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  • 1.
    Bergström, Gunnel
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    In search of meaning in opera: an opera singer's approach to the dialectics of words, music & myth in opera from Monteverdi to Verdi2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to show that the opera singer's art is to transmit word and music into vocal action. It is assumed that opera, like all the arts, communicates myth. Of the stage arts opera is unique in that it expresses mythic metaphors through a combination of words and music.

    The point of departure is the opera singer's: confronted with the text, comprising libretto and music, how can this be used to achieve a dramatic effect? Stanislavsky's theory of acting is often applied in practice, but whatever its merits for the stage, it has shortcomings for opera. More promising, it is argued, is a form of hermeneutic approach that Ricoeur calls "backward relatedness": the composer's score is relied on to contain all essential information, but further understanding may be gained by studying any human science that gives insight into how the poet expresses his life experience.

    In this spirit, the first part of the thesis surveys the history of opera from Monteverdi to Verdi with a focus on how composers have handled the relation between words and music to give expression to human conflicts that are the stuff of myth. The second part comprises two chapters in which arias from each of the main periods studied are analysed with attention paid both to the libretto and the music and how these combine in vocal action that communicates myth. It is here that the fruitfulness of Ricoeur's insights are demonstrated. In a final part, the conditions for the present-day opera singer are discussed.

  • 2.
    Berlova, Maria
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Performing Power: The Political Masks of King Gustav III of Sweden (1771-1792)2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    King Gustav III founded the Swedish National Theater and Opera, participated in the court theater as playwright, director and actor and he was rightly called the Theater King. The King’s passion for acting was perceived in the past as a psychological weakness, which won him the appellation of wimp (fjant). However, Gustav III presents a special interest as a performer of the role of an enlightened monarch according to the philosophy of the epoch of Enlightenment, particularly that of Voltaire. This research project aims at challenging the stereotyped perception of Gustav III, and presents him as a performing king who purposely used his acting ability to achieve political gain.

    The theoretical foundation of this study of the King’s use of theater is described in Chapter I. The theory of playing by Johan Huizinga and the theory of theatricality of Nikolai Evreinov, from the point of view of culture and anthropology, respectively, explain how playing is the basis of human living. Yuri Lotman’s semiotic approach is applied to formulate the concept of theatrical playing meant to influence the spectators, which is at the core of the Pageants in court and in public, used by Gustav III to display his power. Finally, but most importantly, the theories of Josette Féral, Hans-Georg Gadamer and Willmar Sauter present theatrical playing as an interactive performative communication between the performer and the beholders that became the core of Royal Encounters, which were the most effective political tools of Gustav III.

    The ensuing chapters are devoted to the different activities of the King related to theater, understood as the sum of interactions between the performer and the spectators that can occur within the walls of a theater or outside them. Theatricalized actions transported into life and directed to the beholders (Pageants) and the interaction between the performing King and his beholding subjects (Royal Encounters) are presented and examined. Examples of Pageants are chosen from court life, such as entertaining divertissements and amateur theater; Public Pageants were held at occasions such as the birth of a royal prince and King Gustav’s departure to the war with Russia. Among the Royal Encounters the coup d’etat in 1772 and the struggle against the nobility at the Riksdag of 1789 can be mentioned.

    The conclusion establishes the concordance between the performing King and his beholding subjects leading to real achievements in politics. This investigation sheds light on the different theatrical means the King employed in crafting political tasks and choosing appropriate political masks. Gustav III was a master of acting; thus, the decisive factor in each of his theatricalized actions was not so much his art at playwriting and directing, as his ability as a performer. In addition, the King could assert his royal power by performing his own idealized social role of an enlightened monarch.

  • 3.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Do you really feel like the outside matches the inside: Der authentische Körper im Wandel der Zeit2013In: Medialität und Menschenbild / [ed] Jens Eder, Universität Mannheim; Joseph Imorde, Universität Siegen; Maike Sarah Reinerth, Universität Hamburg, Walter de Gruyter, 2013, p. 85-99Chapter in book (Refereed)
    Abstract [en]

    The concept of an authentic person who makes his/her ‘true inner’ visible on the body’s surface reappears as an ideal throughout history. What has undergone significant changes, however, is what exactly constitutes authentic bodily appearance. What ‘inner’ is represented and how exactly is it made visible on the body? My article focuses on two instances in which stagings of the authentic body represent an important issue: First in the French Enlightenment and subsequently in contemporary makeover culture (which originated in the Western world, but is no longer limited to it).

