The play was developed as an Artistic Development Project at the Stockholm Academy of Dramatic Arts. Anna Pettersson attempts to explore the interaction of the moving image with the actor’s physical expression in a theatrical performance.
Anna Pettersson makes a self-willed interpretation of ‘Miss Julie’, directing and playing all parts herself. The stage includes a cameraman filming the actress, projecting imagery onto the backdrop which is the only scenography.
After a sold-out run at Strindbergs Intima Theater in Stockholm in spring 2012, Anna Pettersson has performed her ‘Miss Julie’ in several theatres around Sweden.
The performance has also toured four continents, visiting Bulgaria, Macedonia, South Africa, USA and South Korea. In addition to the performances, she has also given lectures and workshops at the National Theatre of Korea in Seoul, Market Theatre in Johannesburg, the University of California in Berkley and the University of Washington in Seattle.
Anna Pettersson is an actress, director and drama teacher. She played the lead role in “Hedda Gabler”, the angel in “Angels In America” at the Stockholm City Theatre, “Boston Marriage” at the Royal Dramatic Theatre and has been working with Sweden’s leading dramatists Lars Norén and Kristina Lugn. She has written plays for herself and others, performed in about 20 TV and movie productions, and has also directed several plays (“The Seagull” by Tjechov and “The Misanthrope” by Moliére, amongst others). In 1999, she received the prestigious Thalia Award, and has also received two scholarships from The Swedish Academy.
For her performance “Miss Julie” by August Strindberg she was awarded the Dagens Nyheters Culture Award, TCO’s Culture Award and the Swedish Section of the International Association of Theatre Critics Theatre Award. In July 2013 she will receive the award for Actor of the Year in Prespa, Macedonia.
Miss Julie is interesting because it is Strindberg’s most frequently staged work and most Swedes have some relation the play. Miss Julie the cliché has become more potent than the drama itself. It is easy to envisage Jean’s broad-legged stance in the black riding boots and just as easy to see Julie’s manipulative and coquettish seductive moves or Kristin’s wholesome and rustic appearance. But what are they actually saying?
I started out with the text; expanded, looped and tried to peel away that which shadows the existential conditions shared by the characters in the play. We are used to interpreting Miss Julie in a psychological or naturalistic tradition, but what are the consequences of staging the drama in this way 100 years after Strindberg’s death? When all roles play out within one and the same person, power, class and gender structure gain a new dimension. It is my hope that the audience will get a chance to hear, sense and discover a new Miss Julie.
When all roles play out within one and the same person, power, class and gender structure gain a new dimension. It is my hope that the audience will get a chance to hear, sense and discover a new Miss Julie.