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Machinal
The city. A woman is restless. A woman is suffocating. A woman is silenced. The woman revolts.
A visceral expressionist masterpiece, Sophie Treadwell's play Machinal was first seen on Broadway in 1928, London in 1930, and was later revived in the 1990s.
This edition was published alongside the 2018 production at the Almeida Theatre, London, directed by Natalie Abrahami.
'gripping... doesn't loosen its hold on the senses until its shattering climax' - Independent
'stingingly fresh and provocative' - Time Out New York
'[a work of] rare and disturbing beauty' - New York Times
131 pages, Kindle Edition
First published January 1, 1928
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August 3, 2025
نمایش زن ماشینی نوشته‌ی سوفی تردول در سال ۱۹۲۸ خلق شد، الهام‌گرفته از پرونده‌ی جنجالی قتل «روت اسنایدر». اما تردول به جای بازگویی یک داستان واقعی، جهانی نمادین می‌سازد؛ جهانی که در آن شخصیت‌ها نام ندارند و تنها به نقش‌های اجتماعی‌شان شناخته می‌شوند: منشی، مادر، شوهر. این بی‌نامی، نشان می‌دهد که فردیت چگونه در جامعه‌ای ماشینی و بی‌روح از بین می‌رود.
نمایش در نه صحنه روایت می‌شود و از همان آغاز، با سر و صدای دستگاه‌ها، زنگ‌های تلفن و گفت‌وگوهای تند، حسی خفه‌کننده ایجاد می‌کند. این شلوغی و هرج‌ومرج، نه تنها فضای بیرونی، بلکه ذهن هلن، زن جوان داستان را هم به تصویر می‌کشد. او نه زندگی می‌کند و نه حتی فرصت فکر کردن دارد؛ مهره‌ای‌ست در دل یک چرخ‌دنده‌ی عظیم که بی‌وقفه می‌چرخد.
از صحنه‌ی دوم، لایه‌های تراژدی عمیق‌تر می‌شوند. هلن هرگز عشق را نشناخته است و ازدواج را راهی برای رهایی می‌بیند. شوهرش مردی مهربان است، اما مهربانی برای زنی که تشنه‌ی عشق است کافی نیست. نبود عشق، حتی مهربانی را به نوعی ستم بدل می‌کند، و هر لبخند یادآور چیزی می‌شود که او هرگز تجربه نکرده است.
در این بن‌بست، عشق به شکلی غیرمنتظره ظاهر می‌شود، رابطه‌ای با مردی دیگر، که برای نخستین بار به زندگی هلن طعمی تازه می‌دهد. اما این عشق نجات‌بخش نیست، شعله‌ای‌ست که جنون را در وجود او شعله‌ور می‌کند. جست‌وجوی معنا، که سال‌ها سرکوب شده بود، ناگهان به خشمی مرگبار تبدیل می‌شود و سرانجام، او همسرش را می‌کشد. این قتل نه فقط عملی شخصی، بلکه فریادی برای رهایی از جهانی است که او را در هم شکسته است.
زن ماشینی یکی از مهم‌ترین آثار تئاتر اکسپرسیونیسم آمریکایی به شمار می‌آید. تردول با ترکیب فضای سرد و صنعتی با روان‌کاوی دقیق یک زن، تصویری از جامعه‌ای می‌سازد که انسان را به ابزار تبدیل می‌کند. اجرای این نمایش در طول دهه‌ها، بارها بازخوانی شده و هر بار با طراحی صحنه و صداهای ماشینی، همان حس خفگی و بی‌هویتی را به شکلی تازه به مخاطب منتقل کرده است.
در پایان، پرسشی که نمایش مطرح می‌کند ساده اما تکان‌دهنده است: آیا هلن مقصر است یا جهانی که او را بلعیده؟ و اگر جنایت نتیجه‌ی جست‌وجوی آزادی باشد، آیا آزادی ارزش چنین بهایی را دارد؟
برداشت شخصی
خواندن زن ماشینی برای من فقط تجربه‌ی یک نمایشنامه‌ی خارجی نبود؛ انگار آینه‌ای بود که تصویری آشنا را پیش رویم گرفت. هلن، با آن اضطراب‌های پنهان و سکوت‌های خفه‌کننده‌اش، یادآور زنانی است که در ایران می‌بینم؛ زنانی که میان سر و صدای جامعه و فشارهای نامرئی، آن‌قدر درگیر زنده‌ماندن‌اند که حتی فرصت پرسیدن از معنای «زندگی» را ندارند.