    Images of bodies revealing their ‘true inner’ took on particular importance in the Enlightenment when writers such as Rousseau used them as counterpoints to what they rejected as the ancien regime ’s affected bodies. One might assume today –in the aftermath of late 20th century poststructuralism, postmodernism and feminism –that any notion of bodily ‘authenticity’ or for that matter ‘essential selfhood’ would be curtly dismissed. Yet, the image of an authentic body that reveals a ‘deserving’ inner self is exactly what is staged in most popular media today.

    18th century acting theories suggested that ‘naturally expressive’ gestures could be conveyed –indeed reveal feelings –without any mediation. What has changed since then, I will argue, is that the ideal authentic body in makeover-culture has to be thoroughly and visibly worked for.

  • 4.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Känner du verkligen att utsidan stämmer med insidan?": Sken och vara i den samtida kroppskulturen2012In: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund/Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2012, p. 25-35Chapter in book (Other academic)
  • 5.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Free University of Berlin, Germany.
    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, p. 44-53Article in journal (Refereed)
    Abstract [en]

    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift In the article, I challenge the prevalent use of phenomenology in dance scholarship, which focusses on the dancer's experience of her body when dancing. This approach often implies the problematic assumption that the dancer's experience is immediately transferred to the spectators who, in turn, are universally 'moved' by her dancing body. Instead of acknowledging that dance is a product of historically and culturally specific circumstances, such an analytical perspective ultimately tends to mystify dance. In this article I propose a different use of analytical tools in dance scholarship: I employ phenomenological reduction and epoche to focus on how dancing bodies appear in a stage context. To test the ability of these tools to explore dancing bodies from a third-person perspective, I analyze Danish choreographer Kitt Johnson's solo performance Drift (2011), focussing on her variable physical appearance. While phenomenology helps me to describe the multiple and radically different guises Johnson assumes in her piece, my analysis does not, ultimately, aim to distil a truer, more real being from her appearances, as is often the case in phenomenological analyses. Instead, I complement my analytical approach with the Deleuzian notion of becoming animal, suggesting that Johnson stages what, in Judith Butler's terms, could be called a critical contingency of bodily appearance.

  • 6.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Body as Non-Place: Utopian Potential in Philippe Decouflé’s Dance Film Codex2013In: Spaces of Utopia, ISSN 1646-4729, Vol. 2, no 2, p. 143-154Article in journal (Refereed)
  • 7.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’.

     

    When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it.

     

    Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.

  • 8.
    Britt-Marie, Bystedt
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The warrior has played an important role in most societies, often representing power. The military/ defence system is founded more or less on the ideal of the good and noble warrior. The aim of the thesis is to examine how the warrior's power has been expressed on stage in different times and different contexts. Three perspectives are discussed: 1) The warrior in society, 2) The warrior's self-image (ethos and warrior virtues), 3) The warrior in drama and on stage. In society, warriors in uniform are one means to increase dignity and give credibility to ceremonies. Society uses the same actions as theatre – music, choreography and costumes (parade uniforms). In the thesis there are some examples from the cultural history of the warrior (uniforms, gestures, music etc.). The principal part of the thesis is a study of the warrior as theatrical motif and a discussion of a series of warrior figures in literature and drama on stage. These figures are analysed from the perspectives of masculinity, play and historiography.

    The warrior in literature and drama is rarely a hero. The thesis gives examples under the following headings. The submissive warrior: Catherine de Medici used the warrior as a pliable tool to reduce internal court quarrels, when they were commanded to participate in the court ballets. A different kind of docility in warriors is found in the nineteenth century English melodrama. The false and coward warrior: Ancient writers often used satire in their plays, and warrior figures were easy prey for this. Miles Gloriosus and the Capitain in Commedia dell’arte are two examples. The weak warrior: Anthony, in Anthony and Cleopatra by Shakespeare, is a warrior hero who abandons his wife and family to live with the Egyptian queen, attracted by the luxury and refined lifestyles at her court. The oppressed warrior: The Good Soldier Schweik, created by Bertolt Brecht after a story by Jaroslav Hasek, is an oppressed ordinary soldier in the Czech army, who faces oppression by doing exactly as he is told, and consequently is creating confusion. Georg Büchner’s drama Woyzeck contains an altogether deeper darkness. The outmanoeuvred warrior: The captains in August Strindberg’s two plays The Father and The Dance of Death are both in conflict with their wives but lose their fights. The optimistic warrior: Chekhov introduces in the play Three Sisters two warriors with bright visions of the future but also tells the audience that life can be a tragedy.

