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  • 1.
    Angbah Tisell, Jennifer
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Jatta, Marielouise
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Theorell, Ebba
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Dans i skolan kan ha betydelse för individ, grupp och samhälle2023Other (Other academic)
    Abstract [sv]

    Dansdidaktik kan utgå ifrån att dans är ett sätt att skapa rörelsemedvetenhet och koreografier, men också en möjlighet att dela med sig av kunskap, fantasier, traditioner och livet i stort. Forskning visar hur dans kan skapa meningsfullhet, ökad rörelsemedvetenhet, självkänsla och gruppsammanhållning för elever.

     

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    fulltext
  • 2.
    Bani-Shoraka, Helena
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Institute for Interpreting and Translation Studies.
    Tolkning och översättning: Historia, teori och praktik2020In: Antologi för en flerspråkig scenkonst / [ed] Anna Haglund, Annica Styrke, Karin Wiklund, Stockholm: Johanssons pelargoner och dans , 2020, p. 64-73Chapter in book (Other (popular science, discussion, etc.))
  • 3.
    Blåsjö, Mona
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Scandinavian Languages.
    Porträtt: Röörigt språk2015In: Språktidningen, ISSN 1654-5028, , p. 6p. 34-39Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Skådespelaren och regissören Gunilla Röör tar i så hon spricker. Hon kan välja bort vardagsspråk, för det är inte vardag. Det är teater.

  • 4.
    Bodin, Per-Arne
    Stockholm University, Faculty of Humanities, Department of Slavic and Baltic Studies, Finnish, Dutch, and German, Slavic Languages.
    Prima ballerina2017In: Axess, ISSN 1651-0941, no 9, p. 66-67Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    ”Movement never lies”: How assumptions of authenticity mystify dance2014In: Terpsichore, ISSN 1901-6743Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Claeson, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kroppens Kultur: Fysisk teater som begrepp, dess diskurs och status på teaterfältet.2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today.

    The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre.

    The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

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    KroppensKultur
  • 7.
    Dotlačilová, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Costume in the Time of Reforms: Louis-René Boquet Designing Eighteenth-Century Ballet and Opera2020Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The long eighteenth century was a turbulent period in France, many crucial reforms in society, politics and art challenging the established order of the ancien régime. This battle took place on the theatrical stage as well and materialized in the approach to costume. The present thesis examines the development of theatrical costume – especially for opera and ballet – during this period, with particular focus on the so-called costume reform. Who were the main personalities of the reform and what were their arguments? How did it relate to the artistic and social context of the period? And most importantly: how did the new ideas materialize in practice? In order to explore these issues, the work of Louis-René Boquet (1717–1814), the leading costume designer of the French court and the Paris Opéra, a collaborator of the fairground theatres and the reform choreographer Jean-Georges Noverre, is used as the main reference point.

    In accordance with recent theoretical approaches to costume research, formulated for instance by Aoife Monks, Anne Verdier, Donatella Barbieri and Veronica Isaac, costume is regarded as a specific object within theatrical practice, and as a crucial agent in the production of the body on stage. This helps to define eighteenth-century costume as a crossroads where aesthetic, social, dramaturgical and physical requirements met and negotiated. Drawing on a wealth of textual, visual and material evidence, the methodology applied in the research combines approaches from material culture studies and theatre studies, including practice as research, connecting aesthetic theory with the analysis of performance and sartorial practices.

    The thesis is divided into two parts; the first part investigates mainly the theoretical discourse around costume, and the second part focuses on the making and agency of the costume in the context of theatrical practice, particularly at the French court, at the Paris Opéra and in Stuttgart, investigating the development of the reform through Boquet’s work. Two concepts of costume are defined and discussed, one driven by the ‘aesthetics of propriety’, which includes the (courtly) social proprieties of dress within the concept of verisimilitude; another driven by ‘aesthetics of truthfulness’, which views the stage as a tableau, therefore requiring a depiction of dress from different periods and locations similar to that in paintings, but also a costume that is adapted to the dramatic situations of the characters. The latter defines the movement of the reform. However, this thesis suggests that we should distinguish between two phases of the reform: a moderate ‘first wave’ (1750s–1770s) and a more radical ‘second wave’ (from c.1783). Focusing particularly on the pioneering ‘first wave’, and investigating costume strategies for various genres, themes and characters, this study shows how the first reformers negotiated with the older conventions and changing fashions, how they insisted on the specificity of the theatrical costume, and the extent to which the practices of the popular stages influenced those of the serious genres. Boquet’s work, previously considered conventional or ‘unreformed’, is shown to embody the different stages and issues of the reform: a unique example of the dynamic development of costume in the second half of the eighteenth century.

