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  • 101.
    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.

  • 102.
    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)
  • 103.
    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.))
  • 104.
    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 & 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.

  • 105.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden2007Doctoral 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 and the material is complemented with additional sources. 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 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. 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. The study 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.

  • 106.
    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.

  • 107.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Samisk scenkonst som gåva: Eeflektioner kring Giron Sámi Teáhter och dess dekoloniala arbete2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 95-124Chapter in book (Other academic)
  • 108.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Swedish Whiteness, German Multiculturalism, French National Identity and American Racial Profiling Transnational Perspectives on Jonas Hassen Khemiri’s Invasion!2021In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 33, no 2, p. 36-57Article in journal (Refereed)
    Abstract [en]

    Populated by characters from the Middle East, North Africa, Southeast Asia, and Sweden, Jonas Hassen Khemiri’s debut play, Invasion! (2006), marked one of the first intercultural theatrical events on a mainstream Swedish stage. It unapologetically confronted audiences with the consequences of stereotypical representations of Muslim men as fundamentalist terrorists and further criticized the notion of “Swedishness” for not just working as a mere designation of nationality and citizenship, but also a silent, yet powerful signifier of whiteness. Moreover, Invasion! was the first play to be performed in a mainstream theatre by a cast that had an intercultural and international background and could effortlessly switch between standard Swedish (rikssvenska) and suburban Swedish (ortenspråk). Acknowledging the fifteenth anniversary of Invasion!, this article looks back upon the watershed of director Farnaz Arbabi’s original production and the play’s subsequent transnational impact. How did a play that was defiantly at odds with the hegemonic whiteness of the performing arts in Sweden, at that point in time, not only become a modern classic that found its way into the university curricula, but went on to garner an impressively transnational success? What exactly captured the interest and attention of theatre artists in Germany, France, the US, and many other countries? And how did international reviewers react to and interpret the work? What interests me specifically is to study how the play has ‘travelled’, how its characters and themes have migrated to different national and linguistic contexts, engendered new creative networks and transnational dialogues as well as unfolded multiple layers of cultural translations in the process. A genuine understanding and appreciation of Khemiri’s work, I suggest, necessitates a transnational outlook that, in turn, sheds light on Nordic theatre and performance as increasingly intercultural and motivated by concerns that are not regional but global.

  • 109.
    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)
  • 110.
    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.

  • 111.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Decolonial Labour and the Gift of Contemporary Sámi Performance2023In: Contemporary Theatre Review, ISSN 1048-6801, Vol. 33, no 3, p. 180-202Article in journal (Refereed)
    Abstract [en]

    In February 2017, Sweden’s oldest and largest professional Sámi ensemble, Giron Sámi Teáhter, produced the politically outspoken production CO2lonialNATION – A Theatrical Truth and Reconciliation Commission, a collective documentary theatre project that assembled anonymized witness testimonies from all over Sápmi. Using CO2lonialNATION as a highly representative example of Giron Sámi Teáhter’s repertoire, this essay highlights the decolonial labour of contemporary Sámi performance. It teases out the dramaturgical implications of mounting a theatrical truth and reconciliation commission by exploring the preparation and research process, the embodied performance onstage including the script, spatial arrangement, and relationship between performers and audiences, as well as the production’s roots in Sámi visual, material, and musical culture. Indebted to the work of political sciences and Indigenous studies scholar Rauna Kuokkanen, the essay’s core argument suggests that Sámi performance constitutes a gift that foregrounds Indigenous knowledges, rehearses and enacts political change and social justice, and engenders relationships that are characterized by respect, responsibility, and reciprocity. Finally, the essay ponders some of the ethical responsibilities and methodological challenges that a non-Sámi spectator faces when witnessing a performance that outlines the manifold legacies of settler colonialism.

  • 112.
    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)
  • 113.
    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)
  • 114.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    “We already carry out a national assignment”: Indigenous Performance and the Struggle for a Sámi National Theatre in Sweden2022In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 47, no 3, p. 272-293Article in journal (Refereed)
    Abstract [en]

    In recent years, the arts and culture in Sweden have taken a stand against the prevailing epistemic ignorance on the Indigenous Sámi people by confronting majoritarian society with the realities of settler colonialism. This essay suggests that theatre and performance form part of this Sámi cultural revitalization and highlights the decolonial labour of Giron Sámi Teáhter, the oldest professionally driven touring company in the Swedish part of Sápmi. Taking one specific production, Ædnan (2020), as a springboard, the essay analyses how Giron Sámi Teáhter deploys the stage as a vibrant, decolonial forum where the history of settler colonialism and the Sámi people’s struggle toward self-determination is performed, celebrated and encouraged. The company has long laboured to gain official status as a fully-subsidized national theatre and the essay outlines the financial and political impediments encountered in a decades-long struggle that remains unresolved to this day.