    To portray the good and noble warrior is of course possible but it is seldom dramatic, whilst weak and lovesick, false and treacherous warriors are dramatically effective. The theatre's tradition of subversion is a variety of the ancient custom of 'turning society upside-down' during Lent, analysed by Michail Bakhtin in Rabelais and his World. The theatre is also a microcosm. The performing arts make use of the individual to criticize the whole. In drama, it is the individual warrior who bears the responsibility without the need to say anything about the armed forces. Sometimes this is done through the mirror of laughter. When the warrior is seen through the theatre's lens, the picture is enlarged and – according to physical principles, at a certain distance – shows the warrior as part of the upside-down world.

  • 9.
    Bárnány, Ann-Sofie
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Babydrama2008Book (Other (popular science, discussion, etc.))
  • 10. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 387-404Chapter in book (Refereed)
  • 11. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 3-46Chapter in book (Refereed)
    Abstract [en]

    In 2004, on the final day of the Bangkok AIDS Conference, a drug com-pany packaged thousands of single antiretroviral pills into jewellery boxes and allowed one pill per delegate to be collected from their corporate booth. Many delegates at the conference came from countries where access to treat-ment medication was, and continues to be, restricted to the rich. There was a degree of confusion among sex worker activists who attended and whose background or migration status excluded them from accessing life-saving HIV treatment. After an entire week of protests, workshops, presentations, posters, activism, performance, installation, media and the experience of generally being marginalised within the broader HIV sector, we [sex worker activists] witnessed many migrant sex workers living with HIV and without access to treatment carrying their single pill away from the corporate booth.

  • 12. Campbell, Alyson
    et al.
    Gindt, DirkStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection (editor) (Refereed)
    Abstract [en]

    This book analyses the impact of HIV and AIDS on performance in the twenty-first century from an international perspective. It marks a necessary reaffirmation of the productive power of performance to respond to a public and political health crisis and act as a mode of resistance to cultural amnesia, discrimination and stigmatisation. It sets out a number of challenges and contexts for HIV and AIDS performance in the twenty-first century, including: the financial interests of the pharmaceutical industry; the unequal access to treatment and prevention technologies in the Global North and Global South; the problematic division between dominant (white, gay, urban, cis-male) and marginalised narratives of HIV; the tension between a damaging cultural amnesia and a potentially equally damaging partner ‘AIDS nostalgia’; the criminalisation of HIV non-disclosure; and, sustaining and sustained by all of these, the ongoing stigmatisation of people living with HIV.

    This collection presents work from a vast range of contexts, grouped around four main areas: women’s voices and experiences; generations, memories and temporalities; inter/national narratives; and artistic and personal reflections and interventions.

  • 13.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    La conquête à tout prix et le salut coûte que coûte! La réécriture du religieux dans Avent et Crime et Crime de Strindberg2016In: Revoir la fin: dénouements remaniés au théatre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein, Florence Naugrette, Paris: Classiques Garnier, 2016, p. 139-156Chapter in book (Refereed)
  • 14.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages. franska.
    La spiritualité du théâtre strindbergien dans la mouvance de Péladan : L’idéal féminin dans Le Chemin de Damas2007In: Romanitas, lenguas y literaturas romances., ISSN 1937-5697, Vol. 2, no 1, p. 33-Article in journal (Refereed)
    Abstract [en]