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  • 8.
    Englund, Axel
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    George Benjamin: Lessons in Love and Violence2018In: The Opera quarterly, ISSN 0736-0053, E-ISSN 1476-2870, Vol. 34, no 1, p. 103-111Article, book review (Other academic)
  • 9.
    Fopp, David
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Regi med barn och unga: En studie av hur personregi används i barn- och ungdomsteaterverksamhet2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Hur arbetar regissörer och dramapedagoger med barn med ”personregi” - alltså med feedbacken som hjälper till att ett barn hittar ett uttryckssätt som är trovärdigt, ett sätt att spela som är livligt. Hur gör man och varför? Vad är det för en typ av handling, interaktion? Syftet med arbetet är att förstå och tydliggöra en ganska dold och mystisk verksamhet; att inspirera alla intresserade till utvecklat egen verksamhet; att lyfta fram en interaktion där barnen blir hjälpt till och värdesatt i deras spontana tillvaro.

    Arbetets metodik är inspirerad av ”grundad teori” och närmar sig den konkreta sociala interaktionen genom att föra öppen strukturerade samtal med regissörer och dramapedagoger som är verksamma i stora mest kommunala barn/ungdomsteater: Vår Teater/Kulturskolan, Enskedespelet, Sagateatern Lidingö, Ung teater Täby, Skara Skolscen samt Stockholms Stadsteater och Dramaten. Utifrån det material föreslås en systematisering av de olika metoder hur man arbetar som regissör med just personregi. Teoribakgrunden är Daniel Stern och Anders Brobergs utvecklingspsykologi å ena sidan; och de implicita teorierna i internationella skådespeleri/regihandböcker å andra.

    Resultatet visar att det finns en skillnad i regiarbetet när det gäller 7-12-åringar respektive 12-20-åringar. Med de yngre arbetar man utan text. Däremot bygger verksamheten i alla åldrar på stolpmanus som regissören arbetar fram med barnen utifrån improvisationer i en ömsesidig inspirerande process av att hitta-på och ta-upp. I nästa steg är huvuduppgiften för personregissörerna att hjälpa till att försätta barnen i den specifika stämningsfulla situationen som scenen kräver. Som personregins metoder (i alla åldrar) för finarbetet dyker många olika ”verktyg” upp: kognitiva (1) som att prata om ”varför” någon gör något (a), vad någon ”vill” med en handling eller mening (b) eller om hur man ska ”tänka” medan man spelar en mening (c); kroppsliga (2) som att hitta nya rörelsemönster och uttryckssätt (a) eller agera ”som-om” man vore själv rollfiguren (b); samspelsmässiga (3) som att ta upp impulser från den andres blick eller situationen själv. Hur sceneriet exakt ska se ut bestämmer man sent i repetitionsarbetet. Alla är överens om att personregins arbete utgör en unik och värdefull situation där en vuxen hjälper ett barn att hitta sin fantasi och att våga gestalta en annan varelse.

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  • 10.
    Fries, Julia
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    The Clown as Transgressive Agent on Paths to Sustainable Futures2022In: Relational and Critical Perspectives on Education for Sustainable Development: Belonging and Sensing in a Vanishing World / [ed] Margaretha Häggström; Catarina Schmidt, Cham: Springer, 2022, p. 155-167Chapter in book (Other academic)
    Abstract [en]

    This article describes the use of clowning in explorations of sustainability and economics. It analyzes the author’s own clown work through an autoethnographic study, and in relation to the field of transgressive learning. The analysis shows how clowning was a resource to overcome fear in facing difficult issues and to process sustainability with devotion, vulnerability, and joy. The clowning clarified important aspects of sustainability learning and the research points to the clown as an inspiration to imaginative and embodied ways of learning with the aim of transgressing unsustainable norms and transforming ourselves, as well as our societies.