  • 115.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013In: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, p. 131-167Chapter in book (Refereed)
  • 116.
    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)
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  • 117.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Brinch, RebeccaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Rosenberg, TiinaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater2022Collection (editor) (Other academic)
    Abstract [sv]

    Antologin "Berätta, överleva, inte drunkna" är den första publikationen på svenska som samlar scenkonstnärer och teatervetare till att reflektera över den pågående flyktingsituationen och den ökande främlingsfientligheten. Boken tar hänsyn till både strukturella och institutionella aspekter som spelar roll i dekoloniseringsprocesser (t.ex. kvotering; chefspositioner; scenkonstnärliga utbildningars upplägg).Antologin kan användas som kurslitteratur för studenter i teatervetenskap och besläktade ämnen, exempelvis barn- och ungdomsvetenskap, kulturstudier, litteraturvetenskap, genusvetenskap, lärarutbildningar och scenkonstnärliga utbildningar. Boken riktar sig även till scenkonstnärer och praktiker, studieförbund samt till en allmän publik som är intresserad av antirasistisk och postkolonial teater. Samtliga bidrag är skrivna på ett pedagogiskt sätt som gör boken tillgänglig för en akademisk och icke-akademisk publik.Boken har en inkluderande agenda som ger utrymme både för den yngre generationen scenkonstnärer och pionjärer som drivit på utvecklingen av de- och postkolonial teater. Perspektiv från institutionsteatrar varvas med erfarenheter från alternativa scenkonstnärliga miljöer. Antologins geografiska spännvidd sträcker sig från Malmö i syd till Sápmi i nord, och ortens teaterkultur får lika stort utrymme som storstädernas scenkonst. Syftet är att spegla den kulturella mångfald som präglar den samtida scenkonsten och bidra till en fördjupad dialog mellan akademin, scenkonsten och allmänheten.

  • 118.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Potvin, John
    Curating and Performing Racism: Scenarios of Afrophobia in Contemporary Sweden2020In: Scandinavian Studies, ISSN 0036-5637, E-ISSN 2163-8195, Vol. 92, no 1, p. 1-38Article in journal (Refereed)
  • 119.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    “Scenkonsten är en plats för att ifrågasätta och utmana”: Ett samtal om afrosvensk scenkonst med Josette Bushell-Mingo2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 173-182Chapter in book (Other academic)
  • 120.
    Granath, Sara
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Käket & moralen: Teatersällskapet Profeus/Mercurius från studentteater till länsteater1997Doctoral thesis, monograph (Other academic)
  • 121.
    Grehn, Sandra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Det gömda barnet i papperslöshet: Dekoloniserande teaterpraktiker i Backa Teaters uppsättning Rött kort2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch, Dirk Gindt, Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, 1, p. 279-296Chapter in book (Refereed)
  • 122. Grehn, Sandra
    Ecodramaturgy and Artistic Expressions in Riksteatern's Productions Polarfararna (2018), Slutet enligt Rut (2018) and Nationalparken (2019)2023Conference paper (Refereed)
    Abstract [en]

    Ecology describes the intertwined relationships in our world and includes the study of animals and plants and how we as humans relate to each other, our surroundings, and the more-than-human (Giannachi & Stewart 2005; Woynarski 2020). Ecodramaturgy describes theatre and performance that places ecological reciprocity and community at the centre of its artistic and thematic content (Arons & May 2012:4). Lisa Woynarski uses the term to deal with meaning-making concerning ecology in all theatre and performance forms, themes, processes, and narratives and thus potentially as a strategy to subvert dominant forms of representation that often devalue the more-than-human world (Woynarski 2020). Ecological theatre, thus, does something and can potentially problematize relations to the more-than-human (Woynarski 2020).