    Si la vocation de la femme, et du couple en général, est un sujet de préoccupation dans la littérature française fin de siècle, cet aspect apparaît comme un élément fondamental dans le théâtre de Strindberg et de son confrère français, Péladan. Contemporains l’un de l’autre, Strindberg a toujours admiré l’œuvre de son maître. Aux yeux de l’écrivain Suédois, Péladan est le porte-parole du catholicisme et est à la tête d’un mouvement de conversion qui saisit la France de l’époque. Le projet de cet article est de montrer comment l’idéal féminin se développe chez les deux auteurs en prenant pour objet d’analyse l’étude comparée de leurs pièces, Le Chemin de Damas (1898-1901), La Prométhéide (1895) et Le Prince de Byzance (1896). À l’issue de cet examen, nous dégagerons comment le motif de la chasteté se dessine à travers l’idéal féminin tout en soulevant les divergences d’interprétation chez les deux auteurs. Si Péladan s’inspire de la mythologie grecque en réactualisant notamment le mythe de Pandore, Strindberg réinvestit de son côté ce mythe mais exploite, à la différence de ce premier, la figure mariale de la Vierge Marie, la deuxième Ève, icône de la femme pure, chaste et médiatrice du salut. Au-delà de leurs interprétations théâtrales, qui semblent présenter des issues différentes, un même idéal de virginité semble habiter les personnages.

  • 15.
    Cedergren, Mickaëlle
    Stockholm University.
    « L’Amour platonique dans la littérature fin de siècle. Parcours croisé de textes de Péladan et de Strindberg »2010In: Actes du XVIIe Congrès des romanistes scandinaves / [ed] Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez, Tampere: Tampere University Press , 2010, p. 182-198Conference paper (Other academic)
  • 16.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'héritage catholique dans le théâtre de Strindberg 2009In: Inter-lignes, ISSN 1959-6995, no n° spécial (2008), p. 101-109Article in journal (Refereed)
  • 17.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.2009In: Revue de littérature comparée, ISSN 0035-1466, E-ISSN 1965-0264, ISSN 0035-1466, Vol. LXXXVI, no 2, p. 165-182Article in journal (Refereed)
    Abstract [en]

    Strindberg and Huysmans belong to the same fin de siècle mysticism period and deal with the same religious dream, more specifically one concerning the setting up of a “monastically inspired artistic community”. Whereas Huysmans realized a part of this dream and became a Benedictine oblate while at the same time trying to found a “colony of artists” of his own and to some extent succeeded, Strindberg did not. The Swedish writer could never materialize his plan, several aspects of which were extensively described in his letters. Instead of becoming a monk, he used his own literary writing and incarnated his dream in a number of theatrical pieces. This study investigates the two different modes in which Huysmans and Strindberg respectively lived his own particular dream.

  • 18.
    Cedervall, Sofia
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Arts-based research: drama som forskningsmetod2017Conference paper (Other academic)
  • 19.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas. Litteraturvetenskap.
    Från klassiker till imperialist2008In: Axess Magasin, no 6, p. 60-62Article, book review (Other (popular science, discussion, etc.))
  • 20.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Förord2011In: Aminta: Ett herdedrama, Stockholm: Natur och Kultur , 2011, p. 7-19Chapter in book (Other (popular science, discussion, etc.))
  • 21.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010In: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 9-16Chapter in book (Other academic)
  • 22.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections.

    It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts.

    Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

  • 23. Didong, Paola
    Incarnation des idées: le jeu de l'acteur dans le théâtre français contemporain2003Doctoral thesis, monograph (Other academic)
  • 24.
    Dotlacilova, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Picturing the Horror: Costumes for Furies on the French stage from 1650 to 17662017In: Terpsichore and her Sisters: the Relationship between Dance and other Arts / [ed] Georgina Boyes, Cambridge: Early Dance Circle , 2017, p. 51-66Conference paper (Other academic)
  • 25.
    Ekenberg, Love
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Sauter, Willmar
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Antigone’s Diary – A Model for Democratic Decision Making in Suburban Stockholm2016In: Contemporary theatre review (Hardback), ISSN 1026-7166, Vol. 26, no 2, p. 227-240Article in journal (Refereed)
    Abstract [en]

    ”Antigone has disappeared, but we found her diary. Join us in the search of her traces.” Sophocles’ drama has been transferred to a suburb of Stockholm. Students in a local highschool have recreated the classical tale in their own environment, guided by director Rebecca Forsberg from the RATS Theatre. RATS stands for “Research in Artistic TechnologieS”, a section of the Department of Computer and System Science at Stockholm University. Cellular phones are not prohibited in this theatrical enterprise, on the contrary, they constitute the particular means of communication in this event. Whether you download an app into your own phone or lend a phone from the organizers – what you will hear are the fragments of Antigone’s diary. You will find sculptures, parks, kiosks and other places through the GPS and every time you come close to the next site of performance, your phone knows when you are there. And every time you leave the place, Antigone will ask you a question: “What makes you angry?” – “When can one break the rules?” Etc. You can answer the questions by means of text messages and once you have done so, you can see what other participants have answered before you. How does it end? Haimon, Antigone’s friend and lover, whispers into your ear: “What does freedom mean to you?” It is up to us, the participants, to find appropriate responses to this eternal question. This theatrical event, highly technified and reversing the relationship between agents and beholders, gives rise to a number of intricate questions. The problems at stake concern the creative process of this mobile drama, the technical challenges to make it work, the theoretical implications of this multimedia performance, and, finally, the outcome in terms of civic engagement and its potentials of public decision making.

