees in this the reason 
why the play, despite excellent directing, left the spectator unsatisfied and unengaged. 
Just a few months after the performance of Miss Julie in Celje (April 1971), the 
audience could see the play again in Ljubljana, performed by the newly-graduated ac-
tors of the Academy of Theatre, Radio, Film and Television (Akademija za gledalisce, 
radio, film in televizijo ). The performance received little critical response; in fact, only a 
short piece of criticism appeared in the newspaper Veeer under the title "The young put 
to the test" ("Preizkusnja mladih"). The author Borut Trekman gives a rather negative 
evaluation of the director's and of the actors' work. 
Like the performance in 1971, the production of Miss Julie in 1980 also carried out 
by the Slovene National Theatre in Maribor (Drama SNG Maribor), was subject to nega-
tive criticism. The title of the article "Birth in distress" ("Rojstvo v stiski") reveals some 
external factors that influenced the staging of the play. The author Lojze Smasek accounts 
for the fact that the actress performing Julie, Hermina Kocevar, was involved in a trial, 
looking for the right to act more and that the staging of Miss Julie came into being in a free, 
non-institutional manner. Smasek's opinion about the performance is rather negative: 
94 
We have seen a rather pale and superficial performance. Miss Julie was 
presented without any background, without undertones and without du-
alities [ ... ].Jean appeared most of the time to be annoyingly compliant, 
succeeding however in some of his harsher, more realistic and defying 
moments. Kristin, the third character of this play, was economically de-
leted (the play had a particular aim and was prepared for two actors); Julie 
and Jean talked to her as if she was behind the stage, of course, without 
getting any replies. 
The whole performance proves that it came into being in distress, that it is the 
consequence of special conditions and that it has a narrowly determined aim and mean-
ing, which all lie outside the outlined theatrical sphere (Smasek 1980).24 
The staging of Miss Julie that attracted the most reviewers' attention took place in 
Ljubljana and in Klagenfurt (Austria) in February and March 1994, performed by The 
Slovene Youth Theatre in Ljubljana (Slovensko mladinsko gledalisce v Ljubljani). The 
eight reviews were published in the main national dailies (Delo [twice, one for each of the 
two performances], Dnevnik, Slovenec, Veeer), in the Austrian Slovene minority weekly 
Slovenski vestnik, in the magazine Razgledi and even in the daily tabloid Slovenske novice. 
The play was directed by Eduard Miler, who also made the translation, together with 
Tomaz Toporisic. The critical response was, with one exception, unanimously positive. 
According to the reviews the director omitted or minimized the main naturalistic features 
in order to focus on the battle of the sexes, where Julie and Jean "play with the forces of 
power and powerlessness, with subordination and control, with hope and hopelessness" 
(Kunst 1994).25 According to Kardum, Miler appears to be on Julie's side, and labels 
him a "feminist" (Kardum 1994). With reference to Miler's former preoccupation with 
female roles, Kardum claims that Miler is "[u]ndoubtedly the most 'female' director in 
Slovenia at present day" (ibid.). 26 The author emphasizes the excellent rhythm of the play 
and the outstanding actors' performance (Natasa Barbara Gracner, Pav le Ravnohrib and 
Maru8a Oblak), which is a point on which the other reviewers agree as well. Besides, 
' they all seem to appreciate Miler's focusing on the relationships and the characters' 
detailed rendering of every move and every word. 
The partially negative review is rendered in Dnevnik (17. 5. 1994 ), where the anony-
mous author writes that the play is "existentially unsatisfactory" ("eksistencialno nezados-
ten") because of Miler's indecisiveness about "two key questions: What really happened 
to the two main characters? and: How does this affect the performance" (ibid.).27 
As to the language of the new translation, opinions differ; on the one hand 
Ostrouska (1994) says that "the language [is] full and everyday, fitting into the associa-
tive and cognitive context of the purified scenes of the intensifying emotional states."28 
On the other hand the anonymous reviewer in Dnevnik (17. 5. 1994) calls the translation 
"problematic" but does not go into detail. 
