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  • 1.
    Kubiak, Daria
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Museum as a Repository for Local Identity and Social Capital: Audience development in performing the exhibition – two cases from Łódź2015In: Sztuka i Dokumentacja / Art and Documentation, ISSN 2080-413X, no 12, p. 87-94Article in journal (Refereed)
    Abstract [en]

    Drawing on the theoretical perspective of performance studies, Daria Kubiak and Kim Skjoldager-Nielsen look at two attempts at deliberate audience emancipation through exhibition design. They analyze the performative ‘scripts’ inscribed in the way the Film Museum in Łódź shows its collection and in the exhibition Atlas of Modernity at the Muzeum Sztuki in Łódź, and provide a critical assessment of their potential to act as repositories for local identity and generators of social and cultural capital. As several shortcomings are identified in the analysis, certain ideas and postulates are put forward to remedy them and contribute to designing exhibitions that would perform archives as “theaters for development”.

  • 2. Scavenius, Alette
    et al.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wpływ inicjatywy prywatnej na rozwój duńskiego systemu teatralnego2016In: System organizacji teatrów w Europie / [ed] Karolina Prykowska-Michalak, Warszawa: Instytut Teatralny im. Zbigniewa Raszewskiego , 2016Chapter in book (Refereed)
    Abstract [en]

    When The Royal Theatre, Denmark’s first proper national theatre, opened in 1874 in Copenhagen, it was the result of a very complex cultural and political evolution beginning several centuries earlier. At the same time, it marked a significant turning point in Danish theatre history, whereby theatre developed from amateurism to professionalism, from baroque acting style to naturalism, from regionalism to internationalism, and, eventually, from the private initiative to the obligation of the state, marked by another important turning point, the Theatre Act of 1963. Until then, theatre had essentially been a private affair, driven by private interests, largely privately funded – and with broad support from the local population. It was the subject of the authorities’ growing vigilance, though, both politically and morally, and one may describe the Theatres Acts passed before 1963 as controlling and limiting, whereas the new Theatre Act sought to be democratizing, decentralizing and supportive. To understand this development, this chapter takes a look at social actors and structures in identifying the basis for the Danish theatre system from the Enlightenment to the present day, from private initiative to public responsibility (Kjeldstadli, Giddens). Our focus in understanding these changes is the concrete facilities in which the performing arts could unfold: The theatre buildings. The chapter presents the development of the Danish theatre system from a variety of socio-geographic factors previously only to a lesser extent taken into account when the country’s theatrical and cultural histories were written. It is based on a study of the unique theatre construction boom that took place in Denmark from 1874-1914 and reveals furthermore surprising regional cultural differences in, respectively eastern and western Denmark. It is the intention within this context to discuss the sociological mechanisms that control cultural growth by identifying theatrical activities and compare them with the socio-geographical conditions in the country’s different regions. The findings challenge the common perception of Denmark as a country where support for intellectual life has largely been the concern of the state, and where the theatre system is seen as a consequence of cultural policy and decision-making. Furthermore, this article intends to identify the cultural growth drivers in the Danish provinces, and it is obvious that it was the private sector, mainly industrial owners, who with popular support took the initiative to create those structures in the community, which supported social networks – by building theatres to serve as common meeting places. Cultural activities and offerings were not, as one might have expected, resulting from the cultural elite’s initiatives. Private enterprise has historically played a more significant role in the development of the current Danish theatre system than perhaps previously thought. The article draws perspectives of this historic study by finally asking what impact the actors or private initiators might have on the development of structures of today’s theatre system, and to what extent the cultural and other political processes of the 21st century – such as the development of periphery areas – could benefit from a political holistic thinking as well as secure business involvement in efforts to balance the inequality that prevails in the cultural field in the various Danish regions.

  • 3.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Cosmos+: A Big Bang performance about the Wonders of the Universe2017In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, p. 64-64Article in journal (Other academic)
    Abstract [en]

    This short article offers a presentation of Hotel Pro Forma's performance Cosmos+. A Big Bang performance about the Wonders of the Universe.