  • 26.
    Eklund, Jonas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fenomenet Poppe, mellan scen och skratt: En studie av Nils Poppes komiska skådespeleri utifrån en fenomenologisk utgångspunkt2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Scholarly research on comical popular theatre is rare in the Swedish context even though the genre has attracted large audiences throughout the 20th century. Nils Poppe is one of the greatest Swedish actors in the comical genre and he is famous for his playful acting style. With my Master’s dissertation I aim to shed some light on both the genre and this great actor. Another aim of this Master’s dissertation is to gain understanding of what causes the audience’s laughter experiencing Nils Poppe’s comical acting. To understand the audience response to the comical acting I need to study the communication between the actor and the beholders.  

    In doing this I use Bert O. States phenomenological approach, in which he divides the communication into three modes in which the beholder experiences the action. In each of these modes I then use complementary concepts and theories to analyze the audience’s laughter.

    My analysis starts with the Representational mode in which the focus is on the fiction of the play. Using semiotics, I discuss Poppe’s characters as a stock character related to the Commedia dell’arte character Harlequin and other clown characters, which are imbedded in the audience’s memory. With examples from a play I show why the audience laugh in different scenes. 

    In the next chapter, I analyze the Self-expressive mode in which the artist at stage is in focus. While experiencing the fiction of the play the audience simultaneously experiences the reality on stage. The actor is present and Poppe’s real face, body and voice is affecting the audience’s response.

    The final mode is the Collaborative mode in which the collaboration between the actor and beholder is analyzed. The direction of the play and how Poppe interacts with the audience is increasing the impression of presence among the audience. In his acting, Poppe breaks the theatrical conventions of the separation between fiction and reality, and in improvisations, he challenges both the audience and fellow actor’s notion of theatre.

    The result of the study implies that some laughter can’t be explained just by studying each of these modes separately. When the character leaves the fictional play and acts within the audience reality, or when the actor on stage is understood as part of the fiction an incongruity is created that tends to make the audience laugh. 

  • 27.
    Ernst, Manilla
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture.
    "...det var bättre än teater, vanlig teater.": En receptionsstudie av den unga publikens upplevelser av sin delaktighet i mobiltelefondramat Antigones dagbok2015Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att diskutera vilken delaktighet RATS Teater erbjuder sin publik i mobiltelefondramat Antigones dagbok och vidare visa på hur publiken förvaltar denna delaktighet under föreställningstillfället.I uppsatsens första del görs en semiotisk tolkning av föreställningens visuella och audiella teckengrupper. I uppsatsens andra del görs en receptionsstudie med den unga publiken. Förutom observationer och intervjuer återfinns en analys av det textmaterial som publiken får möjlighet att skapa under föreställningstillfället.I uppsatsens teoridiskussion redogör jag för delaktighetsbegreppets mångfacetterade innehåll och funktion. Detta är nödvändigt för visa på begreppets variationer beroende på i vilken forskningskontext det används och vidare för att ringa in på vilket sätt begreppet delaktighet diskuteras i relation till uppsättningen.Antigones dagbok är utformad som en applikation för smartphones och kan beskrivas som gps-styrd radioteater i offentlig miljö. Ljudfiler spelas upp när publiken närmar sig de i förväg bestämda spelplatserna. För att publiken ska kunna orientera sig tar de hjälp av den karta som visas i telefonens display samt de röster och den musik som spelas upp. Efter varje ljudscen ställer huvudkaraktären Antigone en fråga till publiken. De svarar på dessa genom att skicka sina svar som sms. Kommentarerna går att läsa direkt i displayen och kan få betydelse för tolkningen av föreställningen. I uppsatsen diskuteras dels hur publiken är delaktig genom att replikera skriftligt på frågorna. Därtill diskuteras hur iscensättningen låter publiken vara medskapare av uppsättningens helhet. De unga åskådarna måste själva tillskriva karaktärerna attribut eftersom dessa aldrig syns utan enbart finns i ljudscenerna. Publiken har också till uppgift att ta ställning till vad, i den offentliga miljön, som ska utgöra föreställningens scenrum. Till skillnad från föreställningar i teatersalonger med specifik scenografi och rekvisita blir det publikens uppgift att skapa föreställningens fiktiva rum utifrån det offentliga rummet som omger dem.I receptionsstudien är det tydligt att publiken gillar denna digitala och utmanande iscensättning. Den unga publiken visar sig ha vissa svårigheter att ta till sig historien om Antigone. Samtidigt är det tydligt att den stora behållningen inte är föreställningens berättelse utan formen. Eleverna i receptionsstudien framhåller närheten till karaktärerna och platserna som skapas under föreställningshändelsen; de känner sig snarare som aktörer än som åskådare. Formen erbjuder också en mer tillåtande miljö där elevernas är mer aktiva som åskådare än passiva. Detta visar sig har positiva effekter på elevernas upplevelser.Mest uppskattat är föreställningens digitala verktyg. Det tillåter publiken att göra avtryck i produktionen. Förutom att svara på frågorna som ställs och dela med sig av sina perspektiv använder eleverna tekniken för att lämna omdöme på föreställningen och kommentera sin upplevelse.