در ایران، مهربانی هم می‌تواند شکلی از ستم باشد، درست مثل نمایشنامه. وقتی آزادی انتخاب وجود ندارد، وقتی عشق یک حق طبیعی نیست و وقتی امنیت در گرو سکوت است، حتی چیزهایی که باید تکیه‌گاه باشند، سنگین‌تر از زنجیر می‌شوند. مثل هلن، خیلی‌ها ازدواج را راهی برای رهایی می‌بینند، اما اغلب می‌شود دری که به اتاقی کوچک‌تر و تاریک‌تر باز می‌شود.
هلن با قتل، جنونش را فریاد می‌زند، اما این جنون، چیزی نیست جز انباشتی از خفقان. این‌جا هم، در میان زنانی که می‌شناسم، گاهی همان انفجار را می‌بینم؛ نه لزوماً به شکل یک جنایت، بلکه در قالب انتخاب‌های بی‌پروا، سکوت‌های مرگبار، یا حتی در چشم‌هایی که نگاه‌شان مثل آتشی خاموش است، اما هنوز دود می‌کند.
زن ماشینی به من یادآوری کرد که جنون و عصیان، همیشه محصول یک فرد «مشکل‌دار» نیستند، بلکه نتیجه‌ی سیستمی‌اند که انسان را له می‌کند. و وقتی به زنان کشور خودم فکر می‌کنم، می‌بینم این ماشین هنوز روشن است، هنوز می‌چرخد، و هر صدای اعتراضی که از درونش بیرون می‌آید نه تنها عجیب نیست بلکه طبیعی‌ترین واکنش ممکن است.
نمایش در نه صحنه روایت می‌شود و از همان آغاز، با سر و صدای دستگاه‌ها، زنگ‌های تلفن و گفت‌وگوهای تند، حسی خفه‌کننده ایجاد می‌کند. این شلوغی و هرج‌ومرج، نه تنها فضای بیرونی، بلکه ذهن هلن، زن جوان داستان را هم به تصویر می‌کشد. او نه زندگی می‌کند و نه حتی فرصت فکر کردن دارد؛ مهره‌ای‌ست در دل یک چرخ‌دنده‌ی عظیم که بی‌وقفه می‌چرخد.
از صحنه‌ی دوم، لایه‌های تراژدی عمیق‌تر می‌شوند. هلن هرگز عشق را نشناخته است و ازدواج را راهی برای رهایی می‌بیند. شوهرش مردی مهربان است، اما مهربانی برای زنی که تشنه‌ی عشق است کافی نیست. نبود عشق، حتی مهربانی را به نوعی ستم بدل می‌کند، و هر لبخند یادآور چیزی می‌شود که او هرگز تجربه نکرده است.
در این بن‌بست، عشق به شکلی غیرمنتظره ظاهر می‌شود، رابطه‌ای با مردی دیگر، که برای نخستین بار به زندگی هلن طعمی تازه می‌دهد. اما این عشق نجات‌بخش نیست، شعله‌ای‌ست که جنون را در وجود او شعله‌ور می‌کند. جست‌وجوی معنا، که سال‌ها سرکوب شده بود، ناگهان به خشمی مرگبار تبدیل می‌شود و سرانجام، او همسرش را می‌کشد. این قتل نه فقط عملی شخصی، بلکه فریادی برای رهایی از جهانی است که او را در هم شکسته است.
زن ماشینی یکی از مهم‌ترین آثار تئاتر اکسپرسیونیسم آمریکایی به شمار می‌آید. تردول با ترکیب فضای سرد و صنعتی با روان‌کاوی دقیق یک زن، تصویری از جامعه‌ای می‌سازد که انسان را به ابزار تبدیل می‌کند. اجرای این نمایش در طول دهه‌ها، بارها بازخوانی شده و هر بار با طراحی صحنه و صداهای ماشینی، همان حس خفگی و بی‌هویتی را به شکلی تازه به مخاطب منتقل کرده است.
