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  • 201.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Attacken på Albert Ranfts teaterimperium: Fälstrider inom svensk teater 19212019In: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: LIR.skrifter, 2019, p. 243-269Chapter in book (Refereed)
    Abstract [en]

    "The Attack on Albert Ranft’s theatre empire.The theatre battle field"

    In 1921 Swedish theatre was accused for its immorality. The central object of the critique was a production of Mikhail Petrovich Artsybashev’s play Jealousy at the private owned theatre Svenska teatern. The theatre critics had found the play lacking in its composition but praised the production and the main female actor. The accusation did instead come from Christian newspapers and was then taken up by major big city news outlets – and subsequently it discussed in the parliament. Serious proposals was put forward to establish a censorship on theatre performances. The main target was Albert Ranft, at that time the main owner of theatres in Sweden, allegedly being merely interested in gaining as high profits as possible. Also one of the fore runners of modernist theatre, Per Lindberg, engaged in the debate and accused Ranft for low quality. Nevertheless Lindberg had produced the same play in his own theatre. This chapter analyse the conflict in perspective of the changing role of youngsters in the Swedish society and the attempt to “rescue” them. Furthermore, there is focus on the conflict of how theatre should befunded. Ranft’s successful enterprise was used as an example for reducing governmental funding. In this conflict the modernist took the same position as the Christian movement even if the development of modernist staging did have immorality as one of its main components.

  • 202.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Björk, Anita2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 69-69Chapter in book (Refereed)
  • 203.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Bosse, Harriet2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 78-78Chapter in book (Refereed)
  • 204.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Brecht as a Stranger in a Postdramatic Era: Fatzer at Deutsches Theater 20162021In: The Brecht Yearbook / Das Brecht-Jahrbuch 46 / [ed] Markus Wessendorf, New York: Camden House, 2021Chapter in book (Refereed)
    Abstract [en]

    According to Hans-Thies Lehmann it is impossible to think of postdramatic theater without the necessary steps that Brecht took. Given his strong emphasis on the narrative, Brecht is not postdramatic, but his theories about Verfremdung, Gestus and audience are groundbreaking steps towards postdramatic theater. Several theorists have already analyzed the relation between Brecht and postmodern/postdramatic theater (Badiou, Barnett, Fuchs, Jameson, Varney, Wirth, Wright). Barnett argues that it is impossible to combine Brecht with the postdramatic after analyzing a couple of productions that have tried this. The reason for their failure is seen in the problem of representation. In contradiction to this assumption I will argue that a postdramatic production could indeed reactivate Brecht’s theories and strengthen their possible effect. Brecht remains a stranger in the encounter with postdramatic theater (another stranger in a theater culture that is still dominated by dramatic plays and psychological realism), but the meeting between these two strangers can be fruitful. In this contribution I analyze the production of Fatzer at Deutsches Theater, Berlin directed by Tom Kühnel and Jürgen Kuttner in Berlin in 2016.

  • 205.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Dalateatern: Kärlek med förhinder2005In: Teater trots allt: 30 år med dalateatern / [ed] Hans Nordén, Falun: Dalateatern , 2005, p. 105-113Chapter in book (Other academic)
  • 206.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    de Wahl, Anders2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 145-145Chapter in book (Refereed)
  • 207.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dramaten2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 166-166Chapter in book (Refereed)
  • 208.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Ekblad, Stina2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 175-175Chapter in book (Refereed)
  • 209.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Ekman, Gösta2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 176-176Chapter in book (Refereed)
  • 210.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fredrikson, Gustaf2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 205-206Chapter in book (Refereed)
  • 211.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    From Folk Tale to Photomontage: A Transformation through a Stage Performance2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Petersson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 129-147Chapter in book (Refereed)
    Abstract [en]

    A photomontage from 1894−95 with material from the popular and successful theatre production Ljungby horn is the artefact in this chapter. The photomontage is connecting with the development of theatre photography, which was governed by the commercial market for visiting cards. The term remediation is used to describe a transformation whereby the different sources are, through the use of photography, placed on the same level in the montage. Other intermedial connections discussed here include music, literature, communications, theatre set design, and mass media.