  • 28.
    Ernst, Manilla
    et al.
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Antigone’s diary – Young Audiences as Co-creators of GPS-guided Radio Drama2015In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 27, no 1, p. 32-41Article in journal (Refereed)
    Abstract [en]

    The play, Antigone’s Diary, is a re-written version of Sophocles’ classical play, developed with teenage schoolchildren in the riot-ridden suburb Husby, a 30-minute subway ride away from the centre of Stockholm. Rebecca Forsberg of RATS Theatre adapted the plot into an interactive radio performance with a mobile audience, walking through the suburb and responding via text messages to Antigone’s questions after each of the twelve scenes. Young audiences were of especial interest for this project. Therefore, school performances for teenagers are the focus of this survey. The responses of pupils were studied during and after performances by means of observations, qualitative interviews and quantitative analysis of the text messages that the participants sent in response to Antigone’s questions. The seriousness and enthusiasm of young audiences were one of the stunning outcomes of this survey and a number of quotations illustrate the immersive power of this production. Furthermore, this experiment also served as a text bed for the Department of Computer and System Science, to which Rats Theatre is closely tied. The multimedia performance, combining radio drama, mobile audiences in a local environment and the options of interactive participation, demonstrated the potential of participatory experiences to engage audiences in democratic processes that can be applied to issues of political interest and decision making in the public sphere.

  • 29. Ernst, Wolf-Dieter
    et al.
    Klöck, AnjaWagner, MeikeStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Psyche – Technik – Darstellung: Beiträge zur Schauspieltheorie als Wissensgeschichte2016Collection (editor) (Refereed)
    Abstract [de]

    Die Schauspieltheorie abjenseits bekannter Positionen von Diderot, Stanislawski und Brecht ist noch immer ein wenig beachtetes theaterwissenschaftliches Forschungsgebiet. Die Autoren des Bandes schlagen hier eine erweiterte und kulturhistorisch geprägte Perspektive vor: Wie wurde der Schauspielvorgang einstudiert, trainiert und reflektiert? Welches Wissen und welche Methoden wurden dabei jeweils vorgeschlagen? Der Band versammelt Beiträge zu den historischen Wissensdiskursen der Schauspieltheorie um 1900:. Es werden die Verbindungslinien nachgezeichnet, mit denen Darstellungsweisen, Schauspieltechniken und die Konzeption der Psyche in Texten von Brecht, Stanislawski, Aristoteles, Craig, Chekhov, Bab, Giese und von Klöden u.a. aufeinander bezogen werden. In diesem Sinne erweist sich die Konfiguration von Psyche – Technik – Darstellung als notwendige und fruchtbare Denkfigur zur Analyse von Schauspielen als historisch kontingente kulturelle Praxis. kulturhistorischen Analyse von Schauspiel.