  • 4.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Mellem ritual og teater: Hotel Pro Formas forestillinger Operation: Orfeo og jesus_c_odd_size2012In: Kritisk forum for praktisk teologi, ISSN 0106-6749, no 130, p. 67-77Article in journal (Other academic)
    Abstract [da]

    Hvad sker der, når teater benytter sig af ritual-lignende udtryksformer? Når optrædende og publikum bliver ét midt i en performance om det metafy- siske eller Jesus? Hotel Pro Forma har i flere af deres opførelser berørt det metafysiske og spirituelle, som i nærværende artikel beskrives gennem perfermanceoperaen på Det Kongelige Teater Operation: Orfeo 2008 og per- formanceudstillingen jesus_c_odd_size, som fandt sted i en gammel kirke, nu Nikolaj Udstillingsbygning, i København 2002.

  • 5.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Over the Threshold, Into the World: Experiences of Transcendence in the Context of Staged Events2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to develop an apparatus of theory and method for performance analysis, the purpose of which is to analyse potentials for experiences of transcendence. These experiences are contextualised in terms of the metaphysical, the religious, and the spiritual. The theoretical basis is a combination of Erika Fischer-Lichte’s the aesthetics of the performative and Dorthe Jørgensen’s metaphysics of experience. In the development of the theoretical discussion, a variety of experiences is explored in the context of contemporary theatre, ritual, and installation art in Sweden, Denmark, and Aotearoa New Zealand. The dissertation contributes to the methodology of performance analysis as it emphasises experience as research, and to the interdisciplinary research field of performance, religion, and spirituality, as it draws on theatre and performance studies, philosophical aesthetics, philosophy of religion, theology, sociology, and anthropology.

    The result is a practical model that allows the analysis of experiences of transcendence as created in the staged event through the complex interplay of material properties of staging and cognitive capacities for experience in the spectator’s or congregant’s process of reception – all of which are conditioned by the event’s contexts.

  • 6.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Scenens ikkeviden: I anledning af Lars Qvortrups Paradokshåndtering og ritualproduktion2016In: Den levende kroppen: Mot en ny forståelse av menneske og natur / [ed] Drude von der Fehr, Oslo: Vidarforlaget AS, 2016, p. 123-151Chapter in book (Refereed)
    Abstract [en]

    The human condition is not only staged by religion. This article explores how aesthetic and performative events have the potential to convey to us the experience of non-knowledge, i.e.   that of which we do not know what we do not know; in other words, that which is greater than ourselves, the metaphysical, the impossible, and the unknown. A deep need to relate to these unfathomable dimensions of existence exists for both believers and non-believers, without consequence to seek any ultimate truth. Let it be said once and for all: absolute transcendence is impossible for us; we cannot physically exceed ourselves and put ourselves in God's place. We can only transcend ourselves through our imagination. We do not know the reality that we nevertheless creativity seek to attribute form to through ritual and art. So, how do we stage experiences of the metaphysical in ways that underline the fact that these forms cannot but arise out of our bodily perception? How can religious or transcending  experience be staged without the claim to Truth? These are questions that this article seeks to answer.

  • 7.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Scenisk rumkunst. Kosmos+2015In: Skønhedens Hotel: Hotel Pro Forma: Et laboratorium for scenekunst / [ed] Kathrine Winkelhorn, Erik Exe Christoffersen, Aarhus: Aarhus Universitetsforlag, 2015, p. 197-211Chapter in book (Refereed)
    Abstract [en]

    What is the connection between the performing arts and space? Here I am not aiming at architectural space, but space, cosmos. The connection may seem speculative or marginal, but it does exist. Hotel Pro Forma is one of the theaters, which have contributed to the experience of space on stage. Based on the concept of space art, in this essay I explore the connection between the performing arts and space using Hotel Pro Forma's performance Cosmos+ (2014-15) as the main example. In various ways the performance seeks to present astronomical phenomena, promote the conquest of space and portray human experience of the encounter with the cosmos. I include Cosmos+ in the portion of space art that may be called "space art on stage". Based on an analysis of Cosmos + I show how the performance relates to the philosopher Dorthe Jørgensen's concept of the experience of beauty. Through such experiences Cosmos+ unfolds its existential, spiritual and political potential for the audience: to experience the both terrifying and liberating sensation of being part of that which is greater than oneself.