24 "Videli smo precej bledo in povrsinsko uprizoritev. Gospodicna Julija se je predstavila brez ozadij, 
brez podtonov, brez dvojnosti [ ... ] . Jean je de I oval vecinoma motece maziljeno, toda nekaj trsih, stvarnejsih, 
upirajocih se trenutkov mu je kar uspelo. Kristin, tretjo osebo tega dela, pa so uprizarjalci kar ekonomizirajoce 
crtali (igraje bila pac pripravljena v poseben namen, samo za dva) - z njo sta se Julija in Jean pogovarjala 
kot da se zadrfoje za odrom, seveda brez njenih odgovorov. N sa uprizoritev dokazuje, da je nastala v stiski, 
da je posledica posebnih pogojev in da ima ozko dolocen namen in pomen, ki so vsi zunaj sirse zacrtanih 
gledaliskih razsefoosti." 
25 
"[ ••• ] balinata s silami moci in nemoci, s podrejanjem in obvladovanjem, z upom in brezupom." 
26 "Nedvomno je najbolj 'fonski' reziser na Slovenskem <lanes." 
27 
"[ ••• ] dvoje vpra8anj: Kaj se je med obema protagonistoma v resnici zgodilo? in: Kaj to v uprizoritvi 
pomeni?" 
28 "[ ••• ] jezikje znova ucinkoval plasticno in vsakdanje, primerno asociativnemu in miselnemu kontekstu 
izciscenih prizorov stopnjujocih se custvenih stanj." 
95 
In 2005 two productions of Miss Julie took place, one in January at the Slovene 
National Theatre in Trieste I Trst in Italy (Slovensko stalno gledaliSce Trst) and the other 
in April at the Koper Theatre (Gledalisce Koper). Neither of them seemed to be fully 
satisfactory to reviewers. Gombac (2005a) is quite harsh, direct, but at the same time 
amusing in his review of the performance in Trieste and notes a number of shortcom-
ings. He starts with Janko Moder's translation from the 1970s: 
The director Vinko Moderndorfer put on stage the classic drama of the 
classic Swedish author August Strindberg (1848 - 1912) using a three-
decades-old, terribly sterile translation by Janko Moder. The bookish 
literary language turns the naturalistic drama into its opposite: the play 
becomes distinctively theatrical, bombastic and pathetic - something quite 
different from realistic. If an actor in the year 2005 on the stage exclaims 
"Ne kvasaj!" ("Don't drivel!"), Naturalism is over (ibid.)29• 
Gombac continues his criticism: "The chamber play receives a less gentle slap 
from the vast stage of the Trieste theatre, on which the three actors seem lost like in a 
desert" (ibid.).30 The author believes that the directing was "clumsy and superficial" 
("okorna, povrsna rezija") (ibid.) and criticizes the director's inability to create "the 
intoxicating midsummer night's atmosphere - the key detonator of Julie's tragic fate" 
(ibid.).31 Instead of the appearance of celebrating merry peasants, the director sends 
on stage "foiir inaskeO dancers iri red costumes; who[ ... ] to the striRing musicofJani 
Golob, carry out a kind oflndian dance" (ibid.).32 The reviewer is neither satisfied with 
the actors' performance, partly blaming again the translation. Besides, the reviewer notes 
a lack of blood on the stage, at least in the scene where Jean kills Julie's bird. 
The other pieces of criticism regarding the performance in Trieste are not so harsh. 
They criticize above all the actors' performance and not so much the director's inter-
pretation of the play. An interesting fact is that Mermolja' s review in Primorski dnevnik 
(16.1. 2005) is diametrically opposed to Gombac's. He gives a very positive review of 
the performance and praises Moderndorfer's "accurate and clean reading" ("nataneno in 
Cisto branje") (Mermolja 2005) of Strindberg's text. He is of the opinion that the director 
"created a compact and effective performance" ("kompaktno in ucinkovito predstavo") 
(ibid.). He also notes the actors' capable interpretation of the roles. 
The staging of Miss Julie in Koper gave rise to three pieces of criticism. Two of them 
were written by the same reviewers (Gombac and Gorjup Posinkovic) that attended the 
performance in Trieste. Gombac (2005c) starts his review, like in his other one, with the 
language. Here, he speaks in favour of the modernization of Janko Moder's translation. He 
29 "Reziser Vinko Mi.iderndorfer je klasicno dramo svedskega klasika Augusta Strindberga (1849 - 1912) 
na oder namrec postavil v debela tri desetletja starem, obupno sterilnem prevodu Janka Modra. Papirnata 
knjifoa slovenscina naturalistieno dramo spreobrne v njeno nasprotje: igra postane izrazito teatralicna, pri-
vzdignjena, pateticna, vse kaj drugega kot realisticna. Ce igralec leta 2005 na odru vzklikne "Ne kvasaj!", 
je z naturalizmom pac konec." 