در پایان، پرسشی که نمایش مطرح می‌کند ساده اما تکان‌دهنده است: آیا هلن مقصر است یا جهانی که او را بلعیده؟ و اگر جنایت نتیجه‌ی جست‌وجوی آزادی باشد، آیا آزادی ارزش چنین بهایی را دارد؟
برداشت شخصی
خواندن زن ماشینی برای من فقط تجربه‌ی یک نمایشنامه‌ی خارجی نبود؛ انگار آینه‌ای بود که تصویری آشنا را پیش رویم گرفت. هلن، با آن اضطراب‌های پنهان و سکوت‌های خفه‌کننده‌اش، یادآور زنانی است که در ایران می‌بینم؛ زنانی که میان سر و صدای جامعه و فشارهای نامرئی، آن‌قدر درگیر زنده‌ماندن‌اند که حتی فرصت پرسیدن از معنای «زندگی» را ندارند.
در ایران، مهربانی هم می‌تواند شکلی از ستم باشد، درست مثل نمایشنامه. وقتی آزادی انتخاب وجود ندارد، وقتی عشق یک حق طبیعی نیست و وقتی امنیت در گرو سکوت است، حتی چیزهایی که باید تکیه‌گاه باشند، سنگین‌تر از زنجیر می‌شوند. مثل هلن، خیلی‌ها ازدواج را راهی برای رهایی می‌بینند، اما اغلب می‌شود دری که به اتاقی کوچک‌تر و تاریک‌تر باز می‌شود.
هلن با قتل، جنونش را فریاد می‌زند، اما این جنون، چیزی نیست جز انباشتی از خفقان. این‌جا هم، در میان زنانی که می‌شناسم، گاهی همان انفجار را می‌بینم؛ نه لزوماً به شکل یک جنایت، بلکه در قالب انتخاب‌های بی‌پروا، سکوت‌های مرگبار، یا حتی در چشم‌هایی که نگاه‌شان مثل آتشی خاموش است، اما هنوز دود می‌کند.
زن ماشینی به من یادآوری کرد که جنون و عصیان، همیشه محصول یک فرد «مشکل‌دار» نیستند، بلکه نتیجه‌ی سیستمی‌اند که انسان را له می‌کند. و وقتی به زنان کشور خودم فکر می‌کنم، می‌بینم این ماشین هنوز روشن است، هنوز می‌چرخد، و هر صدای اعتراضی که از درونش بیرون می‌آید نه تنها عجیب نیست بلکه طبیعی‌ترین واکنش ممکن است.
September 1, 2025
Table read with my friends and it was powerful and moving
July 27, 2018
Celebrity Death Match Special: Determinism versus Free Will 8, This Time It's Machinal
— So what did you think of the play?
— It was great! She did such a great job of portraying that poor woman. You said it was based on a—
— That's right. A true story about a woman who killed her husband. I don't think that's sending a very positive message.
— But the point is she never had any choice. This was the only solution she could see. The whole staging is arranged to show that. Sometimes the only thing you can do is take a bottle full of small stones and club your husband to death with it.
— You always have a choice.
— Sure, you always have a choice, because you're a strong, capable, rational person. But she isn't. Many people are like that.
— That's no excuse.
— Look, it's a Greek tragedy. Couldn't be clearer. In the scene where she's at work, the rest of the typing pool is obviously the chorus.
— So?
— Well, that view of life has a fair track record.
— I'm still not buying it.
— Right, let's talk about something that actually is an undisputed Greek tragedy. When you watch Antigone, is your reaction that you just want to shake some sense into the heroine?
— Yeah, pretty much.
— Okay. Basically, you just didn't think it was any good?
— No, I loved it! Worth coming just for the creative lighting.
— Um... you mean that in fact we agree?
— Absolutely.
No result due to unexpected deus ex Machinal
— So what did you think of the play?
— It was great! She did such a great job of portraying that poor woman. You said it was based on a—
— That's right. A true story about a woman who killed her husband. I don't think that's sending a very positive message.
— But the point is she never had any choice. This was the only solution she could see. The whole staging is arranged to show that. Sometimes the only thing you can do is take a bottle full of small stones and club your husband to death with it.