    In Sweden, a few important ecocritical theatre initiatives have been run by Riksteatern - Sweden's largest touring theatre since 1933. In the Human and Nature project (2017–2020), Riksteatern investigated climate, lifestyle, and nature/culture issues. In 2017, the production Polarfararna was played, directed by Åsa Johannisson, an absurd disaster drama about an expedition to the North Pole in 2016. In 2018, the production Slutet enligt Rut was played, directed by Nora Nilsson, a comedy about inheritance and desire where Rut, who has reached the age of 112, refuses to die so that the forest she leaves behind will live undisturbed. In Nationalparken (2019), directed by Lisa Färnström, the old-growth forest is a metaphor for diversity and becomes a tribute to thousands of ways of life. This paper focuses on the following questions: What ecodramaturgical strategies can be found in the three performances? In what ways do the performances examine man’s relationship to the more-than-human? What role do forests and landscapes play in the three performances, and what dramaturgical significance do they have?

  • 123.
    Grehn, Sandra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Social Sustainability and Backa Theatre’s Staging of Red Card (2014)2021Conference paper (Refereed)
    Abstract [en]

    In the autumn of 2014, the production Red Card (Rött kort) premiered at Backa Theatre in Gothenburg, Sweden, directed by Gabriela Pichler. Backa Theatre is part of The Gothenburg Civic Theatre, mainly playing for children and young people. The production was based on 11-year-old Leo’s lived experiences as a hidden and undocumented migrant in Sweden and was a collaboration with the playwright America Vera-Zavala and Botkyrka Community Theatre & Dance. The actor Rasmus Lindgren and Leo himself were on stage.

    The metaphor of football and Leo’s bodily experiences of being an undocumented and hidden child in Sweden was a recurring element in the staging. By taking this place, Leo shares a story that seldom is told in Swedish cultural life, despite the national discourse about Sweden as a country at the forefront of children’s rights. The staging raises questions about children's civil rights and how belonging to a community is a fundamental part of a sustainable world. Red Card challenges the idea of citizenship connected to space and presents Leo as a citizen in his own right despite not having formal Swedish citizenship.

    By combining semiotic performance analysis with critical discourse analysis, my paper presents an analysis of a filmed performance of Red Card, focusing on the following research questions: By what means does the production stage the life of an undocumented child in Sweden in the 2010s? What discourses concerning the undocumented child are staged, and how do they relate to contemporary dominant discourses? What significance is created in the form of Leo himself being on stage, and what difficulties does this entail? How and by what means does the staging relate to ideas of social sustainability, focusing on Leo’s experiences as an undocumented child living in Sweden?

  • 124.
    Grehn, Sandra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Techformance – shifting centres by performance practices with the young audience as co-creator2022Conference paper (Refereed)
    Abstract [en]

    Since 2019, a project has been run by the Administration for Cultural Development in Västra Götaland (Sweden), where the working method Techformance is developed to offer professional theatre for young audiences with new opportunities to create interactive performing arts. Within the framework of the project, a digital web application is being developed to give the encounter with theatre a new form and significance for children and young people, with or without neuropsychiatric disabilities. Five Swedish performing arts groups (Teater Jaguar, Masthuggsteatern, Unga Klara, Bombina Bombast, and Angereds Teater) have explored the tools through workshops and performances.

    The Techformance method connects to the genre of immersive theatre (Machon 2017) and thus explores and develops the theatres' potential to meet an audience in new ways where the performance is not just an event in one space but rather consists of a relationship and interaction between audience and ensemble in an ongoing process. The method challenges the current audience contract and invites a long-term sustainable co-creation and audience relationship (Gadotti 2009). The audience's active participation via digital tools is a prerequisite for the performances to develop and offers a clear framework where children, with or without neuropsychiatric disabilities, can be part of the theatre performance before, after, and in the meeting with the ensemble. By this, the audience position is being challenged and gives new ways of perceiving the point of departure when playing for young audiences. The paper focuses on the following research questions: How are the digital tools in the Techformance method used in professional theatre for young audiences, and how do they challenge the audience position? How can the design of the tools function as resources for a young audience with or without neuropsychiatric disabilities? How does the Techformance method develop immersive theatre and rethink the concept of theatre for young audiences?

  • 125. Grehn, Sandra
    Utopian Citizenship and Backa Theatre's Staging of Rött kort (2014)2021Conference paper (Refereed)
    Abstract [en]

    In the autumn of 2014, the production Rött kort (Red Card) premiered at Backa Theatre in Gothenburg, directed by Gabriela Pichler. Backa Theatre is part of Gothenburg Civic Theater, playing for children and young people. The production was based on 11-year-old Leo's lived experiences as hidden and undocumented in Sweden and was also a collaboration with the playwright America Vera-Zavala and Botkyrka Community Theater & Dance. On stage were the actor Rasmus Lindgren and Leo himself.

