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  • 1. 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)
  • 2. 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.

  • 3. 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.

  • 4.
    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)
  • 5.
    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.

  • 6.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bildens halva sanningar2009In: Teatertidningen, no 2-3, p. 50-51Article in journal (Other (popular science, discussion, etc.))
  • 7.
    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.

  • 8.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2010In: Critical Studies in Fashion and Beauty, ISSN 2040-4417, Vol. 1, no 2, p. 233-254Article in journal (Refereed)
    Abstract [en]

    This essay 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, non-political identities. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game with the objective to denounce and ridicule the Swedish Security Police, which, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 9.
    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.

  • 10.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    ‘En gorillaliknande högpotent hanne som stank av kön’: Anders Ek och gestaltningen av sexualitet i Spårvagn till Lustgården2009In: Mode – en introduktion: En tvärvetenskaplig betraktelse / [ed] Dirk Gindt & Louise Wallenberg, Stockholm: Raster , 2009Chapter in book (Other academic)
  • 11.
    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.))
  • 12.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    En kort introduktion till kritiska maskulinitetsstudier2008In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, no 4, p. 6-14Article in journal (Other academic)
  • 13.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Eve Kosofsky Sedgwick in memoriam2009In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, Vol. 4, no 2, p. 76-90Article in journal (Other academic)
  • 14.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Other (Other academic)
  • 15.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Heroes and Villains: Contesting Hegemonic Masculinity in a Peace Demonstration2007In: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19, p. 56-67Article in journal (Refereed)
  • 16.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    In Defense of the Theatrical Event2007In: Willmar in the World: Young Scholars Exploring the Theatrical Event: A Festschrift for Willmar Sauter on his 60th Birthday / [ed] Yael Feiler, Rikard Hoogland, Kalle Westerling, Stockholm: STUTS , 2007, p. 22-28Chapter in book (Other academic)
  • 17.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Inledning2009Other (Other academic)
  • 18.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Inledning: Reflektioner kring mode, feminism och homosexualitet2009In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100-2573, Vol. 14, no 3-4, p. 9-23Article in journal (Other academic)
  • 19.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Medico-artistic complicities on Swedish stages: The boys in the band and the regulation of gay male representation in the welfare state2016In: Journal of Homosexuality, ISSN 0091-8369, E-ISSN 1540-3602, Vol. 63, no 5, p. 633-666Article in journal (Refereed)
    Abstract [en]

    Seeking to understand the highly unfavorable conditions for the development of gay male theater in Sweden, this essay engages in a historical study of the national opening of Mart Crowley’s The Boys in the Band at Malmö City Theatre in 1970. Propelled by a Foucauldian-inspired theoretical approach, it identifies the subtle, yet highly effective, measures of control that the, at the time, social democratic welfare state exercised over representations of homosexuality on stage. State representatives, who complied with the official political and medical doctrine that homosexuality was a mental illness and posed a potential threat to social stability, interfered at various levels of the production, including the rehearsal process and post-performance talks between cast members and audiences. This alliance between Swedish theaters and members of the medical, psychological, and sexological professions constituted a medico-artistic complicity that supervised and regulated early attempts of gay representation on stage.

  • 20.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    National Performances of Crying: Neoliberal Sentimentality and the Commodification of HIV and AIDS Narratives in Sweden2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 235-253Chapter in book (Refereed)
  • 21.
    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.
    Out of the Closet, Onto the Page: A discussion of  Williams’s public coming out on The David Frost Show in 1970 and his confessional writing of the ’70s, with Michael Paller, Annette Saddik and David Savran, panel debate from the 2010 Tennessee Williams Scholars Conference, New Orleans, USA2011In: The Tennessee Williams Annual Review, ISSN 1097-6053, no 12, p. 107-119Article in journal (Other (popular science, discussion, etc.))
  • 22.
    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.
    Performative Processes: Björk’s Creative Collaborations with the World of Fashion2011In: Fashion Theory: The Journal of Dress, Body and Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 15, no 4, p. 425-450Article in journal (Refereed)
    Abstract [en]

    This essay analyzes how Icelandic singer-songwriter and actress Björk uses dress as a creative medium to enhance her musical vision, visualize her patriotic politics as well as ally herself with performance art and further strengthen her position in the avant-garde. I devote specific attention to her joining forces with British designer Alexander McQueen and British photographer Nick Knight and unpack the implications of this creative collaboration, arguing that Björk strategically uses McQueen’s and Knight’s understanding of fashion as a performative process, that is, constantly in a state of becoming and transformation, in order to create her unique style that is characterized by the shifting and unstable identity of the Icelandic geographical body. In the last part of the essay, I take Björk’s involvement with SHOWstudio as a starting point to reflect on some of the consequences when these visual and performative collaborations move into the realm of the digital.