— You always have a choice.
— Sure, you always have a choice, because you're a strong, capable, rational person. But she isn't. Many people are like that.
— That's no excuse.
— Look, it's a Greek tragedy. Couldn't be clearer. In the scene where she's at work, the rest of the typing pool is obviously the chorus.
— So?
— Well, that view of life has a fair track record.
— I'm still not buying it.
— Right, let's talk about something that actually is an undisputed Greek tragedy. When you watch Antigone, is your reaction that you just want to shake some sense into the heroine?
— Yeah, pretty much.
— Okay. Basically, you just didn't think it was any good?
— No, I loved it! Worth coming just for the creative lighting.
— Um... you mean that in fact we agree?
— Absolutely.
No result due to unexpected deus ex Machinal
January 23, 2020
How to avoid ending up like Helen Jones:
Helen: Ma!
Mother: What?
Helen: There's a man!
Mother: A man!
Helen: He wants to marry me!
Mother: Wants to marry you!
Helen: He says I have nice little hands!
Mother: Nice little hands?
Helen: But his are fat and flabby.
Mother: Say no.
Inspired by the true story of Ruth Snyder, Machinal is an expressionist play that explores the insanity to which a woman is driven by her increasingly mechanically oppressive world of the 1920's. She does murder her husband with the weird hand fetish. I'm not sure how much sympathy I actually have for her.
This play is as annoying to read as any mechanical sound heard on repeat can be. The dialogue is purposefully repetitive and disjointed, but it only served to rouse my annoyance, not my sympathy. Helen, poor dear, did not have many things in her favour for me to root for her (if that is even the point? Are we supposed to feel sorry for her?).
The court case scene was good, which earned it a full extra star (court case scenes rarely fail to interest me greatly), but otherwise this play was frankly a dead bore, and a headache to read.
Helen: Ma!
Mother: What?
Helen: There's a man!
Mother: A man!
Helen: He wants to marry me!
Mother: Wants to marry you!
Helen: He says I have nice little hands!
Mother: Nice little hands?
Helen: But his are fat and flabby.
Mother: Say no.
Inspired by the true story of Ruth Snyder, Machinal is an expressionist play that explores the insanity to which a woman is driven by her increasingly mechanically oppressive world of the 1920's. She does murder her husband with the weird hand fetish. I'm not sure how much sympathy I actually have for her.
This play is as annoying to read as any mechanical sound heard on repeat can be. The dialogue is purposefully repetitive and disjointed, but it only served to rouse my annoyance, not my sympathy. Helen, poor dear, did not have many things in her favour for me to root for her (if that is even the point? Are we supposed to feel sorry for her?).
The court case scene was good, which earned it a full extra star (court case scenes rarely fail to interest me greatly), but otherwise this play was frankly a dead bore, and a headache to read.
November 12, 2016
Machinal is a play by Sophie Treadwell that focuses on a Young Woman meeting her Husband, and the inevitable downspiral of her life as she knows it. It's a surprisingly adult and progressive play for being written in the 1920's, because of its major emphasis on feminism.
The Young Woman is controlled throughout the entire play. From her boss, to her husband, to even the man she chooses to have an affair with- every scene involves her being dictated to or controlled to do something, oftentimes against her own will, until we reach the key scene where she does choose... and society recoils at her one true decision.
The play is grim and very intelligent. The world of Machinal is mechanical, claustrophobic, and disconnected- much like how the Young Woman must often feel. And that bleeds into the striking social commentary that Treadwell obviously had in mind for this story.
However much I enjoyed the social commentary, there are parts where it bled through a little too obviously, but it wasn't terrible enough for me to say this play is garbage. Far from it. This is a great play, and I'm giving it a high recommendation to anyone looking for a very smart and depressing story about women's rights.
The Young Woman is controlled throughout the entire play. From her boss, to her husband, to even the man she chooses to have an affair with- every scene involves her being dictated to or controlled to do something, oftentimes against her own will, until we reach the key scene where she does choose... and society recoils at her one true decision.
The play is grim and very intelligent. The world of Machinal is mechanical, claustrophobic, and disconnected- much like how the Young Woman must often feel. And that bleeds into the striking social commentary that Treadwell obviously had in mind for this story.
