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  • 101.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Arvot mekin ansaitsemme: Kansakunta, demokratia ja tasa-arvo2014Book (Other (popular science, discussion, etc.))
  • 102.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Bögarnas stora berättelse: Hurtig HBTQ-historia2013In: Arena, ISSN 1652-0556, no 4Article, book review (Other (popular science, discussion, etc.))
  • 103.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Don't be quiet, start a riot: anarchy, affect, and activism in Pussy Riot's performance2013In: International Federation for Theatre Research (FIRT/IFTR) conference, "Re-Routing Peformance/Re-caminant l'escena", Barcelona, Spain, July 22-26, 2013, 2013Conference paper (Refereed)
    Abstract [en]

    The relationship between art and politics emerges again and again. In connection with the Russian parliamentary elections in December 2011 a protest movement appeared calling for free elections and democratic rights. It was in this context the punk group Pussy Riot conducted their now world famous “prayer” to Virgin Mary to dislodge Vladimir Putin from power. The question is whether this was an artistic action with a political purpose or a political action with an artistic method?

        The present paper focuses on the links between the classical avant-garde and anarchism exemplified by the actions of the group Pussy Riot in Moscow. The term anarchy comes from the Greek arche and in its original meaning aims at neither to chaos nor order, but joins both elements. A constant movement between construction and deconstruction of established existing systems characterizes anarchism.

      The classical avant-garde wished to integrate art and life. Art would be understood as a flow with no specific goals and no definite answers to the question “why”? Provocation was seen as an instrument for producing shocking effects using unexpected breaks in the flow of words, images or tones, and forcing the viewer to make new associations. The artists of the avant-garde were socially, rather than politically engaged. Unlike the politically organized revolutionaries they were anti-utopians, politically as well as aesthetically. They did not create a school or style, and did not let that art was under any social or political constraints. 

  • 104.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Don't Be Quiet, Start a Riot!: Performance, Transnational Activism, and Affect Economy2013Conference paper (Other academic)
  • 105.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Don't be quiet, start a riot: tankar kring feministisk konstaktivism, Pussy Riot och Femen2014In: Kritiska gemenskaper: att skriva feministisk och postkolonial vetenskap: en vänbok till Diana Mulinari / [ed] Kerstin Sandell, Maja Sager & Nora Räthzel, Lund: Genusvetenskapliga institutionen, Lunds universitet , 2014, p. 237-246Chapter in book (Other academic)
  • 106.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    From Here to Eternity: Miss Julie strikes back and refuses to die2012In: Western European Stages, ISSN 1050-1991, Vol. 24, no 2, p. 79-84Article in journal (Refereed)
  • 107.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Från eldsjäl till genusvetare2014In: Genusvetenskap, politik och samhällsengagemang: En skriftserie om genusvetenskap / [ed] Anna Lundberg & Ann Werner, Göteborg: Nationella sekretariatet för genusforskning , 2014, 1, p. 43-51Chapter in book (Other academic)
  • 108.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fucking heteronorm: Kommentar till Lukas Moodyssons Fucking Åmål2012In: Könspolitiska nyckeltexter 2: Från befolkningskris till talibantal 1930-2002 / [ed] Klara Arnberg, Fia Sundvall, David Tjeder, Stockholm: Makadam Förlag, 2012, p. 235-240Chapter in book (Refereed)
    Abstract [sv]

    Detta bokkapitel är en kommentar till Lukas Moodyssons film Fucking Åmål (1998).

  • 109.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Happy, Happy? Reflections on Sexuality Discourses in Contemporary Stage Productions of Strindberg’s Drama2012Conference paper (Other academic)
    Abstract [en]

    In his most utopian book, Eros and Civilization, Herbert Marcuse envisaged a society where labor would be transformed into playful gratification and accompanied by generalized sexual pleasure. Herbert Marcuse, Erich Fromm and Wilhelm Reich along with the Freudian Left were all coming to agree that sexual pleasure was a progressive force capable of transforming human relations, however divergently they saw such progress. The 1960s was a time, according to Angela Carter, when sexual pleasure was suddenly divorced from not only reproduction but also status, security, and all the foul traps men lay for women in order to trap them into permanent relationships.