  • 23.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for fashion studies.
    Playing Activists and Dancing Anarchists: Men and Masculinities in Cultural Performances in Contemporary Sweden2008Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. The case studies include: the large peace demonstration in Stockholm in February 2003 against the invasion of Iraq; a street theatre performance by the comedians Kesselofski and Fiske, who argue against the European Monetary Union; four Social Democratic May Day celebrations with former prime minister Göran Persson as the main speaker; two anti-racist demonstrations, one of which leads to a violent street battle between activists and a riot police squad.

    The dissertation proposes Performance Studies as a relevant means of examining men and masculinities in political live events. The method of study is based on participant observation, which enables a direct experience of the theatrical communication. This material is complemented with additional sources, such as photographs, newspaper articles, magazines, video recordings, TV broadcasts, interviews, flyers and Internet websites. The theoretical and analytical approach is inspired by Willmar Sauter’s model of the theatrical event and Raewyn Connell’s theory of hegemonic masculinity. The theatrical event studies the live meeting between performers and spectators as a playful act of human communication in a concrete space. It also situates any performance in a cultural context that includes gender and gender relations. Connell suggests that, while most men benefit from the structural subordination of women, relations between different men and masculinities are dynamic and characterised by internal hierarchies. The normative and socially privileged position is given to hegemonic masculinity, a combination of cultural ideal and institutional power that is often reinforced by an underlying threat of violence.

    The different chapters identify and discuss a broad range of men and masculinities, from a cowboy-politician and a financial shark to dead political father figures and masked collectives of martyrs. At first sight, these seem to be immensely diverse, unique and individual – but a closer analysis reveals that many of them are contemporary embodiments or complicit supporters of hegemonic masculinity. Underneath the playful surface of some of the events are strong undercurrents of this ideal. At times, these create a small quake during a cultural performance. At others, they erupt forcefully. While violence is a central theme of the study, it also shows the growing resistance offered by feminist activists, performers and musicians. Cultural performances prove to be loci where hegemonic masculinity is not only reproduced, but also contested. The concept of the theatrical event helps to identify and spotlight these attempts and shows how Performance Studies can contribute to analysing men and masculinities in political demonstrations and similar cultural performances.

  • 24.
    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.

  • 25.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Tennessee Williams and the Swedish Academy: Why he never won the Nobel Prize2011In: Tenn at One Hundred: The Reputation of Tennessee Williams / [ed] David Kaplan, East Brunswick, NJ: Hansen , 2011, p. 153-167Chapter in book (Other academic)
  • 26.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Sexual Fantasies2019Book (Refereed)
    Abstract [en]

    The immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.

  • 27.
    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.

  • 28.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Queer Future That Dared Not Be Imagined: Ageing and “Post-AIDS” Theatre’2018In: Q2Q: Queer Canadian Theatre and Performance / [ed] Peter Dickinson, CE Gatchalian, Kathleen Oliver, Dalbir Singh, Toronto: Playwrights Canada Press , 2018Chapter in book (Refereed)
  • 29.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Torn between the “Swedish Sin” and “homosexual freemasonry”: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2017In: Twentieth-century literary criticism, Volume 334: Excerpts from Criticism of the Works of Novelists, Poets, Playwrights, Short Story Writers, & Other Creative Writers Who Died Between 1900 & 1999 / [ed] Lawrence J. Trudeau, Farmington Hills, Michigan: Gale Group, 2017, p. 287-299Chapter in book (Refereed)
  • 30.
    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)
  • 31.
    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.

  • 32.
    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.

  • 33.
    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. 135-168Chapter in book (Refereed)
  • 34.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    ‘Your asshole is hanging outside of your body?': excess, AIDS, and shame in the theatre of Sky Gilbert2014In: The uses of excess in visual and material culture, 1600-2010 / [ed] Julia Skelly, Burlington: Ashgate, 2014, p. 249-276Chapter in book (Refereed)
  • 35.
    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.

  • 36.
    Wallenberg, Louise
    et al.
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Art History.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Introduktion2009In: MODE: en introduktion: En tvärvetenskaplig betraktelse / [ed] Louise Wallenberg och Dirk Gindt, Stockholm: Raster förlag , 2009, 1, p. 7-18Chapter in book (Other academic)
1 - 36 of 36
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  • rtf