How did August Strindberg use props as symbols in his plays?

August Strindberg utilized stage props as symbols as a key component of his dramatic Naturalism. By integrating these symbolic objects alongside stark scenery and unaffected dialogue, he moved away from traditional, luxurious stage settings to create a more concentrated and psychologically intense theatrical experience.1

In his works written between 1887 and 1893—such as The Father and Miss Julie—these props served to externalize the internal psychological states of his characters and underscore the social conflicts central to his plays. This technique was part of a broader effort to revolutionize European drama, allowing him to transform autobiographical material and complex human emotions into brilliant, focused dramatic dialogue.1