  • 11.
    Fries, Julia
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Wall, Tony
    Drama as a hopeful practice when navigating liminal times2023In: Nordic Journal of Art & Research, ISSN 2535-7328, Vol. 12, no 2Article in journal (Refereed)
    Abstract [en]

    This article presents results from a study where applied drama interventions were deployed in four different groups to build capacities to re-imagine economics. Participants were interviewed or entered dialogue with each other after completing the drama work. Through a close reading of one of the conversations that stands out as glowing in the research material and with inspiration from rhizomatic analysis, we identify four nodes that point to drama as a hopeful practice during insecure times. The dramatic arts have historically facilitated the navigation of localized political and economic tensions, but research and practice has not seemingly addressed the transitions to more holistic forms of development embedded within the United Nation’s Sustainable Development Goal 8: Decent Work and Inclusive Economic Growth. Conceptualizing this transition as liminal, we argue for the use of drama(tic) arts to navigate this state. The node Space for emotions articulates drama as a possibility to embrace and integrate difficult emotions. The node Openings and invitations – a new learning experience describes drama as an unconventional form of teaching that opens for creativity and new understandings. The third node Pretending towards new realities points to how the imaginative aspects of drama can give experiences of new pretended states beyond the liminal. Finally, the node Discomfort and its reinterpretations shows how challenging aspects of drama can be understood as in itself creating a liminal state where the unexpected can emerge. Findings echo the transformatory potential of drama(tic) arts in prior environmental and sustainability education research but extend it in the specific context of navigating and re-imagining economic growth (SDG8), and point to specific qualities of drama when trying to move towards sustainability in difficult times.

  • 12.
    Färlin-Månsson, Sophia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Språktillägnan genom dans: Intervjustudie av lärare om metoden Dansa en bok2021Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna studie är att undersöka grundskollärares upplevelser och uppfattningar av språktillägnandemetoden Dansa en bok. Fokus har varit att få höra lärarnas beskrivning av metoden, vilka didaktiska drag som synliggjorts, vad dans som form kan bidra med i lärande av annat ämne och hur lärarna upplever elevers språktillägnan vid användningen av Dansa en bok-metoden. De teoretiska perspektiv studien utgår från är fenomenologi och socialsemiotik. Även några begrepp från språktillägnan har använts för att kunna förklara lärarnas upplevelse. Forskningsmetoden som används för att undersöka detta har varit en kvalitativ gruppintervju med lärare i lågstadiet. Samtalet som fördes med lärarna var utifrån ett filmat material där metoden användes. Resultatet visade att lärarna pekade på olika faktorer i metoden som stimulerade elevernas språktillägnan. Lärarna lyfte att en lustfylld och tillåtande atmosfär möjliggör att eleverna vågar använda egna strategier för att lära sig nya ord, uttal och meningar. Lärarna menade också att när dans och rörelse används som medel under språklektionen bidrar det till att elever lättare förstår vad som skall göras då hela kroppen är involverad i kommunikationen och meningsskapandet. Lärarna synliggjorde att flera av målen i Läroplanens riktlinjer nåddes när metoden Dansa en bok användes under engelska-lektionen. Studien synliggör även att mer forskning behövs på hur dans kan användas som medel i teoretiska ämnen. 

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    Språktillägnan genom dans
  • 13.
    Gharib, Christopher J. W.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    So it goes: A Constructivist Review of The Last Days of Ceausescu2022Student paper other, 5 credits / 7,5 HE creditsStudent thesis
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    fulltext
  • 14.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012In: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, p. 233-254Chapter in book (Refereed)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 15.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2020In: Staging Fashion: The Fashion Show and Its Spaces / [ed] Tiziana Ferrero-Regis, Marissa Lindquist, London: Bloomsbury Academic, 2020, p. 162-175Chapter in book (Refereed)
  • 16.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    En hyllning till Gunnel Broström: Sveriges främsta Williamsaktris2011In: Teatertidningen, no 2, p. 32-35Article in journal (Other (popular science, discussion, etc.))
  • 17.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Conference paper (Other academic)
  • 18.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "La plume vigoureuse et drue du cher André Obey": Controverses autour de la première adaptation française de La Chatte sur un toit brûlant de Tennessee Williams’2022In: André Obey, créateur dramatique complet: théâtre, musique et sport / [ed] Sophie Gaillard; Marie Sorel, Paris: Honoré Champion, 2022Chapter in book (Refereed)
  • 19.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sky Gilbert, Daniel MacIvor, and the man in the hotel room: queer gossip, community narrative, and theatre history2013In: Theatre Research in Canada, ISSN 1196-1198, E-ISSN 1913-9101, Vol. 34, no 2, p. 187-215Article in journal (Refereed)
    Abstract [en]

    This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.