    The staging's metaphor of football and Leo's bodily experiences of being undocumented and hidden were recurring elements. By taking this place, Leo shares a story that seldom is told in Swedish cultural life, despite the national discourse about Sweden as a country at the forefront of children's rights. Performing arts with undocumented children on stage is unusual in Sweden, and in this way, the staging connects, among others, to Jill Dolan's notion of the utopian when ideas about children's civil rights are problematized and staged. Rött kort shows examples of utopian ideas about children as citizens in their own right.

    By combining semiotic performance analysis with critical discourse analysis, I analyze a filmed performance of Rött kort where I focus on the following research questions: How does the staging tell about living as an undocumented child in Sweden in the 2010s and by what means? What discourses concerning the undocumented child are staged, and how do they relate to contemporary dominant discourses? What significance is created in the form of Leo himself being on stage, and what difficulties does this entail? How and by what means does the staging become decolonial or utopian when focusing on Leo's experiences as an undocumented child living in Sweden?

  • 126.
    Gullstam, Maria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Från nationalscen till passionsmusik: Rousseau och teatern i 1700-talets Sverige2017In: Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750-1850 / [ed] Jennie Nell, Alfred Sjödin, Lund: Ellerströms förlag, 2017Chapter in book (Other academic)
    Abstract [sv]

    Under 1700-talets mitt var Jean-Jacques Rousseau och hans idéer kring musik och teater ytterst kontroversiella i såväl Sverige som övriga Europa. Tidigare forskning har påpekat ett flertal exempel på hur Rousseaus tankar om musik och teater mottogs i Sverige. Avsikten med denna artikel är att samla dessa och andra exempel, i syfte att visa hur den dualistiska receptionen av Rousseaus idéer om musik och teater tog sig uttryck och växlade under den andra hälften av 1700-talet i Sverige. Studien ämnar visa på hur Rousseaus kritik av den parisiska teatern delvis var starkt ogillad i svensk offentlig debatt, samtidigt som hans skrifter om musik, estetik och dramatik varligt letade sig in bland den svenska kultureliten, och åtminstone i periferin fanns närvarande när Gustav III:s storslagna projekt att bilda en svensk nationalscen utvecklades. Svenskarnas förståelse för och bruk av Rousseaus idéer kring musik och teater illustreras genom fyra exempel: publicisten Per Jusléns tal om en nationalteater hållet i Utile Dulci 1769; debatten om teaterns inflytande på sederna i Sverige under andra hälften av 1700-talet i samtida tidskrifter och skrivtävlingar anordnade av ett flertal litterära akademier; Johan Wellanders tal om musik (troligen framfört i Utile Dulci någon gång mellan 1766–1776); samt det första svenska musiklexikonet, Svenskt musikaliskt lexikon, efter grekiska, latinska, italienska och franska språken, författat av Carl Envallsson och publicerat 1802.

  • 127.
    Gullstam, Maria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Pygmalion’s power struggles: Rousseau, Rameau and Galathée2017In: Rousseau on stage: Playwright, musician, spectator / [ed] Maria Gullstam, Michael O’Dea, Oxford: Voltaire Foundation, 2017Chapter in book (Refereed)
    Abstract [en]

    Rousseau’s Pygmalion can be seen as the theoretical culmination and the practical result of his lifelong thinking around and experimentation with theatre and music. But why did Rousseau choose the Pygmalion myth to tie all these ideas together? This chapter examines in what ways Rousseau’s Pygmalion can be seen as a direct response to his arch-enemy Jean-Philippe Rameau’s opera-ballet Pigmalion, written in 1748. It discusses why Rousseau would chose to reply so directly to Rameau’s Pigmalion, and how Rousseau’s Pygmalion communicates with Rameau’s opera-ballet, drawing on the two thinkers’ theoretical discussions. 

