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  • 1.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Albert Ranfts roll i svensk teaterhistoria: En utvecklare eller en rest från 1800-talets teater2016In: Dokumenterat, ISSN 1404-9899, no 48, p. 61-71Article in journal (Other academic)
  • 2.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Andersson, Bibi2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 26-26Chapter in book (Refereed)
  • 3.
    Hoogland, Rikard
    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.
    Att få ett aktivt och kvalitativt deltagande bland studenter: Storföreläsningar, grupparbete och debatter2009Report (Other academic)
  • 4.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Björk, Anita2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 69-69Chapter in book (Refereed)
  • 5.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Bosse, Harriet2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 78-78Chapter in book (Refereed)
  • 6.
    Hoogland, Rikard
    Stockholm University. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Bråda tider för kulturpolitiken2009In: Teatertidningen, ISSN 1101-9107, no 1, p. 34-Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    de Wahl, Anders2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 145-145Chapter in book (Refereed)
  • 8.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dramaten2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 166-166Chapter in book (Refereed)
  • 9.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Ekblad, Stina2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 175-175Chapter in book (Refereed)
  • 10.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Ekman, Gösta2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 176-176Chapter in book (Refereed)
  • 11.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fredrikson, Gustaf2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 205-206Chapter in book (Refereed)
  • 12.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Från bruksteater till Jelinek-installationer2011In: Teatertidningen, ISSN 1101-9107, no 3, p. 50-53Article in journal (Other (popular science, discussion, etc.))
  • 13.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hansson, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 239-239Chapter in book (Refereed)
  • 14.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hatar män teater?2012In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 18, p. 90-100Article in journal (Refereed)
  • 15.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hjortsberg, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 249-249Chapter in book (Refereed)
  • 16.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    ‘How close is Angola to us?’ Peter Weiss’s Play Song of the Lusitanian Bogeyman in the Shadow of the Cold War2017In: Theatre, Globalization and the Cold War / [ed] Christopher B. Balme, Berenika Szymanski-Düll, London: Palgrave Macmillan, 2017, p. 293-306Chapter in book (Refereed)
    Abstract [en]

    Peter Weiss made his international breakthrough as a dramatist with the two plays Marat/Sade and Die Ermittlung. Weiss’s next work was therefore eagerly anticipated, but the play Gesang vom Lusitanischen Popanz was met with disappointment. It was a propagandistic play criticising Portugal’s colonial involvement in Africa. Weiss’s publisher, Suhrkamp, went to a lot of effort to try to stop the production. Several theatre critics from West Germany who that attended the world premiere in Stockholm pointed out that Weiss neglected the more pressing political issue: the Berlin Wall. The reviews published in East Germany underlined the political importance of the play and the criticism of West Germany’s policies towards Portugal. Some Swedish critics found that the political issue was overwhelmed by the aesthetic form. In this article I show how the assessment of the play was deeply coloured by the establishment of the Cold War home fronts in West and East Germany.

  • 17.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hur ska uppdraget fullföljas?2013In: Svenska dagbladet, ISSN 1101-2412, p. 7-Article in journal (Other (popular science, discussion, etc.))
  • 18.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hwasser, Elise2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 257-257Chapter in book (Refereed)
  • 19.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Introduction: Theatrical Emotions2009In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, p. 5-Article in journal (Other academic)
  • 20.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Josephson, Erland2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 287-287Chapter in book (Refereed)
  • 21.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Koffertmord på regionteatrarna?2010In: Teatertidningen, no 3, p. 34-35Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kungliga Dramatiska Teatern som folkteater2012In: Litteraturens arbetare: En vänbok till Per-Olof Mattsson / [ed] Christer Johansson & Per Anders Wiktorsson, Lund: Ellerströms förlag, 2012, p. 273-284Chapter in book (Other academic)
  • 23.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Olof Theodor (Tore) Svennberg2017In: Svenskt biografiskt lexikon: Häfte 169, Svedelius-Swenson / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2017, p. 567-570Chapter in book (Other academic)
  • 24.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing on and around the Public Square2014In: Playing Culture: Conventions and Extensions of Performance / [ed] Vicki Ann Cremona, Rikard Hoogland, Gay Morris and Willmar Sauter, Amsterdam/New York: Rodopi, 2014, p. 164-180Chapter in book (Refereed)
    Abstract [en]

    The article investigates the ways in which a public square can interact with its citythrough pre-arranged performances. The site of this study is a square in the middle ofStockholm, Sweden that was constructed in the late 1960s. Four performances thattook place during 2007 and 2009 are studied. All four connected in different wayswith the square. One of the main research questions is whether it is possible toconstruct a square designed to host public events and performances, and what theforemost problems are with a giant square such as Sergels torg. One of theconclusions is that while there is a need of open places in the city, the utilisation ofopen spaces for this purpose is threatened by increasing commercialisation of the city.These questions are discussed with the help of theories about city planning, publicopen space as well as theories of playing and the carnival.