  • 8.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Signas Salò: affekt og non-etisk katastrofe2012In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 17, p. 29-38Article in journal (Refereed)
    Abstract [en]

    The article is a critical analysis and diskussion of the learning potential of the performance Salò in Copenhagen 2010. 

  • 9.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Space Art on Stage: The Cosmo-Aesthetic Challenge2017Other (Other academic)
    Abstract [en]

    This scientific poster was presented at the Performance Studies Space Programme (PSSP) launch at the Performance Studies international conference PSi #23, at Kampnagel, Hamburg, 2017. The PSSP is organised by Dr. Filipe Cervera and Prof. Maaike Bleeker. The poster presents a research project in its inceptial stage, which will investigate staged events that explore and convey experiences of outer space and the cosmos to their audiences.

  • 10.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Who Am I Now, Who Am I Here?"2011In: Spaces of Identity in the Performing Sphere / [ed] Sibila Petlevski och Goran Pavlic, Zagreb: Fraktura , 2011, 1, p. 65-90Chapter in book (Other academic)
    Abstract [da]

    "Who am I now, who am I here?" er en multi-perspektivisk forestillingsanalyse af den dansk-østrigsk-svenske scenekunstgruppe SIGNAs Salò. Forestillingen var en publikumsinvolverende adaptering af Pier Paolo Pasolinis famøse film fra 1975 og vakte stor opsigt og debat i medierne, da den blev opført i København 2010. Analysen kombinerer publikumsundersøgelse med fænomenologiske og systemteoretiske optikker for at indfange forestillingens interaktivitet med publikum. Endvidere indsættes analysen i en etisk ramme, der diskuterer dramaturgiens løsning af publikumsinddragelsen i forhold til en politisk agenda. Antologien Spaces of Identity in the Performing Sphere er redigeret af professor i teatervidenskab Sibila Petlevski og Goran Pavlic ved Zagrebs Universitet og er første skridt i en syntetisering af teori for analyse af identitetsdannelse, såkaldet "ny teatrologi".

  • 11.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Über die Schwelle, in die Welt hinein: Das spirituelle Potenzial der Performance2016In: Double: Magazin für Puppen-, Figuren- und Objekttheater, Vol. 33, no 1, p. 6-9Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    After visiting the installation "Din blinde passager" (Your Blind Passenger) by the Icelandic-Danish artist Olafur Eliasson the theatre scholar Kim Skjoldager-Nielsen has put together some thoughts about the extent to which staged event can give rise to religious and spiritual experiences through their material nature. The central question here is how theatre can support a return to transcendent aspects in everyday social life when most people in society have in pricinple lost these skills.

  • 12.
    Skjoldager-Nielsen, Kim
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Edelman, Joshua
    Liminality2014In: Ecumenica Journal of theatre and perfomance, ISSN 1942-4558, Vol. 7, no 1/2, p. 29-35Article in journal (Refereed)
    Abstract [en]

    Entry on liminality in a special issue of the journal Ecumenica on Critical Terms in Religion, Spirituality, Performance

  • 13.
    Skjoldager-Nielsen, Kim
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Kubiak, Daria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Anmeldelse af Hotel Pro Forma: Dagens kage er en træstamme2016In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 25Article, book review (Other academic)
    Abstract [en]

    In 2015 the Danish performance theatre Hotel Pro Forma turned 30. It was celebrated with the performative exhibition Dagens kage er en træstamme (Today's Cake is a Log) at the exhibition venue Kunstforeningen Gl. Strand in Copenhagen, 6-29 November.

    The doctoral fellows in theatre studies Kim Skjoldager-Nielsen and Daria Kubiak revisits the exhibition in a review for the Danish reseach journal Peripeti.