    Following on the legacy of sexual liberation and the lively contemporary feminist debates in Sweden on marriage and the liberating effects of divorce this paper wants to analyze the status of (hetero) sexual marriage and divorce discourses in contemporary stage productions of the Strindbergian drama. This approach is connected with the contemporary interest in happiness studies, a trend that seems to be all everywhere by asking if it is- as Immanuel Kant once wrote - reasonable to pursue happiness, but rather to try to earn it? Or is that - as Freud argued in Das Unbehagen in der Kultur (1930) - once and for all impossible to be happy no matter how your life choices might look like? By examining how marriage, divorce, and sexuality are portrayed in contemporary productions of Strindberg's works, this paper tries to find answers to the question whether Strindberg plays any role in our own time, or if he is an obsolete chapter in history.

  • 110.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Helgarbete2012In: Astra: samhälle, kultur, feminism, ISSN 2323-3966, Vol. 94, no 5, p. 36-37Article in journal (Other (popular science, discussion, etc.))
  • 111.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hoppingivande feministisk scenkonst och kulturpolitik2013In: Naistutkimus - Kvinnoforskning, ISSN 0784-3844, no 4, p. 62-67Article in journal (Other academic)
  • 112.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Ilska, hopp och solidaritet: Med feministisk scenkonst in i framtiden2012Book (Other academic)
  • 113.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Jag kräver: stoppa privateriseringarna!2012In: Det heter feminism!: 20 anspråksfulla förslag för att förändra världen / [ed] Maud Eduards, Maria Jansson, Maria Wendt, Cecilia Åse, Stockholm: Hallongrottan och Feministiskt Perspektiv , 2012, p. 66-70Chapter in book (Other (popular science, discussion, etc.))
  • 114.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Konst och konflikt: Tankar om Snövit och sanningens vansinne2014In: Snow White and the Madness of Truth / [ed] Dror Feiler & Gunilla Sköld Feiler, Stockholm: Ordfront , 2014, p. 76-90Chapter in book (Other academic)
    Abstract [sv]

    Vintern 2004 blev Snövit och sanningens vansinne en av världens mest omtalade konstinstallationer, efter att den israeliska ambassadören i Sverige släckt ner och vandaliserat Dror och Gunilla Sköld Feilers utomhusinstallation på Historiska museet. Detta bokkapitel handlar om konst och politiska konflikter. 

  • 115.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Lesbiska är inte kvinnor: Reflektioner över kvinnomaskulinitet, Peggy Shaw och scenkonst2012In: Divan, tidskrift för psykoanalys, ISSN 1101-1408, no 1-2, p. 29-39Article in journal (Other academic)
  • 116.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Löydetty ja kadotettu solidaarisuus: Feministisen nykyperformanssin reflektointia2012In: Erot ja etiikka feministisessä tutkimuksessa / [ed] Kirsti Lempiäinen, Taru Leppänen, Susanna Paasonen, Turku: Utukirjat , 2012, p. 210-234Chapter in book (Refereed)
  • 117.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    När scenkonsten fick två kön2013In: Samband historia: Tema / [ed] Niklas Ericsson, Stockholm: Sanoma utbildning , 2013, 1, p. 328-337Chapter in book (Other academic)
  • 118.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Om du är queer, skrik ut det! Tankar om Queer Nations manifest2014In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, Vol. 19, no 1, p. 63-83Article in journal (Other academic)
    Abstract [en]

    This essay is a reflection on the Queer Nation manifesto’s history and its relevance for the present day. A great deal has changed for the better during the past twenty-five years, and Sweden has become a much better country to live in for LGBTQ people. But that should not a reason for complaisance. The manifesto is still an energetic text, but what is needed today is the political understanding of sexualities in a broader intersectional perspective. It has been said that an accident rarely occurs in isolation. That maxim can remind us of how various axes of inequality are often intertwined. What is required of us at all times is a vivid ideological and political debate that may offer alternatives to the nationalism, fascism, and populism currently sweeping Europe.

  • 119.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Om queerbegreppet2012In: BANG - feministisk kulturtidskrift, ISSN 1102-4593, no 1, p. 18-23Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln diskuterar queerbegreppet och dess normkritiska potential i ett historiskt perspektiv.

