In the works of Strindberg, technical means of communication do not provide neutral links for dealings between the characters. On the contrary, telecommunications are threatening, even cursed. The telephone, the telegraph – as well as the bell and the speaking tube (Miss Julie) – play a part in different pieces of theatre, where they seem relevant for the time and setting of the plays. But these telecommunications are astutely set to work for dramaturgical purposes. 

In the present article I address the sounds of these devices, which convey messages between different realms. As I demonstrate, this may be discussed in terms of “remote control”, in terms of transfer, or even transcendence.