30 "Nie sibkejso klofuto komorni predstavi da prostran oder trfaskega gledalisca, na katerem zgolj trije 
gledalci izgledajo kot v puseavi." 
31 "[ ••• ] opojnega vzdusja kresne noci, kljucnega detonatorja tragicne Julijine usode." 
32 
"[ ••• ] stirje v rdece kostume zamaskirani plesalci, ki na odru ob udarni glasbi Janija Goloba odplesejo 
nekaksen indijanski pies." 
96 
points out that the director Dusan Mlakar reduced the naturalistic ideas to the minimum and 
emphasized instead the battle of the sexes. He compares this staging to the one in Trieste 
and states that even here the performance fails to represent "the intoxicating atmosphere 
of midsummer's night" ("opojnega vzdusja kresne noci") (ibid.). The author has a positive 
opinion of the actors' performance and of the "intensification of the announcement of the 
tragic denouement" ("stopnjevanje napovedi tragienega razpleta") (ibid.). 
Vida Gorjup Posinkovic (2005b) sees the staging as being true to the original and 
the director having a "calm and reliable hand" ("mirna in zanesljiva reziserjeva roka"). 
The greatest shortcoming of the play is, according to her, the disproportion between the 
two main characters (performed by Natasa Tic Ralijan and Gasper Tic), the attention 
shifting too much towards Jean. 
Primoz Jesenko, the reviewer in Delo writes that Mlakar's production was "ac-
curately measured from the beginning to the end" ("od zacetka do konca natanko 
izmerjena") (Jesenko 2005). 
The most recent staging of Miss Julie took place in March 2008. The director 
Mateja Kolefoik translated the play together with Gregor Fon and also adapted it. One 
of the major changes is Julie's fate; she does not commit suicide, but comes out on 
the stage with a razor in her hands after having killed Jean. Julie decides to confess 
what she did to her father and to move on with her life. The play can barely be called 
a tragedy any more. 
The reviewers in Delo and Dnevnik accept Kolefoik's adaptation positively, whe-
reas in Gorenjski glas the changed ending is not even mentioned. All three reviews are 
' positive, but not very exhaustive. 
The stagings of Miss Julie (Gospodicna Julija) recorded by the Slovene Theatre 
·.Museum: 
Date of first Director: Theatre: Translated by: 
performance: 
April 6, 1921 Emil Kralj The Slovene National Theatre Ferdo Kozak 
in Ljubljana 
January 8, 1938 Bojan Stupica The Slovene National Theatre Fran Albreht 
in Ljubljana 
June 24, 1953 Bostjan Hladnik The Academy of Acting Arts in Ljubljana Fran Albreht 
May 11, 1964 Draga Ahacic The Ad Hoe Theatre in Ljubljana Fran Albreht 
Nov. 26, 1970 Dusan Jovanovic The Slovene Folk Theatre of Celje JankoModer 
April 2, 1971 Albert Kos The Academy for Theatre, Radio, Film Janka Moder 
and Television in Ljubljana 
Feb.29, 1980 BrankaNikl The Slovene National Theatre JankoModer 
inMaribor 
March 10, 1994 Eduard Miler The Slovene Youth Theatre Eduard Miler 
in Ljubljana and Tomaz Toporisic 
January 14, 2005 Vinko Moderndorfer The Slovene National Theatre in Trieste I Trst JankoModer 
April 9, 2005 Dusan Mlakar The Koper Theatre JankoModer 
March 21, 2008 Mateja Kolefoik The France Preseren Theatre in Kranj Gregor Fon and 
Mateja Kolefoik 
97 
CONCLUSION 
After going through the critical response that August Strindberg's Miss Julie has 
elicited in Slovenia, we see that the attitude towards the play changed in the course of 
time. On its first stagings the play was perceived as rigorously naturalistic, and as such 
rejected as being out of date. In the 1960s and 70s the attitude began to change, with 
the directors and critics beginning to see new possibilities of interpretation, while the 
battle of the sexes still remained the main idea. The naturalistic features were taken 
away or minimized in order to focus on the relationships between the characters and on 
their psychological complexity. 
Another conclusion we can make after reading the reviews is that the play itself 
is still popular and interesting for the directors, the critics and the audience, but it still 
seems very hard to perform. The critics, while differing in their taste regarding the inter-
pretation varieties, are unanimous on the character of Julie lacking greater psychological 
depth and complexity together with a more powerful expression. 
University of Ljubljana, Slovenia 
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