  • 30. Ernst, Wolf-Dieter
    et al.
    Klöck, Anja
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Psyche – Technik – Darstellung: Eine Einleitung zur Schauspieltheorie als Wissensgeschichte2016In: Psyche - Technik - Darstellung: Beiträge zur Schauspieltheorie als Wissensgeschichte / [ed] Wolf-Dieter Ernst, Anja Klöck, Meike Wagner, Munich: Epodium , 2016, p. 7-26Chapter in book (Refereed)
    Abstract [de]

    Die Schauspieltheorie jenseits bekannter Positionen von Diderot, Stanislawski und Brecht ist noch immer ein wenig beachtetes theaterwissenschaftliches Forschungsgebiet. Die Autoren des Bandes schlagen hier eine erweiterte und kulturhistorisch geprägte Perspektive vor: Wie wurde der Schauspielvorgang einstudiert, trainiert und reflektiert? Welches Wissen und welche Methoden wurden dabei jeweils vorgeschlagen? Der Band versammelt Beiträge zu den historischen Wissensdiskursen der Schauspieltheorie um 1900:. Es werden die Verbindungslinien nachgezeichnet, mit denen Darstellungsweisen, Schauspieltechniken und die Konzeption der Psyche in Texten von Brecht, Stanislawski, Aristoteles, Craig, Chekhov, Bab, Giese und von Klöden u.a. aufeinander bezogen werden. In diesem Sinne erweist sich die Konfiguration von Psyche – Technik – Darstellung als notwendige und fruchtbare Denkfigur zur Analyse von Schauspielen als historisch kontingente kulturelle Praxis. kulturhistorischen Analyse von Schauspiel.

     

  • 31.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Att välja och att välja bort: Rapport om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker, med särskild fokus på genus och jämställdhetsaspekten2009Report (Other (popular science, discussion, etc.))
    Abstract [sv]

    I rapporten Att välja och att välja bort: om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker med särskilt fokus på genus och jämställdhetsaspekten redogörs för teatrars rutiner och praktiker gällande repertoar, krierier för urval och beställning av dramatik samt hantering av frågor kring jämställdhet. De berörda teatrarna är: Dramaten, Riksteatern, Göteborgs stadsteater, Backa Teater, Östgötateatern och Norrlandsopera. Redogörelsen baseras på konstnärliga ledares och kulturpolitikers uttalanden i dessa frågor. Uttalanden är grupperade enligt tre huvudteman som även utgör rapportens kapitelindelning: 1. Praktiker, urvalskriterier och beslutsordning 2. Jämställdhet: Hinder, möjligheter, visioner och praktiska verktyg 3. Politiskt inflytande på den konstnärliga verksamheten.

  • 32.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Kulturutredningens problem: Om kulturutredningens dubbelhet i förhållande till konst och kvalitet2009In: Tidskriften Arena, ISSN 1652-0556, no 2, p. 18-19Article in journal (Other (popular science, discussion, etc.))
  • 33.
    Feiler, Yael
    Institution för genus, kultur och historia, Södertörns högskola.
    Manifesto for an Israeli She Monster: The Plays of Miriam Kainy2009In: Feminist Aesthetics and Dramaturgy of Irene Salami-Agunloye / [ed] Emmy Unuja Idegu, The Department of Theatre and Film Arts, University of Jos , 2009, p. 134-144Chapter in book (Other academic)
  • 34.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Simson och Delila: Yael Feiler känner inte igen sig på Kungliga Operan2008In: Judisk krönika, ISSN 0345-5580, Vol. Årgång 76, no nr 6, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    What Happens When The Merchant of Venice is Being Staged?: A comparative analysis of the reception of three European productions2010In: Shakespeares Shylock och antisemitismen / [ed] Yael Feiler, Willmar Sauter, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (Stuts) , 2010, 2. uppl., p. 133-162Chapter in book (Other academic)
  • 36.
    Feiler, Yael
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Shylock i rörelse: gestaltning, mottagande - nu och då2006In: Shakespeares Shylock och antisemitismen, Stiftelsen för utgivning av teatervetenskapliga skrifter , 2006, p. 29-60Chapter in book (Other academic)
  • 37.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Antigone i Husby: [Antigones dagbok + På min gata + Haimon]2014Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Antigone i Husby är tre fristående produktioner som alla utgår ifrån det grekiska antika dramat Antigone av Sofokles. Antigone är en ung tjej som trotsar statsmakten, hon utmanar våra tankar om vems röst som blir hörd. Antigone i Husby har vuxit fram i dialog med människor som teatern mött under de fem åren som vi varit verksamma i Husby.