  • 20.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo2012In: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, no 1, p. 56-66Article in journal (Refereed)
    Abstract [en]

    In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

  • 21.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Torn between the ‘Swedish Sin’ and ‘homosexual freemasonry’: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2010In: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 11, p. 19-39Article in journal (Refereed)
  • 22.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Concordia University, Canada.
    Transatlantic Translations and Transactions: Lars Schmidt and the Implementation of Post-War American Theatre in Europe2013In: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 65, no 1, p. 19-37Article in journal (Refereed)
    Abstract [en]

    Contributing to an intercultural understanding of American and European theatre in the post-war era, this essay explores the significance of the Swedish publisher and producer Lars Schmidt for the introduction and spread of U.S. plays and musicals on his side of the Atlantic. Schmidt’s innovative publishing strategies and production methods in addition to his skills as a cultural translator made works like The Glass Menagerie, Cat on a Hot Tin Roof and My Fair Lady commercially viable and intelligible to audiences in various national contexts. In the process, he was largely responsible for the emergence of the individual producer in Europe, a position that was perceived as foreign and at times vehemently dismissed as too commercial and too American.

  • 23.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Networks: HIV and AIDS, Performance, and the Sexual Politics of the Swedish Welfare State in the 1980s2022In: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 74, no 4, p. 441-462Article in journal (Refereed)
    Abstract [en]

    This essay marks an intervention into Sweden’s international image as a beacon of civil liberties, gender equality, and progressive LGBTQ+ politics. First, it asserts that theatre and performance became strategic tools to help regulate the sexuality and national health of the Swedish population at the height of the AIDS crisis. Second, it suggests the methodological concept of “viral networks” as a means to generate new insights into the myriad forms of collaboration between theatre artists, social workers, union activists, pedagogues, political representatives, and national corporations on a local, regional, and national level. Through these two lines of argumentation, the essay demonstrates how the welfare state harnessed the stage as a forum to disperse and implement its official sexual politics, defined by normative, punitive, and moralizing standards. In contrast to many countries, where young queer communities mobilized against HIV and AIDS and deployed the arts as a means of protest and community-building, in Sweden the issue was brought to the forefront by left-wing, middle-age, heterosexual men who had been reared in the politicized cultural climate of the 1960s and 1970s. This led to a preoccupation with straight cis-gendered masculinity, to the detriment of already marginalized social constituencies.

  • 24.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    When Broadway came to Sweden: The European premiere of Tennessee Williams’s Cat on a Hot Tin Roof2012In: Theatre Survey, ISSN 0040-5574, E-ISSN 1475-4533, Vol. 53, no 1, p. 59-83Article in journal (Refereed)
    Abstract [en]

    This essay proposes a case-study approach to examine how the initial European production of Cat was received and, by implication, how one of the defining American playwrights of the twentieth century was discussed in Sweden. It focuses on the process of cultural translation and, more precisely, the question of how Swedish ensembles interpreted a foreign playwright who was known for breaking sexual taboos. Unpacking the cross-cultural and transnational dialogue that was established when Cat made its first appearance on a European stage, the essay teases out the cultural tensions and the negotiation of national identity that took place when Williams’s play was transposed from the Mississippi Delta to a more northern latitude. I argue that the stage and the cultural sections of the newspapers offered a forum for Sweden to negotiate some of the country’s sexual anxieties by making use of American cultural products and firmly situating them in an exoticized American context whose values were deemed to conflict with European, and more specifically Swedish, cultural identity.

  • 25.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013In: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, p. 131-167Chapter in book (Refereed)
  • 26.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Potvin, John
    Concordia University, Montreal, QC.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2013In: Studies in Theatre & Performance, ISSN 1468-2761, E-ISSN 2040-0616, Vol. 33, no 1, p. 3-28Article in journal (Refereed)
    Abstract [en]

    This essay analyzes the creative and economic relationship between and the intersections of theatre, performance and fashion by exploring the notion of collaboration through the work of Italian designer Giorgio Armani and American theatre director Robert Wilson. It addresses three case studies derived from different performance spaces: a performance art installation in a once derelict, purposefully redesigned train station; a modernist play staged in a traditional proscenium arched theatre; and a retrospective exhibition held in a fine art museum that invited the visitors to ‘walk the catwalk’. The objective of the essay is twofold. First, it focuses on the concrete results of the collaboration, that is, the actual events, the mutual artistic and economic benefits for both parties as well as the sometimes controversial critical reception and discourse surrounding them. Second, it queries the meaning and potency of the status of the auteur in a long-term creative collaboration between two equally influential artists from the related, yet distinct fields of theatre and fashion.