  • 120.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Performing Gender: If You Can't Fight It, Act It!2013Other (Other (popular science, discussion, etc.))
  • 121.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Revisiting 19th Century Opera: Reflections on Memory, Disapperance, and Historiography2013Conference paper (Other academic)
  • 122.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Revisiting Social Democracy: Memory, Performance, and Neoliberalism2014Conference paper (Other academic)
    Abstract [en]

    Interest in the murdered Swedish Prime Minister Olof Palme has re-emerged in a number of new biographies, films, and performances. In these productions and works of art, a younger generation of dramatists and artists pose questions about the downsizing of the social democratic project, and the dream of a model welfare society that seemed to be fading as that generation reached adulthood. It appears to not only represent nostalgia for Palme, but also a public mourning of the lost vision of a social democratic nation. For younger Swedes the story of Olof Palme starts with the assassination on Sveavägen in central Stockholm in 1986. This brutal act, the confused and confusing police investigation that followed, the different conspiracy theories flourishing in the media, and the eventual capture of a murder suspect who was later released constitute a national trauma that never has entirely healed. This paper discusses the image-memory of social democracy, the tension between a nostalgic idealization and the neoliberal reality in a country where social democracy has been marginalized even though nothing would fit Sweden better than a true social democracy. Palme’s controversial cult status has also obscured the view of decades of social democratic political power and Cold War secrecy. Palme’s way into politics was turbulent and full of scandals, a fact that have nourished numerous theatrical interpretations.

  • 123.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Scenkonst att minnas2012In: Teatertidningen, ISSN 1101-9107, no 5, p. 34--36Article in journal (Other (popular science, discussion, etc.))
  • 124.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Solidarity Lost and Found: Reflections on Contemporary Feminist Performance2012In: The Politics of Being on Stage / [ed] Anja Klöck, Hildesheim: Georg Olms Verlag AG, 2012, p. 205-227Chapter in book (Refereed)
    Abstract [en]

    This book chapter discusses some trends in critical theory and activist aesthetics in contemporary feminist performing arts in Sweden. The 2000s have witnessed at least two “turns” in feminist theory, namely the affective turn and the social, or as it is called here, the solidarity turn. The status of poststructuralist theory has been widely debated and Marxist, class-based analyses have returned to the political and aesthetic agenda in Sweden. The focus has shifted – once again – from individual art making to collectives who have chosen to work and fight together. The backdrop of this discussion is the shift from a social democratic welfare state to a neoliberal one. In civil society the distinction between neoliberal and social democratic lies in the extent of personal freedom(s), including sexual and reproductive rights, and whether interpersonal engagements are marked by commercialisations and inequality or by mutuality and equality.

  • 125.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Solidarité perdue, solidarité trouvée: Réflexion sur la performance féministe contemporaine2012In: Utopie et pensée critique dans les processus de création / [ed] Hanna Suutela, Besancon: Les solitaires intempestifs , 2012, 1, p. 103-136Chapter in book (Refereed)
  • 126.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Post-Social Democratic Condition: Feminist Activism in Sweden and Germany2012Conference paper (Other academic)
  • 127.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Soundtrack of Revolution: Gender, Affect, and the Power of Protest Songs2012Conference paper (Refereed)
    Abstract [en]

    THE SOUNDTRACK OF REVOLUTION

    Gender, Affect and the Power of Protest Songs

     

    The wave of demonstrations in the Middle East, at Syntagma Square in Athens, the Occupy Wall Street in the United States, Los Indignados in Spain, and the student revolts in Chile are only a few examples of the return to the agora, classical Greece’s “gathering place” or city square where the free men could participate in contemporary democratic processes. The new social media are certainly powerful, but demonstrations in the streets are still needed in order to add force to the words, as was the case with large transnational anti-Vietnam war demonstrations in the late 1960s, the anti-globalization movement that began in 1999 in Seattle, anti-war demonstrations against the invasion of Iraq at the beginning of the 2000s, and all the different demonstrations of 2011.

        Those public protests and revolutions have all taken place to a background of different music. During the Arab spring of 2011 songs were defiantly performed in Tahir Square in downtown Cairo, and in Tunisia El General’s song “President, your people are dying” spread quickly via the Internet. Rap and hip-hop are the younger generation's protest music today, not least because it is inexpensive and relatively simple to create if you have something to say and establish a beat. Although the protest song is a clear-cut genre when it comes to promoting social criticism, in order to have an impact it must be part of a larger a political movement. This paper discusses examples of contemporary protest songs and the problem of having no unifying movement to which they can tie themselves. At the same time, this music can itself act as a new aggregator and become that missing cohesive element, as was the case during the Arab spring.