  • 128.
    Gullstam, Maria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rousseau's Idea of Theatre: From Criticism to Practice2020Doctoral thesis, monograph (Other academic)
    Abstract [en]

    As a critic of the moral consequences of Parisian theatre while writing plays and music for it, Jean-Jacques Rousseau (1712-1778) had a double relationship to the art form of theatre. This doctoral thesis argues that his seemingly double position towards the theatre is not necessarily contradictory. Building on previous research about Rousseau’s writings for the theatre, its main questions are ‘Why did Rousseau compose works for the French stage, while at the same time directing his critique towards it?’ and ‘How through his own theatrical works did Rousseau try to respond, aesthetically and practically, to the inherent problems that he saw in the theatre?’ Drawing on both Jean Starobinksi and Jacques Derrida, the study outlines a theoretical starting point through the concept of pharmakon. In its two-fold structure – simultaneously medicine and poison – the pharmakon can help us understand how Rousseau saw art, and theatre in particular, as potentially both harmful and useful to society. 

    Starting from Rousseau’s broader perspective on the arts, the thesis uses his many writings on music, alongside his early theoretical works on art and on the development of human society. This shows that Rousseau’s neologism perfectibility, in addition to being an anthropological term describing a human faculty, is an aesthetic notion through which he writes his own history of the arts. By conceptualising this thought structure as aesthetic perfectibility, it is possible to demonstrate how Rousseau uses this notion to understand, expose and oppose systematised and universal rules of reason, beauty and taste. This is fundamental for our understanding of his dual relationship to theatre and to his sharp criticism of the Parisian stage in the Lettre à d’Alembert. This is because aesthetic perfectibility has the same structure as the pharmakon; applied in the wrong way it is harmful to humanity, but studied well and used with care, it can also be applied to remedy or at least partly reduce the harm it has already caused. Moving from a theoretical perspective towards a practical one, the final chapters of the thesis focus on some of Rousseau’s principal stage works: Le Devin du village, Pygmalion and Narcisse, ou L’Amant de lui même. These chapters show that Rousseau’s understanding of theatrical imitation suggests how he perceived the Parisian stage as morally dangerous, and why, in his own theatrical works, he tried to problematise and expose how theatrical imitation could be used as a tool to obtain power. Finally, the study argues that Rousseau’s creation of a new dramatic genre, the scène lyrique, can be seen as an attempt to make theatrical art approach musical imitation, in order to make it less harmful morally. The thesis concludes by arguing that the public festival should be perceived as part of the same pharmakon as theatre, and that in his own stage works Rousseau therefore experimented with conceptual elements borrowed from the festivals. 

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  • 129.
    Hallgren, Eva
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    "Doing crazy things does not mean you are crazy but brave!"- as a patient with newly-developed psychosis, navigating a chaotic and uncertain time with drama/theatre methods2022Conference paper (Other academic)
    Abstract [en]

    The paper aims to broaden the understanding of what in a drama/theatre practice can fulfil a function in psychiatry in working with patients with newly debuted psychosis.

    Research on cultural expressions, including drama/theatre, provides evidence of positive effects on health, including mental illness. Patients with different diagnoses (e.g. mental illness) who participate in drama/theatre activities express feelings of meaning and hope when their stories are enacted and sometimes even meet an audience. In these contexts, the participants are treated as people with resources and not as patients, and it is an artistically knowledgeable leader who leads the work, not a therapist or nurse (e.g. the WHO report, 2019).

    Previous research mentions hardly any specific drama/theatre conventions in work with drama/theatre aside from role-taking, where alternative ways of being can be tried, and that a dramaturgical understanding of the self can enable us to create new images of ourselves. In previous research, there was no clear participant perspective when drama/theatre was used as a method in anti-stigma work. Nor have we found research in which patients and care staff participate on the same terms as drama/theatre group participants.

    This study focuses on what drama/theatre methods could lead to positive self-esteem and anti-stigma development. Which specific artistic tools are distinguished, and which nuances and qualities are made visible and specified in the interaction between participants and drama educators/theatre directors, which previous studies have not focused on to any great extent?

    This research study is carried out at a daycare clinic where patients with newly developed psychosis can choose to participate in a drama/theatre group once a week. The study extends over a year. As a participating observer, the researcher has joined the drama/theatre work as one of the participants in two different groups. A beginner group mainly with drama work and group establishment and a continuation group with more performance focus. In addition, interviews were conducted with participants, the drama/theatre director and care staff who also participated in the drama/theatre work as participants. The groups continued their work during the covid 19 period, and the work was partly carried out in snow and rain.