  • 212.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Från bruksteater till Jelinek-installationer2011In: Teatertidningen, ISSN 1101-9107, no 3, p. 50-53Article in journal (Other (popular science, discussion, etc.))
  • 213.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hansson, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 239-239Chapter in book (Refereed)
  • 214.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hatar män teater?2012In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 18, p. 90-100Article in journal (Refereed)
  • 215.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hjortsberg, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 249-249Chapter in book (Refereed)
  • 216.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    ‘How close is Angola to us?’ Peter Weiss’s Play Song of the Lusitanian Bogeyman in the Shadow of the Cold War2017In: Theatre, Globalization and the Cold War / [ed] Christopher B. Balme; Berenika Szymanski-Düll, London: Palgrave Macmillan, 2017, p. 293-306Chapter in book (Refereed)
    Abstract [en]

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

  • 217.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hur ska uppdraget fullföljas?2013In: Svenska dagbladet, ISSN 1101-2412, p. 7-Article in journal (Other (popular science, discussion, etc.))
  • 218.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hvad med teaterhistorien? (What about Theatre History?) Edited by Erik Hvidt and Per Lykke. Selskabet for Dansk Teaterhistorie, Copenhagen: Multivers, 2016, 287 p.2019In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 31, no 1, p. 155-157Article, book review (Other academic)
  • 219.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hwasser, Elise2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 257-257Chapter in book (Refereed)
  • 220.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 19002019Collection (editor) (Refereed)
    Abstract [sv]

    Går det att sätta ljus på avantgardets skugga? Vad är det som kommer bestå i scenkonsthistorien och vilka processer är det som gör att majoriteten av scenkonsthändelserna och de uttryck som de representerar sorteras undan till förmån för en central och mer begränsad utvecklingsberättelse? Teaterhistorien gällande perioden omkring sekelskiftet 1900 är beskriven som perioden när teater blev teaterkonst och de stora (manliga) teaterregissörerna blev de centrala agenterna. Detta konstituerade teateravantgarde har förpassat den ordinarie teatern i skuggan. Detta val som en gång har etablerats tenderar att ärvas utan att i grunden ifrågasättas. […] I forskningsprojektet Brytningspunkter och kontinuitet. Scenkonsternas förändrade roller i samhället 1880–1925 har vi inte fokuserat på den brytpunkt som tidigare forskning har satt i centrum, regissörernas intåg. Istället har vi kunnat upptäcka andra brytpunkter och också se en kontinuitet i historien, att inte allt förändrades genom regissörens tilltagande makt. […] Denna bok är inte är en alternativ teaterhistoria, men exemplen visar på andra historier som kan hämtas ur arkiven. Förhoppningsvis kan vi också smitta läsaren med den upptäckarglädje som arkivforskning kan ge (och samtidigt besvikelse över försvunnet eller aldrig insamlat material).

  • 221.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    In Memoriam: Lars Norén (1944-2021)2021In: Contemporary theatre review (Hardback), ISSN 1026-7166, Vol. 31, no 3, p. 372-373Article in journal (Other academic)
  • 222.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Inledning2019In: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: LIR.skrifter, 2019, p. 7-12Chapter in book (Other academic)
  • 223.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Introduction: Theatrical Emotions2009In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, p. 5-Article in journal (Other academic)
  • 224.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Jon Fosse: Nobel prize in literature winner is a playwright who puts outsiders centre stage2023In: The Conversation, ISSN 2431-2134Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    When Jon Fosse receives this year’s Nobel prize in literature in December, it will be collected by a playwright and novelist whose work examines the lives of ordinary people on the outer reaches of society, trying to cope with the challenges and hardships of daily life.

    But his work is suffused with hope and affection as well as a darker sense of foreboding. There is a warm affinity between Fosse and the characters that populate his plays, highlighting their humanity.

    Fosse, a Norwegian who lives in Bergen, has also been much praised for his seven-part novel Septology, nominated for the International Booker prize in 2022. But few beyond Scandinavia and Germany realise his international success was built on his work as a dramatist. So who is this Scandinavian writer who has scooped the world’s most sought-after literary prize?