  • 14.
    Skjoldager-Nielsen, Kim
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Scavenius, Alette
    Private Initiative in the Development of the Danish Theatre System2018In: The Development of Organisational Theatre Systems in Europe: Sustainability and Changeability / [ed] Karolina Prykowska-Michalak, Daria Skjoldager-Nielsen, Izabela Molinska, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (STUTS), 2018Chapter in book (Refereed)
    Abstract [en]

    When The Royal Theatre, Denmark’s first proper national theatre, opened in 1874 in Copenhagen, it was the result of a very complex cultural and political evolution beginning several centuries earlier. At the same time, it marked a significant turning point in Danish theatre history, whereby theatre developed from amateurism to professionalism, from baroque acting style to naturalism, from regionalism to internationalism, and, eventually, from the private initiative to the obligation of the state, marked by another important turning point, the Theatre Act of 1963. Until then, theatre had essentially been a private affair, driven by private interests, largely privately funded – and with broad support from the local population. It was the subject of the authorities’ growing vigilance, though, both politically and morally, and one may describe the Theatres Acts passed before 1963 as controlling and limiting, whereas the new Theatre Act sought to be democratizing, decentralizing and supportive. To understand this development, this chapter takes a look at social actors and structures in identifying the basis for the Danish theatre system from the Enlightenment to the present day, from private initiative to public responsibility (Kjeldstadli, Giddens). Our focus in understanding these changes is the concrete facilities in which the performing arts could unfold: The theatre buildings.The chapter presents the development of the Danish theatre system from a variety of socio-geographic factors previously only to a lesser extent taken into account when the country’s theatrical and cultural histories were written. It is based on a study of the unique theatre construction boom that took place in Denmark from 1874-1914 and reveals furthermore surprising regional cultural differences in, respectively eastern and western Denmark. It is the intention within this context to discuss the sociological mechanisms that control cultural growth by identifying theatrical activities and compare them with the socio-geographical conditions in the country’s different regions. The findings challenge the common perception of Denmark as a country where support for intellectual life has largely been the concern of the state, and where the theatre system is seen as a consequence of cultural policy and decision-making. Furthermore, this article intends to identify the cultural growth drivers in the Danish provinces, and it is obvious that it was the private sector, mainly industrial owners, who with popular support took the initiative to create those structures in the community, which supported social networks – by building theatres to serve as common meeting places. Cultural activities and offerings were not, as one might have expected, resulting from the cultural elite’s initiatives. Private enterprise has historically played a more significant role in the development of the current Danish theatre system than perhaps previously thought. The article draws perspectives of this historic study by finally asking what impact the actors or private initiators might have on the development of structures of today’s theatre system, and to what extent the cultural and other political processes of the 21st century – such as the development of periphery areas – could benefit from a political holistic thinking as well as secure business involvement in efforts to balance the inequality that prevails in the cultural field in the various Danish regions.

  • 15.
    Skjoldager-Nielsen, Kim
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Skjoldager-Nielsen, Daria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Theatre, Science, and the Popular: Two Contemporary Examples From Scandinavia2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 2, p. 137-161Article in journal (Refereed)
    Abstract [en]

    This article explores relations between theatre, science, and the popular, which have largely been overlooked by Nordic theatre studies. The aim here is to introduce and understand the variety of ways theatre may communicate science to the public, the point of departure informed by the historical development of the relations between the three concepts and Edmund Husserl’s phenomenological critique of modern science. The two analytical examples are Swedish Charlotte Engelkes’ and Peder Bjurman’s Svarta hål – en kvantfysisk vaudeville (2014) and Danish Hotel Pro Forma’s adult performance for children Kosmos+ En Big Bang forestilling om universets vidundre (2014).

    History of science reveals complex combinations of science and the popular in theatrical events that raises the question if the audience’s understanding of the scientific subject matter itself always was – or has to be – the purpose of the popular science performance, or if it rather was – and is – about spurring interest by inspiring sentiments of wonder and reflection on science’s impact on life and outlooks. Newer conceptual developments also suggest that it is not always the case that theatre is a tool for science popularisation, as a specific genre science theatre, but that scientific information and concepts are artistically interpreted by theatre, and not always in ways affirmative of the science. This later variant is called science-in-theatre. The two genres are demonstrated through the analyses of Svarta hål and Kosmos+, the claim being that the first was an ambiguous exposition of science, i.e. science-in-theatre, whereas the second established an artistically visionary affirmation, as regular science theatre.

1 - 15 of 15
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