    The preliminary results are elucidated with the help of both drama/theatre theory, activity theory and relational theory to be able to describe and understand what it is the theatre practitioner is trying to achieve with his actions in relation to the participants' actions and how the participants' experiences interact with what happens. The result clarifies which drama/theatre tools are essential for increased self-esteem and reduced self-stigma and which nuances have been distinguished as particularly important in their use.

    The most important preliminary conclusion so far is how the drama/theatre practitioner uses his solid knowledge of drama/theatre tools and methods in a, experienced by the participants, professional but unpretentious way. However, it is essential how the drama/theatre practitioner, in joint action with the participants, takes them into the unknown and the absurd and becomes a role model. To do crazy things does not mean that one is crazy but brave!

  • 130.
    Halén, Veronica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Konsten att regissera barn: Att arbeta med barnskådespelare i professionella teaterproduktioner2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Since there is very little scientific research about directing children and foremost about directingchildren in professional productions, like Stockholm stadsteater, was my purpose with this bacheloressay to find work methods that directors use when they work with child actors in professionalproductions. With this bachelor essay I wanted to give practitioners in the world of theater tools forhow to work with children in professional theater, as well as increase the interest for furtherresearch in this subject.

    To accomplish this purpose I have gathered material from the production of Billy Elliot at MalmöOpera, made observations of the same production at Stockholms stadsteater and interviewed thedirector of the production, Ronny Danielsson and director and children ambassador Suzanne Osten.The study is made from a perspective of the post modern child and also from a so called child perspective on the art of directing and working with children in theater.

    My conclusions from my studies are that when working as a director with child actors you need tothink about motivation and stimulating the children in their development, and support them in theirwork with analyzing the play, as well as give them tools to help them find their emotionalconnection. If the children loose their interest in acting the director need to be there to give thechildren new challenges. It is important to give positive feedback and use a language that thechildren understand and use body language and image work to clarify the directions as well asletting the children have some time for rest and play.

    This is only one example of how directors work with child actors in professional productions. Frommy interviews, observations and the previous research that I have studied, have I discovered thatdirectors sometimes are in agreement and sometimes not. To further answer my questions moreresearch into the director’s way of working with children would be needed. I therefor hope that Ithrough this essay have contributed with increasing the interest of further research into this subject.

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  • 131.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing2020In: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 52, no 1, p. 7-19Article in journal (Refereed)
    Abstract [en]

    This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different African cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.

  • 132.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Att tala - att dansa: om metaforens betydelse inom danspedagogik2016In: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, no 1, p. 18-27Article in journal (Refereed)
    Abstract [en]

    This article, based on interviews and observations of dance education, focuses on how dance pedagogues describe their methods of using verbal communication in the dance studio. The theoretical base embraces ideas about bodies as well as theories about the importance of metaphors in embodied communication. Moreover, it is argued that pedagogues and dance students are engaged in a corporeal version of critical thinking in which verbal language is one of several important aspects of the process.

    Four pedagogues were interviewed, and they represent different dance genres, which affects the type of verbal communication used. However, they shared the opinion that the use of metaphors has undergone a significant change. The frequent use of metaphors with reference to nature has been exchanged for more concrete, functional language. Both the dance techniques in use and the current aesthetic trends in choreography could well be affecting it.

  • 133.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dance and Politics edited by Alexandra Kolb2013In: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 45, no 3, p. 160-163Article, book review (Other academic)
  • 134.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dancing Naturally: Nature, Neo-classicism and Modernity in Early Twentieth-Century Dance. Edited by Alexandra Carter and Rachel Fensham2014In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 39, no 1, p. 57-58Article, book review (Other academic)
  • 135.
    Hammergren, Lena
    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.
    Dans och historiografiska reflektioner2009Book (Other academic)
  • 136.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dansens "språklighet" systematiserad: modeller för analys2017In: Språket och dansen / [ed] Birgitta Sandström, Stockholm: Carlsson Bokförlag, 2017, p. 195-211Chapter in book (Other academic)
  • 137.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Embodied Curriculum Theory and Research in Arts Education: A Dance Scholar's Search for Meaning. Author: Susan W. Stinson. Springer, 2016.2016In: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, no 1, p. 62-64Article, book review (Other (popular science, discussion, etc.))
  • 138.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Embodied Spectatorship? Interpreting dance reviews around 19002017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 1, p. 8-24Article, review/survey (Refereed)
    Abstract [en]