  • 225.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Josephson, Erland2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 287-287Chapter in book (Refereed)
  • 226.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Koffertmord på regionteatrarna?2010In: Teatertidningen, no 3, p. 34-35Article in journal (Other (popular science, discussion, etc.))
  • 227.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Kompormissernas festival2008In: Teatertidningen, ISSN 1101-9107, no 4Article in journal (Other (popular science, discussion, etc.))
  • 228.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kungliga Dramatiska Teatern som folkteater2012In: Litteraturens arbetare: En vänbok till Per-Olof Mattsson / [ed] Christer Johansson & Per Anders Wiktorsson, Lund: Ellerströms förlag, 2012, p. 273-284Chapter in book (Other academic)
  • 229.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lars Norén and Jon Fosse: Nordic grey or theatre innovators?2020In: Contemporary European Playwrights / [ed] Maria M. Delgado, Bryce Lease, Dan Rebellato, Routledge, 2020, p. 95-111Chapter in book (Refereed)
    Abstract [en]

    Lars Noren and Jon Fosse are frequently described as the most important Scandinavian playwrights since August Strindberg and Henrik Ibsen. In this chapter, the author argues that in the field of European theatre, there are theatres, festivals, magazines, directors and actors that are particularly important in achieving visibility. He highlights what has been written about Noren and Fosse in the German publication Theater Heute, which has a key position when it comes to introducing new trends and playwrights in continental Europe. 

  • 230.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Mellan scen och salong: En kultursociologisk analys av ungdomsteater2008In: Teatertidningen, no 5Article, book review (Other (popular science, discussion, etc.))
  • 231.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Möte eller konflikt?: En studie över teaterpedagoger med icke-svensk teaterbakgrund på DI:s teateravdelning och Teaterhögskolan i Stockholm2008Book (Other academic)
  • 232.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Närstudier av barn- och ungdomsteater2021In: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, no 1, p. 70-72Article, book review (Other academic)
  • 233.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Olga Emma Natalia Raphael Hallencreutz, 1887-06-21 — 1967-11-01: Skådespelare, konstnär, filantrop2020In: Svenskt kvinnobiografiskt lexikon, Göteborg: Göteborgs universitet, 2020Chapter in book (Other academic)
  • 234.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Olof Theodor (Tore) Svennberg2017In: Svenskt biografiskt lexikon: Häfte 169, Svedelius-Swenson / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2017, p. 567-570Chapter in book (Other academic)
  • 235.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing on and around the Public Square2014In: Playing Culture: Conventions and Extensions of Performance / [ed] Vicki Ann Cremona; Rikard Hoogland; Gay Morris; Willmar Sauter, Amsterdam: Rodopi, 2014, p. 161-180Chapter in book (Refereed)
    Abstract [en]

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

  • 236.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Politisk och personlig teater2009In: Teatertidningen, ISSN 1101-9107, no 2-3, p. 62-65Article in journal (Other (popular science, discussion, etc.))
  • 237.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    På regeringens operationsbord2008In: Teatertidningen, ISSN 1101-9107, no 4Article in journal (Other (popular science, discussion, etc.))
  • 238.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Real Reality on Stage?: Lola Arias, Alecky Blythe, Rimini Protokoll and SheShePop Work with Reality on Stage2013In: Text in Contemporary Theatre: The Baltics within the World Experience / [ed] Guna Zeltiņa, Sanita Reinsone, Cambridge: Cambridge Scholars Publishing, 2013, p. 148-157Chapter in book (Refereed)
  • 239.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Regionala teatrar: en väg mot ökad kulturell delaktighet?2006In: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, no 2Article in journal (Refereed)
  • 240.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Scenkonst i ständig förändring2010In: Teatertidningen, no 3, p. 46-49Article in journal (Other (popular science, discussion, etc.))
  • 241.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Spelet om teaterpolitiken: Det svenska regionteatersystemet – från statligt initiativ till lokal realitet2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to examine the impact that the new cultural policy had on the field of Swedish theatre in the 1970s. Of special interest is the system of regional theatres that emerged from the new cultural policy. In focus are the central political process, and the founding of three regional theatres.

    Theoretical tools for this investigation are Anthony Giddens’ theories of structure and modernity, and Pierre Bourdieu’s theories about cultural fields. Nobuko Kawashima’s analysis of decentralization in cultural policy is of interest, as is Willmar Sauter’s model of the theatrical event.