  • 27.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Den gränslösa erfarenheten2021In: Schibboleteffekten: Ledarskap, konsten och människans ansvar / [ed] Julia Romanowska, Stockholm: Appell förlag , 2021, p. 20-24Chapter in book (Refereed)
    Abstract [en]

    Impressions from the Schibbolet project written by one of the moderators. 

  • 28.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dancing African-American Jazz in the Nordic Region2014In: Nordic Dance Spaces: Practicing and Imagining a Region / [ed] Karen Vedel, Petri Hoppu, Farnham: Ashgate, 2014, p. 101-127Chapter in book (Refereed)
  • 29.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Many sources, many voices2017In: Rethinking Dance History: Issues and Methodologies / [ed] Geraldine Morris, Larraine Nicholas, London: Routledge, 2017, 2, p. 136-147Chapter in book (Other academic)
    Abstract [en]

    This chapter queries the process of assembling, choosing and interpreting documents from which dance histories can be told. Amy Koritz has emphasized these circumstances in her cogent research on dance and literature in early twentieth-century British culture. From a British perspective, she addresses the historical stature accorded to Maud Allan in comparison to some other contemporary dance artists. To begin a life story with childhood reminiscences has long been a narrative convention. Most dance artists use it in the same manner as Loie Fuller and Isadora Duncan in order to point out how their future careers were decided very early in life, and they depict dance as a kind of 'natural' or universal force impossible to avoid. The Canadian-born dancer Allan exemplifies agency in a different manner. In an interview conducted by a Swedish journalist in 1908, Allan paints a nice and highly respectable picture of herself and her family, which artfully manipulates the truth.

  • 30.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Artistic development on the frontline2013In: News from Swedish Theatre, ISSN 1653-7637, p. 6-7Article in journal (Other (popular science, discussion, etc.))
  • 31.
    Hiort af Ornäs, Ingrid
    Stockholm University, Faculty of Humanities, Department of German.
    "In meinem Lottchen ist doch halt ein Junge verloren": Charlotte Birch-Pfeiffer als Dramatikerin : eine Studie zu Erfolgs- und Trivialdrama des 19 Jahrhunderts1997Doctoral thesis, monograph (Other academic)
  • 32.
    Hron-Öberg, Irina
    Stockholm University, Faculty of Humanities, Department of Baltic Languages, Finnish and German, German. Stockholm University, Faculty of Humanities, Department of Slavic and Baltic Studies, Finnish, Dutch, and German, German.
    Ungeheuerliche Schönheit und lasterhafte Süße: Sabine Coelsch-Foisners und Michaela Schwarzbauers Tagungsakte zu ›Leidenschaft und Laster‹2010In: literaturkritik.de, ISSN 1437-9309, E-ISSN 1437-9317, Vol. 12Article, book review (Other (popular science, discussion, etc.))
  • 33.
    Hällgren, Anna-Maria
    Stockholm University, Faculty of Humanities, Department of Art History.
    Att skapa ett rum utan plats: Tangokulturen i Istanbul2012In: Dragomanen: Årsskrift utgiven av Svenska Forskningsinstitutet i Istanbul, ISSN 1402-358X, Vol. 14, p. 167-174Article in journal (Other academic)
  • 34.
    Högström, Karin
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Ethnology.
    How do women in Sweden learn Middle Eastern dance?2013In: Close encounters : contemporary dance didactics: exploration in theory and practice, Stockholm: Dans och cirkushögskolan , 2013, p. 130-140Conference paper (Other academic)
  • 35.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    “Ballads and Storytelling - A Withering Tradition in Taiwan”1994In: Orientaliska Studier, p. 131-141Article in journal (Other academic)
  • 36.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Kiinan näyttämötaide1978In: Otavan suuri ensyklopedia: 4, Juusten - Kreikka, Helsinki: Otava , 1978, p. 2983-2984Chapter in book (Other academic)
  • 37.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Laughable Propaganda: Modern Xiangsheng as Didactic Entertainment1990Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation introduces the popular Chinese comic story-telling genrexiangsheng. The genre is first viewed in the light of historical predecessorswhich contain elements similar to those found in traditional xiangsheng. After1949, the genre has been extensively used for propaganda purposes through thecreation of numerous new works, while the traditional works have been partlybanned, partly adapted to suit the communist ideological and didactic ambitions.The study describes how this change was accomplished: a production of new,ideologically correct pieces was effected and the artistes were made to perform thenew and the adapted old works. The study also presents how the governmentdirectives for this work fluctuated, the ensuing problems, and the discussion onwhether the writers and artistes were considered to have succeeded in followingthem. The technical varieties and the structure of xiangsheng are described. Theresults of a detailed contents analysis with quantitative basis of 105 newxiangsheng pieces from the years 1955-66 and 1979-84 are accounted for andshow how and through what kinds of elements the propagated messages weresupposed to affect the public of this entertainment.