However much I enjoyed the social commentary, there are parts where it bled through a little too obviously, but it wasn't terrible enough for me to say this play is garbage. Far from it. This is a great play, and I'm giving it a high recommendation to anyone looking for a very smart and depressing story about women's rights.
February 22, 2024
One of those works that must have been pretty controversial at its time but quite common for today's reader.
Still enjoyed it though.
Still enjoyed it though.
October 16, 2017
I loved this play. It's a fantastic display of expressionism and the episodic structure works so well. It's also eerily relevant in the current climate regarding sexual assault, especially in places of work, and just women in society in general. Absolutely beautiful and completely tragic.
October 26, 2016
Like Eugene O'Neli, Treadwell shows her talent as an expressionist writing capturing themes of alienation and individualism on a profound level. SPOILERS!!!! The main plot of this story involves a woman named Helen who marries her boss against her desires. She spirals into insanity which pushes her to murder him. The last scene in which she begs to be spared the electric chair feels extremely visceral. Expressionism's ability to capture raw human emotions really makes you feel sympathetic for Helen and draws you into the scene. The best aspect of this play is how Treadwell really captured the tumultuous nature of human emotion.
July 27, 2018
How unlucky was this? Having arranged to see this months ago at the Almeida, we got to hang out afterwards with S-L and her erudite visiting American friend Daniel. Daniel's a playwright and so on and so forth. You say something like 'I wanted to bang some sense into her' he says something very complicated and technical and theatrery. It was a great opportunity. If only I hadn't soundly slept through at least half the play, I could have taken advantage of it.
I am curious to know if I would have liked this better if I'd seen the whole thing....
I am curious to know if I would have liked this better if I'd seen the whole thing....
January 20, 2024
Stark tobak.
Innan J. Andreasson skrev om Machinal i föregående bok hade jag varken hört talas om den eller Sophie Treadwell. Nu har jag burit omkring på den i en vecka och läst så fort jag fått en ledig stund.
Ser så fram emot att se någon uppsättning av den här.
Innan J. Andreasson skrev om Machinal i föregående bok hade jag varken hört talas om den eller Sophie Treadwell. Nu har jag burit omkring på den i en vecka och läst så fort jag fått en ledig stund.
Ser så fram emot att se någon uppsättning av den här.
October 19, 2021
“God never had one—Mary had one—in a manger—the lowly manger—God’s on a high throne—far—too far—no matter”
1920s modernism stays winning
1920s modernism stays winning
June 10, 2025
4.5 ⭐ quest'opera è molto forte, basata su una storia vera, ma è super interessante a livello di messa in scena secondo me, non a caso un baluardo del teatro espressionista !!
February 14, 2024
This was straight funky
March 22, 2021
A careful, if unsubtle, masterpiece.
February 17, 2017
معجبتنيش النهاردة حظي وحش مع الكتب مقابلتش رفيق كويس
February 17, 2010
I read this because SLU is putting it on as their next production, and I wanted to audition for it. This is probably a play that has to be seen to be fully appreciated, because of the Expressionist sound effects, but I liked the script, as simple as it was. It's probably hard for people to understand why the character remained so passive until the last second, but I can identify with her feelings of helplessness and that everyone is in control of your life but you. She always had choices and multiple opportunities to take control of her life, but she couldn't see them because of her fear and passivity that had been ingrained in her by nearly all her life experiences. That's probably the real tragedy of the play.
February 16, 2022
“There must be something that looks out for you and brings you your happiness...”
well this is not what i was expecting. i thought it was going to be a lot weirder and different but it was good and a little slow and boring at times. i feel like i don’t really know exactly what was trying to be said with this show but that could also be due to the fact that i haven’t read a lot of expressionist theatre but i just kept hoping for more to happen. interesting that this is based on a real life event but i’m like uhh what did this even mean. i think it would be better seen as a production but also umm what is the significance of the title because i have no idea.
well this is not what i was expecting. i thought it was going to be a lot weirder and different but it was good and a little slow and boring at times. i feel like i don’t really know exactly what was trying to be said with this show but that could also be due to the fact that i haven’t read a lot of expressionist theatre but i just kept hoping for more to happen. interesting that this is based on a real life event but i’m like uhh what did this even mean. i think it would be better seen as a production but also umm what is the significance of the title because i have no idea.