  • 128.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Soundtrack of Revolution: Memory, Affect, and the Power of Protest Songs2013In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Culture, ISSN 2000-1525, Vol. 5, no 1, p. 175-188Article in journal (Refereed)
    Abstract [en]

    All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12).

        It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences,I argue, they are our forgotten self singing to us.

     

     

  • 129.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Tysk feminism: Upp till postpolitisk kamp2013In: Magasinet Arena: kultur, politik & idédebatt, ISSN 1652-0556, no 1, p. 23-25Article in journal (Other (popular science, discussion, etc.))
  • 130.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    A Shnorershpil - en kompott ur teaterhistorien2013Other (Other (popular science, discussion, etc.))
  • 131.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Back to the Future of Theatre Studies2010In: Theatre Research International, ISSN 0307-8833, Vol. 35, no 3, p. 297-298Article in journal (Refereed)
  • 132.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Bloomsday: James Joyce's Ulysses Celebrated as Theatrical Event2009In: Culture Unbound, ISSN 2000-1525, Vol. 1, p. 469-485Article in journal (Refereed)
    Abstract [en]

    James Joyce had decided that 16 June 1904 should be the one day in the life of Leopold Bloom, about which he wrote his 800 page novel Ulysses. In his book, Joyce actually followed Mr Bloom that entire day, from his getting up and having the nowadays famous kidney breakfast, to the late evening, when he had to break into his own house on 7 Eccle Street to have a drink with Stephen Dedalus, the other main figure of the novel. The centenary of that very day took, accordingly, place in 2004. I have borrowed the identity of Mr Bloom to describe some street scenes from the centennial celebrations of Bloomsday in Dublin. After this intro-ductory presentation, part two of this article will attempt to analyse Bloomsday in terms of a Theatrical Event, embedded in an unusual and striking playing culture. In a third part, Mr Bloom will once more be allowed to make some concluding comments.

  • 133.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Cyclic Perserverence and Linear Mobility of Theatrical Events2010In: Representing the Past: Essays in Performance Historiography / [ed] Charlotte M Canning & Thomas Postlewait, Iowa City: University of Iowa Press , 2010, 1, p. 117-141Chapter in book (Other academic)
    Abstract [en]

    This article illustrates the function of time in theatre historiography. Examples are The Marriage of Figaro and Georg Suttner's exhibition of the Old Town of Stockholm

  • 134.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Devising - en historisk sidoblick2013In: Samtal om Devising: en antologi från Barnteaterakademin / [ed] Anna Berg, Lisa Lindén, Kristina Ros, Göteborg: Barnteaterakademin , 2013, p. 66-72Chapter in book (Other academic)
  • 135.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Interference between Present and Absent Performers: Time-Specific Performance as Phenomenal Experience2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, p. 76-84Article in journal (Refereed)
    Abstract [en]

    Interference between Present and Absent Performers: Time-Specific Performance as Phenomenal Experience The performance of the play Lise & Otto employed digital technology in an innovative and surprising way. Two performers presented their characters in two locations that were connected by fibre optic cables. The audiences, situated in two suburbs in Stockholm, saw either the actress or the actor live in front of them, while the other performer's image and voice were transmitted digitally. The simultaneous actions emphasized a cleavage of space - symbolic in a play about atomic fission - and created a yearning for the absent performer. This phenomenon can be described as time-specific performance, analogous to site-specific performance, while at the same time questioning the paradigm of presence as as a condition of theatrical events. The article argues for an extension of the theoretical concepts of theatre studies in order to cope with contemporary technological innovations, time-specificity, and unexpected theatrical experiences.

  • 136.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing Culture - An Introduction2014In: Playing Culture: Conventions and Extensions of Performance / [ed] V.A. Cremona, R. Hoogland, G. Morries, W. Sauter, Amsterdam, New York: Rodopi, 2014, p. 7-20Chapter in book (Refereed)
  • 137.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing Is Not Pretending2014In: Playing Culture: Conventions and Extensions of Performance / [ed] V. A. Cremona, R. Hoogland, G. Morries, W. Sauter, Amsterdam: Rodopi, 2014, p. 63-82Chapter in book (Refereed)
    Abstract [en]