  • 38.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Quyi - allmogenöjen med mersmak1983In: Grisens år: Årsbok om Kina, Stockholm: Svensk-kinesiska vänskapsförbundet , 1983, p. 84-87Chapter in book (Other (popular science, discussion, etc.))
  • 39.
    Kaikkonen, Marja
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Tan Fengyuan - ett artistliv1988In: Drakens år: Årsbok om Kina, Svensk-kinesiska vänskapsförbundet , 1988, 1, p. 99-107Chapter in book (Other (popular science, discussion, etc.))
  • 40.
    Kleberg, Lars
    Stockholm University, Faculty of Humanities, Department of Slavic Languages and Literatures.
    Teatern som handling: Sovjetisk avantgardeestetik 1917-19271977Doctoral thesis, monograph (Other academic)
  • 41.
    Lidén, Ellinor
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, The Centre for the Studies of Children's Culture. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Jalla, vi ville kolla på teater!": Barns utsagor om och värderingar av teater vid Stockholms stadsteater Skärholmen2014In: Mycket väl godkänd: Vad är kvalitet i barnkulturen? / [ed] Karin Helander, Centrum för barnkulturforskning/Stockholms universitet , 2014, p. 32-43Chapter in book (Other academic)
  • 42.
    Ljungdahl, Camilla
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, The Centre for the Studies of Children's Culture.
    GO BEBIS!, Ah hallo bebis och Prassel: Om danskonst för den allra yngsta barnpubliken2015Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    The overall aim of this thesis is to explore how the art of dance for the youngest children can be understood as a Children´s Culture phenomenon. The empirical data mainly consists of observations of the project GO BEBIS! and the dance performances Ah hallo bebis and Prassel. In addition, the study includes a dance analysis of the performances and a text analysis of advertising and reviews of the performances. The view of the child is discussed from childhood sociological, phenomenological and aesthetic performative perspectives. The texts present a view of a curious, calm and creative child and the dance analysis shows that recognition from the child’s life-world, mixed strategies of focus and a still and quiet form is recurrent in the performances. Focus (both visual, bodily and spatial) is used to control the child’s attention and it is likely that the choice of movement can inhabit the child and affect the experience. In the observations it is clear that the dancers and the audiences have a bodily dialogue that could be understood as a never ending feedback loop. However, co-presence or the way of turning to the other is crucial for a successful feedback loop to occur. The dancers’ staging strategies affect the co-presence and if it is supported by a general view of the child that doesn´t comprehend with the actual child in front of them, the feedback loop can fail. For example, the study argues that children´s lively movements can be understood as strong contributions which, if not comprehensive with the ideal image of the child, may pose a threat to the performer and the performance. The adult´s bodily advantage can then be used as a way to regain control over the situation. The adult can lift the child, stand up so that the child can´t reach or verbally control the child’s attention. The result shows that how the dancers and accompanied adults handle the child’s contribution can be affected by the view of the child, theatre-norms, the child’s rhythm, the staging of the performances, instructions, the dancers’ strategy and the accompanied adults’ wishes.

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  • 43.
    Mattsson, Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Domslut och förhoppningar2014In: Gaudeamus, ISSN 0016-5247, Vol. 90, no 5, p. 12-13Article in journal (Other (popular science, discussion, etc.))
  • 44.
    Nygren, Christina
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Performing Life and Live Theatre: Fiction in Popular Performances2014In: True Lies Worldwide: Fictionality in Global Contexts / [ed] Anders Cullhed, Lena Rydholm, Walter de Gruyter, 2014, p. 137-150Chapter in book (Refereed)
  • 45.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Don't be quiet, start a riot: anarchy, affect, and activism in Pussy Riot's performance2013In: International Federation for Theatre Research (FIRT/IFTR) conference, "Re-Routing Peformance/Re-caminant l'escena", Barcelona, Spain, July 22-26, 2013, 2013Conference paper (Refereed)
    Abstract [en]

    The relationship between art and politics emerges again and again. In connection with the Russian parliamentary elections in December 2011 a protest movement appeared calling for free elections and democratic rights. It was in this context the punk group Pussy Riot conducted their now world famous “prayer” to Virgin Mary to dislodge Vladimir Putin from power. The question is whether this was an artistic action with a political purpose or a political action with an artistic method?