December 23, 2015
I saw an off-off-Broadway production of "Machinal," in which the lead character, a woman who can't find her place in this world, was played by a different actress in every scene. That worked quite nicely as the middle-class murderess at center is something of an Everywoman. Why not have many women play her? I also like how it's not just society but also the unending sounds of the city that oppress the main woman and how the set (suggested by Treadwell) is fairly unchanging except for what's revealed behind ancillary doors. The horror of the sameness of everything!
March 23, 2015
I think this has become my all time favourite play. There is so much to say and talk about. Her anxieties, her inability to connect, her freedoms, her purity.
The use of language, and the chosen words are so poetic and meaningful, that from the first time Young Woman talked I was engrossed.
I will be thanking my English Lectures for putting this book on the curriculum!
The use of language, and the chosen words are so poetic and meaningful, that from the first time Young Woman talked I was engrossed.
I will be thanking my English Lectures for putting this book on the curriculum!
October 28, 2014
I would love to see this acted out.
Treadwell focuses on the mechanical, repetitive, and inhuman qualities that humans often evoke. It is daunting.
Treadwell focuses on the mechanical, repetitive, and inhuman qualities that humans often evoke. It is daunting.
December 27, 2021
Episode 9 strikes me as a temptative portrayal of how religious people adepts in this “sheep behavior” and lifeless mentality.. the way these words from the Priest are written in a way that are similar to the life at work, that is, “robotically”, or better say in the context of the play “machinally”
Additionally, I like how on episode 1 they showcase how robotic her work life is , implicitly explains/mirrors the young woman’s robotic (odd) manner of speaking to her mom, to her husband. But also it’s a way of showing how frustrated and nerve-racking it made her over time.
This story about a woman who couldn’t find peace due to how mechanized each stage of her life was, is a very relatable concept but laid out with compelling attributes in order to make it interesting and that’s why I love it. Art is best when it represents a sublime version of my own life.
-Machinal by Sophie Treadwell: 7/10.
Additionally, I like how on episode 1 they showcase how robotic her work life is , implicitly explains/mirrors the young woman’s robotic (odd) manner of speaking to her mom, to her husband. But also it’s a way of showing how frustrated and nerve-racking it made her over time.
This story about a woman who couldn’t find peace due to how mechanized each stage of her life was, is a very relatable concept but laid out with compelling attributes in order to make it interesting and that’s why I love it. Art is best when it represents a sublime version of my own life.
-Machinal by Sophie Treadwell: 7/10.
June 12, 2024
Although this wasn't a play I chose to read on purpose ( A-levle drama) I did really enjoy it. I thought Sophie Treadwell balanced the themes of The Young Women's struggle of a womens place in society, playing as a mouthpiece for all women, but also how the other characters are equally lost but seem to have accepted their role even if thats not what they want. Her character is there to represent the patriarchal to do list of the 1920s, with some themes of loneliness and not knowing if your doing the right thing are still relevant today for everyone.
February 8, 2024
plays really help hit that goal. i read this instead of studying for a math test and i’m probably going to use it for a huge theater project. i love a good man-killing play. i have this idea of directing it like a chess game with the set designed like a board. could be cool.
March 15, 2025
well shoot. i really liked the structure of this play, the episodes were really helpful and the generalization of the woman’s experience was perfect for commenting on patriarchal culture. didn’t want her to die though!
This entire review has been hidden because of spoilers.
June 2, 2025
I read this for a University module. My interest in literature is the Modernist period and this is an incredible Modernist play that I thoroughly enjoyed.
However, I did not enjoy counting every single question and exclamation mark used in the play for an assignment!
However, I did not enjoy counting every single question and exclamation mark used in the play for an assignment!
January 29, 2020
Treadwell’s use of sound and truly passionate writing of stage directions bring such an impact to this experimental piece.
September 4, 2021
I mean wow. Episode 7, in my mind is just a flawless scene, with its illusions, reference to small details at the beginning of the play, and quick dialogue that keeps you glued to the play. Best play read so far in 20th Century American drama.
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