    The article intertwines historiographical analyses with research methods focusing on embodied responses to performances. It argues that dance reviews can be interpreted from a sensorial viewpoint, analyzing ways in which language articulates so-called kinaesthetic, or affective responses. The argument is based on theories of agency and embodiment (Noland). Swedish reviews from performances by Isadora Duncan (Stockholm, 1906), Artemis Colonna (Stockholm, 1903), and Loïe Fuller (Gothenburg, 1907) are investigated, and it is concluded that these kinaesthetic sensations are visible mainly in the language of female writers and spectators. Moreover, in arguing that an embodied spectatorship is important in order to understand the view of the period as a turning point in dance aesthetics, an emphasis is put on the importance of including the practice of dancing by both professionals and amateurs in this historical narrative. Besides embracing the emergence of the professional dance avant-garde, the interpretation focuses on the importance of a corporeal education of the audience. In particular, female audience members seem to, via a dance performance, identify with forms of sensory experience in tandem with visually evaluated objects of art. It is argued that the change in the female viewers’ perceptions had a potential political effect in that it gave voice to both corporeal sensations and women’s experiences in ways new to the public arena. Thus, it is in these experiences the important turning point in dance history emerges, rather than merely in the performances themselves.

  • 139.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities.
    Form och mening i dansen: en studie av stilbegreppet med en komparativ stilanalys av Mary Wigmans och Birgit Åkessons solodanser1991Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Diss.

  • 140.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Från balettkår till danspionjär: dansaryrkets förändringar kring sekelskiftet2019In: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: Göteborgs universitet, 2019, p. 91-114Chapter in book (Refereed)
  • 141.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Spaces of Encounter: Dancing Democracy in the Nordic Region2013In: Dance Spaces: Practices of Movement / [ed] Susanne Ravn & Leena Rouhiainen, Odense: Odense Universitetsforlag, 2013Chapter in book (Refereed)
  • 142.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Field of Dance Didactics: The Use of Analytical Terminology in the Studio2014In: (Re)Searching the Field: Festschrift in Honour of Egil Bakka / [ed] Anne Margrete Fiskvik, Marit Stranden, Bergen: Fagbokforlaget, 2014, p. 243-253Chapter in book (Refereed)
  • 143.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Power of Classification2009In: Worlding Dance / [ed] Susan Foster, Houndmills, Basingstoke: Palgrave Macmillan , 2009, p. 14-31Chapter in book (Other academic)
  • 144.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Åkesson, Birgit Anna Ida (1908-2001)2016In: Routledge Encyclopedia of Modernism, Routledge, 2016Chapter in book (Refereed)
  • 145.
    Hammergren, Lena
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Foster, Susan L.
    Dancing the Political2016In: Choreography and Corporeality: Relay in Motion / [ed] Thomas F. DeFrantz, Philipa Rothfield, Palgrave Macmillan, 2016, p. 291-305Chapter in book (Refereed)
    Abstract [en]

    In this collaborative essay, we propose to examine what the adjective ‘political’ can mean and fail to mean when it is used to describe dance. We intend to analyse how different geographical and cultural regions have implemented the term, such as the very strong emphasis and nuanced discussions about identity politics in the USA versus a more ‘a-political’ idea in Europe, leading to notions about politics as immanent in the practice of dancing. Using diverse examples including the work of Faye Driscoll , Frédéric Gies , and Deborah Hay ’s Solo Performance Commissioning Project, we hope to create a dialogue about performance from different viewpoints, a kind of process geography of the political in dance. Such a dialogue reflects on the conversations we have had in our Working Group over the years as scholars and the very different methodological and theoretical orientations we have shared with one another.

  • 146.
    Hammergren, Lena
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Turning Points and Continuity: Introducing a research project2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 1, p. 6-7Article in journal (Other academic)
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  • 147.
    Heed, Sven
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Imaginary Illness in Dramaten: Moliere's comedy between farce and tragedy2008In: Degrés, ISSN 0770-8378, no 134-35, p. i1-I15Article in journal (Refereed)
  • 148.
    Heed, Sven
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Oresteia. Transmission and actuality of the myth2017In: Degrés, ISSN 0770-8378, no 169Article in journal (Refereed)
  • 149.
    Heed, Sven Åke
    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.
    Beyond the Snowslide.: Ibsen and Postdramatic Theatre2009In: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: STUTS , 2009, p. 27-31Chapter in book (Other academic)
  • 150.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Efter maskeraden2007In: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
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