    As the title of this chapter indicates, the issues raised here concern the kinds of pretence that are thought to characterize playing and acting. Contrary to Michael Kirby's statement that 'to act means to feign', I will show that an actor neither can, nor wants, to pretend anything on stage. Fiction is not provided on stage but is established in the communicative act between Agent (A) and Beholder (B). Critically analyzing two texts by Bertolt Brecht on non-theatrical playing, I will argue that a number of circumstances have to be taken into consideration. The process of performing is theoretically and empirically seen as a form of playing, which allows for the distinction and communicative specification of various agents in their relation to equally specific forms of beholding. Each relationship in the public sphere between A and B constitutes a public event. This chapter searches for common ground amongst multifarious manifestations of playful behaviour, beyond various aesthetic forms and irrespective of more or less useful functions. In conclusion, playing is described as a reality-related experience: playing is always related to an event and events are never pretended.

  • 138.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Presence, Place and Participation2013In: Women in Science: En trilogi om Ada, Maryam och Lise / [ed] Rebecca Forsberg, Stockholm: Styxförlag , 2013, p. 45-56Chapter in book (Other academic)
  • 139.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Publiken: Vad jag vet och vad jag skulle vilja veta2010In: Visslingar & Rop, ISSN 1401-5307, Vol. 24/24, p. 33-37Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Reflektioner kring behovet av publikforskning inom teater- och performansområdet.

  • 140.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Teater på latin: 1500 marginaliserade år i teaterhistorien2014In: Periferi och centrum: Texter om marginalisering i förmodern tid, Lund: Nordic Academic Press, 2014, p. 77-90Chapter in book (Other academic)
    Abstract [sv]

    Aritkeln behandlar tidsspannet från den romerska teaterns början till de latinska spelen under högmedeltiden, epoker som knappt behandlas i teaterhistoriska översikter. Artikeln erbjuder några förklaringar till denna marginalisering och argumenterar för möjliga alternativa framställningssätt.

  • 141.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Audience2013In: The Cambridge Companion to Theatre History / [ed] David Wiles, Christine Dymkowski, Cambridge: Cambridge University Press, 2013, p. 169-183Chapter in book (Refereed)
  • 142.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Drottningholm court theatre and the historicity of performance2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 23Article in journal (Refereed)
  • 143.
    Sauter, Willmar
    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.
    Theatre - A Building, a Company. an Art Form?: Terminology versus Reality2009In: Methis - Studia Humaniora Estonica, ISSN 1736-6852, no 3, p. 18-25Article in journal (Refereed)
  • 144.
    Sauter, Willmar
    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.
    Theatre Research in the Nordic Countries (2000-2008)2009In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 34, no 1, p. 66-83Article in journal (Other academic)
  • 145.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Thirty Years of Reception Studies: Empirical, Methodological and Theoretical Advances2010In: About Performance, ISSN 1324-6089, Vol. 10, no 1, p. 241-263Article in journal (Refereed)
    Abstract [en]

    The article traces the various projects on audience and reception research carried out at Stockholm University between 1980 and 2010. Emphasis is laid on the theoretical and methodological development in this research field.

  • 146.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Unknown Woman by Anna Odell: The Event, the Trial, the Work - Reflections on the Mediality of Performance2012In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 37, no 3, p. 249-264Article in journal (Refereed)
    Abstract [en]

    This article is concerned with an extraordinary artwork created by a young Swedish art student, Anna Odell. Odell's re-enactment of an earlier suicide attempt on a bridge in Stockholm, filmed for an art installation, caused an outcry from the public and medical authorities and a court case that stimulated heated debate in the national press. Here I examine Odell's work for the 'critical' questions it in turn provokes about artistic creation and communication: the difficulties for the performance scholar in addressing the enactment when it is so generically hard to define; why the art/artist was found guilty of a 'fraudulent practice'; and what might be revealed and further problematized by theorizing the enactment as a cultural, socio-political event.

  • 147.
    Sauter, Willmar
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Feiler, YaelStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Shakespeares Shylock och antisemitismen: Ny utökad utgåva2010Collection (editor) (Other academic)
  • 148.
    Sauter, Willmar
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Digital teater i publikens tjänst?2012In: Teatertidningen, ISSN 1101-9107, no 4, p. 16-19Article in journal (Other (popular science, discussion, etc.))
  • 149.
    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.))
  • 150.
    Schneider, Magnus Tessing
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Det lille og det store drama: Maraton: Verdis Macbeth, Otello og Falstaff på Operaen2013In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 20, p. 145-154Article, book review (Other academic)
1234 101 - 150 of 167
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