  • 25.
    Hoogland, Rikard
    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.
    Politisk och personlig teater2009In: Teatertidningen, ISSN 1101-9107, no 2-3, p. 62-65Article in journal (Other (popular science, discussion, etc.))
  • 26.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Real Reality on Stage?: Lola Arias, Alecky Blythe, Rimini Protokoll and SheShePop Work with Reality on Stage2013In: Text in Contemporary Theatre: The Baltics within the World Experience / [ed] Guna Zeltiņa, Sanita Reinsone, Cambridge: Cambridge Scholars Publishing, 2013, p. 148-157Chapter in book (Refereed)
  • 27.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Scenkonst i ständig förändring2010In: Teatertidningen, no 3, p. 46-49Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg, August2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 556-556Chapter in book (Refereed)
  • 29.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg Visits the Suburbs: Strindberg’s Plays in Postdramatic Theatre2014In: Strindberg on International Stages/ Strindberg in Translation / [ed] Roland Lysell, Cambridge: Cambridge Scholars Publishing, 2014, p. 139-148Chapter in book (Refereed)
  • 30.
    Hoogland, Rikard
    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.
    Teaterpubliken i svensk kulturpolitik2009In: Peripeti - tidskrift for dramaturgiske studier, ISSN 1604-0325, no 12, p. 19-30Article in journal (Refereed)
    Abstract [en]

    Theatre audience and the Swedish cultural policy

    The Swedish cultural policy has since the 1930’s been engaged in distributing art on a professional level to all citizens and for its fulfilling reduced all hindrances. This article aims to analyze the way the theatre audience has been discussed in governmental cultural policy reports since 1933 years theatre report. In focus stands the failure to fulfill the goal that the theatre audience should be a cross-section of the Swedish society (social, ethnic, gender).

  • 31.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Teje, Tora2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 575-576Chapter in book (Refereed)
  • 32.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Nordic example: sustainable theatre systems?2017In: The Development of Organisational Theatre Systems In Europe: Sustainability and Changeability / [ed] Daria Skjoldager-Nielsen, Karolina Prykowska-Michalak, Izabela Molińska, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (STUTS), 2017, p. 77-83Chapter in book (Refereed)
  • 33.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 2, p. 6-27Article in journal (Refereed)
    Abstract [en]

    Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothen­burg as well as a couple of touring companies.

    His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in differ­ent genres. The way of programing was for Ranft an art form by itself, and sometimes he even acted in and directed the plays.

    In November 1893, at Stora Teatern in Gothenburg, he premiered a fairy tale play, and the staging was filled with spectacular effects. The play was, from the beginning, a stun­ning success with the production running for several hundred nights. Moreover, the pro­duction of Ljungby Hornbecame the ground stone for Ranft’s theatrical enterprise.

    The article describes how this success was established through mediatization and its base on rural oral history. The performance is analyzed and discussed as a popular theatre production (McConachie, Price, Röttger, Schecter). The author proposes that a more inclusive definition of popular theatre should be used; one which also takes into account the productions that had commercial success. Popular theatre needs to be in­cluded in theatre history writing to enable a better understanding of how the theatre system has developed.

  • 34.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Theatrical Emotions: Nordic Theatre Studies, volume 212009Collection (editor) (Other academic)
  • 35.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Tidblad, Inga2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 584-585Chapter in book (Refereed)
  • 36.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Troublesome visitors or contributors to a renewal of Swedsh theatre? A study of guest artists with a foreign theatre background at two Swedish national theatre schools2012In: The politics of being on stage / [ed] Anja Klöck, Hildersheim: Georg Olms Verlag AG, 2012, p. 151-165Chapter in book (Refereed)
  • 37.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    von Sydow, Max2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 606-606Chapter in book (Refereed)
  • 38.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    What Do Theatre Autobiographies Conceal?2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 1, p. 64-80Article in journal (Refereed)
    Abstract [en]

    Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possible to place autobiographies in both the repertoire and the archive in Taylor’s sense, and if they can be seen as a possible link between them.

  • 39.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Wifstrand, Naima2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 619-619Chapter in book (Refereed)
  • 40.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    A National Theatre Decentralized: Sweden's Three-and-a-half National Theatres2008In: National Theatres in a Changing Europe / [ed] S. E. Wilmer, Basingstoke: Palgrave Macmillan, 2008, p. 164-172Chapter in book (Other academic)
    Abstract [en]

    The founding, development and present status of Sweden's national theatres: The Royal Opera, The Royal Dramatic Theatre, The National Touring Theatre (Riksteatern) and the Children's Theatre Support Grant.

  • 41.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Sauter, WillmarStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.Cremona, Vicki AnnUniversity of Malta.Morris, GayUniversity of Cape Town.
    Playing Culture: Conventions and Extensions of Performance2014Collection (editor) (Refereed)
    Abstract [en]

    Playing Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.

  • 42.
    Sauter, Willmar
    et al.
    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.
    Hoogland, Rikard
    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.
    Sigfridsson, Barbro
    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.
    "Dessa bräder som föreställa världen"2009In: Socionomen. Facktidskriften för kvalificerat socialt arbete., ISSN 0283-1929, no 2, p. 22-27Article in journal (Other (popular science, discussion, etc.))
  • 43.
    Skjoldager-Nielsen, Daria
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Development of the Swedish Theatre System2017In: The Development of Organisational Theatre Systems In Europe: Sustainability and Changeability / [ed] Karolina Prykowska-Michalak, Daria Skjoldager-Nielsen, Izabela Molińska, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (STUTS), 2017, p. 116-130Chapter in book (Refereed)
1 - 43 of 43
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