Abstract
Unlike Macbeth and A Doll’s House, August Strindberg’s chamber play Spoksonaten, usually rendered as The Ghost Sonata in English, is hardly intelligible at a literal surface level. When interpreted on a metaphorical level, i.e. when the bewildering signifiants are ‘translated’ into meaningful and coherent signifies, it may be seen as ‘the first great absurdist drama’.1 With his conviction that ‘the motif determines the form’,2 Strindberg in The Ghost Sonata has created a drama which is more theme- than plot-centred. Like A Dream Play, The Ghost Sonata is a norm-breaking drama, more epic and more subjective than Macbeth and A Doll’s House. How can a drama of this sophisticated kind be transposed for the screen mass media, accustomed as they are to more immediately intelligible, realistic fare?
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