  • 38.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Maryam: Om stjärnornas vandring genom ljus och mörker2013In: Women in science / [ed] Rebecca Forsberg, Skärholmen: Styx , 2013, p. 91-107Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Maryam är en ung vetenskapskvinna i 900-talets Aleppo, Syrien. Hon har utvecklat det avancerade astrologiska instrumentet astrolabe, som inte är större än att det får plats i en ficka och som med hjälp av stjärnorna kan mäta tid, plats och position. Och hon kämpar för att ta plats i Bayt al-Hikma, Visdomens hus, där männen dominerar.

    I mobildramat Maryam navigerar besökaren sig igenom föreställningen med hjälp av sin smartphone. Varje scen är kopplad till en fysisk plats och för att uppleva scenen måste man ta sig dit. Dramat är tillgängligt på flera olika platser i världen.

  • 39.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Woman in science: En trilogi om Ada, Maryam och Lise2013Collection (editor) (Other (popular science, discussion, etc.))
  • 40.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Women in science: introduktion2013In: Women in science / [ed] Rebecca Forsberg, Skärholmen: Styx , 2013, p. 7-9Chapter in book (Other (popular science, discussion, etc.))
  • 41.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Borgerlig salongsdramatik2007In: Teater i Sverige 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 42.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Grand opéra i Stockholm2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds Hedemora Möklinta , 2007Chapter in book (Other academic)
  • 43.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Manlig homosexualitet på scen2007In: Ny svensk teaterhistoria 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 44.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Operan går sin egen väg2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 45.
    Gademan, Göran
    Stockholm University, Faculty of Humanities.
    Realismen på Operan: regi, spelstil och iscensättningsprinciper på Kungliga teatern 1860-821996Doctoral thesis, monograph (Other academic)
  • 46.
    Gademan, Göran
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Lagerroth, Ulla-Britta
    Lunds universitet.
    Skådespelare på ny kunglig spelplats2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 47.
    Gademan, Göran
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Stenström, Johan
    Lunds universitet.
    Regiopera och folkopera2007In: Ny svensk teaterhistoria 3: 1900-talets teater, 2007Chapter in book (Other academic)
  • 48.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Angels in America: Roy Cohn och konstruktionen av en frisk, heterosexuell  samhällskropp2002In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, no 3-4, p. 95-107Article in journal (Other academic)
  • 49.
    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.
    Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem2009In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, no 1, p. 98-112Article in journal (Refereed)
    Abstract [en]

    This article investigates how Tennessee Williams’ play Suddenly Last Summer, as staged in Sweden in 1959, communicated sexual and racial anxieties. It aims to tease out the importance of fashion for the articulation of the closet and the expression of the simultaneous absence and presence of the queer subject in the play. Looking at the omnipresent use of whiteness of certain key costumes, the essay further proposes the concept of white Gothic fashion and argues that this assumed a whole new meaning when staged in a social and historical context that was not only characterized by institutionalized homophobia, but also promoted white hegemony and the control of women’s bodies. Placing particular emphasis on the socio-historical context of Sweden in the 1950s, the article demonstrates how performance studies and fashion theory can engage in a critical cultural analysis and help us understand national emotions, concerns and anxieties.

  • 50.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Den teatrala vreden: Hiv/aids och gayidentitet i Larry Kramers drama The Normal Heart2008In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, no 4, p. 74-97Article in journal (Other academic)
    Abstract [en]

    The article offers an analysis of Larry Kramer's drama The normal heart (1985), one of the first written plays dealing with HIV/AIDS. The focus lies on how Kramer treats the question of gay male identity and the narrow understanding of gay politics dominated by white middle-class men. Four thematic areas are discussed: The main character's critique of sexual promiscuity and his demands of sexual abstinence, his encouragement to his friends to come out of the closet, the awareness of gay men's contributions to history and culture, and the rising anger and rage as driving forces for new alliances and broader forms of activism. The article argues that queer theory must be situated in the specific socio-political climate of the 1980s and reminds of the importance of the HIV/AIDS-crisis for shaping a new understanding of sexual identities.

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