Abstract: Everyone is in agreement about the disagreements between Strindberg and Ibsen regarding feminism. They differ, however, when it comes to the battle for the authority of theatrical invention, determined by a veritable competition at the artistic, not ideological, level. Competition, and also emulation: scorned, hardly recognised, the younger dreams about dethroning his elder, whose great talent he acknowledges, while the elder does not hesitate to praise the dramatic power of a play like Père.
