Standaard Boekhandel gebruikt cookies en gelijkaardige technologieën om de website goed te laten werken en je een betere surfervaring te bezorgen.
Hieronder kan je kiezen welke cookies je wilt inschakelen:
Technische en functionele cookies
Deze cookies zijn essentieel om de website goed te laten functioneren, en laten je toe om bijvoorbeeld in te loggen. Je kan deze cookies niet uitschakelen.
Analytische cookies
Deze cookies verzamelen anonieme informatie over het gebruik van onze website. Op die manier kunnen we de website beter afstemmen op de behoeften van de gebruikers.
Marketingcookies
Deze cookies delen je gedrag op onze website met externe partijen, zodat je op externe platformen relevantere advertenties van Standaard Boekhandel te zien krijgt.
Je kan maximaal 250 producten tegelijk aan je winkelmandje toevoegen. Verwijdere enkele producten uit je winkelmandje, of splits je bestelling op in meerdere bestellingen.
The Nobel Prize–winning author here adapts Dostoyevsky’s masterpiece for the stage—a rousing invective against nihilism that brings together two of the great literary minds of the last two centuries
When Albert Camus first read Dostoevsky as a twenty-year-old philosophy student, it was, he said, a “soul-shaking experience.” The Possessed, with its disdain for nihilism, became a lifelong touchstone; “for almost twenty years,” he writes in the foreword to this adaptation, “I have visualized its characters on the stage.” The enigmatic Stavrogin, the gentle Shatov, and the God-haunted Kirilov are here reinvigorated by Camus’s own moral conviction. Drawing on hundreds of pages from Dostoevsky’s notebooks, he sought to preserve the “thread of suffering and affection that makes Dostoevsky’s universe so close to each of us.”
The last finished work before Camus’s death, The Possessed premiered in 1959—with Camus himself directing. The play ran for four hours, with thirty-three actors and seven sets, and was an artistic and technical triumph. More than six decades later, its themes of political violence and ideological extremism are no less potent. As Adam Gopnik concludes in a new introduction: “A play written as a summation of the madness of the middle of the twentieth century, The Possessed remains a warning to the first quarter of our own.”