    One of the main questions concerns why the government chose to support new institutional theatres at a time characterized by a free-group movement. The way a number of agents – such as the national touring company Riksteatern – tried to influence the new cultural policy is clarified.Question that arise include whether the new national goals for cultural policy did function as governing tools; what regional and local political motivations were significant; as well as whether the development of the regional theatres had a lasting impact on the aesthetics of theatre and on relations between audiences and actors.

    When the regional theatres were launched, different ideas about their role were current. The politicians and some of the powerful theatre critics and leading writers in the local newspapers, who had supported the new cultural policy, also wanted a traditional theatre.

    The new regional theatres were in the beginning supported by national theatre critics, but in the long run their interest diminished. They had been using the regional theatres to pressure the dominant institutions.

    The regional theatres were disciplined through the institutional organization model, with the local political levels interfering in repertoire and employment questions, and the press campaigns against the theatres. This resulted in the long run in a theatre that was less political and that did not change the relations between audience and actors. The traditional values in the field of theatre were secured, and the dominant institutions were not threatened.

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  • 242.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg, August2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 556-556Chapter in book (Refereed)
  • 243.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg Visits the Suburbs: Strindberg’s Plays in Postdramatic Theatre2014In: Strindberg on International Stages/ Strindberg in Translation / [ed] Roland Lysell, Cambridge: Cambridge Scholars Publishing, 2014, p. 139-148Chapter in book (Refereed)
  • 244.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sweden2023In: The Routledge Companion to Contemporary European Theatre and Performance / [ed] Ralf Remsthardt; Aneta Mancewicz, Abingdon: Routledge, 2023, p. 247-253Chapter in book (Refereed)
    Abstract [sv]

    Swedish theatre has during the last decades gone through a transformation. The male predominance of directors, playwrights, and theatre managers has been challenged. International cooperation has been more common and stage art forms are now more merged, where especially new circus has played a central role. Swedish theatre is highly subsidized, but despite this the neoliberal agenda has affected the theatre with the enforcement of reporting and measurement systems. The school system has partly been privatized which has exacerbated the situation for theatre for young people. The central question now for the Swedish theatre is how to attract new audiences.

  • 245.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Teaterpubliken i svensk kulturpolitik2009In: Peripeti - tidskrift for dramaturgiske studier, ISSN 1604-0325, no 12, p. 19-30Article in journal (Refereed)
    Abstract [en]

    Theatre audience and the Swedish cultural policy

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

  • 246.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Teje, Tora2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 575-576Chapter in book (Refereed)
  • 247.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Nordic example: sustainable theatre systems?2018In: The Development of Organisational Theatre Systems In Europe: Sustainability and Changeability / [ed] Karolina Prykowska-Michalak, Daria Skjoldager-Nielsen, Izabela Molińska, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (STUTS), 2018, p. 77-83Chapter in book (Refereed)
  • 248.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Rise and Fall of a Theater King: Albert Ranft and the Commercialization of the Swedish Theater Field between the 1890s and 1920s2022In: Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s / [ed] Antje Dietze, Alexander Vari, New York: Routledge, 2022, p. 109-136Chapter in book (Refereed)
    Abstract [en]

    Albert Ranft dominated Swedish theater production from 1894 to 1925. At the height of his career, he was running seven theaters in Stockholm, one in Gothenburg, and two touring companies. By developing innovative regional touring strategies, importing artistic and technical innovations from other European cultural centers, and fostering especially close theatrical connections with the Nordic countries, Ranft emerges as an important figure not only in Swedish theater history, but in the field of European cultural transfers more broadly. Moreover, his career provides a unique opportunity to study the commercialization of the Swedish theater field between the 1890s and 1920s, and its much slower division into modernist high art theater and popular entertainment than in some of the better-known cases from Western or Central Europe. Based on transnational exchanges, Ranft was able to run his theatrical businesses successfully by relying on a mixture of light entertainment, business knowhow, and high drama that did not give space for a pure art theater until the 1920s, making him an integrative force in Sweden's theater field. The chapter highlights some of his most successful productions and methods, but also considers his dramatic downfall from a position of supremacy in the theater.

  • 249.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 2, p. 6-27Article in journal (Refereed)
    Abstract [en]

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

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

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

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

  • 250.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Theatrical Emotions: Nordic Theatre Studies, volume 212009Collection (editor) (Other academic)
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