        The present paper focuses on the links between the classical avant-garde and anarchism exemplified by the actions of the group Pussy Riot in Moscow. The term anarchy comes from the Greek arche and in its original meaning aims at neither to chaos nor order, but joins both elements. A constant movement between construction and deconstruction of established existing systems characterizes anarchism.

      The classical avant-garde wished to integrate art and life. Art would be understood as a flow with no specific goals and no definite answers to the question “why”? Provocation was seen as an instrument for producing shocking effects using unexpected breaks in the flow of words, images or tones, and forcing the viewer to make new associations. The artists of the avant-garde were socially, rather than politically engaged. Unlike the politically organized revolutionaries they were anti-utopians, politically as well as aesthetically. They did not create a school or style, and did not let that art was under any social or political constraints. 

  • 46.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Solidarité perdue, solidarité trouvée: Réflexion sur la performance féministe contemporaine2012In: Utopie et pensée critique dans les processus de création / [ed] Hanna Suutela, Besancon: Les solitaires intempestifs , 2012, 1, p. 103-136Chapter in book (Refereed)
  • 47.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Soundtrack of Revolution: Memory, Affect, and the Power of Protest Songs2013In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Culture, ISSN 2000-1525, Vol. 5, no 1, p. 175-188Article in journal (Refereed)
    Abstract [en]

    All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12).

        It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences,I argue, they are our forgotten self singing to us.

     

     

  • 48.
    S. Thil, Yonna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Evig liten tjej": Kostymdesignyrkets genuskodning: En kritisk diskursanalys2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    “Perpetual little girl” – Gender coding of the costume design-profession: A critical discourse analysis is a bachelor’s thesis in Performance Studies written by Yonna S. Thil in the spring of 2023 at Stockholm University. This study focuses on the gendering of the costume design-profession, as well as the gendering of theatre professions in general and attempts to answer the question “How does female gender coding affect the professional role of the costume designer?”. Fashion history and theatre history is used to map out the ways in which the costume designer is at a point of intersection between fashion, a highly feminized phenomenon, and theatre, a system which has excluded women from the practice for thousands of years. Statistics from Stockholm University of the Arts and interviews with both male and female costume designers working in theatre and film in Sweden tell the story of how the feminization of their profession affect the practice. The study includes comparisons with male coded professions in the theatre system, questions of the wage gap between male and female coded professions as well as discussions of the artistic genius and charismatic authority.

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  • 49.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Devising - en historisk sidoblick2013In: Samtal om Devising: en antologi från Barnteaterakademin / [ed] Anna Berg, Lisa Lindén, Kristina Ros, Göteborg: Barnteaterakademin , 2013, p. 66-72Chapter in book (Other academic)
  • 50.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing Is Not Pretending2014In: Playing Culture: Conventions and Extensions of Performance / [ed] V. A. Cremona, R. Hoogland, G. Morries, W. Sauter, Amsterdam: Rodopi, 2014, p. 63-82Chapter in book (Refereed)
    Abstract [en]

    As the title of this chapter indicates, the issues raised here concern the kinds of pretence that are thought to characterize playing and acting. Contrary to Michael Kirby's statement that 'to act means to feign', I will show that an actor neither can, nor wants, to pretend anything on stage. Fiction is not provided on stage but is established in the communicative act between Agent (A) and Beholder (B). Critically analyzing two texts by Bertolt Brecht on non-theatrical playing, I will argue that a number of circumstances have to be taken into consideration. The process of performing is theoretically and empirically seen as a form of playing, which allows for the distinction and communicative specification of various agents in their relation to equally specific forms of beholding. Each relationship in the public sphere between A and B constitutes a public event. This chapter searches for common ground amongst multifarious manifestations of playful behaviour, beyond various aesthetic forms and irrespective of more or less useful functions. In conclusion, playing is described as a reality-related experience: playing is always related to an event and events are never pretended.

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